Mike talks with Assistant Professor of Modern Japanese Cultural Studies at the University of Alberta and guest curator Will Carroll (Suzuki Seijun and Postwar Japanese Cinema) and Peter Tatara, the brand-new Director of Film at Japan Society and founder of Anime NYC about the Japan Society's Seijun Suzuki Centennial.Celebrating 100 years of iconoclast director Seijun Suzuki (1923-2017), a singular force in Japanese cinema whose radical stylistic vision and unpredictable narratives shaped the B-movie genre, Japanese cinephilia and the political New Left, Japan Society and The Japan Foundation present Seijun Suzuki Centennial—a selection of six films from across the filmmaker's nearly 60-film body of work, all on imported 35mm prints straight from Japan. Covering ground from his earliest yakuza feature (Satan's Town) to his unbridled return to studio filmmaking after being blacklisted for 10 years (A Tale of Sorrow and Sadness) and his subsequent independent success (Kagero-za), this special series offers a rare glimpse into the core of Suzuki's creative genius.For complete information visit japansociety.org.
The 90s bought us the left behind books by Jerry Jenkins. The early 2000s brought us the Left Behind film series with Kirk Cameron 2014 brought us Left Behind with Nicholas Cage AND in 2023-- we now have the next feature film in the beloved hit series--LEFT BEHIND, with Kevin Sorbo! If you have not heard of this series (which I sure hope you have in some way, it's INCREDIBLE) Left Behind series depicts the End Times, bringing to life a world after the rapture of Gods people. This series was inspired by Gods word and brought to life by followers of Jesus! These books now turned into a famous film franchise are seeds of conviction and eye opening awareness of what it could look like in the years to come! Take heart! He (King Jesus) has overcome the world for YOU! In this episode with Mr. Kevin we talk about...-This new Left Behind film -The importance of supporting Christian films opening weekend -Fathom Events -Sorbo's other films: Gods Not Dead, What If, Soul Surfer, Let there be Light -Kevin and his wife Sam's trip to group trip to Israel this May (click HERE for more)-The importance of holding the line in media and entertainment I cannot wait to see this film in theaters NEXT WEEK! Opening night is January 26th! Tell your friends, youth group, co-workers, Church, family, goldfish....everyone! Click HERE for tickets! For more on Kevin's films & ministry click HERE! I can't wait to hear what you think of the film. Leave us a review! I'm grateful for you, friend-GBYou are so loved! Let's hangout! Instagram YoutubeWebsite
We knew him from iconic roles as Hercules, as well in faith-based films like "God's Not Dead." Actor/director Kevin Sorbo is playing a strong role in the movie landscape, all while not backing down from his Christian or conservative values. His new film, part of the "Left Behind" franchise, comes out on the big screen on Jan. 26, and Kevin shares news with Mike. Also, a visit from a policy expert at FRC, the Family Research Council, on the misleading emphasis often placed on "rape and incest" within the abortion discussions.
Sol Stern is a veteran writer and policy analyst. He was born in Israel—actually, Mandatory Palestine—in 1935. The Sterns moved to New York when Sol was three and a half. As a young journalist, he was part of the New Left. Disillusionment set in. For more than 20 years, he worked at the Manhattan Institute, […]
Sol Stern is a veteran writer and policy analyst. He was born in Israel—actually, Mandatory Palestine—in 1935. The Sterns moved to New York when Sol was three and a half. As a young journalist, he was part of the New Left. Disillusionment set in. For more than 20 years, he worked at the Manhattan Institute, becoming best-known for education policy. These days, he says he belongs to what Robert... Source
Tony and Steve discuss White Sox baseball in the year 2023. Topics include: Andrew Benintendi's signing made official Eloy Jimenez in Right Field??? A look at second base options Rick Hahn's comments on the roster Which White Sox player does Steve want to see extended during Spring Training Sox On Tap is presented by ontapsportsnet.com
In Part II of Van's sit-down w/ Professor Daniel Immerwahr (author of How to Hide an Empire), they talk about Daniel's recent chapter about the politics and ideology of George Lucas's Star Wars. Was the Galactic Republic really an empire the entire time? What made Star Wars a Vietnam movie? What's the deal with the Ewok? And what's wrong with Lucas's version of anti-imperialism?Are We Really Prisoners of Geography?: https://www.theguardian.com/world/2022/nov/10/are-we-really-prisoners-of-geography-maps-geopoliticsIdeology in US Foreign Relations (the volume containing "Galactic Vietnam"): https://cup.columbia.edu/book/ideology-in-u-s-foreign-relations/9780231201810
In this episode, Philip Pilkington joins the podcast to talk about his article “The Dead End of the New Left” from the December issue. They discuss how the New Left and its lack of foresight in besieging American order.
In this episode, Philip Pilkington joins the podcast to talk about his article “The Dead End of the New Left” from the December issue. They discuss how the New Left and its lack of foresight in besieging American order.
The counterculture of the Sixties and the Seventies is remembered chiefly for music, fashion, art, feminism, computing, black power, cultural revolt and the New Left. But an until-now unexplored, yet no less important aspect — both in its core identity and in terms of its ongoing significance and impact — is its relationship with health.In this popular and illuminating cultural history of the relationship between health and the counterculture, Matthew Ingram connects the dots between the beats, yoga, meditation, psychedelics, psychoanalysis, Eastern philosophy, sex, and veganism, showing how the hippies still have a lot to teach us about our wellbeing.RETREAT: HOW THE COUNTERCULTURE INVENTED WELLNESS - https://repeaterbooks.com/?s=retreatSupport Zer0 Books and Repeater Media on Patreon: https://www.patreon.com/zerobooksSubscribe: http://bit.ly/SubZeroBooksFacebook: https://www.facebook.com/ZeroBooks/Twitter: https://twitter.com/zer0books-----Other links:Check out the projects of some of the new contributors to Zer0 Books:Acid HorizonPatreon: https://www.patreon.com/acidhorizonpodcastYouTube: https://www.youtube.com/c/acidhorizonMerch: crit-drip.comThe Philosopher's Tarot from Repeater Books: https://repeaterbooks.com/product/the-philosophers-tarot/The Horror VanguardApple Podcasts: https://podcasts.apple.com/us/podcast/horror-vanguard/id1445594437Patreon: https://www.patreon.com/horrorvanguardBuddies Without OrgansApple Podcasts: https://podcasts.apple.com/gb/podcast/buddies-without-organs/id1543289939Website: https://buddieswithout.org/Xenogothic: https://xenogothic.com/Support Daniel Tutt's work by visiting the Torsion Groups Patreon account: https://patreon.com/torsiongroups
To conclude this two-parter exploring how Mao's ideas manifested outside China, we look to the world of the hippies and stoners and idealists. Why did this strand of Marxist thinking, with its emphasis on the peasantry and anti-imperialism, appeal to the relatively comfy students, activists and thinkers of the developed West? Email: SMKYPodcast@gmx.com Twitter: @SMKYPodcast
Are the Mariners closing in on a new left fielder and second basemen just in time for Thanksgiving? Gleyber Torres or Colton Wong? Andrew Benintendi or Brandon Nimmo? What's up with Mitch Haniger? Julio gets a parade in his honor, and the MLB Hall of Fame ballots have been released! To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices
One of the eminent intellectuals/activists of our time, Staughton Lynd, died yesterday, and Scott and Bob paid tribute to him as the introduction to a reprise of his 2020 interview. Staughton was the first interview on Green & Red, during its second episode, and he discussed various issues regarding civil rights and especially labor organizing. (Errata: It was Herbert Apthecker, not David Dellinger, who went to Vietnam with Staughton and Tom Hayden. My bad, BB) Staughton Lynd was one of the most important American Activists/Scholars from the mid-20th Century onward. As a historian, he was one of the first prominent scholars associated with the "New Left" and he did pathbreaking work on the colonial war of liberation against the British Empire, situating it not just as a fight over Home Rule, but also "who should rule at home," i.e. what type of class relations would exist in the new country. Staughton was on the faculty at Spelman University where he and colleague Howard Zinn became active in the Civil Rights Movement (activity that cost Zinn his job there). Staughton became head of the Mississippi Summer Freedom Education Project, organized by SNCC. He then moved on to the faculty at Yale University, but that was short-lived. He traveled to northern Vietnam in 1965 as part of an antiwar contingent and the Liberals at Yale fired him for his political activity. After that he, and his wife, another acclaimed activist, Alice became lawyers specializing in Labor Law and Prison Reform. The Lynds moved to Niles, Ohio (also Bob Buzzanco's hometown) where Staughton became one of the leaders of a 1977 movement to save Youngstown, Ohio steel mills from closing down. He has been active in labor matters since and he and Alice also have defended death row prisoners and worked with military veterans on the issue of "moral injury." For more on Staughton, see, among others, his books Class Conflict, Slavery, and the United States Constitution: Ten Essays; Moral Injury & Nonviolent Resistance (with Alice Lynd); and The Fight Against Shutdowns: Youngstown's Steel Mill Closings. There is also a god biogaphy of Staughton, Carl Mirra's The Admirable Radical: Staughton Lynd and Cold War Dissent, 1945–1970. Staughton's Papers are archived at Kent State University:http://bit.ly/3tQ4FsD ------------------------------- Intro/Outro- "G&R Blues" by Moody Follow Green and Red// G&R Linktree: https://linktr.ee/greenandredpodcast https://greenandredpodcast.org/ **NEW LINK! Join our Discord community: https://discord.gg/xDJgCxYE Support the Green and Red Podcast// Become a Patron at https://www.patreon.com/greenredpodcast Or make a one time donation here: https://bit.ly/DonateGandR **Our friends with Certain Days now have their 2023 calendar available and we bought ten copies. With a $25 (or more) donation to Green and Red, we'll mail you one! Just contact us at email@example.com This is a Green and Red Podcast (@PodcastGreenRed) production. Produced by Bob (@bobbuzzanco) and Scott (@sparki1969). “Green and Red Blues" by Moody. Editing by Isaac.
