The Public Professor

The Public Professor is Akim Reinhardt, Associate Professor of History at Towson University in Baltimore.

The Mythological President

Lies and mythology are related, but they’re not the same thing.  One person can lie to another, whereas mythology exists and functions across society.   I can tell you a lie, but a myth is something we tell ourselves.  A myth is made up of many lies that magically add up to a higher “truth.” Donald Trump lies.  A lot.  Clearly more than most people, and probably more than any other president.  Arguably professional journalism’s greatest failing of the last several years has been its reluctance to label him a liar or to even identify his lies as such.  Instead, they almost always play it safe, on the grounds that they cannot read his mind, and so they settle for euphemisms. He is “incorrect.”  He “exaggerates” and “misstates.”  His statements are “inaccurate.”  Respected, professional news outlets almost never call him a liar.  They never say he lies.  Of course it isn’t always a lie.  Some if it is just gross stupidity.  But he also intentionally lies.  Many thousands of them. This is very important.  When we fail to challenge Donald Trump’s countless lies, they are allowed to form a larger mythological whole that is greater than the sum of its individual lies.  The result is The Mythology of Donald Trump. A myth is full of statements that are “inaccurate” or “incorrect.”  A society bundles up these individual lies and transforms them into a mythological truth.  Take for example story of Pocahontas.

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Death Becomes Us

It seems likely that over the next year or so, perhaps a million Americans, mostly the elderly, will die from Covid-19 (Corona Virus).  A variety of models are predicting that perhaps one-half to two-thirds of Americans will become infected; somewhere between 200,000 and 1.7 million Americans will die from these infections; upwards of 21 million patients (about 6% of the population) will require hospitalization, overwhelming the healthcare system, and thereby increasing fatalities. Much of this is no one’s fault.  Viruses mutate constantly, becoming exceptionally lethal when a mutation allows one to jump species.  Say, from pigs (eg. swine flu) or from chickens (eg. bird flu)  That’s because the new host species (eg. us) has had no prior contact with the new virus and must develop antibodies more or less from scratch.  That takes a while, and the first pass can be exceptionally lethal. This process of viral mutation and virgin pandemics has been happening in the eastern hemisphere for millennia.  By contrast, it happened relatively infrequently in the Americas prior to Columbus because by and large Native Americans did not domesticate many animals, and thus did not create many opportunities for viruses to jump species.  This is why the long history of epidemiology is largely a history of Eurasia and Africa, where people have long domesticated a large variety of food and work animals. So to a large degree, the sudden emergence of Covid-19 is humanity’s fault at large for continuing to domesticate animals, particularly in close quarters and in unsanitary conditions. This was going to happen. But how it plays out, exactly, is another matter.  And we can identify one man in particular, whose own ignorance, stubbornness, irrationality, pettiness, incompetence, selfishness, and gross irresponsibility will greatly worsen Covid-19’s impact in the United States: Donald Trump.

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Stuck, Ch. 15 Coda: What Jefferson Airplane Became

The following is a coda to the Stuck chapter on Jefferson Airplane, published at 3 Quarks Daily on February 16, 2020.  A full Table of Contents with links is available at the Stuck page on this website. CODA (noun): 1. a concluding musical passage typically forming an addition to the basic structure; 2. a concluding event, remark, or section. Fleetwood Mac looks like the Brady Bunch compared to Jefferson Airplane’s decades of fighting and fucking.  They loved and hated each other into becoming and re-becoming seemingly endless incarnations of themselves, only some of which I have the patience to figure out and the space to recount.  One family tree I found online lists a dozen incarnations of just Jefferson Airplane just from the years 1965-1972, with no less than 16 different musicians filtering in and out. And several more separate bands were destined to spin off from the original.  What follows is a highly abridged Annotated Jefferson Airplane, sans the footnotes. In 1969, Grace Slick began having an affair with band mate Paul Kantner.  She finally divorced husband Jerry Slick in 1971; by then she was pregnant with Kantner’s child.  Now an established artist, she kept the surname Slick, but named her daughter China Wing-Kantner. The group took a hiatus in 1970, but many members continued to work with each other on various side projects.  That year, Kantner teamed with several studio musicians and select members of Jefferson Airplane, the Grateful Dead, Quicksilver Messenger Service, and Crosby, Stills and Nash.  The collective was later dubbed the Planet Earth Rock and Roll Orchestra. 

