"Of course they despise Washington. Notice the graffiti '1619' on the toppled statue...."

Of course they despise Washington. Notice the graffiti “1619” on the toppled statue. And the burnt flags. The NYT must be proud. They taught these people well. https://t.co/4JTPEv2KMd

— Andrew Sullivan (@sullydish) June 19, 2020

"I admit to having a complicated relationship with Aunt Jemima... For a period of time in the late 1940s and early 1950s, my grandmother, Ione Brown..."

"... was part of an army of women who worked as traveling Aunt Jemimas, visiting small-town fairs and rotary-club breakfasts to conduct pancake-making demonstrations at a time when the notion of ready-mix convenience cooking was new. I never knew about my grandmother’s work until long after she died... [W]hile researching a family memoir... I learned that she made good money and covered a region including Iowa, the Dakotas, Michigan, Wisconsin and Minnesota. She was often treated like a celebrity in small towns, but could not stay in local hotels. She kept an eye out for houses that had a small sign in the window that said 'TOURIST,' a code for homes that provided lodging and meals to black people.... As a family, we are offended by the caricature that Aunt Jemima represents, but deeply proud of the way my grandmother used the stage that was available to lift herself up. You see, in those days Aunt Jemima didn’t look like the lady you see on the box today. She was a slave woman, and Ione was expected to act and talk like a slave woman, using the kind of broken patois that blighted the full-page ads in magazines like Women’s Day and Life.... One of the things that irks me most about the Jemima brand is the way the mammy stereotype hijacked what should be an endearing image for black America and tried to turn it into something toxic. Most of us have someone in our family with fleshy arms and a loving smile who serves up cherished advice along with delicious food. They are our aunts and mothers and grandmothers. Our godmothers. Our queens.
You tried to make us ashamed of what Aunt Jemima stood for."

From "Why did it take so long to set Aunt Jemima free?" by Michele L. Norris (WaPo). (Quaker Foods announced that it is retiring the Aunt Jemima brand because to "make progress toward racial equality.")

ADDED: At the NY Post, I'm seeing "After Aunt Jemima, people call to cancel Uncle Ben’s and Mrs. Butterworth’s." I understand about Uncle Ben, but Mrs. Butterworth? I've never perceived Mrs. Butterworth as black.

The syrup, sold in a matronly woman-shaped bottle, is accused of being rooted in mammy culture and was modeled after the body of Thelma “Butterfly” McQueen, the black actress who played Prissy in “Gone With The Wind.” The Jim Crow-era “mammy” character was often used to show that black women were happy working in white households....

That's news to me. I looked up Mrs. Butterworth on Wikipedia and it did not contain that information. I did learn that the voice for the character was done by Mary Kay Bergman, who looked like this:

"Her parents were Jewish," and she died by suicide at the age of 38 in 1999. She was the original lead female voice on "South Park."

Her characters included Liane Cartman, Sheila Broflovski, Shelly Marsh, Sharon Marsh, Carol McCormick and Wendy Testaburger.... Bergman credited South Park for pulling her out of a typecasting rut. 'I'm known for these sweet, cute little characters,' she said, noting her roles in various Disney films. "So I've been doing them forever. My agents were trying to submit me on shows that are edgy, and they're laughing, 'Mary Kay, are you kidding? No way!'" After Bergman's death, the two episodes "Starvin' Marvin in Space" (the final episode for which she recorded original dialogue) and "Mr. Hankey's Christmas Classics" (the final episode in which her voice was used via archive footage) were dedicated in her memory.

No comment on the role of Starvin' Marvin and Mr. Hankey in the quest for progress toward racial equality. RIP Mary Kay Bergman. Watch this (it's phenomenal):



Mrs. Butterworth voice at 1:11.

ADDED: Norris writes that her grandmother, in the role of Aunt Jemima had to use a "kind of broken patois." And I see in the comments that David Begley is asking, "Just asking, but isn’t 'broken patois' the language of today’s rap music?" Which makes me wonder, what's wrong with a patois? To answer my own question, I naturally look up "patois" in the OED.

I see that it's "dialect spoken by the people of a particular region (esp. of France or French-speaking Switzerland), and differing substantially from the standard written language of the country" or — and this is "frequently depreciative" — "a regional dialect; a variety of language specific to a particular area, nationality, etc., which is considered to differ from the standard or orthodox version."