Sam and Emma host writer Raina Lipsitz to discuss her recent book The Rise of a New Left: How Young Radicals Are Shaping the Future of American Politics. First, Emma and Sam run through updates on the tragic terrorist attack in Colorado Springs, ongoing rail union bargaining, Kari Lake's voter disenfranchisement claims, Russian-forced blackouts across Ukraine, and Mike Pence asking if it's criminal to follow illegal advice. Raina Lipsitz then joins as she dives right into tracking the emergence of a new left in the US beginning with the Occupy movement in the early 2010s and the dawning of a new era of American class consciousness, before walking back through the previous few years of radicalization and disillusionment under the Obama Administration, as economic struggles continued and policy on the environment, immigration, and reproductive rights fell to the wayside. Next, they parse through the shift from disillusion to action, as people saw the relationship between power as a marginalized person and power as a worker, and got a political place to funnel this passion with Bernie's campaign in 2016. Raina, Emma, and Sam, then walk through the major divide between the progressive and corporate wings of the Democratic party, both in terms of how mainstream Democratic leadership undermines progressive candidates (Bernie, India Walton, etc), and in where their actual ideology departs on a policy and electoral level. Wrapping up, they tackle the massive resurgence of organized labor over the last few years, with the politically motivating force of labor power pushing the Democrats forward in 2022, giving more depth to their message than “not a fascist,” and explore the future of the progressive wing of US politics. And in the Fun Half: Sam and Emma parse through this weekend's tragedy in Colorado Springs, discussing the violation of a necessary space for a queer community facing more and more marginalization, and the greater stochastic terror behind this attack, stemming from the likes of Chaya Raichik and Matt Walsh, before diving into the New York Time's recent story on the knowledge of Conservative SCOTUS justices' previous involvement in Court leaks. John from Ohio breaks down the disappointment of Tim Ryan, Chris from Boston discusses COVID coverage today, and Jack from Boston asks for help responding to anti-progressive talking points, plus, your calls and IMs! Check out Raina's book here: https://www.versobooks.com/books/3979-the-rise-of-a-new-left Become a member at JoinTheMajorityReport.com: https://fans.fm/majority/join Subscribe to the ESVN YouTube channel here: https://www.youtube.com/esvnshow Subscribe to the AMQuickie newsletter here: https://am-quickie.ghost.io/ Join the Majority Report Discord! http://majoritydiscord.com/ Get all your MR merch at our store: https://shop.majorityreportradio.com/ Get the free Majority Report App!: http://majority.fm/app Check out today's sponsors: Sunset Lake CBD: This Black Friday Sunset Lake CBD & the Majority Report are teaming up to turn America's most consumerist holiday into a fundraising opportunity for a great organization. Visit https://sunsetlakecbd.com/, starting November 21st. All CBD products will be 30% off with coupon code “FRIDAY.” That's not all: orders over $100 will receive ajar of CBD Gummy Bears - A $40 value, FOR FREE. Sunset Lake CBD will donate 10% of proceeds from this Black Friday sale toFeeding Chittenden— the largest emergency food provider in Vermont, feeding over 12,000 each year. Kamikoto Knives: Kamikoto is now running a Black Friday Sale. You can get an additional 10% off with code MAJORITY at https://kamikoto.com/MAJORITY Thanks to Kamikoto for sponsoring this episode! Aura: Protect yourself from America's fastest-growing crime. Try Aura for 14 days for free: https://aura.com/majority Cozy Earth: One out of three Americans report being sleep deprived, and their sheets could be the problem. Luckily Cozy Earth provides the SOFTEST, MOST LUXURIOUS and BEST-TEMPERATURE REGULATING sheets. Cozy Earth has been featured on Oprah's Most Favorite Things List Four Years in a Row! Made from super soft viscose from bamboo, Cozy Earth Sheets breathe so you sleep at the perfect temperature all year round. And for a limited time, SAVE 40% on Cozy Earth Bedding. Go to https://cozyearth.com/and enter my special promo code MAJORITY at checkout to SAVE 40% now. Hurry, holiday offer ends soon. Follow the Majority Report crew on Twitter: @SamSeder @EmmaVigeland @MattBinder @MattLech @BF1nn @BradKAlsop Check out Matt's show, Left Reckoning, on Youtube, and subscribe on Patreon! https://www.patreon.com/leftreckoning Subscribe to Discourse Blog, a newsletter and website for progressive essays and related fun partly run by AM Quickie writer Jack Crosbie. https://discourseblog.com/ Check out Ava Raiza's music here! https://avaraiza.bandcamp.com/ The Majority Report with Sam Seder - https://majorityreportradio.com/
Out a day early to JUST beat the fiscal announcement… As Jeremy Hunt's cuts come in, we look at why austerity has never worked before and won't work now – and whether the infamous fiscal Black Hole is even real. Plus, Labour activist Michael Chessum of Another Europe Is Possible and Momentum talks about his new book This Is Only the Beginning: The Making of a New Left, from Anti-Austerity to the Fall of Corbyn. And in the Extra Bit… Gerontocracy Now? From Biden to Lula to Putin, why do rocky systems end up with ancient leaders? Listeners can get 25% off Michael's book This Is Only the Beginning. Go here and use the code Whatnow_25 https://www.bloomsbury.com/uk/this-is-only-the-beginning-9780755641284/ “We are going to have to pay the Truss-Kwarteng Idiot Premium for decades to come.” – Alex Andreou “There's huge public support for union action now that we're in a crisis… You can hear the rumble of the cavalry in the distance.” – Michael Chessum “This isn't a fiscal hole. Truss and Kwarteng created a credibility hole.” – Alex Andreou “Hunt is banking on Keir Starmer making the same mistake that Ed Miliband did… We're not hearing a clear anti-austerity line from Labour.” – Michael Chessum Written and presented by Dorian Lynskey with Alex Andreou and Yasmeen Serhan. Producers: Alex Rees and Jet Geburtson. Assistant producer: Kasia Tomasiewicz. Theme music by Cornershop. Lead Producer: Jacob Jarvis. Group Editor: Andrew Harrison. OH GOD, WHAT NOW? is a Podmasters production. Learn more about your ad choices. Visit megaphone.fm/adchoices
Jenny Brown is an organizer with National Women's Liberation, the author of Without Apology: The Abortion Struggle Now, and a former collaborator with the Redstockings. We talk about the how radical feminism/women's liberation went from a splinter of the New Left to shaping the course of women's struggles around the world, how their politics are misunderstood today, how their demands for repealing all laws on abortion was recuperated by a supreme court in need of legitimacy, and why the political class today strips those rights. Jenny Brown in Jacobin: https://jacobin.com/2022/08/capitalism-low-birth-rate-labor-abortion-contraceptives-childcare Daring to Be Bad: Radical Feminism in America by Alice Echols: https://archive.org/details/daringtobebadrad0000echo Shout Your Abortion Pledge to Aid and Abet abortion Song: Janis Ian - Too Old to Go Away Little Girl
What is the great economic challenge of our times? Is it inflation? Rising inequality? Artificially low interest rates? Economist David Bahnsen joins Josh to discuss why excessive government debt and our slow-growth or no-growth economy risks the Japanification of the United States. While some warn of a financial apocalypse, David argues that a more realistic threat is continued lack of productive output and increasing discontents if we don't reverse course. Also discussed are how supply side economists can respond to the Left's critiques of the free market in the wake of the Great Recession and how Edmund Burke best represents American conservatism. About David Bahnsen From David's website: David L. Bahnsen is the founder, Managing Partner, and Chief Investment Officer of The Bahnsen Group, a bi-coastal private wealth management firm with offices in Newport Beach, CA, New York City, Minneapolis, and Nashville managing over $3.5 billion in client assets. David is consistently named as one of the top financial advisors in America by Barron's, Forbes, and the Financial Times. He is a frequent guest on CNBC, Bloomberg, and Fox Business and is a regular contributor to National Review and Forbes. He has written his own political viewpoint blog for over a decade. David serves on the Board of Directors for the National Review Institute and was the Vice-President of the Lincoln Club of Orange County for eight years. He is a committed donor and activist across all spectrums of national, state, and local politics, and views the cause of Buckley and Reagan as the need of the hour. David is passionate about opposition to crony capitalism, and has lectured and written for years about the need for pro-growth economic policy. Every part of his political worldview stems from a desire to see greater freedom as a catalyst to greater human flourishing. He is the author of the book, Crisis of Responsibility: Our Cultural Addiction to Blame and How You Can Cure It and his most recent book, There's No Free Lunch: 250 Economic Truths. His ultimate passions are his lovely wife of 18+ years, Joleen, their gorgeous and brilliant children, sons Mitchell and Graham, and daughter Sadie, and the life they've created together in Newport Beach, California. Listener Mail At the end of the episode, Josh responds to a listener's question about book recommendations for those interested in conservatism. Below are the books included in his response: The Conservative Mind: From Burke to Eliot by Russell Kirk How to be a Conservative by Roger Scruton What Is Conservatism? by Frank Meyer Neo-conservatism: The Autobiography of an Idea by Irving Kristol The Conservative Intellectual Movement in America Since 1945 by George Nash The Right: The Hundred-Year War for American Conservatism by Matthew Continetti Reflections on the Revolution in France by Edmund Burke The Great Debate by Yuval Levin Edmund Burke: A Genius Reconsidered by Russell Kirk Basic Economics by Thomas Sowell The Fatal Conceit by F.A. Hayek I, Pencil by Leonard Read Suicide of the West by Jonah Goldberg Black Rednecks and White Liberals by Thomas Sowell A Conflict of Vision by Thomas Sowell Fools, Frauds and Firebrands: Thinkers of the New Left by Roger Scruton Them by Ben Sasse A Time to Build by Yuval Levin
Episode one hundred and fifty-seven of A History of Rock Music in Five Hundred Songs looks at “See Emily Play", the birth of the UK underground, and the career of Roger Barrett, known as Syd. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-five-minute bonus episode available, on "First Girl I Loved" by the Incredible String Band. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this time, due to the number of Pink Floyd songs. I referred to two biographies of Barrett in this episode -- A Very Irregular Head by Rob Chapman is the one I would recommend, and the one whose narrative I have largely followed. Some of the information has been superseded by newer discoveries, but Chapman is almost unique in people writing about Barrett in that he actually seems to care about the facts and try to get things right rather than make up something more interesting. Crazy Diamond by Mike Watkinson and Pete Anderson is much less reliable, but does have quite a few interview quotes that aren't duplicated by Chapman. Information about Joe Boyd comes from Boyd's book White Bicycles. In this and future episodes on Pink Floyd I'm also relying on Nick Mason's Inside Out: A Personal History of Pink Floyd and Pink Floyd: All the Songs by Jean-Michel Guesdon and Philippe Margotin. The compilation Relics contains many of the most important tracks from Barrett's time with Pink Floyd, while Piper at the Gates of Dawn is his one full album with them. Those who want a fuller history of his time with the group will want to get Piper and also the box set Cambridge St/ation 1965-1967. Barrett only released two solo albums during his career. They're available as a bundle here. Completists will also want the rarities and outtakes collection Opel. ERRATA: I talk about “Interstellar Overdrive” as if Barrett wrote it solo. The song is credited to all four members, but it was Barrett who came up with the riff I talk about. And annoyingly, given the lengths I went to to deal correctly with Barrett's name, I repeatedly refer to "Dave" Gilmour, when Gilmour prefers David. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A note before I begin -- this episode deals with drug use and mental illness, so anyone who might be upset by those subjects might want to skip this one. But also, there's a rather unique problem in how I deal with the name of the main artist in the story today. The man everyone knows as Syd Barrett was born Roger Barrett, used that name with his family for his whole life, and in later years very strongly disliked being called "Syd", yet everyone other than his family called him that at all times until he left the music industry, and that's the name that appears on record labels, including his solo albums. I don't believe it's right to refer to people by names they choose not to go by themselves, but the name Barrett went by throughout his brief period in the public eye was different from the one he went by later, and by all accounts he was actually distressed by its use in later years. So what I'm going to do in this episode is refer to him as "Roger Barrett" when a full name is necessary for disambiguation or just "Barrett" otherwise, but I'll leave any quotes from other people referring to "Syd" as they were originally phrased. In future episodes on Pink Floyd, I'll refer to him just as Barrett, but in episodes where I discuss his influence on other artists, I will probably have to use "Syd Barrett" because otherwise people who haven't listened to this episode won't know what on Earth I'm talking about. Anyway, on with the show. “It's gone!” sighed the Rat, sinking back in his seat again. “So beautiful and strange and new. Since it was to end so soon, I almost wish I had never heard it. For it has roused a longing in me that is pain, and nothing seems worth while but just to hear that sound once more and go on listening to it for ever. No! There it is again!” he cried, alert once more. Entranced, he was silent for a long space, spellbound. “Now it passes on and I begin to lose it,” he said presently. “O Mole! the beauty of it! The merry bubble and joy, the thin, clear, happy call of the distant piping! Such music I never dreamed of, and the call in it is stronger even than the music is sweet! Row on, Mole, row! For the music and the call must be for us.” That's a quote from a chapter titled "The Piper at the Gates of Dawn" from the classic children's book The Wind in the Willows -- a book which for most of its length is a fairly straightforward story about anthropomorphic animals having jovial adventures, but which in that one chapter has Rat and Mole suddenly encounter the Great God Pan and have a hallucinatory, transcendental experience caused by his music, one so extreme it's wiped from their minds, as they simply cannot process it. The book, and the chapter, was a favourite of Roger Barrett, a young child born in Cambridge in 1946. Barrett came from an intellectual but not especially bookish family. His father, Dr. Arthur Barrett, was a pathologist -- there's a room in Addenbrooke's Hospital named after him -- but he was also an avid watercolour painter, a world-leading authority on fungi, and a member of the Cambridge Philharmonic Society who was apparently an extraordinarily good singer; while his mother Winifred was a stay-at-home mother who was nonetheless very active in the community, organising a local Girl Guide troupe. They never particularly encouraged their family to read, but young Roger did particularly enjoy the more pastoral end of the children's literature of the time. As well as the Wind in the Willows he also loved Alice in Wonderland, and the Little Grey Men books -- a series of stories about tiny gnomes and their adventures in the countryside. But his two big passions were music and painting. He got his first ukulele at age eleven, and by the time his father died, just before Roger's sixteenth birthday, he had graduated to playing a full-sized guitar. At the time his musical tastes were largely the same as those of any other British teenager -- he liked Chubby Checker, for example -- though he did have a tendency to prefer the quirkier end of things, and some of the first songs he tried to play on the guitar were those of Joe Brown: [Excerpt: Joe Brown, "I'm Henry VIII I Am"] Barrett grew up in Cambridge, and for those who don't know it, Cambridge is an incubator of a very particular kind of eccentricity. The university tends to attract rather unworldly intellectual overachievers to the city -- people who might not be able to survive in many other situations but who can thrive in that one -- and every description of Barrett's father suggests he was such a person -- Barrett's sister Rosemary has said that she believes that most of the family were autistic, though