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Trump Take Note: That Time Richard Nixon Visited Nebraska

By 1971, President Richard Nixon’s name was mud on most American college campuses.  The Watergate scandal that would prove his ultimate undoing was still a year away from its early rumblings.  Rather, it was Nixon’s Vietnam policies that had rendered him persona non grata among students. Nixon tried to ease domestic unrest over Vietnam by greatly reducing U.S. ground forces, down from over half-a-million when he took office in 1969 to only 69,000 by the end of 1972.  But he also wanted to win the war, so he countered the troop reduction with a massive increase in bombings and other clandestine and special operations.  Thus, while fewer Americans were now dying in Vietnam, the bombings, assassination programs, etc. only highlighted the barbarity of American violence on a relatively tiny nation that had committed the “crime” of fighting off French colonial rule to achieve independence and establishing a leftist government. So despite the lessening of the draft during Nixon’s tenure, student protests only increased.  As the “Law and Order” president he was displeased.  In May of 1970, he called student protestors “bums.” Two days later, 4 students on the campus of Kent State University were murdered by the Ohio State National Guard.  On May 15, Mississippi police murdered another 2 students at Jackson State University in Mississippi. By 1971, there were few campuses where Nixon could go without facing massive demonstrations.  He had to pick carefully. 

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Small Fractures on a Large Piece of Curved Glass

It doesn’t take much.  A small piece of gravel, spit out by a truck’s wheel, ricochets off the windshield, taking a tiny chip of glass with it.  A microscopic divot and discreet little lines, like crow’s feet at the corner of an eye.  Barely noticed for months, the accordion of heat and cold compress and expand, adding and relieving pressure.  Then finally, the scratches spread out across the glass like an avant garde spider web. The windshield has not fractured into zagged plates or smashed into a thousand glass pebbles.  Perhaps that is its future, but for now it is merely degraded and slightly obscurant.  Yet it was never true.  Tinted, laminated, curved, and often dirty, the windshield always presented a slightly skewed image of the outside world.  Not grotesquely wrong, but fundamentally distorted in minor ways difficult to detect from inside the car.  Now, however, the little cracks have suddenly made you aware that the image it upon the glass is subtly warped. * As in many countries, if not most, American school children are indoctrinated with nationalistic history that incorporates heroic narratives and stirring interpretations.  From kindergarten through high school, state sanctioned curricula present a range of facts and viewpoints that coalesce into what can fairly be called imperial mythology.  Most of it is technically correct, but the total image produced is often heavy on the rah-rah and short on critical self-examination.

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Start Punching

We’re 3 years in. It’s long past time we stopped devoting so much public attention to rationally analyzing Trumpism.  Just (proverbially) punch him in the nose already. That’s how this works. The more you fact-check his endless lies; the more you claim “optics don’t matter because The Mueller Report says A, B, and C,”; the more you try to play some game of Gotcha! or adamantly defend reasonable political stances in the face of his irrationality: then the more you allow the political discourse to flounder into intellectually-respectable-but-politically-flaccid territory. I’m sorry, but this isn’t 2015.  Political norms have changed.  A lot.  It’s happened.   Trump and his cavalcade of sycophants and enablers have pulled it off.  I know how much you like “Normal,” but that horse is out of the barn and over the hills, and it’s  gonna take years to drag it back.  And in the meantime, there’s an election just around the corner. So you’ve got a choice.

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Is “Little” Steven Van Zandt (a) Racist?

You might not know the name “Little” Stevie Van Zandt, but yet may be familiar with his “art.” Van Zandt first gained prominence back in the 1970s as the lead guitarist in Bruce Springsteen’s East Street Band. He also hosts a long running radio program called Little Steven’s Underground Garage. And during the turn of the 21st century, he reached a whole new audience as an actor. He played the role of Silvio Dante, Tony Soprano’s consigliere on The Sopranos. Van Zandt has a long history of working to fight racism. For example, in 1985 he authored and co-produced the protest song “Sun City,” one of the era’s anti-apartheid anthems. In conjunction with that, he supported the entertainment industry’s boycott of Sun City, a performance venue created by the racist South African government. So, can Stevie Van Zant be racist? Of course he can, as recently witnessed by a series of tweets in which he claimed that black musicians, while being instrumental in the founding of rock n roll, “did not elevate the rock idiom into an artform”  

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