highway act

Agreeing with Republicans for the wrong reasons
  • Republicans: let's make America like it was in the 50's
  • Me: I agree, let's go back to massive wealth distributions from the rich to the middle class, the highest tax bracket at that time was 91%.
  • Republicans: We don't like that.
  • Me: Oh! You must mean the huge infrastructure projects like the US Highway Act.
  • Republicans: No... we don't like that either
  • Me: aah, you must mean the strong unions that included over 50% of the US workforce.
  • Republicans: What do we look like? communists?!
  • Me: then what do you like about the 50's?
  • Republicans: Segregation & slapping waitresses' asses
  • Me: oh
Another Reason to Hate Witches

Dean x Reader

Word Count: 1,647

Warnings: ANGST OUT THE ASS….character death…

A/N: So once again I got bored yesterday and got in a severe angst writing mood. I’m sorry about this one but then again…I honestly don’t care lol thank you to @mamapeterson for the beta!!! Feedback is greatly appreaciated!!! 

Originally posted by mickybrainz

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What the Hell is Modern Architecture? Part Two: Mid-Century Madness

Hello friends! It’s everybody’s favorite time of the 20th century, kudos to Mad Men

For the purpose of this post, Mid-Century starts in the late 1930s and goes through about 1960. While the 60s were integral to the concept of “Mid-Century Modernism” to people who shop at Design Within Reach, it really belongs to the period known as Late Modernism, which will be the subject of next week’s post. 

Where we left off with our beloved modernists two weeks ago, World War II was just starting. Coincidentally, it turns out dictators really like columns and stuff (who knew), and so Mies van der Rohe and Walter Gropius fled to the US where they responded to the hostile takeover of their countries by committing a benevolent takeover of the major American universities.  

Though the architecture of fascism was overwhelmingly traditional, (with the exception of Italian Futurism) modernism has still been deemed “fascist” by the ill-informed for over fifty years. Go figure. 

The Second World War had a major impact on the field of architecture. For one, it destroyed previous socioeconomic orders, and the horrific use of technology to commit so many heinous atrocities undermined its central position in the previous ideas of technocratic utopia. The machine for living in had a bad taste in its mouth, now. 

In addition, in Europe, the destruction of so many urban communities during the war left a vacuum for housing projects, many of which failed and most of which were completely insensitive to people’s aesthetic needs post-tragedy. 

But I’m getting a little ahead of myself. One of the pinnacle struggles of midcentury was the battle to continue old norms (the International Style of 1920s Europe) and to pave new frontiers. Meanwhile, in non-western countries, this prewar architecture spread like wildfire, partially as a reaction against the 19th century traditionalism they inherited from colonialism. In countries like Finland, Brazil, and Mexico, there was considerable effort to balance new modern aesthetics with national identities and climates. 

But back to the Bauhaus babes: Gropius (and later Marcel Breuer) were both invited to teach at Harvard, effectively ending that school’s history of Beaux Arts classicism. 

Gropius’ arrival did something else for American architecture: with the exception of Richard Neutra & Co. on the west coast and Wright in the Midwest, American architecture was relatively stale innovation-wise on the East Coast, and bringing Gropius in kickstarted architectural change in that region

Gropius’ students, sick of the rather boring eclecticism of the time, flocked to hear the new European ideas, including future stars Paul Rudolph (my personal bae), IM Pei, and Philip Johnson, who would all go on to be icons of Late Modernism (and to some extents, its scapegoats.)

Enter the Saarinens

Meanwhile in the Midwest, where actual progress happened in lieu of lectures, the Finnish-born architect Eliel Saarinen and his son, Eero, effectively kickstarted the aesthetics of the mid-century. Eliel, a figure of the previous generation, shifted his attention to American design late in life, but Eero seemed to have been born into the American jet-set ideal. 

Saarinen the Younger established his reputation when he won the competition to build the 1947 Jefferson National Expansion Memorial in St. Louis, Missouri aka:

The 1950s were a period of (highly idealized) prosperity and optimism (despite the constant threat of nuclear winter) with a focus on scientific progress and good ol’ American ingenuity. 

It was said ingenuity that enabled new methods of construction, including the wall of glass. One of the pinnacle examples of this progress and optimism was the General Motors Technical Center in Warren, Michigan begun by Saarinen the Elder and finished by Saarinen the Younger in 1948. 

