#Rachel Fuhrer

[ulkaralakbarova]

A wannabe rock star who fronts a Pennsylvania-based tribute band is devastated when his kick him out of the group he founded. Things begin to look up for Izzy when he is asked to join Steel Dragon, the heavy metal rockers he had been imitating for so long. This film is loosely based on the true story of the band Judas Priest. Credits: TheMovieDb. Film Cast: Chris ‘Izzy’ Cole: Mark Wahlberg Emily Poule: Jennifer Aniston Kirk Cuddy: Dominic West A.C.: Jason Bonham Jorgen: Jeff Pilson Ghode: Zakk Wylde Mats, Steel Dragon Road Manager: Timothy Spall Donny Johnson: Blas Elias Xander Cummins: Nick Catanese Ricki Bell: Brian Vander Ark Rob Malcolm: Timothy Olyphant Tania Asher, Steel Dragon PR: Dagmara Domińczyk Joe Cole: Matthew Glave Mr. Cole: Michael Shamus Wiles Mrs. Cole: Beth Grant Bobby Beers: Jason Flemyng Nina: Carey Lessard Samantha: Kristin Richardson Mason Bell: Jamie Williams Roadie #1: Keith Loneker Amber: Sami Reed Marci: Kara Zediker Bradley: Stephan Jenkins Guitarist in Crowd Outside Mansion: Vitamin C Cream Reporter: Kevin Ryder Melody-Maker Reporter: Gene Baxter Bouncer: Gregory Hinton Nurse: Sonya Stephens Photographer: Neil Zlozower Fan #1: Kirk Enochs Thor: Myles Kennedy A.C.’s Wife: Rachel Hunter Kirk’s Wife: Heidi Mark Ghode’s Wife: Carrie Stevens Jorgen’s Wife: Amy Miller Office Worker: William Martin Brennan Mrs. Andrews: Lorna Scott Auditioning Singer: Ralph Saenz Topless Cutie #1: Jennifer Rovero Topless Cutie #2: Natalie Raynes Scalper: Jamal Weathers Two-Year Old Girl: Hailie Brennand Roadie #2: Eric Weinstein MTV Veejay: Jamie White Metal Head: Jeffrey Wetzel Guitar Tech: Frederick E. Kowalo Girl with P-Pass: Jennifer Uilani Warren Roxy Dancer: Chad Azadan Roxy Dancer: Linda Cevallos Roxy Dancer: Jennifer Edmond Roxy Dancer: Brian Friedman Roxy Dancer: Cynthia Fuhrer Roxy Dancer: Cati Jean Roxy Dancer: Edward Jenkins Roxy Dancer: Kelly Knox Roxy Dancer: Tabbatha Mays Roxy Dancer: Udee McGeoy Roxy Dancer: Ted Napolitano Roxy Dancer: Tomasina Parrott Roxy Dancer: Gabriel Ramírez Roxy Dancer: Ursula Whittaker Roxy Dancer: Zachary Woodlee Concert Rocker: Andrew Wayne Bar Patron (uncredited): Gia Franzia Film Crew: Production Design: Mayne Berke Executive Producer: Steven Reuther Original Music Composer: Trevor Rabin Executive Producer: George Clooney Second Unit Director: David R. Ellis Director of Photography: Ueli Steiger Casting: Sharon Bialy Actor’s Assistant: Eric Weinstein Co-Producer: Michael Fottrell Costume Design: Aggie Guerard Rodgers Screenplay: John Stockwell Stunts: Chad Stahelski Director: Stephen Herek Stunts: Chris Palermo Stunts: Joe Bucaro III Producer: Toby Jaffe Editor: Trudy Ship Stunts: Julie Michaels Stunts: Keith Woulard Stunts: T.J. White Executive Producer: Mike Ockrent Choreographer: Peggy Holmes Music Supervisor: Budd Carr Set Decoration: Casey Hallenbeck Unit Production Manager: Paul Moen Swing: P. Scott Bailey Stunts: Laura Albert Stunts: Mike Gunther Supervising Art Director: Caty Maxey Stunt Coordinator: Brad Martin Stunts: Jeff Imada Still Photographer: Claudette Barius First Assistant Director: Jeffrey Wetzel Actor’s Assistant: Ozzie Areu Production Accountant: Ravi D. Mehta Art Department Coordinator: Joe Walser Leadman: Mark Woods Stunts: Tim Rigby Camera Operator: Thomas Yatsko Stunts: Sean Graham Set Designer: Harry E. Otto Makeup Artist: Donald Mowat Special Effects Coordinator: Paul J. Lombardi Makeup Artist: Jean Ann Black Boom Operator: Carl Fischer Stunts: Damon Caro Stunts: Chris O’Hara First Assistant Camera: Gary L. Camp Script Supervisor: Adrienne Hamalian-Mangine Special Effects: Scott Blackwell Video Assist Operator: David Katz Stunts: Steve Holladay Hairstylist: Johnny Villanueva Set Costumer: Lisa A. Doyle Hairstylist: Kerry Mendenhall Music Editor: Brent Brooks Steadicam Operator: Dan Kneece Location Manager: Curtis Collins Hairstylist: Shari Perry Key Makeup Artist: Michael Mills Key Costumer: Sabrina Calley Stunts: Brandon Sebek Producer: Robert Lawrence Art Direction: Richard Schreiber Costume Supervisor: Bruce Erickse...