I was intrigued by this example from "The Sheltering Sky" by Paul Bowles (who was born in New York City):

Then he remembered having heard that Americans did not speak English in any case, that they had a patois which only they could understand among themselves. The most unpleasant part of the situation to him was the fact that he would be in bed, while the American would be free to roam about the room, would enjoy all the advantages, physical and moral.

"Federal judge lambastes amendment to rename confederate bases as 'madness'/Gets thoroughly bodied by clerk."

Headline at The Intercept.

The judge is Laurence Silberman of the D.C. Circuit.

Silberman [wrote]... that his great-grandfather had fought for the Union as part of Ulysses S. Grant’s army and was badly wounded at Shiloh, Tennessee. His great-grandfather’s brother, meanwhile, joined the Confederate States Army and was captured at Gettysburg, Pennsylvania. “It’s important to remember that Lincoln did not fight the war to free the Slaves Indeed he was willing to put up with slavery if the Confederate States Returned,” he wrote (lack of punctuation and errant capitalization in the original, and throughout). “My great great grandfather Never owned slaves as best I can tell.”

From the clerk's pushback:

[M]y maternal ancestors were enslaved in Mississippi.... [M]y ancestors would not have been involved in the philosophical and political debates about Lincoln’s true intentions, or his view on racial equality.... [Y]ou talked about your ancestors, one that fought for the confederacy and one that fought for the Union.... [N]o matter how bravely your uncle fought for the Confederacy, the foundation of his fight was a decision that he agreed more with the ideals of the Confederacy, than he did with those of the Union.

Silberman, a Reagan appointee, is 84 years old. Giving him the Medal of Freedom in 2008, President George W. Bush said:

Few men have played roles in as many memorable moments in recent American history as Laurence Silberman. He was a senior official in the Justice Department in the aftermath of Watergate, and helped to restore America's confidence in the Department. As Ambassador to Yugoslavia, he was a vigorous representative of America's values behind the Iron Curtain. He was a fierce advocate for the "peace through strength" policies that helped win the Cold War.

As a federal judge on the D.C. circuit -- often called the second-highest court in the land -- Judge Silberman has been a passionate defender of judicial restraint. He writes opinions that one colleague has described as always cutting to the heart of the matter -- sometimes to the jugular. (Laughter.) His questioning is crisp and incisive -- and at least one lawyer who was subjected to his inquiries actually fainted. (Laughter.) Judge Silberman was a particularly important influence on two other members of that court: Antonin Scalia and Clarence Thomas. When each was nominated to the Supreme Court, Judge Silberman, in typical fashion, was not sad to see them go. That's because when Scalia left the court, Judge Silberman gained seniority. And when Thomas left the court, Judge Silberman gained his furniture. (Laughter.)

In a new and dangerous era for our country, Larry Silberman has continued to answer the call to service. He served with distinction on the Foreign Intelligence Surveillance Court of Review. He took a year off from the federal bench to serve as co-chairman of a bipartisan commission on intelligence reform. And in all his work, he's remained a clear-eyed guardian of the Constitution. He continues to leave his distinctive mark in the opinions he issues, and the generations of bright and talented lawyers he has trained.

For his resolute service to the nation and his stalwart efforts to advance the cause of ordered liberty, I am proud to bestow the Presidential Medal of Freedom on Laurence H. Silberman. (Applause.)

"Amid calls for taking down statues tied to France’s slave trade or colonial wrongs, Macron said 'the republic will not erase any trace, or any name, from its history ... it will not take down any statue.'"

"'We should look at all of our history together with lucidity' including relations with Africa, with a goal of 'truth' instead of 'denying who we are,' Macron said."

From "Slave-trade statues stay, Macron insists" (Arkansas Online).

"It was while in the lower house of Congress that Franklin Pierce took that stand on the slavery question from which he has never since swerved a hair’s breadth."

