“But scapegoating poor whites keeps the conversation away from fascism’s real base: the petite…”

But scapegoating poor whites keeps the conversation away from fascism’s real base: the petite bourgeoisie. This is a piece of jargon used mostly by Marxists to denote small-property owners, whose nearest equivalents these days may be the “upper middle class” or “small-business owners.” FiveThirtyEight reported last May that “the median household income of a Trump voter so far in the primaries is about $72,000,” or roughly 130 percent of the national median. Trump’s real base, the actual backbone of fascism, isn’t poor and working-class voters, but middle-class and affluent whites. Often self-employed, possessed of a retirement account and a home as a nest egg, this is the stratum taken in by Horatio Alger stories. They can envision playing the market well enough to become the next Trump. They haven’t won “big-league,” but they’ve won enough to be invested in the hierarchy they aspire to climb. If only America were made great again, they could become the haute 
bourgeoisie—the storied “1 percent.”


Trump’s most institutionally entrenched middle-class base includes police and Border Patrol unions, whom he promptly unleashed after his inauguration by allowing them free rein in enforcing his vague but terrifying immigration orders, and by appointing an attorney general who would call off investigations into troubled police departments. As wanton as their human-rights atrocities in the years leading up to the Trump era have been, law-enforcement agents are already making their earlier conduct look like a model of restraint. They are Trump’s most passionate supporters and make concrete his contempt for anyone not white, male, and rich.


Always and everywhere, this sort of petit bourgeois constitutes the core of fascism. In The Mass Psychology of Fascism, his look at the German economy and ideology in the five years preceding Adolf Hitler’s rise to power, Wilhelm Reich argued that this was largely because of the petite bourgeoisie’s dependence on the patriarchal family unit, which he called the “central reactionary germ cell” of “the authoritarian state.” As the “heads” of their families, small-business-owning men often exploited their wives and children and enforced a patriarchal morality on them in the interest of protecting their somewhat vulnerable enterprises. This oriented the petite bourgeoisie structurally toward reactionary politics.


If the petit-bourgeois American suburbs embody a sexist hierarchy, they exist in order to enforce a racist one. In the mid-20th century, white northern and western urbanites faced a choice: Stay in the cities where Jim Crow was driving a “Great Migration” of millions of black people, or flee to the new suburban residential developments, complete with racist exclusionary charters. The Federal Housing Administration made the choice easy: Its policy redlined neighborhoods where black people were settling as having low “residential security,” thus making financial services inaccessible. In white-only suburban communities, however, the FHA was pleased to guarantee home mortgages. “There goes the neighborhood,” said millions, and fled.


Their material security bound up in the value of their real-estate assets, suburban white people had powerful incentives to keep their neighborhoods white. Just by their very proximity, black people would make their neighborhoods less desirable to future white home-buyers, thereby depreciating the value of the location. Location being the first rule of real estate, suburban homeowners nurtured racist attitudes, while deluding themselves that they weren’t excluding black people for reasons beyond their pocketbooks.


In recent decades, rising urban rents have been pushing lower-income people to more peripheral locations. As suburbia has grown poorer, the more affluent homeowners have fled for the even greener pastures of exurbia. Everywhere they turn, their economic anxiety 
follows them.

And yet, “among people I talk to, ‘economic anxiety’ has become kind of a joke slogan,” New York Times columnist Paul Krugman told CNN’s Christiane Amanpour, by way of explaining Trump’s rise. “I mean, there is real economic hardship. West Virginia is not a happy place. But…it’s really mostly about race.” Krugman and Amanpour’s seamless transition from “anxiety” to “hardship” betrays the assumption that haunted the entire discussion: that the only form of economic anxiety is deprivation. To the contrary, the form of economic anxiety propelling the racism of devoted Trump supporters is associated with paying taxes; with jealously guarding their modest savings; with stopping black people from moving nearby and diminishing the value of their property and thus the quality of their kids’ schools; and with preserving the patriarchal family structure that facilitates it all.

 Trumpism: It’s Coming From the Suburbs by Jesse A. Myerson
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angryschnauzer: musicalninja: anotherdayforchaosfay: tygermama: byebyeskylark: glynnisi: captain…

angryschnauzer:

musicalninja:

anotherdayforchaosfay:

tygermama:

byebyeskylark:

glynnisi:

captainevans:

“did chris evans actually jump that high to grab onto that helicopter in civil war?”

friendly reminder that chris vaulted with ease over chris pratt after just telling him less than a minute before that he would be able to clear him if he only put his head down.

I want a Celebrity Obstacle Course show where all the pretty people can show off their hard stunt work for us and also occasionally eat it, because they need to be humbled sometimes. The judges would be career stunt people, to give them visibility, because they work even harder. Shirts optional.

You wouldn’t even finish the phrase “Celebrity Ninja Warrior” before Chris would start jumping up and doing yelling “Me! Me! Pick me!”

Anyone know how to contact Netflix about this?

friendly reminder Chris did most of his stunts bc the stunt guys couldn’t move like him.

One thing we found, too, is Chris can run very fast. He also has a very unique run. It’s almost a dancer’s run. And when we tried to double him for running, there was nobody who could run like him. They just didn’t have the same dynamics or the way he moves. He had to end up doing most of his running.”

What we also found, is that we had gymnasts come in to do things, and Chris could do the same stuff that they could do, but it would look like Chris Evans. When the body doubles or the gymnasts or the runners did it, it just didn’t look like him. He has such a unique way of moving, and he could pretty much do all of his own physical stuff that wasn’t dangerous. Like this shot right here, we had a gymnast do this, and Chris actually ended up doing it better. That’s Chris here. He hops up on a tank and over a 12-foot wall. It looks effortless but it’s not that easy!”

“Chris worked his butt off for four months doing gymnastics and stunt training so in a scene like this he could go toe-to-toe with Georges St-Pierre and make it look really credible. Once the helmet comes off, 95% of that is Chris, except obviously for that massive aerial kick that he does. I think he did a fantastic job.”

gifs and commentary (blu-ray) above from @sherloques Rehearsal above from @dailymarvel

The really cool thing about Chris Evans is that he’s a super talented, athletic guy. He retains things amazingly well. I mean, I’m blown away. I can show him a 15-punch fight two times, and he’s got it. – Thomas Harper, Stunt Coordinator, CATWS

gifs & commentary from @bealeeve-me

gifs from @aguaman 

All good and true except that last one – that’s Same Hargrave, Chris’ stunt double.