[corallorosso]

In Germania, il cognome “Hitler” praticamente non esiste più. La maggior parte di chi se lo ritrovava lo ha cambiato all’anagrafe, compresi i parenti dell’ex fuhrer, alcuni dei quali preferirono addirittura sterilizzarsi, per timore di mettere al mondo un discendente di Adolf Hitler. In Italia, a Roma, la nipote del duce, Rachele Mussolini, viene candidata da Fratelli d’Italia alle comunali. E risulta la più votata dagli elettori della destra. Ovviamente per i suoi meriti politici che TUTTI conoscono, mica per il cognome del nonno dittatore. Ma certo. Lei, che ci ha sempre tenuto a rimarcare la sua assoluta distanza dalle idee fasciste, tanto da sottolineare che il 25 aprile festeggia “solo San Marco”. Ecco, la differenza tra noi e la Germania è tutta qui. Noi non abbiamo mai fatto davvero i conti con il nazifascismo, le sue colpe e i suoi orrori. Loro sì. La vera definizione di “spread”, in realtà, è questa Emiliano Rubbi

[screaminglamps]

So here are some genderbend redraw sketches from FMAB episode 1.

Head canon names:

Edith “Eda” Elric

Allison Elric

Fuhrer Regina Bradley

Rachel Mustang

Rickard Hawkeye

[deadideaspod]

http://media.blubrry.com/deadideas/ia601502.us.archive.org/0/items/deadideas114fascismiithesilverlegion/Dead%20Ideas%20114%20Fascism%20II%20The%20Silver%20Legion.mp3

Did you know America spawned its very own homegrown fascist movement in the 1930s? Yup. The Silver Legion’s William Dudley Pelley was the original Man in the High Castle. Or… at least he dreamed himself to be.

Be sure to support the show at www.patreon.com/deadideaspod to get your portrait drawn!

Music by Rachel Westhoff. Pics, references and more at http://www.deadideas.net.

Time/place: Worldwide, early 20th cen. CE

Dead Idea: Fascism

Co-hosts: Nick and Anna

This slideshow requires JavaScript.

Main Sources

Alonzo-Zaldivar, R. (2019, May 24). “Administration Moves to Revoke Transgender Health Protection.” AP News. Retrieved Nov 3, 2019, from: https://apnews.com/44494a468abe4e009b0388798c16a197

Albright, M. (2018). Fascism: A Warning. New York: HarperCollins.

Beekman, Scott. William Dudley Pelley: A Life in Right-wing Extremism and Occultism. New York: Syracuse University Press, 2005.

Blitzer, J. (2016, Nov 4). “A Scholar of Fascism Sees a Lot That’s Familiar With Trump.” The New Yorker. Retrieved Nov 2, 2019, from: https://www.newyorker.com/culture/culture-desk/a-scholar-of-fascism-sees-a-lot-thats-familiar-with-trump

Buhres, E. (2019, Nov 2). “Don’t Call Trump a Fascist.” Foreign Policy. Retrieved Nov 2, 2019, from: https://foreignpolicy.com/2019/11/02/donald-trump-fascist-nazi-right-wing/

Daley, J. (2018, Oct. 3). “The Screenwriter Mystic Who Wanted to Be the American Fuhrer.” Smithsonian.com. https://www.smithsonianmag.com/history/meet-screenwriting-mystic-who-wanted-be-american-fuhrer-180970449/

Deconstructed. (2019, May 9). “Is Trump a Fascist?.” The Intercept. Retrieved Nov 2, 2019, from: https://theintercept.com/2019/05/09/is-trump-a-fascist/

D’Souza, D. (2017). The Big Lie: Exposing the Nazi Roots of the American Left. Washington, D.C.: Regnery Publishing.