"He fully recognized, by his votes and by his voice, the rights pledged to the South by the Constitution.... [W]hen the first imperceptible movement of agitation had grown to be almost a convulsion, his course was still the same. Nor did he ever shun the obloquy that sometimes threatened to pursue the northern man who dared to love that great and sacred reality — his whole, united, native country — better than the mistiness of a philanthropic theory.... With his view of the whole subject, whether looking at it through the medium of his conscience, his feelings, or his intellect, it was impossible for him not to take his stand as the unshaken advocate of Union, and of the mutual steps of compromise which that great object unquestionably demanded.... Those northern men, therefore, who deem the great causes of human welfare as represented and involved in this present hostility against southern institutions, and who conceive that the world stands still except so far as that goes forward,— these, it may be allowed, can scarcely give their sympathy or their confidence to the subject of this memoir. But there is still another view, and probably as wise a one. It looks upon slavery as one of those evils which divine Providence does not leave to be remedied by human contrivances, but which, in its own good time, by some means impossible to be anticipated, but of the simplest and easiest operation, when all its uses shall have been fulfilled, it causes to vanish like a dream. There is no instance, in all history, of the human will and intellect having perfected any great moral reform by methods which it adapted to that end; but the progress of the world, at every step, leaves some evil or wrong on the path behind it, which the wisest of mankind, of their own set purpose, could never have found the way to rectify."

From "The Life of Franklin Pierce" by Nathaniel Hawthorne, consulted on the occasion of the University of New Hampshire's idea that maybe it ought to rename its Franklin Pierce Law School.

"'Gone with the Wind' was pulled from HBO Max while the long-running TV show 'Cops' was outright canceled..."

"... a sign that entertainment companies are re-examining the content they offer in the wake of nationwide protests for racial justice and against police brutality.... In a statement, HBO Max said 'Gone With the Wind' is a 'product of its time and depicts some of the ethnic and racial prejudices that have, unfortunately, been commonplace in American society.' When the movie returns to the platform it will be 'with a discussion of its historical context and a denouncement of those very depictions, but will be presented as it was originally created, because to do otherwise would be the same as claiming these prejudices never existed. If we are to create a more just, equitable and inclusive future, we must first acknowledge and understand our history.'... On Monday, John Ridley, who won an Oscar for the adapted screenplay for the movie '12 Years a Slave'... call[ed] for 'Gone With the Wind' to be taken off HBO Max.... 'Cops,' once considered a groundbreaking look at the day-to-day life of police on the beat is now also out of fashion. Featuring the song 'Bad Boys'—with the lyrics 'Bad boys, bad boys whatcha gonna do, whatcha gonna do when they come for you?'— ...  'Cops' presented a very positive look at policing, showcasing officers handling everything from domestic disturbances and drunken driving to robberies and sex crimes...."

The Wall Street Journal reports (and this was not behind a paywall for me).

We're told not to take "defund the police" and "abolish the police" literally.

In this WaPo op-ed — "Defund the police? Here’s what that really means." — by Christy E. Lopez, who is a a Distinguished Visitor from Practice at Georgetown Law School where she co-directs the Innovative Policing Program. She tells us not to be "afraid" because it's "not as scary (or even as radical) as it sounds."

We turn to the police in situations where years of experience and common sense tell us that their involvement is unnecessary, and can make things worse. We ask police to take accident reports, respond to people who have overdosed and arrest, rather than cite, people who might have intentionally or not passed a counterfeit $20 bill. We call police to roust homeless people from corners and doorsteps, resolve verbal squabbles between family members and strangers alike, and arrest children for behavior that once would have been handled as a school disciplinary issue.

Police themselves often complain about having to “do too much,” including handling social problems for which they are ill-equipped. Some have been vocal about the need to decriminalize social problems and take police out of the equation. It is clear that we must reimagine the role they play in public safety. 

Defunding and abolition probably mean something different from what you are thinking. For most proponents, “defunding the police” does not mean zeroing out budgets for public safety, and police abolition does not mean that police will disappear overnight — or perhaps ever. Defunding the police means shrinking the scope of police responsibilities and shifting most of what government does to keep us safe to entities that are better equipped to meet that need. It means investing more in mental-health care and housing, and expanding the use of community mediation and violence interruption programs....

Why not use words that people can understand and that convey the meaning you want to put in our head? If your idea is so reasonable, why not use words that are effective in making people who care about peace and harmony agree with you?

Police abolition means reducing, with the vision of eventually eliminating, our reliance on policing to secure our public safety....

Now, that's just confusing! You said "reducing" but then you said "eliminating."

The “abolition” language is important because it reminds us that policing has been the primary vehicle for using violence to perpetuate the unjustified white control over the bodies and lives of black people that has been with us since slavery.

But the slavery abolition movement was not about reducing our reliance on slavery! Why take such an important word and undermine what it means? If you successfully "remind us" of the evils of slavery, you are making us think you are saying the police are an evil, like slavery, that must be entirely eradicated.

"When you hear someone demanding inchoate generalized 'freedom,' ask whether he cares at all that millions of workers..."