whether this is a belief based on popular media portrayals or a deeper understanding I don't know. But certainly Cambridge is full of eccentric people with remarkable achievements, and such people tend to have children with a certain type of personality, who try simultaneously to live up to and rebel against expectations of greatness that come from having parents who are regarded as great, and to do so with rather less awareness of social norms than the typical rebel has. In the case of Roger Barrett, he, like so many others of his generation, was encouraged to go into the sciences -- as indeed his father had, both in his career as a pathologist and in his avocation as a mycologist. The fifties and sixties were a time, much like today, when what we now refer to as the STEM subjects were regarded as new and exciting and modern. But rather than following in his father's professional footsteps, Roger Barrett instead followed his hobbies. Dr. Barrett was a painter and musician in his spare time, and Roger was to turn to those things to earn his living. For much of his teens, it seemed that art would be the direction he would go in. He was, everyone agrees, a hugely talented painter, and he was particularly noted for his mastery of colours. But he was also becoming more and more interested in R&B music, especially the music of Bo Diddley, who became his new biggest influence: [Excerpt: Bo Diddley, "Who Do You Love?"] He would often spend hours with his friend Dave Gilmour, a much more advanced guitarist, trying to learn blues riffs. By this point Barrett had already received the nickname "Syd". Depending on which story you believe, he either got it when he started attending a jazz club where an elderly jazzer named Sid Barrett played, and the people were amused that their youngest attendee, like one of the oldest, was called Barrett; or, more plausibly, he turned up to a Scout meeting once wearing a flat cap rather than the normal scout beret, and he got nicknamed "Sid" because it made him look working-class and "Sid" was a working-class sort of name. In 1962, by the time he was sixteen, Barrett joined a short-lived group called Geoff Mott and the Mottoes, on rhythm guitar. The group's lead singer, Geoff Mottlow, would go on to join a band called the Boston Crabs who would have a minor hit in 1965 with a version of the Coasters song "Down in Mexico": [Excerpt: The Boston Crabs, "Down in Mexico"] The bass player from the Mottoes, Tony Sainty, and the drummer Clive Welham, would go on to form another band, The Jokers Wild, with Barrett's friend Dave Gilmour. Barrett also briefly joined another band, Those Without, but his time with them was similarly brief. Some sources -- though ones I consider generally less reliable -- say that the Mottoes' bass player wasn't Tony Sainty, but was Roger Waters, the son of one of Barrett's teachers, and that one of the reasons the band split up was that Waters had moved down to London to study architecture. I don't think that's the case, but it's definitely true that Barrett knew Waters, and when he moved to London himself the next year to go to Camberwell Art College, he moved into a house where Waters was already living. Two previous tenants at the same house, Nick Mason and Richard Wright, had formed a loose band with Waters and various other amateur musicians like Keith Noble, Shelagh Noble, and Clive Metcalfe. That band was sometimes known as the Screaming Abdabs, The Megadeaths, or The Tea Set -- the latter as a sly reference to slang terms for cannabis -- but was mostly known at first as Sigma 6, named after a manifesto by the novelist Alexander Trocchi for a kind of spontaneous university. They were also sometimes known as Leonard's Lodgers, after the landlord of the home that Barrett was moving into, Mike Leonard, who would occasionally sit in on organ and would later, as the band became more of a coherent unit, act as a roadie and put on light shows behind them -- Leonard was himself very interested in avant-garde and experimental art, and it was his idea to play around with the group's lighting. By the time Barrett moved in with Waters in 1964, the group had settled on the Tea Set name, and consisted of Waters on bass, Mason on drums, Wright on keyboards, singer Chris Dennis, and guitarist Rado Klose. Of the group, Klose was the only one who was a skilled musician -- he was a very good jazz guitarist, while the other members were barely adequate. By this time Barrett's musical interests were expanding to include folk music -- his girlfriend at the time talked later about him taking her to see Bob Dylan on his first UK tour and thinking "My first reaction was seeing all these people like Syd. It was almost as if every town had sent one Syd Barrett there. It was my first time seeing people like him." But the music he was most into was the blues. And as the Tea Set were turning into a blues band, he joined them. He even had a name for the new band that would make them more bluesy. He'd read the back of a record cover which had named two extremely obscure blues musicians -- musicians he may never even have heard. Pink Anderson: [Excerpt: Pink Anderson, "Boll Weevil"] And Floyd Council: [Excerpt: Floyd Council, "Runaway Man Blues"] Barrett suggested that they put together the names of the two bluesmen, and presumably because "Anderson Council" didn't have quite the right ring, they went for The Pink Floyd -- though for a while yet they would sometimes still perform as The Tea Set, and they were sometimes also called The Pink Floyd Sound. Dennis left soon after Barrett joined, and the new five-piece Pink Floyd Sound started trying to get more gigs. They auditioned for Ready Steady Go! and were turned down, but did get some decent support slots, including for a band called the Tridents: [Excerpt: The Tridents, "Tiger in Your Tank"] The members of the group were particularly impressed by the Tridents' guitarist and the way he altered his sound using feedback -- Barrett even sent a letter to his girlfriend with a drawing of the guitarist, one Jeff Beck, raving about how good he was. At this point, the group were mostly performing cover versions, but they did have a handful of originals, and it was these they recorded in their first demo sessions in late 1964 and early 1965. They included "Walk With Me Sydney", a song written by Roger Waters as a parody of "Work With Me Annie" and "Dance With Me Henry" -- and, given the lyrics, possibly also Hank Ballard's follow-up "Henry's Got Flat Feet (Can't Dance No More) and featuring Rick Wright's then-wife Juliette Gale as Etta James to Barrett's Richard Berry: [Excerpt: The Tea Set, "Walk With Me Sydney"] And four songs by Barrett, including one called "Double-O Bo" which was a Bo Diddley rip-off, and "Butterfly", the most interesting of these early recordings: [Excerpt: The Tea Set, "Butterfly"] At this point, Barrett was very unsure of his own vocal abilities, and wrote a letter to his girlfriend saying "Emo says why don't I give up 'cos it sounds horrible, and I would but I can't get Fred to join because he's got a group (p'raps you knew!) so I still have to sing." "Fred" was a nickname for his old friend Dave Gilmour, who was playing in his own band, Joker's Wild, at this point. Summer 1965 saw two important events in the life of the group. The first was that Barrett took LSD for the first time. The rest of the group weren't interested in trying it, and would indeed generally be one of the more sober bands in the rock business, despite the reputation their music got. The other members would for the most part try acid once or twice, around late 1966, but generally steer clear of it. Barrett, by contrast, took it on a very regular basis, and it would influence all the work he did from that point on. The other event was that Rado Klose left the group. Klose was the only really proficient musician in the group, but he had very different tastes to the other members, preferring to play jazz to R&B and pop, and he was also falling behind in his university studies, and decided to put that ahead of remaining in the band. This meant that the group members had to radically rethink the way they were making music. They couldn't rely on instrumental proficiency, so they had to rely on ideas. One of the things they started to do was use echo. They got primitive echo devices and put both Barrett's guitar and Wright's keyboard through them, allowing them to create new sounds that hadn't been heard on stage before. But they were still mostly doing the same Slim Harpo and Bo Diddley numbers everyone else was doing, and weren't able to be particularly interesting while playing them. But for a while they carried on doing the normal gigs, like a birthday party they played in late 1965, where on the same bill was a young American folk singer named Paul Simon, and Joker's Wild, the band Dave Gilmour was in, who backed Simon on a version of "Johnny B. Goode". A couple of weeks after that party, Joker's Wild went into the studio to record their only privately-pressed five-song record, of them performing recent hits: [Excerpt: Joker's Wild, "Walk Like a Man"] But The Pink Floyd Sound weren't as musically tight as Joker's Wild, and they couldn't make a living as a cover band even if they wanted to. They had to do something different. Inspiration then came from a very unexpected source. I mentioned earlier that one of the names the group had been performing under had been inspired by a manifesto for a spontaneous university by the writer Alexander Trocchi. Trocchi's ideas had actually been put into practice by an organisation calling itself the London Free School, based in Notting Hill. The London Free School was an interesting mixture of people from what was then known as the New Left, but who were already rapidly aging, the people who had been the cornerstone of radical campaigning in the late fifties and early sixties, who had run the Aldermaston marches against nuclear weapons and so on, and a new breed of countercultural people who in a year or two would be defined as hippies but at the time were not so easy to pigeonhole. These people were mostly politically radical but very privileged people -- one of the founder members of the London Free School was Peter Jenner, who was the son of a vicar and the grandson of a Labour MP -- and they were trying to put their radical ideas into practice. The London Free School was meant to be a collective of people who would help each other and themselves, and who would educate each other. You'd go to the collective wanting to learn how to do something, whether that's how to improve the housing in your area or navigate some particularly difficult piece of bureaucracy, or how to play a musical instrument, and someone who had that skill would teach you how to do it, while you hopefully taught them something else of value. The London Free School, like all such utopian schemes, ended up falling apart, but it had a wider cultural impact than most such schemes. Britain's first underground newspaper, the International Times, was put together by people involved in the Free School, and the annual Notting Hill Carnival, which is now one of the biggest outdoor events in Britain every year with a million attendees, came from the merger of outdoor events organised by the Free School with older community events. A group of musicians called AMM was associated with many of the people involved in the Free School. AMM performed totally improvised music, with no structure and no normal sense of melody and harmony: [Excerpt: AMM, "What Is There In Uselesness To Cause You Distress?"] Keith Rowe, the guitarist in AMM, wanted to find his own technique uninfluenced by American jazz guitarists, and thought of that in terms that appealed very strongly to the painterly Barrett, saying "For the Americans to develop an American school of painting, they somehow had to ditch or lose European easel painting techniques. They had to make a break with the past. What did that possibly mean if you were a jazz guitar player? For me, symbolically, it was Pollock laying the canvas on the floor, which immediately abandons European easel technique. I could see that by laying the canvas down, it became inappropriate to apply easel techniques. I thought if I did that with a guitar, I would just lose all those techniques, because they would be physically impossible to do." Rowe's technique-free technique inspired Barrett to make similar noises with his guitar, and to think less in terms of melody and harmony than pure sound. AMM's first record came out in 1966. Four of the Free School people decided to put together their own record label, DNA, and they got an agreement with Elektra Records to distribute its first release -- Joe Boyd, the head of Elektra in the UK, was another London Free School member, and someone who had plenty of experience with disruptive art already, having been on the sound engineering team at the Newport Folk Festival when Dylan went electric. AMM went into the studio and recorded AMMMusic: [Excerpt: AMM, "What Is There In Uselesness To Cause You Distress?"] After that came out, though, Peter Jenner, one of the people who'd started the label, came to a realisation. He said later "We'd made this one record with AMM. Great record, very seminal, seriously avant-garde, but I'd started adding up and I'd worked out that the deal we had, we got two percent of retail, out of which we, the label, had to pay for recording costs and pay ourselves. I came to the conclusion that we were going to have to sell a hell of a lot of records just to pay the recording costs, let alone pay ourselves any money and build a label, so I realised we had to have a pop band because pop bands sold a lot of records. It was as simple as that and I was as naive as that." Jenner abandoned DNA records for the moment, and he and his friend Andrew King decided they were going to become pop managers. and they found The Pink Floyd Sound playing at an event at the Marquee, one of a series of events that were variously known as Spontaneous Underground and The Trip. Other participants in those events included Soft Machine; Mose Allison; Donovan, performing improvised songs backed by sitar players; Graham Bond; a performer who played Bach pieces while backed by African drummers; and The Poison Bellows, a poetry duo consisting of Spike Hawkins and Johnny Byrne, who may of all of these performers be the one who other than Pink Floyd themselves has had the most cultural impact in the UK -- after writing the exploitation novel Groupie and co-writing a film adaptation of Spike Milligan's war memoirs, Byrne became a TV screenwriter, writing many episodes of Space: 1999 and Doctor Who before creating the long-running TV series Heartbeat. Jenner and King decided they wanted to sign The Pink Floyd Sound and make records with them, and the group agreed -- but only after their summer holidays. They were all still students, and so they dispersed during the summer. Waters and Wright went on holiday to Greece, where they tried acid for the first of only a small number of occasions and were unimpressed, while Mason went on a trip round America by Greyhound bus. Barrett, meanwhile, stayed behind, and started writing more songs, encouraged by Jenner, who insisted that the band needed to stop relying on blues covers and come up with their own material, and who saw Barrett as the focus of the group. Jenner later described them as "Four not terribly competent musicians who managed between them to create something that was extraordinary. Syd was the main creative drive behind the band - he was the singer and lead guitarist. Roger couldn't tune his bass because he was tone deaf, it had to be tuned by Rick. Rick could write a bit of a tune and Roger could knock out a couple of words if necessary. 