Guyette, C. (2019, Sep 11). “Is Trump a Fascist? The F Word.” Detroit Metro Times. Retrieved Nov 2, 2019, from: https://www.metrotimes.com/detroit/is-trump-a-fascist/Content?oid=22617920

Gawthorpe, A. (2019, Jul 31). “Is This Fascism? No. Could It Become Fascism? Yes.” The Guardian. Retrieved Nov 2, 2019, from: https://www.theguardian.com/commentisfree/2019/jul/31/is-this-fascism-no-could-it-become-fascism-yes

Kagan, R. (2016, May 18). “This Is How Fascism Comes to America.” Washington Post. Retrieved Nov 2, 2019, from: https://www.washingtonpost.com/opinions/this-is-how-fascism-comes-to-america/2016/05/17/c4e32c58-1c47-11e6-8c7b-6931e66333e7_story.html?noredirect=on

Kessler, G., et al. “Trump Has Made More Than 10,000 False of Misleading Claims.” The Washington Post. Retrieved Nov 2, 2019, from: https://www.washingtonpost.com/politics/2019/04/29/president-trump-has-made-more-than-false-or-misleading-claims/

Lewis, Sinclair. It Can’t Happen Here. New York: Penguin, 2014/1935.

Matthews, D. (2016, May 19). “I Asked 5 Fascism Experts Whether Trump Is a Fascist. Here Is What They Said.” Vox.com. Retrieved Nov 2, 2019, from: https://www.vox.com/policy-and-politics/2015/12/10/9886152/donald-trump-fascism

Namier, L. (1947). “The First Mountebank Dictator.”

Olsen, H. (2019, Jun 5). “Trump Isn’t a Fascist, He’s Just a Bully.” The Washington Post. Retrieved Nov 2, 2019,from: https://www.washingtonpost.com/opinions/2019/06/05/trump-isnt-fascist-hes-just-bully/

Pelley, W. D. (1031/2011). No More Hunger. Noblesville, IA: Trafford Publishing.

Pelley, W. D. (1929, Mar/1952). “Seven Minutes in Eternity.” The American Magazine. SoulCraft Press.

Porter, T. (2017, Sep 27). “Is North Korea Communist? Experts Warn Failure to Understand Kim Jong Un’s Regime Could Spell Catastrophe.” Newsweek. Retrieved Nov 2, 2019, from: https://www.newsweek.com/north-korea-communist-critics-warn-failure-understand-kim-jong-uns-beliefs-672399

Reimann, M. (2017, Feb. 6). “The Heyday of American Nazism Was Led by a Prize-winning Hollywood Screenwriter.” Timeline.com. https://timeline.com/silver-shirts-nazi-history-cf3080eb2da2

Rindskopf, J. (2018, Jun 15). “20 of Trump’s Worst Tweets (So Far).” CheatSheet. Retrieved Nov 2, 2019, from: https://www.cheatsheet.com/entertainment/trumps-worst-tweets-so-far.html/

Schivelbusch, W. (2006). Three New Deals: Reflections on America, Mussolini’s Italy, and Hitler’s Germany, 1933-1939. New York: Picador.

Serwer, A. (2019, Jul 3). “A Crime by Any Name: The Trump Administration’s Commitment to Deterring Immigration Through Cruelty Has Made Horrifying Conditions in Detention Facilities Inevitable.” The Atlantic. Retrieved Nov 3, 2019, from: https://www.theatlantic.com/ideas/archive/2019/07/border-facilities/593239/

“Silver Shirt Legion of America, Washington State Division Photograph Collection, circa 1930s.” Archives West. 2018.

“Silver Shirts.” Holocaust Online. http://www.holocaustonline.org. Retrieved Aug. 11, 2019.

Stanley, J. (2018). How Fascism Works: The Politics of Us and Them. New York: Random House.

“William Dudley Pelley.” American National Biography. New York: Oxford University Press, 1999.

