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      Trump says he will appoint himself chair of Kennedy Center

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      Donald Trump announced on Friday that he is appointing himself as chairman of the John F Kennedy Center for the Performing Arts, adding that he is immediately terminating multiple people from the board of trustees and the current chairman.“At my direction, we are going to make the Kennedy Center in Washington D.C., GREAT AGAIN,” Trump wrote in a Truth Social post.The Kennedy Center is the country’s national cultural center and is run through a public-private partnership. The idea for such a center began with Eleanor Roosevelt in the 1930s and was authorized by Congress in 1958 . It’s doors officially opened in 1971. The center is known for hosting music, theater, dance, artwork and performance art, and has hosted acts ranging from Tina Turner to Led Zeppelin.A spokesperson for the Kennedy Center said in a statement it was aware of Trump’s Truth Social post, but that it had “received no official communications from the White House regarding changes to our board of trustees”.Some members of the board have received termination notices from the administration, the spokesperson said.The Kennedy Center’s current chairman is David Rubenstein, a billionaire philanthropist and the co-founder of the private equity firm the Carlyle Group. Rubenstein has held the position since 2010 and was set to retire this year. After Trump was elected, the Kennedy Center said it had failed to find a new chair to replace Rubenstein and that he would stay on until September 2026.Rubenstein served as a policy adviser to Jimmy Carter and is reportedly close to Joe Biden. He was first appointed by George W Bush.Members of the board of trustees are typically appointed by the president. Currently, the attorney general Pam Bondi, lobbyist Brian Ballard and singer Lee Greenwood – all Trump supporters – are on the board, according to the Hill. Several Biden appointees are still on the board too, including press secretary Karine Jean-Pierre. First ladies are honorary members and Congress can also designate ex-officio members.“We have had a collaborative relationship with every presidential administration,” the Kennedy Center spokesperson said, adding that it has long had “a bipartisan board of trustees that has supported the arts in a non-partisan fashion”.Rubenstein’s position, which Trump says he is now seizing, has always been appointed by the center’s board members, according to the act authorized by Congress in 1958.“There is nothing in the center’s statute that would prevent a new administration from replacing board members,” the center’s spokesperson said. “However, this would be the first time such action has been taken with the Kennedy Center’s board.”Trump said the reason for terminating Rubenstein and some members of the board of trustees is that they don’t “share our Vision for a Golden Age in Arts and Culture”. In his Truth Social post, he also brought up the topic of queer people, something he has raised repeatedly since being sworn into office, saying that the Kennedy Center “featured Drag Shows specifically targeting our youth – THIS WILL STOP”.The Atlantic first reported Trump’s decision to appoint himself as chairman of the Kennedy Center. During his first term, he didn’t attend a single annual gala event at center – a tradition US presidents have long partaken in. Trump had a prickly relationship with the center after artists protested against his administration and threatened to boycott events at the White House.Now, it seems, Trump wants back in. Capping off his Truth Social post, he wrote: “THE BEST IS YET TO COME!” More

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      Seth Meyers on Elon Musk’s US takeover: ‘A billionaire coup’

