major american

As President Trump approaches the one-year anniversary of his inauguration, a majority of Americans think his first year in office has been a failure — and that he’s divided the nation.

A new NPR/PBS NewsHour/Marist poll finds that by a 53-to-40-percent margin, Americans deemed Trump’s first year a failure. And by an almost 2-to-1 margin (61 to 32 percent), Americans said they believe Trump has divided the country since his election.

Majority Of Americans See Trump’s First Year As A Failure

Chart: Brittany Mayes/NPR

washingtonpost.com
How the Democrats lost the Rust Belt

This is an article from 1979. It’s quite interesting. It describes an attempt by a city called Youngstown, Ohio, to rally around their major employer, a steel plant, and transform it into a worker run organization, and how the Carter regime killed it dead in its tracks. The reason why the plant was closing was because of an investment strike by business during the 1970s. In the early 70s, something called “stagflation” had taken hold. Normally, high unemployment disciplines workers, because they don’t want to lose their jobs over demanding higher wages. During stagflation, unions had such a stranglehold on the supply chains of major American companies that they were unwilling to temper wage demands even in the face of rising unemployment. American businesses responded by refusing to invest in their domestic plants, instead stripping their assets to invest into and integrate foreign companies into their supply chains, in what was known as “outsourcing”. Consequently, steel mills in the American midwest saw no investment into new equipment that might make their steel cheaper, but instead saw their companies driven into debt so that loans could be used to start new mills in the American south, where wages were lower, or to buy Japanese steel mills. This was during the very early period of Neoliberalism, when only Ford’s fairly unpopular administration had followed its dictates, and it seemed to be that the most reasonable thing to do was to vote for the opposition party. However, the Democratic Party had long since accepted the fundamentals of Neoliberalism, and Carter used his new mandate to pass through a number of sweeping reforms while also acting to deny workers any alternative to their new reality. There are two figures in particular that you may recognize if you really know your historical American leftists, though I won’t spoil it. People often ask why so many workers are willing to “vote against their own interests”. It’s betrayals like this that are why.

The idea of workers taking company stock to help create new industrial capacity seemed to the coalition leaders an ingenious way to confront a variety of problems plaguing American industry and its workers - the hard limits to what workers cand get in a wage package if their companies are going to compete and make a profit, -the unproductivity built into many labor-management contracts, the difficulty of American industry in attracting new capital.

But the idea of worker-community ownership also challenges virtually every vested interest, and opposition to the Youngstown plan came from many quarters - national union leaders who fear a blurring of lines in collective bargaining, corporate excutives who fear controls on corporate behaviour, liberals who worry about decreased emphasis on welfare state programs, conservatives disturbed by the notion of more equitable distribution of capital.

Top executives of U.S. Steel and Republic Steel called the proposed venture “communistic” and lobbied the Carter administration against supporting the coalition plan. In Youngstown, the attitude of the business community was described by a local business leader as amusement, followed by fear the proposal would get funded, then relief that it had failed. But even the businessmen realized that the coalition addressed a powerlessness which also afflicts them. As one businessman put it; “we are a branch town that has lost control of its destiny.” William Sullivan, who spearheads one of the city’s fragmented industrial devesopment efforts, said “I don’t like the coalition’s New Left ideas, but they stepped into a vacuum with some thinking.”

Art Young, president of the Mahoning National Bank, waves all the conservative shibboleths about the freedom of capital, but even he is deeply troubled by the arbitrary power of the conglomerates. When the ownership of Sheet & Tube was transfered to New Orleans, he said, “what we lost was community participation and pride.”

Keep reading

Set Your Sights on CALIBER 9 (’72) by Nathaniel Thompson

It seems like today more than ever, movie lovers are fascinated by the massive wave of Italian import films from the 1970s. Featuring everything from black-gloved killers to jungle-dwelling cannibals these wild works invaded cinemas around the world. Largely ignited by the spaghetti western craze in the 1960s, it was too good to last of course but quite a brilliant moment if your tastes run to the intersection of art and exploitation that was explored so incredibly well. One of the most popular subgenres during that period was the poliziottescho (or poliziotteschi when it’s plural), a tough and gritty string of crime thrillers inspired in equal parts by the real-life explosion of murders and kidnappings in Italy and the success of two major American films, DIRTY HARRY (’71) and THE GODFATHER (’72). American actors in particular made a mint hopping over to Italy to appear in these films, especially names like John Saxon and Martin Balsam.