Audio Credits

“Nazis Auf Speed” by Die Krupps

“Battle Hymn of the Republic” performed by the Capitol Symphony Orchestra

Fascism II: The Silver Legion: A Real American Fascist Movement – American History Did you know America spawned its very own homegrown fascist movement in the 1930s? Yup. The Silver Legion's William Dudley Pelley was the original Man in the High Castle.

[efguffey]

C’est la Guerre: Johnny Canuck!

This article first appearned on FreakSugar.com

Johnny Canuck: Compendium, 1942-1946. art by Leo Bachle.

Undoubtedly, one of the most famous images in comic book history is the cover for Captain America Comics #1 where Cap marks his premiere by delivering a devastating right hook to Adolf Hitler’s jaw while deflecting and dodging the hail of gunfire from der Fuhrer’s guards. The red, white, and blue-garbed Steve Rogers wasn’t the only North American comic hero to do some Hitler-punching, however, being followed in 1942 by Canada’s own Johnny Canuck. Canada’s Golden Age of comics was born out of World War II. As part of the British Commonwealth, Canada had been at war since September of 1939, and by the end of 1940, Canadian soldiers, sailors, and airmen had already mobilized and been sent into combat against German forces, including during the Battle of France and the ongoing Battle of Britain.

Perhaps even more importantly, however, Canada had rapidly become the storehouse and arsenal of the Commonwealth, shipping thousands of tons of food, equipment, weapons, and aircraft to Britain. As the supply of engines and equipment from England for building British-designed aircraft and equipment was suspended in May of 1940, Canada had to purchase such supplies from the US, leading to a growing trade imbalance between the two countries. This in turn led to the War Exchange Conservation Act (WECA) of December, 1940, which banned the importation to Canada of “non-essential” material and products from the USA. This included American comic books, and created a vacuum that Canadian publishers rushed to fill. With the war effort having first call on colored ink supplies and presses, Canadian comics publishers defaulted to books with colored covers, but black-and-white interiors, earning the books the nickname of “whites.”

As in American comics, Canadian comics characters spent a great deal of time fighting the Nazis and the Japanese both at home and abroad, and in 1942, 17-year-old Leo Bachle created the most famous, and most beloved wartime Canadian hero, Johnny Canuck. Bachle’s feature ran in Bell Publishing’s Dime Comics from 1942 – 1946 (although Bachle had left Bell for the more lucrative waters of New York comic publishing before the WECA was lifted in 1946.) Collected and Kickstarted in 2015 by Rachel Richey, and published by Chapterhouse, Johnny Canuck: Compendium, 1942-1946 brings together all 28 Johnny Canuck stories in one hardback volume that provides an incredibly fun foray into the Golden Age of comics.

Johnny Canuck script and art by Leo Bachle.

Johnny Canuck, “Canada’s Answer to Nazi Oppression,” spends a great deal of time shirtless and solving problems with his fists in adventures that roar by with the pacing of a missile. Each installment runs from 7 to 10 pages, so the action comes fast and thick. Johnny is brave, loyal, square-jawed and powerfully built, while the Nazis are drawn, manacled, scarred, and all speak in a dialect dripping with phrases like “Und I shall collect der ten thousand marks dot haf been offered by our illustrious leader!” Indeed, sentences in Johnny Canuck only end with question marks or exclamation point, with the latter far outnumbering the former as Johnny fights his way through North Africa, Soviet Russia, Yugoslavia, the Pacific, Germany, and France.

Subtlety is not what these comics are about. Good is good and bad is bad, and the tones are simple black and whites. The stories are simple, amply populated with slim, beautiful women who all (even the evil Nazi spy-girls) at have at least a little bit of a thing for our fearless (and shirtless) hero, and are written with classic cliff-hanger endings for every issue. In fact, the Johnny Canuck strips are more similar to old movie serials from the 1930s and early 1940s than anything else, with the same, breathless, breakneck pace. Artistically, Bachle takes his style from Alex Raymond and Milton Caniff, and one of the most interesting things about the Compendium is that the reader sees Bachle’s style and talent grow from merely very skilled into an artist working fully in his own style, and one who comes to use the black and white format of the Canadian Whites to his full advantage, reveling in deep blacks, chiaroscuro, and meticulous line work. Here the Johnny Canuck strips work as a kind of montage of the creator’s development, for Bachle was churning out dozens of different strips for Bell at the same time he was working on Johnny Canuck, accruing thousands of hours of experience and experimentation in just four short years.