"... who clean the zoos and buff the nails and intubate the grandmas are not free. These people are cannon fodder for your liberty. The long-standing tension between individual liberty and the collective good is complicated, and and as Kendi is quick to point out, the balance often tilts, trade-offs are made, federal and state governments shift clumsily along together, and the balance tilts again. Nobody denies that individual liberty is essential in a democracy, but in addition to parsing whether we as a collective do better in providing the 'freedom from' while also offering some 'freedom to,' it’s worth asking whether those making zero-sum claims about liberty are willing to sacrifice anything for freedom, or are just happily sacrificing you."

From "Whose Freedom Counts?/Anti-lockdown protesters are twisting the idea of liberty" by Dahlia Lithwick (at Slate).

Kendi is Ibram X. Kendi who has an article in The Atlantic called "We’re Still Living and Dying in the Slaveholders’ Republic/The pandemic has brought the latest battle in the long American war over communal well-being." Lithwick instructs us that there is "a long-standing difference between core notions of what he calls freedom to and freedom from."

Lithwick's phrasing is confusing. It's "long-standing," so it's not as though Kendi invented the distinction between "freedom from" and "freedom to." Two out of 4 of FDR's "Four Freedoms" were "freedom from" (from want and from fear).  I remember an early interview with Barack Obama, in which he observed that Americans think too much about "freedom to" and not enough about "freedom from."

Lithwick writes:

The freedom to harm, [Kendi] points out, has its lineage in the slaveholder’s constitutional notion of freedom: “Slaveholders disavowed a state that secured any form of communal freedom—the freedom of the community from slavery, from disenfranchisement, from exploitation, from poverty, from all the demeaning and silencing and killing.” Kendi continues by pointing out that these two notions of freedom have long rubbed along uneasily side by side, but that those demanding that states “open up” so they may shop, or visit zoos, are peeling back the tension between the two....

How do you "peel back" "tension"? I had that image of 2 notions rubbing along uneasily side by side for a long time, and then these people who want to shop are "peeling back the tension." That kind of vaguely titillating metaphor is unfair to the reader. I'm seeing 2 notions in bed with each other and the would-be shoppers bursting in and ripping back the sheets. Aha! We see what you're doing! What a distraction! But I suppose that because slavery was invoked, I'm expected to listen without protest while Kendi's solemn, censorious lecture is promoted by an over-excited Lithwick. I resist. Sorry. I do hear what you're saying, and I see how well it works to justify depriving us of all freedom. There's never enough freedom from all the things in the world that might hurt us if we're not kept in eternal lockdown.

On the occasion of the NYT winning a Pulitzer Prize for the history/fantasy "1619 Project," Scott Adams reveals why the Pulitzer Prize is meaningless.

And he used to want one (for his comic strip):



I've always remembered what Saul Bellow said about the Pulitzer Prize — recounted in the May 11, 1984, NYT article "PUBLISHING: PULITZER CONTROVERSIES":

For years it seemed that Saul Bellow would never win the Pulitzer, although he was often a serious contender. In addition to ''Henderson the Rain King,'' his ''Adventures of Augie March'' was a finalist in 1954, and ''Mr. Sammler's Planet'' was a 1971 finalist. Both times the board decided to forgo a fiction award.

What a kick in the head! They didn't give the award to somebody else, but to no one.

In ''Humboldt's Gift,'' published in 1972, Mr. Bellow's narrator, Charlie Citrine, is depicted as a two-time Pulitzer Prize winner, who nevertheless agrees with Humboldt's assessment: ''The Pulitzer is for the birds - for the pullets. It's just a dummy newspaper publicity award given by crooks and illiterates. You become a walking Pulitzer ad, so even when you croak the first word of the obituary is 'Pulitzer Prize winner passes.' ''

Reminded of that passage soon after ''Humboldt's Gift'' won in 1973, Mr. Bellow laughed and said he thought it would be best to accept the award ''in dignified silence.''

Now, when Saul Bellow died, they did not say "Pulitzer Prize winner passes." They said Nobel Prize winner passes:

Saul Bellow, the Nobel laureate and self-proclaimed historian of society whose fictional heroes -- and whose scathing, unrelenting and darkly comic examination of their struggle for meaning -- gave new immediacy to the American novel in the second half of the 20th century, died yesterday at his home in Brookline, Mass. He was 89.

If you have to be a walking billboard for some prize-bestowing outfit, it's best to be a Nobel ad.