'Set the Controls for the Heart of the Sun' was the first song Roger ever wrote, and he only did it because Syd encouraged everyone to write. Syd was very hesitant about his writing, but when he produced these great songs everyone else thought 'Well, it must be easy'" Of course, we know this isn't quite true -- Waters had written "Walk with me Sydney" -- but it is definitely the case that everyone involved thought of Barrett as the main creative force in the group, and that he was the one that Jenner was encouraging to write new material. After the summer holidays, the group reconvened, and one of their first actions was to play a benefit for the London Free School. Jenner said later "Andrew King and myself were both vicars' sons, and we knew that when you want to raise money for the parish you have to have a social. So in a very old-fashioned way we said 'let's put on a social'. Like in the Just William books, like a whist drive. We thought 'You can't have a whist drive. That's not cool. Let's have a band. That would be cool.' And the only band we knew was the band I was starting to get involved with." After a couple of these events went well, Joe Boyd suggested that they make those events a regular club night, and the UFO Club was born. Jenner and King started working on the light shows for the group, and then bringing in other people, and the light show became an integral part of the group's mystique -- rather than standing in a spotlight as other groups would, they worked in shadows, with distorted kaleidoscopic lights playing on them, distancing themselves from the audience. The highlight of their sets was a long piece called "Interstellar Overdrive", and this became one of the group's first professional recordings, when they went into the studio with Joe Boyd to record it for the soundtrack of a film titled Tonite Let's All Make Love in London. There are conflicting stories about the inspiration for the main riff for "Interstellar Overdrive". One apparent source is the riff from Love's version of the Bacharach and David song "My Little Red Book". Depending on who you ask, either Barrett was obsessed with Love's first album and copied the riff, or Peter Jenner tried to hum him the riff and Barrett copied what Jenner was humming: [Excerpt: Love, "My Little Red Book"] More prosaically, Roger Waters has always claimed that the main inspiration was from "Old Ned", Ron Grainer's theme tune for the sitcom Steptoe and Son (which for American listeners was remade over there as Sanford and Son): [Excerpt: Ron Grainer, "Old Ned"] Of course it's entirely possible, and even likely, that Barrett was inspired by both, and if so that would neatly sum up the whole range of Pink Floyd's influences at this point. "My Little Red Book" was a cover by an American garage-psych/folk-rock band of a hit by Manfred Mann, a group who were best known for pop singles but were also serious blues and jazz musicians, while Steptoe and Son was a whimsical but dark and very English sitcom about a way of life that was slowly disappearing. And you can definitely hear both influences in the main riff of the track they recorded with Boyd: [Excerpt: The Pink Floyd, "Interstellar Overdrive"] "Interstellar Overdrive" was one of two types of song that The Pink Floyd were performing at this time -- a long, extended, instrumental psychedelic excuse for freaky sounds, inspired by things like the second disc of Freak Out! by the Mothers of Invention. When they went into the studio again with Boyd later in January 1967, to record what they hoped would be their first single, they recorded two of the other kind of songs -- whimsical story songs inspired equally by the incidents of everyday life and by children's literature. What became the B-side, "Candy and a Currant Bun", was based around the riff from "Smokestack Lightnin'" by Howlin' Wolf: [Excerpt: Howlin' Wolf, "Smokestack Lightnin'"] That song had become a favourite on the British blues scene, and was thus the inspiration for many songs of the type that get called "quintessentially English". Ray Davies, who was in many ways the major songwriter at this time who was closest to Barrett stylistically, would a year later use the riff for the Kinks song "Last of the Steam-Powered Trains", but in this case Barrett had originally written a song titled "Let's Roll Another One", about sexual longing and cannabis. The lyrics were hastily rewritten in the studio to remove the controversial drug references-- and supposedly this caused some conflict between Barrett and Waters, with Waters pushing for the change, while Barrett argued against it, though like many of the stories from this period this sounds like the kind of thing that gets said by people wanting to push particular images of both men. Either way, the lyric was changed to be about sweet treats rather than drugs, though the lascivious elements remained in. And some people even argue that there was another lyric change -- where Barrett sings "walk with me", there's a slight "f" sound in his vocal. As someone who does a lot of microphone work myself, it sounds to me like just one of those things that happens while recording, but a lot of people are very insistent that Barrett is deliberately singing a different word altogether: [Excerpt: The Pink Floyd, "Candy and a Currant Bun"] The A-side, meanwhile, was inspired by real life. Both Barrett and Waters had mothers who used to take in female lodgers, and both had regularly had their lodgers' underwear stolen from washing lines. While they didn't know anything else about the thief, he became in Barrett's imagination a man who liked to dress up in the clothing after he stole it: [Excerpt: The Pink Floyd, "Arnold Layne"] After recording the two tracks with Joe Boyd, the natural assumption was that the record would be put out on Elektra, the label which Boyd worked for in the UK, but Jac Holzman, the head of Elektra records, wasn't interested, and so a bidding war began for the single, as by this point the group were the hottest thing in London. For a while it looked like they were going to sign to Track Records, the label owned by the Who's management, but in the end EMI won out. Right as they signed, the News of the World was doing a whole series of articles about pop stars and their drug use, and the last of the articles talked about The Pink Floyd and their association with LSD, even though they hadn't released a record yet. EMI had to put out a press release saying that the group were not psychedelic, insisting"The Pink Floyd are not trying to create hallucinatory effects in their audience." It was only after getting signed that the group became full-time professionals. Waters had by this point graduated from university and was working as a trainee architect, and quit his job to become a pop star. Wright dropped out of university, but Mason and Barrett took sabbaticals. Barrett in particular seems to have seen this very much as a temporary thing, talking about how he was making so much money it would be foolish not to take the opportunity while it lasted, but how he was going to resume his studies in a year. "Arnold Layne" made the top twenty, and it would have gone higher had the pirate radio station Radio London, at the time the single most popular radio station when it came to pop music, not banned the track because of its sexual content. However, it would be the only single Joe Boyd would work on with the group. EMI insisted on only using in-house producers, and so while Joe Boyd would go on to a great career as a producer, and we'll see him again, he was replaced with Norman Smith. Smith had been the chief engineer on the Beatles records up to Rubber Soul, after which he'd been promoted to being a producer in his own right, and Geoff Emerick had taken over. He also had aspirations to pop stardom himself, and a few years later would have a transatlantic hit with "Oh Babe, What Would You Say?" under the name Hurricane Smith: [Excerpt: Hurricane Smith, "Oh Babe, What Would You Say?"] Smith's production of the group would prove controversial among some of the group's longtime fans, who thought that he did too much to curtail their more experimental side, as he would try to get the group to record songs that were more structured and more commercial, and would cut down their improvisations into a more manageable form. Others, notably Peter Jenner, thought that Smith was the perfect producer for the group. They started work on their first album, which was mostly recorded in studio three of Abbey Road, while the Beatles were just finishing off work on Sgt Pepper in studio two. The album was titled The Piper at the Gates of Dawn, after the chapter from The Wind in the Willows, and other than a few extended instrumental showcases, most of the album was made up of short, whimsical, songs by Barrett that were strongly infused with imagery from late-Victorian and Edwardian children's books. This is one of the big differences between the British and American psychedelic scenes. Both the British and American undergrounds were made up of the same type of people -- a mixture of older radical activists, often Communists, who had come up in Britain in the Ban the Bomb campaigns and in America in the Civil Rights movement; and younger people, usually middle-class students with radical politics from a privileged background, who were into experimenting with drugs and alternative lifestyles. But the social situations were different. In America, the younger members of the underground were angry and scared, as their principal interest was in stopping the war in Vietnam in which so many of them were being killed. And the music of the older generation of the underground, the Civil Rights activists, was shot through with influence from the blues, gospel, and American folk music, with a strong Black influence. So that's what the American psychedelic groups played, for the most part, very bluesy, very angry, music, By contrast, the British younger generation of hippies were not being drafted to go to war, and mostly had little to complain about, other than a feeling of being stifled by their parents' generation's expectations. And while most of them were influenced by the blues, that wasn't the music that had been popular among the older underground people, who had either been listening to experimental European art music or had been influenced by Ewan MacColl and his associates into listening instead to traditional old English ballads, things like the story of Tam Lin or Thomas the Rhymer, where someone is spirited away to the land of the fairies: [Excerpt: Ewan MacColl, "Thomas the Rhymer"] As a result, most British musicians, when exposed to the culture of the underground over here, created music that looked back to an idealised childhood of their grandparents' generation, songs that were nostalgic for a past just before the one they could remember (as opposed to their own childhoods, which had taken place in war or the immediate aftermath of it, dominated by poverty, rationing, and bomb sites (though of course Barrett's childhood in Cambridge had been far closer to this mythic idyll than those of his contemporaries from Liverpool, Birmingham, Newcastle, or London). So almost every British musician who was making music that might be called psychedelic was writing songs that were influenced both by experimental art music and by pre-War popular song, and which conjured up images from older children's books. Most notably of course at this point the Beatles were recording songs like "Strawberry Fields Forever" and "Penny Lane" about places from their childhood, and taking lyrical inspiration from Victorian circus posters and the works of Lewis Carroll, but Barrett was similarly inspired. One of the books he loved most as a child was "The Little Grey Men" by BB, a penname for Denys Watkins-Pitchford. The book told the story of three gnomes, Baldmoney, Sneezewort, and Dodder, and their adventures on a boat when the fourth member of their little group, Cloudberry, who's a bit of a rebellious loner and more adventurous than the other three, goes exploring on his own and they have to go off and find him. Barrett's song "The Gnome" doesn't use any precise details from the book, but its combination of whimsy about a gnome named Grimble-gromble and a reverence for nature is very much in the mould of BB's work: [Excerpt: The Pink Floyd, "The Gnome"] Another huge influence on Barrett was Hillaire Belloc. Belloc is someone who is not read much any more, as sadly he is mostly known for the intense antisemitism in some of his writing, which stains it just as so much of early twentieth-century literature is stained, but he was one of the most influential writers of the early part of the twentieth century. Like his friend GK Chesterton he was simultaneously an author of Catholic apologia and a political campaigner -- he was a Liberal MP for a few years, and a strong advocate of an economic system known as Distributism, and had a peculiar mixture of very progressive and extremely reactionary ideas which resonated with a lot of the atmosphere in the British underground of the time, even though he would likely have profoundly disapproved of them. But Belloc wrote in a variety of styles, including poems for children, which are the works of his that have aged the best, and were a huge influence on later children's writers like Roald Dahl with their gleeful comic cruelty. Barrett's "Matilda Mother" had lyrics that were, other than the chorus where Barrett begs his mother to read him more of the story, taken verbatim from three poems from Belloc's Cautionary Tales for Children -- "Jim, Who Ran away from his Nurse, and was Eaten by a Lion", "Henry King (Who chewed bits of String, and was cut off in Dreadful Agonies)", and "Matilda (Who Told Lies and Was Burned to Death)" -- the titles of those give some idea of the kind of thing Belloc would write: [Excerpt: The Pink Floyd, "Matilda Mother (early version)"] Sadly for Barrett, Belloc's estate refused to allow permission for his poems to be used, and so he had to rework the lyrics, writing new fairy-tale lyrics for the finished version. Other sources of inspiration for lyrics came from books like the I Ching, which Barrett used for "Chapter 24", having bought a copy from the Indica Bookshop, the same place that John Lennon had bought The Psychedelic Experience, and there's been some suggestion that he was deliberately trying to copy Lennon in taking lyrical ideas from a book of ancient mystic wisdom. During the recording of Piper at the Gates of Dawn, the group continued playing live. As they'd now had a hit single, most of their performances were at Top Rank Ballrooms and other such venues around the country, on bills with other top chart groups, playing to audiences who seemed unimpressed or actively hostile. They also, though made two important appearances. The more well-known of these was at the 14-Hour Technicolor Dream, a benefit for International Times magazine with people including Yoko Ono, their future collaborator Ron Geesin, John's Children, Soft Machine, and The Move also performing. The 14-Hour Technicolor Dream is now largely regarded as *the* pivotal moment in the development of the UK counterculture, though even at the time some participants noted that there seemed to be a rift developing between the performers, who were often fairly straightforward beer-drinking ambitious young men who had latched on to kaftans and talk about enlightenment as the latest gimmick they could use to get ahead in the industry, and the audience who seemed to be true believers. Their other major performance was at an event called "Games for May -- Space Age Relaxation for the Climax of Spring", where they were able to do a full long set in a concert space with a quadrophonic sound system, rather than performing in the utterly sub-par environments most pop bands had to at this point. They came up with a new song written for the event, which became their second single, "See Emily Play". [Excerpt: The Pink Floyd, "See Emily Play"] Emily was apparently always a favourite name of Barrett's, and he even talked with one girlfriend about the possibility of naming their first child Emily, but the Emily of the song seems to have had a specific inspiration. One of the youngest attendees at the London Free School was an actual schoolgirl, Emily Young, who would go along to their events with her schoolfriend Anjelica Huston (who later became a well-known film star). Young is now a world-renowned artist, regarded as arguably Britain's greatest living stone sculptor, but at the time she was very like the other people at the London Free School -- she was from a very privileged background, her father was Wayland Young, 2nd Baron Kennet, a Labour Peer and minister who later joined the SDP. But being younger than the rest of the attendees, and still a little naive, she was still trying to find her own personality, and would take on attributes and attitudes of other people without fully understanding them, hence the song's opening lines, "Emily tries, but misunderstands/She's often inclined to borrow somebody's dream til tomorrow". The song gets a little darker towards the end though, and the image in the last verse, where she puts on a gown and floats down a river forever *could* be a gentle, pastoral, image of someone going on a boat ride, but it also could be a reference to two rather darker sources. Barrett was known to pick up imagery both from classic literature and from Arthurian legend, and so the lines inevitably conjure up both the idea of Ophelia drowning herself and of the Lady of Shallot in Tennyson's Arthurian poem, who is trapped in a tower but finds a boat, and floats down the river to Camelot but dies before the boat reaches the castle: [Excerpt: The Pink Floyd, "See Emily Play"] The song also evokes very specific memories of Barrett's childhood -- according to Roger Waters, the woods mentioned in the lyrics are meant to be woods in which they had played as children, on the road out of Cambridge towards the Gog and Magog Hills. The song was apparently seven minutes long in its earliest versions, and required a great deal of editing to get down to single length, but it was worth it, as the track made the top ten. And that was where the problems started. There are two different stories told about what happened to Roger Barrett over the next forty years, and both stories are told by people with particular agendas, who want particular versions of him to become the accepted truth. Both stories are, in the extreme versions that have been popularised, utterly incompatible with each other, but both are fairly compatible with the scanty evidence we have. Possibly the truth lies somewhere between them. In one version of the story, around this time Barrett had a total mental breakdown, brought on or exacerbated by his overuse of LSD and Mandrax (a prescription drug consisting of a mixture of