Mancunian Lincoln

Mancunian Lincoln

It seems like maybe we could all use a good story about a civil war statue, a good story about an American President, and a good story about the power of the common people against the rich and powerful, so I’m going to start with this one. It’s probably for the best that you’re reading this here because I haven’t managed to tell this story in person without crying.

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Ode to Joy

The other week, deep summer, we went to see David Johansen in his persona as Buster Poindexter. For many years now, Johansen, former New York Dolls lead singer and front flounce, has in his cabaret act been one of the great American songbook curators (Jonathan Schwartz wishes), lurking in the brilliant corners of U.S. pop. (Without Johansen I’d never have heard Katie Lee’s late-1950s pop-Freudian homage, Songs of Couch and Consultation, lead song “Shrinker Man.”) At the end of this particular set at City Winery, he called to the stage his wife Mara Hennessey, who announced that she had a particular favorite she’d like David to sing, whereupon she started to intone the line, “that summer feeling, that summer feeling, that summer feeling,” and Johansen took off into the lyrics. It was so haunting! I knew that song! What was it again? When I got home I looked it up and of course: Jonathan Richman’s “That Summer Feeling.” Astonishing song.

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Know Your Enemy

Trump knew what he was doing with this “both sides” shit. If you think it’s irreparably damaged his presidency, I humbly suggest you not judge too quickly. Here’s why: That neo-Nazis and white supremacists exist in America has been generally acknowledged for a long time. News reports about them have been popping up for decades; Edward Norton and Ryan Gosling (to name just two) have played skinheads in movies. But almost everyone could see that Charlottesville was different. Nearly everyone wanted to know what accounted for that difference.

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The Resistance to “Confederate”

Game of Thrones’ show runner David Benioff and his collaborator D.B. Weiss announced on July 19th that HBO had commissioned Confederate, elsewhere described as an alternate history drama imagining, among other things, slavery in a Confederacy surviving into our own day. An immediate twitter storm ensued, followed within few hours by the first of three NYT articles about the tweets, two of them enlivened by serial fatuities from notional experts—after all, there are no experts on television programs that have not yet been written, nor on history that didn’t happen.

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