Johnny Canuck written and drawn by Leo Bachle.

Like almost all comics of the era Johnny Canuck was produced at the writer/artist’s tops speed, and with minimal editorial oversight. Bell Publishing was far more concerned with getting the books in print and selling than with proper spelling, realism, or even necessarily more than passable art. Comic books, after all, were viewed as disposable entertainment for kids, who wouldn’t notice unconventional spelling or grammar. Nonetheless, Johnny Canuck became a Canadian sensation, beloved by not only kids, but adults, including Canadian servicemen overseas. Late in the war, Bachle was even detained on the Canadian side of the border when attempting to return to his new job in New York City because he had been deemed to be “vital to the war effort” because of Johnny.

Johnny Canuck, written and drawn by Leo Bachle.

    In all, the Axis-smashing adventures of Johnny Canuck are an incredibly joyous romp through the Golden Age, and a tremendously eye-opening look into the war-time psyche of a culture that we Americans tend to see as polite to a fault, and not at all the kind of folks who would go about socking anyone in the jaw. Shows what we know. So, pick up Johnny Canuck: Compendium, 1942-1946 from your local comic shop or direct from Chapterhouse, and kick back and enjoy a simpler time, when no one was questioning whether or not one should punch Nazis.

The post C’est la Guerre: Johnny Canuck! appeared first on Freaksugar.

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[avinor]

Revising Seiffert

This is the second of my posts documenting the obsessive-compulsive lecture preparations of a college English teacher. This week, it’s Rachel Seiffert’s The Dark Room. This image is the scene on one side of my desk as I’m re-reading the many reviews of the book I’ve collected and incorporating the results into my lecture notes. I combine lecture with class discussion; I love sharing what I might have learned about a text with students, but I especially enjoy the interplay of ideas when discussions take off and there is the exhilaration of feeling a classroom full of young people reading the text together. Students who have not lived with and loved a text quite as much as a teacher often have surprising and provocative takes on the material. That’s a special pleasure. 

Seiffert’s The Dark Room is a collection of three interrelated stories that one reviewer claims offer a “psychoanalysis of the German soul from 1933 to the present.” Taken together, the stories explore the vexing and complex problems of German guilt and identity in the wake of the Holocaust. Some scholars regard this as an excessively worked-over space, and it is true that much ink/pixels have been spilled in it. But, there is not a correlation between attention given and resolution achieved, not that people who think seriously about these things necessarily aspire to resolution. Greater clarity is always possible, and each new generation confronts the questions that occur under the rubric of Vergangenheitsbewaltigung. 

The first story in the collection, “Helmut,” concerns a non-Jewish German boy born missing a pectoral muscle, rendering him “flawed” in a culture that will (by the time he comes of age -- he is born in 1921, so we get a glimpse of him growing up in the Weimar Republic) prize physical strength and the idealized Aryan body. Separated from his parents, Helmut witnesses (and photographically records) the Allied bombing of Berlin, the exodus from the city, and deportations, although he is unable to morally parse what he sees. A fervent young supporter of his Fuhrer (even though he is too young to know what that means), Helmut suffers the city’s destruction in a cellar, all the while experiencing the catastrophe through the camera’s mediating lens.

“Lore,” the second story, traces the 300-mile, post-war trek of a pre-teen girl from Central Germany north to Hamburg in search of her grandmother. Her Nazi parents have been interned, and Lore is charged by her mother with the seemingly impossible task of getting across occupied Germany with her siblings in tow. The tale is harrowing, and the implications of how she succeeds are deeply troubling.

“Micha” explores the anguish of a young school teacher who is compelled to discover and understand something of his former-Nazi grandfather. The search takes him to Belarus and revelatory information that serves as a kind of therapy that enables Micha to go on with his life. The story is the longest of the three, and is deliciously complex; this tiny gloss cannot do it justice, and it warrants a close reading.

