"In this sense, aerial photographs confirm the wartime rhetoric that Japanese cities were ‘bombed into nothingness’ by obscuring or denying altogether the presence of civilians below."
[Image: U.S. National Archives]
Fully inhabiting the mind, mannerisms, and reality of a fictional character can be as alienating as it is rewarding.
Read more. [Image: Ognen Teofilovski/Reuters]
To outsiders, the loud, aggressive world of heavy metal might seems like an unlikely place to find progressive politics. But any metalhead worth their leather can attest that the genre has often commented on society’s ills. Black Sabbath railed against the Vietnam War, Nuclear Assault offered apocalyptic visions of Reagan’s ‘80s, Sepultura howled scathing condemnations of the treatment of indigenous tribes in their native Brazil, Napalm Death addressed government failures and corruption, and more recently, Cloud Rat roared about sexism and urban blight atop a grindcore soundtrack. Thrash metal, in particular, has a long-running habit of tackling sociopolitical subjects with its rough barked vocals, wailing solos, and frenetic shredding.
In both a geographical and cultural sense, Mumbai seems about as far as one can get from the California Bay Area where the thrash-metal movement reached its apex. But the Indian band Sceptre offers proof of just how widely this style has spread. Inspired by their American forebears in Exodus and DRI and the music of classic German thrash bands like Kreator and Sodom, Sceptre recently celebrated its 15 anniversary, and is distinguished as one of India’s longest-running metal bands. Their latest recording taps into their genre’s liberal-leaning ideological tradition in a way that’s refreshing and urgent in modern India.
Age of Calamity is a concept album that deals with the plight of women in Indian society, and all proceeds from its sales will go directly to benefit a girls’ orphanage in Mumbai. Its haunting cover artwork was created by Indian artist Saloni Sinha, and depicts a weeping woman cradling her head in her hands, surrounded on all sides by crumbling walls and grasping shadows. It’s a powerful image, and in keeping with the theme, the band chose to work with a female artist.
Marco Rubio is back.
After a laudable, but politically disastrous, bid last year to convince his fellow Republicans to support citizenship for illegal immigrants, he’s now trying a new route to 2016: Foreign policy. Rubio made America’s role in the world the centerpiece of his speech last week to the Conservative Political Action Conference (CPAC). And among journalists, he’s getting good reviews. Rubio, reported Jonathan Martin in The New York Times, is “trying to become the leading voice for a muscular brand of foreign policy.” On Sunday, Times columnist Ross Douthat noted that “events in Venezuela and Crimea may be making [Rubio’s] hawkish foreign policy vision more appealing to conservatives.”
It’s too early to judge Rubio’s new foreign-policy focus politically. But intellectually, this much is already clear: If this is what passes for serious in today’s GOP, I’d hate to see unserious.
Read more.[Image: Reuters/Toby Melville]
My father, Omar Rabbat, passed away in November 2013, before the revolution that became a civil war in Syria had completed its third year. He died outside his beloved country and was buried in a small village in Lebanon, less than 20 miles from the Syrian border. Toward the end of his life, his anguish had become more poignant, and he expressed it in ever more desperate ways. The stroke that finally killed him paralyzed half his body and slurred his speech. “What is hurting you most?” a visiting cardiologist asked him at one point. “The crisis in Syria,” he replied, in a faint voice.
My father, who was almost 90 years old, was one of the last survivors of a Syrian generation that witnessed independence but never managed to complete the project of state-building. He was born to a mercantile family in Damascus in 1924, four years after the French occupied the country, and grew up under colonial rule.
Read more. [Image: Nasser Rabbat]
The Oscar-winning movie Dallas Buyers Club brought a vivid reminder of the harsh realities of what it was like to be a gay in the culturally conservative South of the mid-1980s. As someone born, churched, and educated in the South during that era, I remember that the idea of being gay or lesbian was simply dismissed, and the term “homosexuality” was reserved for hushed conversations about those sinful urban areas far north and west of the Mason-Dixon Line. While the film has been in theaters, however, the news has also been filled with contemporary coverage of a remarkable bevy of judicial decisions overturning bans on same-sex marriage in southern states such as Virginia, Kentucky, and Texas. While serving as the lead author of a recent study from the Public Religion Research Institute about attitudes about same-sex marriage, I was astounded at the shifts we found in southern attitudes over the past decade.
These changes are, of course, happening amid shifts in the country as a whole. Between 2003, when Massachusetts became the first state to legalize same-sex marriage, and December 2013, support for allowing gay and lesbian couples to legally marry rose 21 percentage points nationwide, from 32 percent to 53 percent. As of the end of 2013, the number of states recognizing same-sex marriages increased to 17 plus the District of Columbia. And there has been enough judicial ferment at the state level that most court observers believe the issue will end up, in the not too distant future, before the U.S. Supreme Court. Our recent study confirms that these changes cannot be explained away as merely another example of federal judicial activism circumventing the will of the people in southern states. Rather, we are witnessing dramatic cultural transformations, which include changing minds even among culturally and religiously conservative Americans in the South.
Read more. [Image: Jonathan Ernst/Reuters]
Should we feel bad for Nic Pizzolatto? Our roundtable discusses “Form and Void,” the eighth installment in HBO’s series.
Read more. [Image: HBO]
True Detective is a compelling show. People love the acting and are thrilled by the mystery. No arguments there. But two recent interviews with people who worked on it highlight another reason the show works: the petrochemical landscape of Louisiana.