Perhaps the most important name to emerge from the poliziottescho was Fernando Di Leo, a screenwriter turned director who dabbled in several genres but really seemed at home in modern tales of gunplay, treachery and international intrigue. It’s tough to pick a number one film from a roster that includes such works as THE BOSS (’73), RULERS OF THE CITY (’76) or THE ITALIAN CONNECTION (’72), but you could make a good case that Di Leo’s masterpiece in the subgenre came with his very first try: CALIBER 9 (’72), known in Italy as MILANO CALIBRO 9. There is one token American star here in the form of Bronx-born Lionel Stander (that’s Max from TV’s HART TO HART [’79-’84] for all you 1980s kids), but he’s a in minor role compared to the high-voltage European players on hand for this story of a convicted felon who wants to go straight but finds himself pulled back in (of course) since he knows the whereabouts of a big stash of cash from his last, pre-prison job.

There’s a lot to love about this film, which really encapsulates everything that made Italian crime films so distinctive. Bright colors, bursts of savage but stylized violence, tough-guy dialogue mostly dubbed with familiar voice artists from the era; in short, it’s a prime introduction for anyone interested to see why these films took off at the box office. Interestingly, leading man duties here go to someone with very little English-language clout in the movie world: Gastone Moschin, an Italian character actor most widely known for Bernardo Bertolucci’s THE CONFORMIST (’70) and his turn as Don Fanucci in THE GODFATHER PART II (’74). Another face you might recognize if you’re familiar at all with Eurocult filmmaking is Frank Wolff, an American-born actor in Italian films best known for THE LICKERISH QUARTET (’70) and THE GREAT SILENCE (’68), as well as a brief but memorable bit getting gunned down by Henry Fonda at the beginning of ONCE UPON A TIME IN THE WEST (’68). Tragically, this would turn out to be his penultimate appearance on the screen as he committed suicide in 1971 before postproduction on this film could be completed. (Instead his voice was provided by Michael Forest, a fellow actor and friend who’s fortunately still with us today.) Then there’s Mario Adorf, the terrific German actor from films like THE TIN DRUM (’79) who often served as the obligatory star in Italian-German co-productions of the period like Dario Argento’s THE BIRD WITH THE CRYSTAL PLUMAGE (’70), which he provided with the sickest laugh in the film.

However, all those male cast members have ended up being relegated to cinematic footnotes in the wake of this film’s female lead, Barbara Bouchet, whose beaded bikini dance scene is by far the most indelible sequence in the entire film. Now a major cult figure due to her provocative roles in gialli (Italian thrillers) like two other 1972 films, AMUCK! and DON’T TORTURE A DUCKLING, she shows much less bare skin here and proves that enthusiasm, screen presence and sheer force of will can create a scorching screen moment. Her skills as an actress have often been undervalued (her German citizenship made her another valuable name in casting Italian co-productions), and she’s terrific here as our hero’s girlfriend whose motivations may not be as clear-cut as they initially appear. Charming and intelligent in her cinematic demeanor, Bouchet often managed to take cardboard role or victim parts and imbue them with a sense of strength and mystery greater than what existed on the page – and that’s definitely the case here, too. Strangely, it took Americans a very long time to really catch on to both Bouchet and this film; a dubbed version (called THE CONTRACT) ran in the U.K., but it never played theatrically in the U.S. and didn’t get an official video release here until 2011. Better late than never, and fortunately it’s gotten the red-carpet treatment on FilmStruck to make up for decades of neglect.

Finally, if there’s one thing that really sets this film apart from its ilk, it’s the great rock-infused score composed by the unlikely but perfect combination of Luis Bacalov, way before he nabbed an Oscar for his more traditional work on IL POSTINO (’94), and the prog rock group Osanna. One of the pioneering psychedelic bands of the period, they had just dropped their debut album (L’uomo, or The Man), and managed to sandwich this score in before their next and most influential album, Palepoli. If you’re eager to track down a soundtrack album to this film, just be aware that it’s actually called PRELUDIO TEMA VARIAZIONI CANZONA – but you’ll have to pay through the nose to snag a copy!

Black LBGTQ History Icons

Marsha P. Johnson

  • A leader of the Stonewall Riots. According to several eyewitnesses, Marsha was the one who “really started it”. She was “in the middle of the whole thing, screaming and yelling and throwing rocks and almost like Molly Pitcher in the Revolution or something”
  • Dedicated her life to activism:
    • Co-founded the Street Transvestite Action Revolutionaries (later renamed Street Transgender Action Revolutionaries)
    • Ensured that the young drag queens, trans women and other street kids on Christopher Street were fed and clothed. Marsha also housed them whenever she could. 
    • In the 1980s, she was an activist and organizer in ACT UP. 