It was in this building that the processes of American manufacturing, management, and industry were canonized in architectural form - the building, seemingly weightless, floats above a green, minimal lawn. 

Meanwhile, Mies

Meanwhile, Mies van der Rohe, was spending 1939-1956 building the new campus of the Illinois Institute of Technology. Mies was very fond of the craftsmanship of American steel manufacturing, and used the steel beam as a way to articulate his functional ideals with a finesse like no other. 

The glass box of the Institute’s Crown Hall was fervently egalitarian in that it was supposed to be good for anything and everything, and neutral to the concept of place and the specificity of internal function. 

(The irony of Mies’ buildings and their honesty of expression, is that the fire code of the time required that steel be surrounded by fireproofing, and therefore the steel visual on buildings such as Crown Hall, is, in fact, a decorative effect, something not lost on later theorists such as Robert Venturi.)

Mies’ seminal work of the period was the famous Farnsworth House (1945-51), where he applied the cool sleekness of his academic and industrial buildings to residential design. 

Perhaps Mies is most infamous in the long run for his tall skyscrapers, the most famous of which is the Seagram Building (New York City, 1954-8), which he designed with the help of Gropius acolyte Philip Johnson. 

The building owes its debts to Sullivan, who over half a century before, used appearance to express the ideal of its structure, an idea Mies evolved into “lying in order to tell the truth” - his steel frame hid within it wind bracing and other engineering necessities; the mullions separating the windows are applied, rather than structural necessity. 

While Mies’ aesthetic would be elevated to the epitome of American corporate style, it continued in the tradition of the Deutsches Werkbund of early modernity, which believed that industrial technique should be worn on the sleeve of architectural form. 

Unfortunately, the Miesian ideal was taken up by countless (often garbage) imitators, which reduced his finesse to mere uniformity, resulting in the endlessly replicating “glass box downtowns” of the 60s and 70s. The criticisms of later theorists that Mies left out the messiness of life within the glass structure, weren’t entirely invalid, but much of the time the ad nauseum replication of glass boxes are the faults of Mies’ imitators rather than Mies himself. 

Meanwhile, in Brazil and Finland

Brazil and Finland are perhaps the most notable of the nations to have adopted modernism after the pre-war German-French-American trichotomy, because their national architectural figures have contributed so much to the architecture of the time. 

Brazil’s strongman, Oscar Niemeyer, was born in Rio de Janeiro, and studied architecture at the Escola Nacional des Belas Artes. His architecture was heavily influenced by Le Corbusier, and featured a heavy use of reinforced concrete. Niemeyer was a believer in constructing “monuments” - architecture that stood out from its surroundings, and the concept that architecture should be infused with social idealism. 

Niemeyer’s most famous buildings were those built for the deal city of Brazil’s new capital, Brasilia. Built with Socialist ideas, such as the government owning apartments and leasing them to employees, and that the common worker and the top officials would share the same public spaces, the project, which was constructed hundreds of miles out in the middle of nowhere, aimed to bring a higher quality of life to a rural region.  

Unfortunately, his leftist politics resulted in his exile from Brazil, when Castelo Branco usurped the previous president and made Brazil a dictatorship until 1985. Oh well. 


In Finland, home of the Saarinens, the architect Alvar Aalto was quietly straight killing it at modern architecture. Unamused by the cold corporatism of the endlessly replicating glass box, Aalto and his contemporaries sought to infuse the vernacular traditions of their country, pre-industrial rusticism, and environmental consciousness with the sleekness of modernism

(This was easier to achieve in the Nordic countries, where rabid industrialization had not yet ruined natural resources such as timber.)

Aalto’s remarkable sensitivity to his clients and their anticipated behavior within his dwellings combined with his keen sense of place made his architecture successful during a time dominated by the necessity of post-war building making (in place of lasting architecture.)  

The sensitivity to the Earth, and the desire to embed his buildings fully into their environment (rather than make them objects on the lawn as was the modern tradition in Europe at the time), set Aalto apart from his contemporaries, and deeply inspired many young architects of midcentury, most notably Louis Kahn. 

