Opinion Donald Trump Of course Donald Trump is a racist – and his Wall Street enablers know it Robert Reich Jamie Dimon and other big-earning CEOs are bankrolling the Republican assault on America. They must work to stop it Donald Trump greets business leaders beside president and CEO of JP Morgan Jamie Dimon, at the […] More

Listen and follow ‘The Run-Up’Apple Podcasts | Spotify | AmazonJason Aldean performed at the 58th annual Academy of Country Music Awards in May in Frisco, Texas.Chris Pizzello/Associated PressLast summer, politics, country music and cultural grievance collided with the growing popularity of a new song from recording artist Jason Aldean.Sucker punch somebody on a sidewalkCarjack an old lady at a red lightPull a gun on the owner of a liquor storeYa think it’s cool, well, act a fool if ya likeIn the lyrics, Aldean lists behaviors he associates with cities, like lawlessness and disrespect for the flag or the police. And then he warns listeners of the consequences if they “try that in a small town.”The song quickly hit the country music charts. Then, the music video was released.In it, images of Aldean singing alternate with newsreel footage of looting, violence and scenes from the racial justice protests that took place during the summer of 2020.The video was quietly edited to remove some of the more contested footage, but the battle lines had already been drawn. The song quickly gained popularity on the political right. And Republican primary candidates, including Donald Trump, began praising Aldean and playing the song at their events.And so as we were thinking about how to understand the G.O.P. presidential primary, we saw that Jason Aldean would be performing at the Iowa state fair. And we knew we had to go.About ‘The Run-Up’“The Run-Up” is your guide to understanding the 2024 election. Through on-the-ground reporting and conversations with colleagues from The New York Times, newsmakers and voters across the country, our host, Astead W. Herndon, takes us beyond the horse race to explore how we came to this unprecedented moment in American politics. New episodes on Thursdays.Credits“The Run-Up” is hosted by More

Source: Elections – nytimes.com More

What is Nikki Haley doing? What are her real intentions? Those questions have dominated every aspect of her candidacy.So much of what’s been said about Ms. Haley the last few months has been about what she’ll do after she loses — even that the original premise of the campaign must have contained hidden ambitions or total delusion. There’s been an assumption, even from would-be allies, that there must be another angle to the campaign, that she must want the vice presidency.That’s partly because, in her speeches, Ms. Haley often resists giving her listeners satisfaction, withholding the obvious point, allowing them to fill in what they want, both to Ms. Haley’s benefit and peril. She did not make a strong moral case against Donald Trump last year.But here we are after her big loss in New Hampshire, framed by many as the definitive end. Right now, Ms. Haley’s unwillingness to publicly engage with the obvious works differently, reveals different things.For instance, in a hotel ballroom by the Charleston, S.C., airport, with people decked out in “SC ❤️ NH” stickers, cheerfully wanting something they and everybody else know they probably won’t get, she proceeded as normal, giving that homecoming crowd primarily her normal remarks. She layered in critiques of Mr. Trump that dealt with inarguable surface realities, like how he talked about her the night before rather than about solutions to the nation’s problems: “He didn’t talk about the American people once; he talked about revenge!” (When she ran through a variety of problems he could have talked about, one woman yelled, “He don’t know!”)Insofar as she engaged with the obvious, literal reason that people in the room seemed so amped — that she was still in the race — it was this: “You know, the political elites, in this state and around the country, have said that we just need to let Donald Trump have this.” That was clearly what people in the room, who dropped into a long “noooo,” had come to hear discussed.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber?  More

Celebrated for his long tenure with Lyric Opera of Chicago, he led this and other orchestras with force and a notably energetic podium presence.Andrew Davis, an ebullient British conductor who brought energy to his countrymen’s compositions and passion to hundreds of opera performances, died on April 20 in Chicago. He was 80.His manager, Jonathan Brill, said the cause of Mr. Davis’s death, in a hospital, was leukemia.More than many conductors, Mr. Davis was remembered by those who worked with him as deriving a sense of physical enjoyment from the music — “almost a palpable pleasure,” the pianist Emanuel Ax said in an interview. And that translated into a pleasure for his collaborators. “People loved playing for him,” Mr. Ax said.Mr. Davis spent 21 years, from 2000 to 2021, as music director and principal conductor of one of America’s great opera companies, Lyric Opera of Chicago, in a vast repertoire ranging from Mozart through Wagner to Berg. He also led orchestras in Canada — the Toronto Symphony Orchestra, from 1975 to 1988 — and Australia — the Melbourne Symphony Orchestra, from 2013 to 2019. He also conducted at the Glyndebourne Festival in England from 1988 to 2000.But it was as an interpreter of 20th-century British music, and particularly the works of Elgar, Vaughan Williams, Delius, Holst, Britten and others, that Mr. Davis made his mark and earned his way into the affections of his fellow Britons. With its fervid, billowing patriotism and ruminative pastoral interludes, this music sometimes struggles to cross national boundaries.Mr. Davis conducting the BBC Symphony Orchestra in 1995. He was the orchestra’s principal conductor for a decade.Robbie Jack/Corbis, via Getty ImagesMr. Davis, as principal conductor of the BBC Symphony Orchestra from 1989 to 2000 and at summer London Proms concerts in front of enthusiastic audiences of thousands in the Royal Albert Hall, made the most of the British compositions that were his specialty. This deep homegrown commitment led The New York Times’s Bernard Holland, reviewing a 1987 Avery Fisher Hall appearance by Mr. Davis that included little-known works by Arnold Bax and Michael Tippett, to write that “the music of 20th-century Britain has hugely profited from the fervent ministrations of British musicians and the British musical press.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More