the antihistamine diphenhydramine and the sedative methaqualone, which was marketed in the US under the brand-name Quaalude), and that from late summer 1967 on he was unable to lead a normal life, and spent the rest of his life as a burned-out shell. The other version of the story is that Barrett was a little fragile, and did have periods of mental illness, but for the most part was able to function fairly well. In this version of the story, he was neurodivergent, and found celebrity distressing, but more than that he found the whole process of working within commercial restrictions upsetting -- having to appear on TV pop shows and go on package tours was just not something he found himself able to do, but he was responsible for a whole apparatus of people who relied on him and his group for their living. In this telling, he was surrounded by parasites who looked on him as their combination meal-ticket-cum-guru, and was simply not suited for the role and wanted to sabotage it so he could have a private life instead. Either way, *something* seems to have changed in Barrett in a profound way in the early summer of 1967. Joe Boyd talks about meeting him after not having seen him for a few weeks, and all the light being gone from his eyes. The group appeared on Top of the Pops, Britain's top pop TV show, three times to promote "See Emily Play", but by the third time Barrett didn't even pretend to mime along with the single. Towards the end of July, they were meant to record a session for the BBC's Saturday Club radio show, but Barrett walked out of the studio before completing the first song. It's notable that Barrett's non-cooperation or inability to function was very much dependent on circumstance. He was not able to perform for Saturday Club, a mainstream pop show aimed at a mass audience, but gave perfectly good performances on several sessions for John Peel's radio show The Perfumed Garden, a show firmly aimed at Pink Floyd's own underground niche. On the thirty-first of July, three days after the Saturday Club walkout, all the group's performances for the next month were cancelled, due to "nervous exhaustion". But on the eighth of August, they went back into the studio, to record "Scream Thy Last Scream", a song Barrett wrote and which Nick Mason sang: [Excerpt: Pink Floyd, "Scream Thy Last Scream"] That was scheduled as the group's next single, but the record company vetoed it, and it wouldn't see an official release for forty-nine years. Instead they recorded another single, "Apples and Oranges": [Excerpt: Pink Floyd, "Apples and Oranges"] That was the last thing the group released while Barrett was a member. In November 1967 they went on a tour of the US, making appearances on American Bandstand and the Pat Boone Show, as well as playing several gigs. According to legend, Barrett was almost catatonic on the Pat Boone show, though no footage of that appears to be available anywhere -- and the same things were said about their performance on Bandstand, and when that turned up, it turned out Barrett seemed no more uncomfortable miming to their new single than any of the rest of the band, and was no less polite when Dick Clark asked them questions about hamburgers. But on shows on the US tour, Barrett would do things like detune his guitar so it just made clanging sounds, or just play a single note throughout the show. These are, again, things that could be taken in two different ways, and I have no way to judge which is the more correct. On one level, they could be a sign of a chaotic, disordered, mind, someone dealing with severe mental health difficulties. On the other, they're the kind of thing that Barrett was applauded and praised for in the confines of the kind of avant-garde underground audience that would pay to hear AMM or Yoko Ono, the kind of people they'd been performing for less than a year earlier, but which were absolutely not appropriate for a pop group trying to promote their latest hit single. It could be that Barrett was severely unwell, or it could just be that he wanted to be an experimental artist and his bandmates wanted to be pop stars -- and one thing absolutely everyone agrees is that the rest of the group were more ambitious than Barrett was. Whichever was the case, though, something had to give. They cut the US tour short, but immediately started another British package tour, with the Jimi Hendrix Experience, the Move, Amen Corner and the Nice. After that tour they started work on their next album, A Saucerful of Secrets. Where Barrett was the lead singer and principal songwriter on Piper at the Gates of Dawn, he only sings and writes one song on A Saucerful of Secrets, which is otherwise written by Waters and Wright, and only appears at all on two more of the tracks -- by the time it was released he was out of the group. The last song he tried to get the group to record was called "Have You Got it Yet?" and it was only after spending some time rehearsing it that the rest of the band realised that the song was a practical joke on them -- every time they played it, he would change the song around so they would mess up, and pretend they just hadn't learned the song yet. They brought in Barrett's old friend Dave Gilmour, initially to be a fifth member on stage to give the band some stability in their performances, but after five shows with the five-man lineup they decided just not to bother picking Barrett up, but didn't mention he was out of the group, to avoid awkwardness. At the time, Barrett and Rick Wright were flatmates, and Wright would actually lie to Barrett and say he was just going out to buy a packet of cigarettes, and then go and play gigs without him. After a couple of months of this, it was officially announced that Barrett was leaving the group. Jenner and King went with him, convinced that he was the real talent in the group and would have a solo career, and the group carried on with new management. We'll be looking at them more in future episodes. Barrett made a start at recording a solo album in mid-1968, but didn't get very far. Jenner produced those sessions, and later said "It seemed a good idea to go into the studio because I knew he had the songs. And he would sometimes play bits and pieces and you would think 'Oh that's great.' It was a 'he's got a bit of a cold today and it might get better' approach. It wasn't a cold -- and you knew it wasn't a cold -- but I kept thinking if he did the right things he'd come back to join us. He'd gone out and maybe he'd come back. That was always the analogy in my head. I wanted to make it feel friendly for him, and that where we were was a comfortable place and that he could come back and find himself again. I obviously didn't succeed." A handful of tracks from those sessions have since been released, including a version of “Golden Hair”, a setting by Barrett of a poem by James Joyce that he would later revisit: [Excerpt: Syd Barrett, “Golden Hair (first version)”] Eleven months later, he went back into the studio again, this time with producer Malcolm Jones, to record an album that later became The Madcap Laughs, his first solo album. The recording process for the album has been the source of some controversy, as initially Jones was producing the whole album, and they were working in a way that Barrett never worked before. Where previously he had cut backing tracks first and only later overdubbed his vocals, this time he started by recording acoustic guitar and vocals, and then overdubbed on top of that. But after several sessions, Jones was pulled off the album, and Gilmour and Waters were asked to produce the rest of the sessions. This may seem a bit of a callous decision, since Gilmour was the person who had replaced Barrett in his group, but apparently the two of them had remained friends, and indeed Gilmour thought that Barrett had only got better as a songwriter since leaving the band. Where Malcolm Jones had been trying, by his account, to put out something that sounded like a serious, professional, record, Gilmour and Waters seemed to regard what they were doing more as producing a piece of audio verite documentary, including false starts and studio chatter. Jones believed that this put Barrett in a bad light, saying the outtakes "show Syd, at best as out of tune, which he rarely was, and at worst as out of control (which, again, he never was)." Gilmour and Waters, on the other hand, thought that material was necessary to provide some context for why the album wasn't as slick and professional as some might have hoped. The eventual record was a hodge-podge of different styles from different sessions, with bits from the Jenner sessions, the Jones sessions, and the Waters and Gilmour sessions all mixed together, with some tracks just Barrett badly double-tracking himself with an acoustic guitar, while other tracks feature full backing by Soft Machine. However, despite Jones' accusations that the album was more-or-less sabotaged by Gilmour and Waters, the fact remains that the best tracks on the album are the ones Barrett's former bandmates produced, and there are some magnificent moments on there. But it's a disturbing album to listen to, in the same way other albums by people with clear talent but clear mental illness are, like Skip Spence's Oar, Roky Erickson's later work, or the Beach Boys Love You. In each case, the pleasure one gets is a real pleasure from real aesthetic appreciation of the work, but entangled with an awareness that the work would not exist in that form were the creator not suffering. The pleasure doesn't come from the suffering -- these are real artists creating real art, not the kind of outsider art that is really just a modern-day freak-show -- but it's still inextricable from it: [Excerpt: Syd Barrett, "Dark Globe"] The Madcap Laughs did well enough that Barrett got to record a follow-up, titled simply Barrett. This one was recorded over a period of only a handful of months, with Gilmour and Rick Wright producing, and a band consisting of Gilmour, Wright, and drummer Jerry Shirley. The album is generally considered both more consistent and less interesting than The Madcap Laughs, with less really interesting material, though there are some enjoyable moments on it: [Excerpt: Syd Barrett, "Effervescing Elephant"] But the album is a little aimless, and people who knew him at the time seem agreed that that was a reflection of his life. He had nothing he *needed* to be doing -- no tour dates, no deadlines, no pressure at all, and he had a bit of money from record royalties -- so he just did nothing at all. The one solo gig he ever played, with the band who backed him on Barrett, lasted four songs, and he walked off half-way through the fourth. He moved back to Cambridge for a while in the early seventies, and he tried putting together a new band with Twink, the drummer of the Pink Fairies and Pretty Things, Fred Frith, and Jack Monck, but Frith left after one gig. The other three performed a handful of shows either as "Stars" or as "Barrett, Adler, and Monck", just in the Cambridge area, but soon Barrett got bored again. He moved back to London, and in 1974 he made one final attempt to make a record, going into the studio with Peter Jenner, where he recorded a handful of tracks that were never released. But given that the titles of those tracks were things like "Boogie #1", "Boogie #2", "Slow Boogie", "Fast Boogie", "Chooka-Chooka Chug Chug" and "John Lee Hooker", I suspect we're not missing out on a lost masterpiece. Around this time there was a general resurgence in interest in Barrett, prompted by David Bowie having recorded a version of "See Emily Play" on his covers album Pin-Ups, which came out in late 1973: [Excerpt: David Bowie, "See Emily Play"] At the same time, the journalist Nick Kent wrote a long profile of Barrett, The Cracked Ballad of Syd Barrett, which like Kent's piece on Brian Wilson a year later, managed to be a remarkable piece of writing with a sense of sympathy for its subject and understanding of his music, but also a less-than-accurate piece of journalism which led to a lot of myths and disinformation being propagated. Barrett briefly visited his old bandmates in the studio in 1975 while they were recording the album Wish You Were Here -- some say even during the recording of the song "Shine On, You Crazy Diamond", which was written specifically about Barrett, though Nick Mason claims otherwise -- and they didn't recognise him at first, because by this point he had a shaved head and had put on a great deal of weight. He seemed rather sad, and that was the last time any of them saw him, apart from Roger Waters, who saw him in Harrod's a few years later. That time, as soon as Barrett recognised Waters, he dropped his bag and ran out of the shop. For the next thirty-one years, Barrett made no public appearances. The last time he ever voluntarily spoke to a journalist, other than telling them to go away, was in 1982, just after he'd moved back to Cambridge, when someone doorstopped him and he answered a few questions and posed for a photo before saying "OK! That's enough, this is distressing for me, thank you." He had the reputation for the rest of his life of being a shut-in, a recluse, an acid casualty. His family, on the other hand, have always claimed that while he was never particularly mentally or physically healthy, he wasn't a shut-in, and would go to the pub, meet up with his mother a couple of times a week to go shopping, and chat to the women behind the counter at Sainsbury's and at the pharmacy. He was also apparently very good with children who lived in the neighbourhood. Whatever the truth of his final decades, though, however mentally well or unwell he actually was, one thing is very clear, which is that he was an extremely private man, who did not want attention, and who was greatly distressed by the constant stream of people coming and looking through his letterbox, trying to take photos of him, trying to interview him, and so on. Everyone on his street knew that when people came asking which was Syd Barrett's house, they were meant to say that no-one of that name lived there -- and they were telling the truth. By the time he moved back, he had stopped answering to "Syd" altogether, and according to his sister "He came to hate the name latterly, and what it meant." He did, in 2001, go round to his sister's house to watch a documentary about himself on the TV -- he didn't own a TV himself -- but he didn't enjoy it and his only comment was that the music was too noisy. By this point he never listened to rock music, just to jazz and classical music, usually on the radio. He was financially secure -- Dave Gilmour made sure that when compilations came out they always included some music from Barrett's period in the group so he would receive royalties, even though Gilmour had no contact with him after 1975 -- and he spent most of his time painting -- he would take photos of the paintings when they were completed, and then burn the originals. There are many stories about those last few decades, but given how much he valued his privacy, it wouldn't be right to share them. This is a history of rock music, and 1975 was the last time Roger Keith Barrett ever had anything to do with rock music voluntarily. He died of cancer in 2006, and at his funeral there was a reading from The Little Grey Men, which was also quoted in the Order of Service -- "The wonder of the world, the beauty and the power, the shapes of things, their colours lights and shades; these I saw. Look ye also while life lasts.” There was no rock music played at Barrett's funeral -- instead there were a selection of pieces by Handel, Haydn, and Bach, ending with Bach's Allemande from the Partita No. IV in D major, one of his favourite pieces: [Excerpt: Glenn Gould, "Allemande from the Partita No. IV in D major"] As they stared blankly in dumb misery deepening as they slowly realised all they had seen and all they had lost, a capricious little breeze, dancing up from the surface of the water, tossed the aspens, shook the dewy roses and blew lightly and caressingly in their faces; and with its soft touch came instant oblivion. For this is the last best gift that the kindly demi-god is careful to bestow on those to whom he has revealed himself in their helping: the gift of forgetfulness. Lest the awful remembrance should remain and grow, and overshadow mirth and pleasure, and the great haunting memory should spoil all the after-lives of little animals helped out of difficulties, in order that they should be happy and lighthearted as before. Mole rubbed his eyes and stared at Rat, who was looking about him in a puzzled sort of way. “I beg your pardon; what did you say, Rat?” he asked. “I think I was only remarking,” said Rat slowly, “that this was the right sort of place, and that here, if anywhere, we should find him. And look! Why, there he is, the little fellow!” And with a cry of delight he ran towards the slumbering Portly. But Mole stood still a moment, held in thought. As one wakened suddenly from a beautiful dream, who struggles to recall it, and can re-capture nothing but a dim sense of the beauty of it, the beauty! Till that, too, fades away in its turn, and the dreamer bitterly accepts the hard, cold waking and all its penalties; so Mole, after struggling with his memory for a brief space, shook his head sadly and followed the Rat.