But that’s not why y’all came here. Y’all came here for this:

On the Pop Side of Things: What Most People Think of When They Hear “Mid Century Modern”

While Gropius lectured, Mies built his boxes, Wright got weird with the Guggenheim, Aalto and Niemeyer led their countries as pioneers, and Corbu hid in Europe (butthurt that he was used for his input on the design of the United Nations building but never received the official commission- basically, he got catfished by the UN) the endless sprawl of the suburbs inched across the US, and the Federal Highway Act paved the way for a new way of life: sitting in the car a lot.

What most people associate with mid-century modernism are the “retro” vibes of the 50s - the Eames rocker, the fanciful signs, and the space-age hotels. What they don’t realize is that much of this beloved imagery existed outside the architectural canon, in the realm of folk or commercial architecture.

Suddenly, the world of motels, supermarkets, diners, and more sprung up seemingly overnight. The architecture of this time was designed to get people’s attention, and not much more - which is perhaps why it is so endearing. Originating from Southern California, this style was known as “Googie,” “Space Age,” and “Atomic Age” architecture, inspired by the events that transpired as part of the Space Race, and the pop culture surrounding the events of the Cold War.

Also originating in California, the ideal of the Mid-Century Modern House was canonized in the Case Study Houses (built for Arts & Architecture Magazine, made famous by the photographs of Julius Schulman), the houses of Richard Neutra, and the affordable tract home plans put together by architects such as Joseph Eichler, and Palmer & Kilmer.  

It makes sense that such architecture originated in California, a state that adopted the automobile with a fervent efficiency and built its best-known city of Los Angeles around it.

The unique decor made by companies like furniture giants Knoll and Herman Miller, fit right at home in such adventurous houses. Herman Miller hired the famous duo Charles and Ray Eames to design many lines of chairs and other furniture which have become iconic in and of themselves.

Photo: Wikimedia Commons, Public Domain

The Eames’ designs took the functionalism of modernism and infused it with fanciful coziness which became instantly appealing. The Eames’ chairs dared onlookers to sit in them, and were designed to excel at their purpose: to be sat in. These attributes, along with the slick futuristic design, have made Eames-design furniture timeless and highly desirable, even today.

While the Eameses were the most famous of the mid-century designers, the work of architects such as Eero Saarinen, and designers like George Nelson and Isamu Noguchi, should not be left out as well:

The fanciful nature of Mid-Century Modern design has seen a resurge in recent years, as younger generations delight in its charming simplicity and thoughtful execution for the first time.

Mid-century was the period during which American corporate zeitgeist, pop culture, and technological innovation reached its peak in the public eye. However, a new generation of architects were coming of age, whose sculptural monumentality would send a wave of dissent through the world of modernism, thrusting it into the period known as Late Modernism. 

Which is what we’ll get to next week! 

I hope you enjoyed this week’s post on Mid-Century Modernism! I’m sorry I couldn’t post an ugly house this Thursday, as it was Thanksgiving and drama was high. Trust me, the upcoming Michigan Monstrosity is well worth the wait. 

As a side note, for all of you who submitted a logo proposal to me, I am going through the entries (all 200 of them) and will select a winner soon, so stay tuned!

Like this post? Want to see more like it, and get behind-the-scenes access to all things McMansionHell? Consider supporting me on Patreon! 


Originally posted by like-this-monsta

words: 1098

genre: fluff

summary: You are on edge and you hurt Hyunggu’s feelings, how can you resolve this?

A/N: I used his real name instead, hope you like it anon. SO sorry for the wait! ~Admin Summer

You sit at your kitchen table looking anxiously at the driveway through your window.

You tap your foot repeatedly and look at your watch for the hundredth time.

Where is he?

You had told Hyunggu to be back at home no later than 6:00. It was your best friend’s birthday and you needed to leave by 6:30 to get to the venue. It’s 6:10 and there is still no sign of him. He had taken your shared car to work and promised to be back in time but here you are, waiting on him.

Finally you see Hyunggu pull up into the driveway. You rush to the front door to greet him. When he opens it you stand in front of him with your arms crossed and a scowl planted on your face.

His shoulders hung low.

“Hun, I’m so sorry”

You didn’t move a muscle. Your stare became more harsh.

“Come on babe” he says as walks toward you.

“Forgive me please” he pouts and runs his hands up and down you arms. He plays with your fingers and twist your hair.”forgiivvvee meee”

You look him dead in his puppy dog eyes. His pouting wore you down and eroded your scowl to uncover a cheesy grin.