Today, in my lecture preparations, I’m trying to incorporate criticisms of Seiffert’s stories. Although The Dark Room was short-listed for the Booker Prize and won other awards when it was published in 2001, it wasn’t met with universal praise. It is important that my students hear the critiques as well as learn about my own affinity for the text. Most disturbingly, some critics took Seiffert to task for creating a moral equivalency between Jewish and German suffering. This is mistaken, although it is a charge risked by any serious writer who wades into the depths of the post-war German psyche. W. G. Sebald encountered it with his posthumously published The Natural History of Destruction, which I taught earlier in the semester. Another line of criticism runs that Seiffert, in choosing and building her three protagonists, doesn’t adequately capture the complexity of how to think about who actually were Nazi supporters, sympathizers, bystanders, and descendants. I resist this argument because it assumes a goal that is beyond Seiffert’s aesthetic (and moral?) project. She doesn’t set out to do an anthropology of perpetrators; she is interested in three humans who, contrary to still another argument, are not stereotypical Germans wrestling with the past. Helmut is an anti-hero who cannot grasp what is collapsing around him; Lore is a mere child who suffers the sins of the parents; and Micha is sincerely devastated by the inexplicable contradiction of his grandfather as a loving old man and his grandfather as a Nazi murderer. He must try to understand, and the struggle to understand, while it has been explored in this context by other writers, remains a noble motivation that is intrinsically moral.

I want so badly to share with my students the intellectual excitement that I find in tracing these ideas as they are explored in literary texts. I prepare and over-prepare; inevitably, much of the preparation simply never makes it into my lectures. There is always the next book and the next set of problems to think through.  

[bythelastlight]

Foolish my heart burst through the seams

To wear it out exhausts me

If you love electric guitar and kickass female vocalists, you have to check out this band! Their drummer and bassist are terrific as well. Their new album Monuments just came out on March 4th!

[transistorsix]

Check out the new UME feature on Transistor Six! Here's a Lomography double exposure using the sprocket rocket!   http://www.transistorsix.com/artist_ume.html

[deadideaspod]

http://media.blubrry.com/deadideas/ia601402.us.archive.org/32/items/deadideas113fascismiwhatisfascismandistrumpit_201911/Dead%20Ideas%20113%20Fascism%20I%20What%20Is%20Fascism%20and%20Is%20Trump%20It.mp3

TRIGGER WARNING: Politics. Today we explore what characterized early 20th-century fascism, and then ask whether its fair to call Trump fascist.

Be sure to support the show at www.patreon.com/deadideaspod to get your portrait drawn!

Music by Rachel Westhoff. Maps, pics, references and more at http://www.deadideas.net.

Time/place: Worldwide, early 20th cen. CE

Dead Idea: Fascism

Co-hosts: Nick and Anna

This slideshow requires JavaScript.

Main Sources

Alonzo-Zaldivar, R. (2019, May 24). “Administration Moves to Revoke Transgender Health Protection.” AP News. Retrieved Nov 3, 2019, from: https://apnews.com/44494a468abe4e009b0388798c16a197

Albright, M. (2018). Fascism: A Warning. New York: HarperCollins.

Beekman, Scott. William Dudley Pelley: A Life in Right-wing Extremism and Occultism. New York: Syracuse University Press, 2005.

Blitzer, J. (2016, Nov 4). “A Scholar of Fascism Sees a Lot That’s Familiar With Trump.” The New Yorker. Retrieved Nov 2, 2019, from: https://www.newyorker.com/culture/culture-desk/a-scholar-of-fascism-sees-a-lot-thats-familiar-with-trump

Buhres, E. (2019, Nov 2). “Don’t Call Trump a Fascist.” Foreign Policy. Retrieved Nov 2, 2019, from: https://foreignpolicy.com/2019/11/02/donald-trump-fascist-nazi-right-wing/

Daley, J. (2018, Oct. 3). “The Screenwriter Mystic Who Wanted to Be the American Fuhrer.” Smithsonian.com. https://www.smithsonianmag.com/history/meet-screenwriting-mystic-who-wanted-be-american-fuhrer-180970449/

Deconstructed. (2019, May 9). “Is Trump a Fascist?.” The Intercept. Retrieved Nov 2, 2019, from: https://theintercept.com/2019/05/09/is-trump-a-fascist/

D’Souza, D. (2017). The Big Lie: Exposing the Nazi Roots of the American Left. Washington, D.C.: Regnery Publishing.