Legend of the old New Left and anti-war movement Tariq Ali joins The Popular Show to discuss Lula's election victory in Brazil, lessons from Afghanistan for Putin and Biden in Ukraine, the anti-Iraq War protest movement, the abject failure of the Western Left to take an autonomous line on the invasion, and why he won't be voting for Keir Starmer's Labour Party. To listen to this episode, become a Patreon supporter and help us build the project: https://www.patreon.com/posts/tps122-extreme-74097719 More ways to help us continue: https://www.paypal.com/paypalme/ https://www.buymeacoffee.com/thepopularshow https://cash.app/£ThePopularShow
In this episode Tim and Jeremy continue the story of the NYC Record Pool. We hear how the Pool invited the record labels to their inaugural meeting in the basement of David Mancuso's Prince Street Loft, the demands they made of them, and the egalitarian way they wished the Pool to be organised. These techniques of self organisation and collective self-assertion are set against the wider contemporary context of political and social movements of the New Left. We also hear about feedback forms, the changing status of the DJ as a professional category, modern platform capitalism, and how the DJs of the Pool staged a sit-in protest at the offices of a record company who refused to play ball. Produced and edited by Matt Huxley. Tune in, Turn on, Get down! Become a patron from £3 a month by visiting www.patreon.com/LoveMessagePod Check out our new website: https://www.loveisthemessagepod.co.uk/ Tracklist: Double Exposure - My Love is Free D.C. LaRue - Cathedrals Blood Hollins - Don't Give It Up WAR - Why Can't We Be Friends WAR - Leroy's Latin Lament Brass Construction - Movin'
Jamieson Webster, author of a recent opinion piece in the Times, examines what severe psychological distress among adolescents is telling us about American society. Then Raina Lipsitz, author of The Rise of a New Left, looks at the history, personnel, and status of today's radicalism.Behind the News, hosted by Doug Henwood, covers the worlds of economics and politics and their complex interactions, from the local to the global. Find the archive here: https://www.leftbusinessobserver.com/Radio.html Hosted on Acast. See acast.com/privacy for more information.
In today's show, just a dozen days before the midterms, guest host Nada Elmikashfi sits down with journalist Raina Lisitz for a conversation about the young, energized progressives organizing for leftist policies and candidates, and the causes they're fighting for. The post Raina Lipsitz on the Rise of a New Left appeared first on WORT-FM 89.9.
Jamieson Webster, author of this article, examines what severe psychological distress among adolescents is telling us about American society, and Raina Lipsitz, author of The Rise of a New Left, looks at the history, personnel, and status of today's radicalism. photo: Paola Chaaya via Unsplash The post Why are teens so miserable, and how that new new left doing? appeared first on KPFA.
Hosts Zoe Williams and Luke Cooper talk to Another Europe Is Possible old-hand, Michael Chessum, about his new book, This is only the beginning (Bloomsbury, 2022). They reflect on a decade or two of tumultuous change and what it all means for the future of radical politics. Navigating hope, vision and realism, they ask whether the left's best days are still to come amid the fragmentation that Corbynism and Brexit have left behind. It's a not-quite-nostalgia-free discussion of the way ahead. There is no extra time on this podcast. So, the whole episode can be heard on the podcast platforms.
Raina Lipsitz, author of “The Rise of a New Left: How Young Radicals Are Shaping the Future of American Politics,” will be speaking at James Connolly Social Club on Oct 22. Lipsitz came onto Hudson Mohawk Magazine to speak with Sina Basila Hickey and H Bosh Jr.
Journalist Leighton Woodhouse (https://twitter.com/lwoodhouse) joins Emmet to talk about the New Left of the 1960s and the values of the managerial class. They talk about progressive libertarianism, the difference between the old managerial order of the immediate postwar era and the post-70s era, cultural path dependency, the Port Huron statement, and more. "The Cult of the Individual: The Origins of the Nihilistic Left (https://leightonwoodhouse.substack.com/p/the-cult-of-the-individual?r=u0rd)," by Leighton Woodhouse. Subscribe to our Patreon to get two exclusive episodes plus bonus content every month! (https://www.patreon.com/exhaust) Closing Song: Rollin & Tubmlin by RL Burnside (https://rlburnside.bandcamp.com/album/mr-wizard).
Jeremy Gilbert returns to PTO to talk about his new book - co-authored with Alex Williams - Hegemony Now: How Big Tech and Wall Street Won the World (And How We Win it Back). In part one of our three part conversation we talked about Antonio Gramsci's notion of Hegemony and how, in the view of Jeremy and Alex, we live in an era in which an alliance between big tech and finance structures the global economy and whose values suffuse the cultural field. We talked about why tech and finance play the leading role in the global economy, in a way that does not characterise the energy sector or other extractive industries. We also discussed why - in contrast to tech and finance - neither the New Left of the 1960s, nor the New Right associated with the Reagan and Thatcher administrations got the world they wanted by the century's end, even if they achieved certain partial victories. We also talk about why Jeremy and Alex argue that the left should appeal to people on the basis of shared collective interests, rather than on the basis of moral values.
Photo: No known restrictions on publication. @Batchelorshow Old New Left Herbert Marcuse in the twenty-first century with the philosophy of New New Left intolerance for freedom of speech and assembly. @ThadMcCotter @theamgreatness https://amgreatness.com/2022/10/07/it-takes-their-collective-to-kidnap-your-child/
In which co-hosts Kenny and Sam discuss the influence of The Lord of the Rings on the 1960s counterculture. Later, Maurice Isserman, the Publius Virgilius Rogers Professor of American History at Hamilton College, talks with Kenny about his own experience discovering The Lord of the Rings and what it meant to the subculture that he belonged to.Maurice's latest book is The Winter Army: The World War II Odyssey of the 10th Mountain Division, America's Elite Alpine Warriors, out now in paperback from Mariner Books.Also by Maurice Isserman:Continental Divide: A History of American Mountaineering | The Other American: The Life of Michael Harrington | America Divided: The Civil War of the 1960s (w/ Michael Kazin) | Fallen Giants: A History of Himalayan Mountaineering from the Age of Empire to the Age of Extremes (w/ Stewart Weaver) | If I Had A Hammer: The Death of the Old Left and the Birth of the New Left (out of print)Primary sources: The Hobbit | The Lord of the Rings | The SilmarillionSecondary sources: Ciabattari - Hobbits and Hippies: Tolkien and the Counterculture | Carpenter - J.R.R. Tolkien: A Biography Hosted on Acast. See acast.com/privacy for more information.
This episode was unplanned, but when Barbara Ehrenreich died on September 1, 2022, we felt an urge to honor her memory and the profound influence she has had on the American left, socialism, feminism, and our collective thinking about class struggle. From her work in the women's health movement of the 1960s, to her theorizing (with ex-husband John Ehrenreich) of the "professional-managerial class" in the 1970s, to her explorations of Reagan-era yuppie pathologies, and her renowned exposé of low-wage work in 2001's Nickel and Dimed, Barbara Ehrenreich has been an essential and nuanced guide to the inner-life of American class conflict in the latter half of the 20th century and the beginning of the 21st. To undertake this journey through an extraordinary body of work, we're joined by two brilliant writers who have both — in their own way — taken up Ehrenreich's profound ethical and intellectual challenge: Alex Press, staff writer at Jacobin magazine (and KYE's favorite labor journalist); and returning guest Gabe Winant, University of Chicago historian and author of The Next Shift: The Fall of Industry and the Rise of Health Care.As Gabe writes in his stunning obituary last week, "Ehrenreich's specialty was to reveal her readers to themselves by showing them the other. Her humor and projection of personal vulnerability were particularly deft techniques for asking the reader to see their own position, often through identification with Ehrenreich: she invites this, beckoning you to follow her into her subject, and then suddenly wheels around on you—and you are caught out." We hope this episode can manage something of that technique for the listener, that you might find yourself "caught out" too, thinking deeply about where you fit into the story Barbara is telling — and what it might call on you to do, fight for, or think harder about. Enjoy. Further Reading: Barbara & John Ehrenreich, "The Professional-Managerial Class," Radical America, March 1977. — "The New Left and the Professional Managerial Class," Radical America, May 1977.— "Death of a Yuppie Dream," Rosa Luxemburg Stiftung, Feb 2013. Barbara Ehrenreich & Deirdre English, Witches, Midwives, and Nurses: A History of Women Healers, The Feminist Press, 1973.Barbara Ehrenreich, Fear of Falling: The Inner Life of the Middle Class, Pantheon, 1989. Barbara Ehrenreich, Nickel and Dimed: On (Not) Getting By in America, Metropolitan, 2001. Barbara Ehrenreich, "Preface to Klaus Theweleit's Male Fantasies Volume 1: Women, Floods, Bodies, History," U of Minnesota Press, 1987. Gabriel Winant, "On Barbara Ehrenreich," n+1, Sept 9, 2022. — "Professional-Managerial Chasm," n+1, Oct 10, 2019. — "The Right Kind of Worker," Know Your Enemy, May 2022. Alex Press, "On the Origins of the Professional-Managerial Class: An Interview with Barbara Ehrenreich." Dissent, Oct 22, 2019. David Rieff, "White Bread, White Dread (review of Fear of Falling)," LA Times, Aug 20, 1989. This episode of Know Your Enemy is dedicated to Barbara Ehrenreich (1941-2022) and all those who loved and learned from her.