“You lucky your cute and I like you, just go get dressed quickly”

He gives you a quick wink before skipping to your shared bedroom.

You pull out your phone and scroll through your social media waiting for your boyfriend again.

When Hyunggu emerges from your room he grabs the keys up off the counter swiftly saying “let’s go”.

You watch his every movement in disbelief. You feel like your eyes are burning at the display in front of you.


He stops dead in his tracks at your comment.

“Are you kidding me? What’s the matter now?”

“Your shirt……is just awful”

He puts a hand on his waist and runs the other through his hair as he exhales deeply.

“What’s wrong with my shirt huh?”

“The color, I’m getting a headache looking at it. Please go change now”

Hyunggu opens his mouth to defend himself but closes it quickly as he slams the keys to the ground and hurries back to the bedroom.

You were shocked at his outburst.

You waited a second before slowly moving to pick them up.

“I’ll-…..I’ll just be waiting in the car” you yell down the hallway.

Sitting in the silence of the car made you realize you were being really upright today. You were being too petty and picky.

“I’ll just laugh it off with him and forget it happened.” You say out loud to yourself.

But when Hyunggu walked to the driver’s door you caught his cold expression. He got into the car without making eye contact.

This was worse than expected. The car ride was extremely awkward and you kept thinking of what to say. You would get a solid apology formed, practice saying it in your head but then chicken out and slump further down into the passenger seat.

Is he really that upset over a stupid shirt?

You see a road sign indicating that there will be a gas station soon. An idea flashes across your mind.

“Babe please stop at the next gas station” you say without looking in his direction.

He lets out a groan before looking at the gas gauge.

“Look we don’t need gas and we are still thirty minutes away from the place. I know it’s my fault but, we are going to be late now”

“Pull over now, I need to pee you fool”

“Shit y/n, why didn’t you use the restroom before you left?” He asks as he turn his right blinker on signaling he was exiting the highway.

“god you’re acting like a child”

“You are really testing me today” you said under your breathe. As you pulled into the parking spot.



You got out of the car and slammed it closed. The gas station door’s open automatically as you march yourself in and away from your boyfriend. You hurried to the bathroom. You took a few deep breaths and looked at yourself in the mirror.

“It’s fine. He’s mad because you were being a little bitch so it’s even now” you said to yourself.

You then remembered the real reason you asked for him to pull over. You looked at yourself again and nodded before leaving and heading to the snacks.

You searched for Hyunggu’s favorite candy and grabbed two bags before bringing it up to the registrar. While the employee rang up your items you looked outside. Hyunggu was still in the car with his head and hands on the steering wheel. You knew in that moment you were doing the right thing.

You thanked the man at the register and let the establishment. When you opened the door to the car Hyunggu jumped in fright.

“Ah jeez calm down babe” you said climbing in.

He began to put the car in reverse but you grabbed his hand to stop him

“What are you doing, do you want to be late now??”

“screw the party, you are more important”

His face softened and he looked into your eyes for the first time since you made the comment about his shirt.

“Here” you said handing him the candy.”I’m sorry I was rude to you.

He smiled at the bags.

“No I’m sorry I was being ridiculous ab-“


“But I was so mean to you, you don’t act like a child, I’m sorry. But I was really angry about that shirt because…”

“Because??” You question him.

“Because” he blushes and hides his face in his hands

“Stopppp telll meee” you say pulling his hands away and holding them in your own.

“Ahhh because that’s why I was late. I wanted to buy a nice shirt for tonight because I knew how much it meant to you. I picked it cause I thought you would I like it, cause you know…you like bright colors and stuff”

You bring his hands to your cheek and cradle them before kissing them.

“I’m sorry I’m so stupid” you say.

“You are not stupid my love”

He tucks your hair behind your ear before taking his seat belt off and stretching his body over to plant a kiss on your cheek.

“Okay, are you ready now?” Hyunggu asks.

“Yes, we will only be I don’t know…thirty minutes late”

“Better late than never, right?”



“Fuck you.”

“Fair enough…”

Favorite lines. – Video belongs to the makers of the Highway to Havasu movie.


I dubbed over the hospital scene from Diamond Is Unbreakable! Hope you enjoy! 

I was Josuke and Yuuya, the girls were voiced by Totalspiffage.