Guyette, C. (2019, Sep 11). “Is Trump a Fascist? The F Word.” Detroit Metro Times. Retrieved Nov 2, 2019, from: https://www.metrotimes.com/detroit/is-trump-a-fascist/Content?oid=22617920

Gawthorpe, A. (2019, Jul 31). “Is This Fascism? No. Could It Become Fascism? Yes.” The Guardian. Retrieved Nov 2, 2019, from: https://www.theguardian.com/commentisfree/2019/jul/31/is-this-fascism-no-could-it-become-fascism-yes

Kagan, R. (2016, May 18). “This Is How Fascism Comes to America.” Washington Post. Retrieved Nov 2, 2019, from: https://www.washingtonpost.com/opinions/this-is-how-fascism-comes-to-america/2016/05/17/c4e32c58-1c47-11e6-8c7b-6931e66333e7_story.html?noredirect=on

Kessler, G., et al. “Trump Has Made More Than 10,000 False of Misleading Claims.” The Washington Post. Retrieved Nov 2, 2019, from: https://www.washingtonpost.com/politics/2019/04/29/president-trump-has-made-more-than-false-or-misleading-claims/

Lewis, Sinclair. It Can’t Happen Here. New York: Penguin, 2014/1935.

Matthews, D. (2016, May 19). “I Asked 5 Fascism Experts Whether Trump Is a Fascist. Here Is What They Said.” Vox.com. Retrieved Nov 2, 2019, from: https://www.vox.com/policy-and-politics/2015/12/10/9886152/donald-trump-fascism

Namier, L. (1947). “The First Mountebank Dictator.”

Olsen, H. (2019, Jun 5). “Trump Isn’t a Fascist, He’s Just a Bully.” The Washington Post. Retrieved Nov 2, 2019,from: https://www.washingtonpost.com/opinions/2019/06/05/trump-isnt-fascist-hes-just-bully/

Pelley, W. D. (1031/2011). No More Hunger. Noblesville, IA: Trafford Publishing.

Pelley, W. D. (1929, Mar/1952). “Seven Minutes in Eternity.” The American Magazine. SoulCraft Press.

Porter, T. (2017, Sep 27). “Is North Korea Communist? Experts Warn Failure to Understand Kim Jong Un’s Regime Could Spell Catastrophe.” Newsweek. Retrieved Nov 2, 2019, from: https://www.newsweek.com/north-korea-communist-critics-warn-failure-understand-kim-jong-uns-beliefs-672399

Reimann, M. (2017, Feb. 6). “The Heyday of American Nazism Was Led by a Prize-winning Hollywood Screenwriter.” Timeline.com. https://timeline.com/silver-shirts-nazi-history-cf3080eb2da2

Rindskopf, J. (2018, Jun 15). “20 of Trump’s Worst Tweets (So Far).” CheatSheet. Retrieved Nov 2, 2019, from: https://www.cheatsheet.com/entertainment/trumps-worst-tweets-so-far.html/

Schivelbusch, W. (2006). Three New Deals: Reflections on America, Mussolini’s Italy, and Hitler’s Germany, 1933-1939. New York: Picador.

Serwer, A. (2019, Jul 3). “A Crime by Any Name: The Trump Administration’s Commitment to Deterring Immigration Through Cruelty Has Made Horrifying Conditions in Detention Facilities Inevitable.” The Atlantic. Retrieved Nov 3, 2019, from: https://www.theatlantic.com/ideas/archive/2019/07/border-facilities/593239/

“Silver Shirt Legion of America, Washington State Division Photograph Collection, circa 1930s.” Archives West. 2018.

“Silver Shirts.” Holocaust Online. http://www.holocaustonline.org. Retrieved Aug. 11, 2019.

Stanley, J. (2018). How Fascism Works: The Politics of Us and Them. New York: Random House.

“William Dudley Pelley.” American National Biography. New York: Oxford University Press, 1999.

Fascism I: What Is Fascism, and Is Trump It? – Modern History TRIGGER WARNING: Politics. Today we explore what characterized early 20th-century fascism, and then ask whether its fair to call Trump fascist.

[transistorsix]

Check out the new UME feature on Transistor Six! Here's a Lomography headshot of UME bass player Eric Larson   http://www.transistorsix.com/artist_ume.html

[transistorsix]

Check out the new UME feature on Transistor Six! Here's a Lomography headshot of UME lead singer Lauren Larson   http://www.transistorsix.com/artist_ume.html

[transistorsix]

Check out the new Transistor Six Photo and Film feature for UME! Here's a shot of drummer Rachel Fuhrer! http://www.transistorsix.com/artist_ume.html

[transistorsix]

Check out the new Transistor Six Photo and Film feature for UME! http://www.transistorsix.com/artist_ume.html