In his 1956 book "The Power Elite," New Left sociologist C. Wright Mills detailed how decision-making in the United States is not democratic; it is determined by (1) Wall Street capitalists and large corporations, (2) the Pentagon and military-industrial complex, and (3) the corrupt political class. This is PART 8 of the Empire and the Deep State series Multipolarista editor Ben Norton is co-hosting with historian Aaron Good and producer Seamus McGuinness of the American Exception podcast. VIDEO: https://youtube.com/watch?v=1PGah9yfulw
Some of the more, um, senior members of the Macro N Cheese team can remember a time when the Democratic Party supported labor and the union movement. Then we came to realize we had it backwards – it's really the Party expecting support from the unions, who made donations, helped with campaigning, and got out the vote. Followers of this podcast are regularly introduced to guests who bring word of a newly invigorated labor movement – one that is no longer tied to the Democrats' apron strings. Steve's guest is Liz Medina, the Executive Director of the Vermont State Labor Council, AFL-CIO. Her job title does a poor job of telling you what makes her so interesting. She is an artist (check out her http://www.atlizmedina.com/manifestoforcommonart-601108.html (Manifesto for Common Art)) as well as a podcaster working to build an oral working-class history and culture. She's a labor organizer with an expansive vision of the need for class struggle unionism and the understanding that unions don't exist in isolation; they must be connected to community and independent political groups. She speaks of the need to rebuild the relationship between the left and the labor movement, which has been decoupled since the days of the New Left in the 1970s. “I really do believe that the politics will follow what we do on the ground in our workplaces and in our communities … It is very hard work, but it's easier when we feel like we are part of a community in doing that. There's a real interest of our bosses and of capital more broadly in us staying isolated and alone and disconnected and out of community and not having a society at all, frankly. “There is no society,” as Margaret Thatcher would say. We really need that. We need those connections to continue to have strength to keep on going...” Liz talks about the labor movement in general, past and present, and the Vermont AFL-CIO. She describes the need to turn the movement around and adopt class struggle unionism. “We believe in the rank and file strategy,” she says. “We believe in prioritizing organizing and not being afraid of being militant.” Activists should follow suit. Liz Medina is the Executive Director of the Vermont State Labor Council, AFL-CIO. Previously, she served as the Goddard College Staff Union Co-Chair, UAW 2322. She received her MFA from Goddard College and an MA in Cultural Studies from Goldsmiths, University of London. She hosts an oral history podcast called En Masse to build working-class history and culture in her spare time. En Masse is part of the Labor Radio Network. Find her art and other content at atlizmedina.com @LizMedinArt on Twitter
In this episode DaBoyz discuss: The in-house move for the left tackle spot. We also talk about what we expect the 53 man roster to be and where we go long or short at! Who's the odd man out on the defensive line? How many safeties will this team carry? All this and more so press play and don't forget to hit that subscribe button!
“The liberty of a democracy is not safe if the people tolerated the growth of private power to a point where it becomes stronger than the democratic state itself. That in its essence is fascism: ownership of government by an individual, by a group, or any controlling private power.” ― Franklin D. RooseveltThe same week Mark Zuckerberg admitted the FBI pressured him to deep-six the story of Hunter Biden's laptop, Joe Biden called the populists on the Right “semi-fascists.” From the FBI's raid on Mar-a-Lago, to the use of social media to police the Biden administration's idea of “misinformation” to the surveillance of political enemies of the state by an all-volunteer army of social media users — “semi-fascism” is all around us. Naturally, this gave many hyperbolic Twitter users a jumping-off point to get those juicy, juicy likes, as they continue to cheerlead Biden in all the wrong direction. So let's get a few basics out of the way, shall we? The side policing speech are the “semi-fascists.” The side demanding ideological compliance? Also, the “semi-fascists.” The side throwing political prisoners in solitary for upwards of a year with no charges? “Semi-fascists.” The side that dehumanizes and scapegoats whole groups of people and encourages cutting them off from the economic system? “Semi-fascists.”The side with the FBI pressuring Big Tech to suppress negative information about a political candidate? You guessed it. The “Semi-fascists.” The power of the Democratic Party is shrinking and focusing on the most elite in our society. Their attention has narrowed significantly to the point where they are alienating more voters than they are attracting. From the Wall Street Journal's interview with Ruy Teixeira:We're living in a country where most institutions are dominated by graduates of colleges and universities that have made it their mission to proselytize on behalf of crazy ideas. That includes the Democratic Party to a vastly greater extent than the GOP, especially the post-Trump GOP.Mr. Teixeira acknowledges that this is a development “The Emerging Democratic Majority” failed to foresee: “We didn't anticipate the extent to which cultural liberalism might segue into cultural radicalism and the extent to which that view, particularly as driven by younger cohorts, would wind up imprinting itself on the entire infrastructure in and around the Democratic Party—the advocacy groups, the foundations, academia of course, certainly the lower and middle levels of the Democratic Party infrastructure itself.”Voters chose Biden partly because they believed he was a moderate. Instead, he's become a kind of George Spahn figure who passively allowed the Manson family to overtake Spahn Ranch. No, I'm not comparing the “woke” fanatics to the Manson family, but it is important to understand what we're dealing with here.Biden's ongoing dehumanization of Trump supporters is dangerous because of how people on the right, or those who push back against the newfound religious zealotry on the New Left, is reaching dangerous levels not seen since 1930s Germany.This example of the reaction to Ben Shapiro appearing at a podcast event is funny but also downright chilling. They don't fear Shapiro because he's an Orthodox Jew. They fear him because of his political views. Can you remember any other time in American history where opinions held contrary to one's own made people feel “unsafe”? You can just feel that one, can't you? Like a punch in the gut. You don't just dismiss something like that. At least The Babylon Bee, still banned from Twitter, mocks the whole concept:You can see why so many still turn to Trump out of desperation because Trump is not scared of them, even with everything they've thrown at him. Even facing an inevitable indictment, Trump just mocks them. How does the American system survive someone they can't control? They've never had to deal with a Donald Trump, that's for sure. Trump is testing the Constitution every day, proving why it is such an important document. The Constitution is the only thing preventing our current government from graduating from “semi-fascists” to full-blown fascists. Or how they used to refer to Stalin's regime “red fascism.” They use their systems of power to subvert Democracy, violate the Constitution, and weaponize the Department of Justice. As long as the media backs them up and the polls work in their favor, they won't stop. One of the great things about social media is that supposedly everyone has a voice online. But now, under Biden and in our post-2020 environment, our government is using Big Tech as a filter to violate the First Amendment, using “misinformation” or “disinformation” as a catch-all for speech they don't like. I posted a Tik Tok video of a high school coach ruminating on the Mar-A-Lago raid. He said he didn't believe the claims of a rigged election until he saw just how far the Democrats were willing to go to get Trump. His video was honest, heartfelt, and, more than anything, his right as an American to speak his mind. Youtube removed the video citing “misinformation.” When I appealed, telling them they had become authoritarians, I got this response:You can watch that video for yourself on Rumble. Sites like Rumble, Substack, Gettr, Truth Social and other alternative platforms give the illusion that there is equal access to all, but if you've been online a while, you know what it means to be dumped from the major organs of the new economy online. These big sites got there first. We trusted them by handing over our attention, information, relationships, shopping behavior, and history. Now, they have betrayed that trust. Will the Real Fascists Please Stand Up?So many people don't understand the word “fascism.” They throw it around because it plays well on Twitter and cable TV. It seems so unequivocal. Trump is bad. Fascists are bad. So Trump must be a fascist. Here is how Yuval Noah Harari defines Fascism in Lessons for the 21st Century:“The word “fascism” comes from the Latin fascis, meaning “a bundle of rods.” That sounds like a rather unglamorous symbol for one of the most ferocious and deadly ideologies in world history, but it has a deep and sinister meaning. A single rod is very weak, and you can easily snap it in two. However, once you bundle many rods together into a fascis, it becomes almost impossible to break them. This implies that the individual is a thing of no consequence, but as long as the collective sticks together, it is very powerful. Fascists therefore believe in privileging the interests of the collective over those of any individual, and demand that no single rod ever dare break the unity of the bundle.”If Trump had been a fascist, there would not have been any protests in 2020. Protesters would have simply been shot on the spot or thrown in jail. There would have been no CNN, MSNBC, the New York Times or any newspaper criticizing him or even existing at all. Do you think the speaker of the House would have ripped up a speech if standing behind a fascist? Do you think a fascist would have allowed nonstop dehumanization and bullying on Twitter every second, not to mention on late-night comedy shows and awards shows? Stephen Colbert? Arrested and convicted without a trial. Bill Maher? Solitary confinement. Hillary Clinton would have been locked up. AOC along with her.With fascism, you don't have to worry about bothersome things like due process, presumption of innocence, freedom of speech, or Democracy. You have absolute power and control over the state, which has absolute power over the citizenry. You can't tell me the zealots on the Left wouldn't want that. Sure, you might say, Trump, denied the results of the 2020 election, making him a fascist. But that makes him someone who has an unpopular opinion of something. Perhaps you find that bad or scary or an abuse of power and bad for the country but calling it “semi-fascist” is a reach. MSNBC, CNN, and many of the legacy media outlets painted January 6th as a “fascist coup” and did a very good job using video footage of a riot as a powerful piece of propaganda. But a violent protest against the government is not “fascist.” The crackdown of that riot is fascist, especially when they used powers put in place after 9/11 against their own citizens.None other than Vladimir Putin called this out, which is yet another example of how the Biden presidency and the insanity over Trump is weakening America's standing in the world. We look like a broken, fragile nation in our non-stop attacks against a former president and his supporters. Because of the Democrats' dominance of Twitter, media, government, Hollywood and all other major institutions, as they've become more uniform in their ideology and more militant in their demands that you go along with them, we are beginning to see the darker side of “collectivism” at work. After William H. Strauss and Neil Howe wrote The Fourth Turning in 2007, Roy H. Williams and Michael R. Drew took on the theory of the generations and tweaked it slightly in their book, Pendulum: How Past Generations Shape Our Present and Predict Our Future. They transformed Howe and Strauss' 80-year generational cycle into two 40-year cycles. One is the “me” cyle (individualism), and the other a “we” cycle (collectivism). Looking over the patterns of history, they have noticed that the pendulum shifts in one direction until it wears out its welcome, then it swings back in the other direction. Their overall hypothesis is that humans always take a good thing too far. When that happens, the pendulum spits and grinds and eventually swings back. We're now at the worst part of the “we” phase, the witch hunts, reaching its peak in 2023. Here it is right on schedule. The only question is how bad it will get in the coming year. They write:The second half of the Upswing of “We” and the first half of the Downswing from it (2013–2023) bring an ideological “righteousness” that seems to spring from any group gathered around a cause. The inevitable result is judgmental legalism and witch hunts. The origin of the term witch hunt was the Salem witch trials, a series of hearings before county court officials to prosecute people accused of witchcraft in the counties of Essex, Suffolk, and Middlesex in colonial Massachusetts, between February 1692 and May 1693, exactly at the beginning of the second half of the Upswing toward the “We” Zenith of 1703.Senator Joseph McCarthy was an American promoter of this witch-hunt attitude at America's most recent “We” Zenith of 1943 (see the “House Un-American Activities Committee,” 1937–1953); Adolf Hitler was the German promoter (see the Holocaust, 1933–1945); and Joseph Stalin was the Soviet promoter (see the Great Purge, 1936–1938). Our hope is that we might collectively choose to skip this development as we approach the “We” Zenith of 2023. If enough of us are aware of this trend toward judgmental self-righteousness, perhaps we can resist demonizing those who disagree with us and avoid the societal polarization that results from it. A truly great society is one in which being unpopular can be safe.In a free market Capitalist country like this one, consumers ideally have the power. We tell the corporations what to do, not the other way around. The more we migrate to online spaces, the less power we will have as consumers. Neil Howe marks 2008 as the year that sparked the Fourth Turning. The Wall Street meltdown and subsequent crisis supposedly kick into gear events