From Constellations to Fiddler! Looking Back at the Playbill Covers of 2015

anonymous asked:

uhh my mom emotionally manipulated me and my brothers for years like when me and my brothers were fighting with each other or arguing with her about something she would stop the car in the middle of the highway and act like she was trying to get hit by a car

im so sorry dude thats so fuckin scary. one time my mom sped up the car all the way to 100mph in a 35 zone and like wtf dont do dumb shit like that with your kids in the back

Highway's Gonna Be Popular
Mack (iamabagfullofcats) and Sushinfood
Highway's Gonna Be Popular

This sprang up from a Skype call with @sushinfood last week or the week before, during which the idea of Highway singing selected pieces from Wicked came into the discussion. Seeing as the poor pumpkin and cloud have been rather put-upon of late with more than their share of woes, I thought it’d be appropriate for them to have some time to be cute and roustabouting brothers. HALPY AND HIGHWAY ARE PRECIOUS GIFTS AND THE MOST RIDICULOUS GOOBERS AND MY HEART IS BOUND TO THEM NOW.

Highway belongs to Sushi, Halpy belongs to @bluedew12, the song comes from the musical Wicked - this video in particular - and the voices are sushi’s and mine! COLLABORATING WITH HIM IS THE BEST OF ALL POSSIBLE ENDINGS.

EDIT: New and improved album art by the magnificent @thewitebear! IT’S ADORABLE <3

Phalloplasty Information

This is part 5 in a series of posts summarizing what was said during the Gender Odyssey conference in Seattle from August 14-17, 2014. This is not basic knowledge, but rather it is supplemental knowledge. This is knowledge to expand upon what you already know but does not provide groundwork for fully understanding it otherwise. For more information I am always available to answer questions and I have a lot of information on my blog here.

Dr. Crane – San Francisco, CA
Dr. Metlzer – Scottsdale, AZ

For basic information about phalloplasty please look at my posts tagged “bottom surgery”, also linked on the left side of my blog. I’ve talked about this topic a fair amount. This information will help provide supplemental knowledge to this information, as mentioned above. This is a topic that I specialize in and have a lot of information about.

The majority of this information comes from Dr. Crane as Dr. Meltzer no longer does microsurgery. As such Dr. Meltzer’s phalloplasty results do not have an integrated nerve system and do not have much sensation.

The sites where donor skin can be taken are separated into two main categories: Local and Microsurgical

Local skin flaps are the groin, midline, and abdomen.
Microsurgical skin flaps are the forearm, fibula, and latissimus dorsi.

Local flaps mainly serve an aesthetic purpose. There is limited sensation as there is no nerve hook-up done and it is incredibly difficult to do urethral lengthening as the phallus is situated above the testosterone-enlarged genitalia (that is typically not ‘buried’ in the base of the new phallus). This is the only kind of phalloplasty that Dr. Meltzer performs these days, though in the past he did microsurgical operations. This kind of phalloplasty is for a person who wants to be able to pass when naked (in locker rooms for instance) but doesn’t care about needing to sit to urinate and doesn’t care for having sexual sensation in their phallus. For some people that’s all they want and that’s fantastic. If I remember correctly I believe Dr. Crane said that local flaps don’t have as good of blood flow since no veins are taken, but I could be mistaken. He talked about how he can tell how a surgeon has performed their operation by making a small incision into the phallus. If it bleeds heavily, there’s good blow flow and it was done well. Good blow flow = good healing.

Microsurgical flaps are the most common kind of skin flaps used for phalloplasty. These result in a well-positioned phallus that has tactile sensation, erotic sensation, can be used to stand to pee if UL is done, and has good blood flow to the phallus. To achieve sensation a nerve is taken from the donor site as well. When you cut a nerve it dies but what is left is a nerve sheath, which essentially acts a highway that paves the way for new nerves to grow. So in forearm phalloplasty they take a sensory nerve from the forearm, sever it and take the nerve sheath, and then attach it to the nerves present in the testosterone-enlarged genitalia that will then be placed in the base of the new phallus. This is sewn together with thread that is thinner than human hair. The phallus and urethra are constructed around this, veins that were taken from the forearm are attached so that the phallus has good blood supply to it, and then everything is sew together and ready to begin healing. Over the next year that nerve sheath allows the nerves present in the genitalia to grow and spread. The skin taken from the forearm already has sensory nerve receptors in it (which is why you can feel your forearm when you touch it), so these receptors are open and waiting for the nerve to reconnect. Full sensation takes about a year to achieve, since nerves grow at a rate of about 1 millimeter a day. By 3 months most people have sensation in the base of their penis, by 9 months most have it up to the tip. Dr. Crane has had patients reporting that their sensation continues to improve 2 years post-op. Sensation in the forearm itself will return over a very long period of time but it will never be what it was before.