Stormé DeLarverie

  • Also a leader in the Stonewall Riots - has been identified as the “butch lesbian that threw the first punch” against the police officers.
  • Several eye-witnesses recollections also recognize her as the cross-dressing lesbian that yelled “why don’t you guys do something” at the bystanders that evoked the reaction from them that helped make Stonewall a defining moment in history.
  • Unofficially worked at gay bars who otherwise couldn’t afford security.

Bayard Rustin

  • Was a leading strategist of the U.S. Civil Rights Movement between 1955-1968:
    • The formidable behind the scenes figure of the civil rights movement who organized the March on Washington
    • Through his influence, the civil rights leadership adopted a non-violent stance.
    • Is and was often overlooked in African-American history because of the public’s discomfort with his sexual orientation.
  • Supported LGBTQ rights and movements.
  • Was posthumously awarded Rustin the Presidential Medal of Freedom by President Barack Obama.

Miss Major Griffin-Gracy

  • Another leader in the Stonewall Riots.
  • Has been involved in community efforts since 1978. She has worked at local food banks, provide services for trans women suffering from addiction or homelessness. During the AIDS epidemic she also provided healthcare and funeral services.
  • Is currently serving as the Executive Director for the Transgender GenderVariant Intersex Justice Project, working to assist transgender persons who are disproportionately incarcerated under a prison-industrial complex.

Alvin Ailey

  • At the young age of 22, Alvin AIley became Artistic Directer for the Horton Dance Company where he choreographed as well as directed scenes and costume designs.
  • Formed the Alvin Ailey American Dance Theatre in 1958 but continued to choreograph for other companies.
  • Ailey’s signature works prominently reflects his Black pride.
  • Is credited for popularizing modern dance. 
  • Was also posthumously awarded the Presidential Medal of Freedom by President Barack Obama.

Feel free to add anyone I’ve missed!

sometimes i worry how quickly it seems to be fading from public consciousness that the american people didn’t actually choose donald trump

he lost the popular vote

HE LOST THE POPULAR VOTE

by kind of a lot

it still matters that all those people out there DID vote for them, it still matters that our electoral system is so fucked and so undemocratic as to elect him anyways, but i feel it’s really important we remember that the majority of americans chose hilary clinton and not donald trump

for a lot of reasons, we need to not let it fade out of public top-of-mind knowledge that donald trump was not the choice of the american people

Top Ten Characters I’d Kiss

Tagged by the lovelies @mummybear and @oneshot-obssessed (It won’t let me tag you guys for some reason)

1. Stiles Stilinski

Originally posted by sarcasticallystilinski

2. Mitch Rapp

Originally posted by dylanobrien

3. Void Stiles

Originally posted by allmyworry

4. Thomas 

Originally posted by voidhelena

5. Stuart Twombly

Originally posted by moon-dustt420

6. Trevor

7. Dave Hodgman

Originally posted by dumbass-stilinski

8. The Guy

Originally posted by teenwolf--imagines

9. Jimmy

Originally posted by another-shade-of-me

10. Peter


I tag anyone and everyone who wants to do this! If you do, tag me so I can see!

Chris Pratt, attractive rich heterosexual white man, says he doesn't feel represented in Hollywood.

America’s favorite Average White Man has an interview with People magazine ahead of the sequel to Guardians of the Galaxy.  

“I don’t see personal stories that necessarily resonate with me, because they’re not my stories,” Pratt, 37, told the magazine. “I think there’s room for me to tell mine, and probably an audience that would be hungry for them. The voice of the average, blue-collar American isn’t necessarily represented in Hollywood.”

I’m actually amused by how earnest he is.  Has he ever even been to the movies?

I’m pretty sure there’s a whole genre of movies based on average, blue-collar American white men literally saving some brown person’s country or the entire planet or whole other planets.  

I’m pretty sure there’s a whole genre of movies where average, blue-collar American white men pine after some woman who is probably too good for them and then a whole lot of stuff happens in the middle where she realizes whoever she’s with is a dick and she should be with the protagonist instead so the average guy can get the girl.

I’m pretty sure there’s a whole genre of movies where average, blue-collar American white men – who are usually from Chicago or Boston – go into a life of crime for some noble reason (or not) and we sit for 90 minutes rooting for a “hero” who is literally breaking the law in every frame and/or killing people.

Chris Pratt sounds like someone strapped him in to a chair and made him watch Moonlight for 17 days so now he forgot that Hollywood is literally founded on white mediocrity.  But wait!  There’s more:

“I really feel there’s common ground out there that’s missed because we focus on the things that separate us,” he said. “You’re either the red state or the blue state, the left or the right. Not everything is politics. And maybe that’s something I’d want to help bridge, because I don’t feel represented by either side.”