that will eventually take us to a major shift, a war, or some kind of revolution. We can feel the battle underfoot right now with the complete takeover of all institutions of power and government vs. the populist uprising of the working class. The ultimate outcome remains uncertain. But 2008 is also the year Vivek Ramaswamy targets as the moment the corporations swapped “woke” ideology for any sort of concrete solutions to the problem of rising monopolies. He says that marriage was one of convenience. It meant the activists felt heard and catered to while the corporations had the freedom to do whatever they wanted without the activists breathing down their necks:And the net result was the birth of this new woke industrial complex, a new force a new Leviathan. In modern American life that was far more powerful than what Thomas Hobbes envisioned 400 years ago, far more powerful than what our founding fathers envisioned 250 years ago when they put into motion, a three part system of government with checks and balances not envisioning a fourth branch of government in the private sector itself. That would suck the lifeblood out of the constitutional government that we put into motion. And it is a new monster that actually duped both sides into submission. The old left that used to be skeptical about the aggregation and misuse of corporate power was defined and deflected by the fact that actually, they were distracted by the fact that these new guys are going to advance the causes the progressive causes that we love so much that they forgot about their principled opposition to settling political questions through corporate power.Conservatives were duped into submission by memorizing and reciting slogans that we all memorized back in the 1980s, saying that the free market can do no wrong without recognizing that that free market does not exist today. And that's the story of how both sides actually contributed to the creation of possibly the most powerful force in modern American life, this merger of state power and corporate power. “Woke capitalism,” as Ramaswamy calls it, is still not “semi-fascism.” Once Biden took power in 2020, however, he then took the iron throne at the top of all of it. It's more than just the activists and the corporations. Now, it's the administration executing top-down activism for much of the same reasons the corporations did it - so that we would all look the other way as they abused their power against ordinary citizens.In other words, how convenient to have a scapegoat like MAGA where suddenly their Constitutional rights no longer matter because they've been so dehumanized by the media, the blue-checks and now, Joe Biden. But if their Constitutional rights no longer matter, neither do ours. Now is the time to push for a new amendment to the Constitution, an “Internet Bill of Rights” of sorts to protect ordinary Americans against the “semi-fascist” forces that seem to be all around us in just a few short years. At the very least, all Americans should have access to the new “town square” and hub of most of our growing economic systems online. We still live in a Democracy, but it is something we will have to fight for. The Democrats won't. It will have to be up to the Republicans, should they take back Congress, to stand up to the powerful monopolies that now threaten the very foundations of our free country. The six-year-long hunt to get Trump, the FBI's involvement in suppressing potentially damaging information, the FBI raid on Mar-a-Lago, and the inevitable indictment of Trump we know is coming are all much bigger threats to our Democracy than Trump will ever be. Get full access to Free Thinking Through the Fourth Turning with Sasha Stone at sashastone.substack.com/subscribe
Today we are joined by Nelson Lichtenstein. Nelson is a Distinguished Professor in the Department of History at the University of California Santa Barbara, where he directs the Center for the Study of Work, Labor, and Democracy. He received his B.A. from Dartmouth College in 1966 and his Ph.D. from the University of California, Berkeley in 1974. Thereafter he worked in publishing in New York and taught at The Catholic University of America and at the University of Virginia before joining the UCSB faculty in 2001.He is the author or editor of 16 books, including a biography of the labor leader Walter Reuther and State of the Union: A Century of American Labor (2002, 2013 revised). His most recent books are Achieving Workers' Rights in the Global Economy (2016); The Port Huron Statement: Sources and Legacies of the New Left's Founding Manifesto (2015); The ILO From Geneva to the Pacific Rim (2015);The Retail Revolution: How Wal-Mart Created a Brave New World of Business (2009, 2010); The Right and Labor in America: Politics, Ideology, and Imagination (2012); A Contest of Ideas: Capital, Politics and Labor (2013); and American Capitalism: Social Thought and Political Economy in the Twentieth Century (2006). He has served on the editorial board of numerous journals and now is a member of the editorial board of the University of Illinois Press series in working-class history.As director of the Center for the Study of Work, Labor, and Democracy, Lichtenstein and other UCSB faculty, including Alice O'Connor, Mary Furner, Eileen Boris and Stephen Weatherford, have created an interdisciplinary research and education initiative that hosts conferences and workshops that contribute to an understanding of the issues and ideas, past and present, illuminating the character of American capitalism and of the working class that sustains it. The Center administers an undergraduate minor in Labor Studies and a graduate-level Colloquium in Work, Labor, and Political Economy. Recent conferences, including “Beyond the New Deal Order” (2015), “The American Labor Movement: Crisis and Creativity” (2014), and “The Port Huron Statement at 50” (2012), are designed to probe historically resonate issues and help train a new generation of labor intellectuals.Professor Lichtenstein has held fellowships from the National Endowment for the Humanities, the Rockefeller and Guggenheim Foundations, the University of California, and from the Fulbright Commission and the Oregon Center for the Humanities. In 2008 he was elected to the Society of American Historians and in 2012 the Sidney Hillman Foundation awarded him its Sol Stetin Award for lifetime achievement in labor history. His reviews and opinion pieces have appeared in The Los Angeles Times, The New York Times, Dissent, New Labor Forum, American Prospect, and academic journals. Reporters often seek is comments when they write on labor, politics, and supply chain issues. You can find more about Nelson on his Twitter @NelsonLichtens1.Show Notes:Nelson Lichtenstein | Department of History, University of California Santa Barbara@NelsonLichtens1 | Twitter The Making of the New Left | The New YorkerWhat Made the Battle of Blair Mountain the Largest Labor Uprising in American History | Smithsonian MagazineThe Mine Wars (Documentary) | PBSThe Significance of the Battle of Blair Mountain, 100 Years Later | The Appalachian VoiceMajorities of adults see decline of union membership as bad for the U.S. and working people | Pew Research CenterThe Upstart Union Challenging Starbucks | The New Yorker@SBWorkersUnited | TwitterWhat Company Owns The Most Real Estate? | Prudential California Fredrickson, et al. v. Starbucks Corporation Case No. 1212-15734 | Starbucksoregonclassaction.comThe Teamsters' new chief is readying UPS drivers for a strike as he heads toward contract negotiations — and key moves show he's not bluffing | Business InsiderUPS Teamsters Kick Off Contract Fight | International Brotherhood of TeamstersAmazon Workers Are Organizing a Global Struggle | The Intercept‘What Choice Do I Have?' Freight Train Conductors Are Forced to Work Tired, Sick, and Stressed | Motherboad, Tech By Vice NewsJimmy Hoffa: A closer look at the labor leader's life, work and disappearance | WDIV Local 4 DetroitU.S. Steel Tower | Official Website
Biden's top Latin America advisor Juan González threateningly said of Colombia's new left-wing president: "40 years ago, the United States would have done everything possible to prevent the election of Gustavo Petro, and once in power it would have done almost everything possible to sabotage his government." VIDEO: https://youtube.com/watch?v=pVQy88AzQ5A Read more at https://multipolarista.com/2022/08/17/biden-colombia-petro-coup
On this edition of Parallax Views, we delve into the intellectual life and thought of Michael Harrington, a key figure of the American New Left who helped found the DSA (Democratic Socialists of America). The author of the influential The Other America: Poverty in the United States, Harrington was a proponent of what he called "the left wing of the possible" and thus believed that socialists must push for a re-alignment of the Democratic Party. Joining us to offer a critique Harrington's thought is Doug Greene, author of the zer0 books title A Failure of Vision: Michael Harrington and the Limits of Democratic Socialism. Among the topics covered in this conversation: - The early intellectual development of Michael Harrington and his interest in bohemianism - Harrington's anti-communism, his belief in a popular front sans Stalinists, and his relationship to New Left in the 60s - Harrington's "left wing of the possible" strategy and the Democratic Party - The influence of theorist Max Schachtman on Harrington's thinking; Harrington's concept of "Democratic Marxism" - Liberalism, Capitalism, Michael Harrington, and the reformist vs. revolutionary divide - Michael Harrington, the DSA, and the Israel/Palestine conflict - Michael Harrington, the Vietnam War, and imperialism - Harrington's value beyond the criticisms Greene has of him - Harrington's The Other America, FDR the New Deal coalition, and LBJ's Great Society - Harrington's debates with or critiques of right-wing figures like William F. Buckley and Milton Friedman - And much, much more!
Son of the Old Left, father of the New Left, sworn enemy of the whole left -- "a century from now," in the words of Camille Paglia, "cultural historians will find David Horowitz's political and spiritual odyssey paradigmatic for our time." We gallop to the Rockies to catch up with the historic writer-warrior as he confronts his most powerful enemy yet... To follow the complete adventure, subscribe at patreon.com/filthyarmenian for the encore episode from this encounter and much more. Recommended reading: Radical Son: A Generational Odyssey and Mortality & Faith: Reflections on a Journey Through Time by David Horowitz Sights: Shakespeare, Peter Collier, Ron Radosh, Raiders, Roger Goodell, Donald Trump, Ed Snyder, Mark Davis, Sontag, Rosenberg execution, Ramparts, Black Panthers, Robert Sheer, Isaiah Berlin, Erich Fromm, Tom Hayden, Huey Newton, Reason Magazine, Bill Kristol, Martin Luther, Pope Francis, Erdogan, Mel Gibson, Jesus, Protestants, Matt Drudge, Andrew Breitbart, Joan Didion, Ben Stein, 1939, supernatural diner experience, Bernie Sanders, Christopher Hitchens, Todd Gitlin, Mollie Hemingway, Henry Louis Gates, capitalism and rap, Twin Peaks, Mario Savio, Pascal, Paul Robeson, Charlie Chaplin's moonwalk, Morgan, Winter's Tale, AIDS, Larry Littlejohn, Van Morrison, Cocaine Follow us on Twitter/Insta @filthyarmenian
The past, present and future of progressives in the Senate. Senator Sherrod Brown on his book Desk 88: Eight Progressive Senators Who Changed America. Sherrod Brown Senator Sherrod Brown's most recent book offers a timely history of 20th-century American progressivism. Along the way he makes a compelling case to believe in the future of the Progressive idea in American politics. Todd Gitlin Columbia University professor Todd Gitlin, a long-time chronicler of progressive politics, urges the left to nail down a simple program that appeals to the general public. Jim Hightower A Rube Goldberg Inflationary Spiral Last July, several GOP senators combined their 5-watt intellects to charge that inflation was rising because of the “insane tax and spending spree of President Biden and the Democrats.” Never mind that the “insane” spending is for such sensible, productive, and enormously popular national needs as childcare and jobless benefits, Mitch McConnell's rabidly partisan flock saw the chance to politicize the public's legitimate worries about rising prices. Bill Press The Darker Side of Right-wing Media As Bill used to say on his radio show, you don't need to watch Fox News or listen to Rush Limbaugh, because Media Matters for America was doing it for you. They're still doing it and they've added other right-wing outlets like One America News Network or OAN. In today's podcast, Media Matters writer Bobby Lewis takes us down the dark rabbit hole that is OAN. It's not only dark, it's dangerous. If you'd like to hear the entire episode, visit BillPressPods.com.
In another conversation brought to you LIVE from Turning Point USA's Student Action Summit, Charlie sits down with new TPUSA Contributor Lauren Chen to discuss the 47 Republicans voting against their base and abandoning the idea of Traditional Marriage, the massive aftershock we've felt following the Supreme Court's reversal of Roe v. Wade, and together, they discuss the next moves that Democrats in DC will make to hold on to power. They also tackle the absurd censorship debate surrounding the word “groomer” and how tech platforms are classifying what is an accurate descriptor of many on the New Left as an LGBTQ “slur.” Next, Charlie is joined by Dr. James Lindsay, who was just banned from Twitter for using the word, to talk about his new book “Race Marxism,” as well as his modern classic, “Cynical Theories.” They cover the concept of “Queer Theory,” the next Marxist movement, religion in politics, and so much more. Support the show: http://www.charliekirk.com/support See omnystudio.com/listener for privacy information.
How did the world arrive at its current, disorienting state of identity politics, and how we respond? Historian Carl R. Trueman shows how influences ranging from traditional institutions to technology and pornography moved modern culture toward an era of “expressive individualism.” Investigating philosophies from the Romantics, Nietzsche, Marx, Wilde, Freud, and the New Left, he outlines the history of Western thought to the distinctly sexual direction of present-day identity politics and explains the modern implications of these ideas on religion, free speech, and personal identity. For more, order Dr. Truman's book, "Strange New World" https://www.crossway.org/books/strange-new-world-tpb/
Since 2020, after the protests and the riots erupted on the streets of major cities, causing over one billion dollars in damages, implied threats have become the norm on the Left. Windows are boarded up in anticipation of more. During the Derek Chauvin trial, the crowd outside, including some pol