In every phalloplasty operation the erectile device cannot be put it at the same time as the phallus being constructed. Even in 1-stage procedures a person has to come back for an erectile device. I always figured it was because the body needed to heal but I didn’t realize specifically why. Dr. Crane explained that they wait so long for the erection device to be placed because they need to make sure that the penis has protective sensation in it. This is the sensation that allows you to feel when something is uncomfortable, painful, or otherwise a negative feeling, so that you adjust it and make that feeling stop. This sensation allows us to protect ourselves from damaging our bodies. If you can’t feel it, if it doesn’t hurt, then you’re going to wear your device down/break it much faster. An important note with erectile devices is that the inflatable erectile devices break much easier than the semi-rigid rods and now I have more information on this. The inflatable devices were made for men in their 70s/80s who have erectile dysfunction. Compare how much sex they’re having with how much sex a person in their 20’s is having and you’ll see why the inflatable devices sometimes need to be replaced in as little as 1 year. Their usual shelf life in younger guys is about 3 years, versus the semi-rigid rod which can last been 10-20 years.

To determine whether or not you are a good candidate for thigh phalloplasty you can do a simple test. Flex your thigh and while it’s flexed pinch the tissue on it. However much tissue you can lift up, your phallus will be 4-5x this thickness. This is why only a very select number of people are good candidates for thigh phalloplasty, since having too much fat in your thigh (and most people do, you need a small body fat percentage to really qualify) is going to result in a very thick phallus. If you opt for this method and find your penis is too thick then Dr. Crane can perform liposuction, though this will only decrease the thickness by about 10-20%. If you look at his results page you can tell which people had thigh phallo and which people had forearm, since the ones who had a thigh phalloplasty will not have their glansplasty yet. They need to do this in another operation.

Dr. Crane has performed 50 phalloplasties and has 80 planned for 2015. At this current time he is booked until September 2015, making his current waiting list about 14 months out. Dr. Crane has never had a patient who has lost their phallus and reports that his current complication rates are between 10-20%, but he says his actual rates are much lower. These complications are entirely from fistulas and strictures related to urethral lengthening as it is a very delicate process. He does have a general BMI cut-off for surgery and says this is a BMI of 35, but that he has performed phalloplasty on someone with a BMI of 38. The cut-off is there because this is a series of very intense operations and the higher your body weight, the more complications you are likely to run into.

Lastly, phalloplasty with Dr. Crane is an 8 hour long operation for your first stage.

So what did Amalfitano’s students learn? They learned to recite aloud. They memorized the two or three poems that they loved most in order to remember them and recite them at the proper times: funerals, weddings, moments of solitude. They learned that a book was a labyrinth and a desert. That there was nothing more important than ceaseless reading and traveling, perhaps one and the same thing. That when books were read, writers were released from the souls of stones, which is where they went to live after they died, and they moved into the souls of readers as if into a soft prison cell, a cell that later swelled to burst. That all writing systems are frauds. That true poetry resides between the abyss and misfortune and that the grand highway of selfless acts, of the elegance of eyes and the fate of Marcabru, passes near its abode. That the main lesson of literature was courage, a rare courage like a stone well in the middle of a lake district, like a whirlwind and a mirror. That reading wasn’t more comfortable than writing. That by reading one learned to question and remember. That memory was love.
—  Robert Bolano, Woes of the True Policeman 

Four decades before Obama’s ACA, Hawaii enacted its own health-care mandate…the state has poured billions…into rebuilding highways and infrastructure, bringing the unemployment rate down to an enviable 4.4 percent. Gay marriage is legal, immigrants are welcomed, labor unions are strong and—if the governor gets his way this year—universal pre-kindergarten will be the law of the land…there are no tea party stars to bicker with and no Congress to stand in the way. There’s hardly a viable GOP…The Aloha State, with its liberal governor and overwhelmingly Democratic legislature, has succeeded in achieving much of the vision Obama has yet to accomplish on the mainland.



art: watercolor map by Irina March