I actually do think there’s common ground out there, and the common ground is the provable fact that the vast majority of Americans are a lot less prosperous than they realize, especially in comparison to the corporations they work for where all of the money is being hoarded.  Our common ground as Americans would be redistributing the enormous wealth of this country so that we all could experience a higher standard of living.  Unfortunately, that’s not possible because the things that separate us (mostly race, class, education, and location) are effectively used by our political system to keep an Us vs Them society among average Americans.  This ensures that we don’t turn the country into a Haves vs HaveNots society where the overwhelming majority of Americans would define themselves as the HaveNots if they were thinking clearly and less concerned with how much they have in comparison to a neighbor who doesn’t look and/or think like they do.

But that’s not where Chris Pratt is.  Chris Pratt is one of those Everybody Is So Upset, Can’t We All Just Get Along? yokels who doesn’t want to deal with conflict.  He doesn’t have to deal with the day to day consequences of politics so to him, not everything is politics.  I’d love to see what kind of bridge he is planning to make with his everyman blue-collar American heterosexual movie that speaks to him and has never been done before repeatedly.  Let me know how it is.  I’ll go spend my HaveNot money on something else.

Hey so in the wake of what’s happening in Charlottlesville, your friendly neighbourhood historian is here to remind you that

  • the enormous majority of American citizens didn’t want to join the fighting in the second world war
  • for years Americans didn’t care that people (Jews) were being massacred
  • Hitler was doing all kinds of anti-Jewish shit for about six years before the war even started and the American government’s official response was basically  ¯\_(ツ)_/¯
  • in 1939, the United States denied entry to 900 Jewish refugees. The boat had to turn back to Europe, and many of these people subsequently died in the Holocaust 
  • in 1941, even though the State Department knew what was happening in concentration camps, the American government made it’s immigration policies stricter so that it was harder for fleeing refugees to find safety on American soil
  • it was only after an attack on American soil (Pearl Harbor) happened that Americans finally entered the conflict (the epitome of “I only care about a thing if it directly affects my life” and 70 years later nothing has changed)
  • it is largely believed in America today that they “won the war” when, if we’re being historically accurate, what they did was show up halfway through to tie up loose ends and then take credit for what Russia had been working towards for three years. America was basically The Vulture from Brooklyn Nine Nine. The job was almost done, and they swooped in at the last minute, did the bare minimum, and then took credit for the whole thing

tldr: America has always been, and continues to be, enormously anti-Semitic. Condemn what’s happening in Charlottlesville because it’s horrible and wrong, but don’t let uninformed people use World War 2 as proof that America isn’t an anti-Semitic place. Jewish people are by far the most persecuted population globally and historically and no country has ever done enough to stop this from continuing into 2017. 

Never forget that the Conservatives - who spent their election campaign slating Jeremy Corbyn for not condemning the IRA totally, who called him a terrorist sympathiser - are now in a partnership with a party that are literally formed by members of the Ulster Resistance, a terrorist group on the other side of that conflict.

Never forget that the Conservatives - who told the NHS and the fire service and the police force that there’s no “magic money tree” when they asked about cuts to their pay and funding and pensions - just paid that same terrorist group £1billion to gain that support from them.

Never forget that the Conservatives just bribed their way into clinging onto power and at the same time showed themselves for how little they really care about the country, and how little moral resolve they have.

2

15.8.2017 | does anyone else kinda match colors to subject? like i use green a lot for econ (money) and science (plants) and used brown for this set (cowboys? dirt? idk) || studygram

2

Bettie Page rose to fame in the 1950s for her pin-up photos. She is often referred to as the “Queen of Pinups.”

In 1959, Page became an Evangelical Christian. After her fame wore off Bettie Page’s later years were marked by depression, violent mood swings, and several years in a state psychiatric hospital suffering from paranoid schizophrenia.

On the 28th of October, 1972 Bettie was arrested. When police answered a call placed by her ex-husband Harry Lear. When they arrived on scene they found him and Bettie out on the front yard with Bettie hitting Harry, repeatedly punching and verbally attacking him.

Bettie would stay at Jackson Memorial Hospital, a state mental care facility for six months spending most of the time under suicide watch. At age 56, Bettie was arrested again. She had stabbed her elderly landlords on the afternoon of April 19, 1979 in an unprovoked attack, during a fit of insanity.

Bettie Page died from a heart attack on December 11th 2008