A Chilean and American Monument to Pinochet Bombing Victims Rises in Washington
The Washington Post
The lyrics have a far more complex origin than Trump’s use might imply. The poem originated in the 1960s from a soul singer and social activist in Chicago, Oscar Brown Jr. Its appropriation as a tool to drum up fear about immigrants has turned heads; some of Brown’s family are asking Trump to stop using it. And now, people are reading deeper into the president’s fixation with the parable.
We’ve identified people in our history who look and behave strikingly like the Koch brothers and their associates—specifically a small group that is mega-wealthy, super- privileged, highly self aware, morally self-confident, ideologically driven and deeply engaged in long-term efforts to seize the levers of government and upend American democracy. By this historian’s reckoning, it is, in general, the Old South’s slave owning aristocracy.
Writers once busy in prestigious magazines rationalizing war and torture are now confronting the obdurate pathologies of American life that stem from America’s original racial sin. Coates wonders why those once fierce in defending bloody imperial missions now embrace him for describing American power from the rare standpoint of its internal victims. Yet the danger for Coates is not so much seduction by power as a distorted perspective caused by proximity to it.
Graves form part of a collective memory of socialism. They force an acknowledgement of the ideas those revolutionaries died to defend. Fascism's armies sought to bury those ideas forever, along with the people who held them, in the Nazis' "thousand-year Reich." Learning lessons from Germany for our struggle against those that fought against racism, slavery, the Confederacy and white supremacy.
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