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      Late-night hosts spoke about the damage being caused by Donald Trump’s new right-hand man as well as the president’s unconvincing attempts to show off his Christian side.Seth MeyersOn Late Night, Seth Meyers started by saying that despite the recent election, “the real president is Elon Musk”, who has shown he is in control despite being “very unpopular” with voters.He said the billionaire has been launching a “de facto takeover of the federal government” with his “team of unaccountable hatchet men”.Recent polls have shown that Americans are unhappy with Musk’s increased control but Trump has been defending him during typically hard-to-understand rambles, resembling “a real-time version of Mad Libs”.Musk has been frantically figuring out what to keep and what to cut within the government, with Meyers showing that he ultimately wants a “wholesale removal of regulations”.Meyers called it “a billionaire coup”.Musk has been busy dismantling USAid, with elected senators recently being blocked from entering the agency’s headquarters. “I’d be so embarrassed if I was a senator and I couldn’t enter the building based on something called Doge,” he said.Stephen ColbertOn The Late Show, Stephen Colbert also criticised Musk and his “crew of teenage mutant incels” who are busy trying to “tear apart 250 years of democracy like seagulls fighting over a bag of french fries”.They are trying to fire many people within the federal government and part of that has seen the White House ordering the CIA to send an unclassified email with the names of all employees hired over the last two years.Colbert calmed viewers by saying that according to an official, the people would be protected as the list only included the first names and first initial of the last name. “Well then we’re fine,” he said. “That is an uncrackable code.”He then joked that no one would be able to figure out who he was targeting if he said that it would be funny and good for the US if “obvious fascist Elon M got his junk stuck in a four slice toaster”.Colbert then said “Trump’s goons are also doing increasingly useless things just to scour the government clean of any trace of DEI” including taking down any reference to diversity or inclusion on walls or desks. “No federal agency is safe from the anti-compassion cyberdorks,” he said.They have also been ensuring that bathroom signs comply with Trump’s ruling. “What a waste of time,” he said. “The only bathroom signs that should be taken down are the confusing ones in theme restaurants.”He then continued by saying that “it’s not all bad news, some of it is also scary” as he spoke about a second bird flu strain that has now infected cattle. “This can mean only one thing: the birds are having sex with the cows,” he said. “Please no one tell the bees, they’re going to feel so betrayed.”Jimmy KimmelOn Jimmy Kimmel Live! the host spoke about this weekend’s Super Bowl, “also known as ‘get drunk at a friend of a friend’s weird living room’ evening”.Kendrick Lamar is the half-time performer, which means that it will lead to the “largest group of people ever to see anyone call Drake a bitch ever”.Trump will be in attendance and Kimmel joked that “he said he’s gonna let Elon pick the winner this year”.This week also saw the president attend the National Prayer Breakfast because he “doesn’t like it when people worship anyone but him”.He added that “of all the unbelievable things about Donald Trump, religious people believing he is also a religious person might be the toughest one to understand”.Kimmel said that if Trump met Jesus, “he’d call him a loser, he’d tell him to get a haircut and put a shirt on”.He also said the only reason he is going to the Super Bowl is because “he can’t stand to have even one day when he’s on TV less than Taylor Swift”. More

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      Sad but true – Donald Trump really did wrestle his way into the White House | David Moon

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      Do you remember World Wrestling Entertainment? For many people, the show, in which muscle-bound wrestlers in tight tights throw one another around in staged fights, is a nostalgic throwback to the early 2000s, when it played briefly on Channel 4. Today, its mix of soap opera, theatre and athletic spectacle still draws millions of viewers each week. To some, it’s a guilty pleasure; to others, timeless entertainment. Still, few would associate it with the serious world of politics.For Donald Trump, though, professional wrestling is a lifelong passion. His announcement in November that the former CEO of WWE, Linda McMahon, would take up the role of education secretary in his cabinet of curiosities elicited shock and disbelief. It is impossible to fully understand US politics today without understanding the significance of pro wrestling.Long before McMahon’s nomination, Trump was the first occupant of the Oval Office to be a WWE Hall of Fame inductee, an honour that marked his decades-long business relationship with the company. Trump has hosted two WrestleManias, the WWE’s flagship annual event, appeared more than a dozen times on WWE programmes, played a leading role in two storylines, and gotten physical (albeit to a very limited, awkward degree) around the ring itself. It’s now widely acknowledged that pro wrestling is key to Trump as a political phenomenon. Yet its influence is bigger than Trump. Wrestling has become a key element to understand the reshaping of US politics itself – particularly the Republican right.Just look at the 2024 presidential campaign. Jesse “the Body” Ventura was named by the Robert F Kennedy Jr campaign as a potential vice-presidential running mate. Hulk Hogan tore his shirt off at the Republican national convention, rallied “Trumpaholics” at Madison Square Garden, and hinted at a possible role in a future Trump administration on Fox News. For his part, Donald Trump participated in a Fox News segment with former WWE superstar Tyrus, who dubbed him “the people’s champion” and gave him a replica title belt. He joined the podcasts of pro wrestling icon Mark “the Undertaker” Calloway and current WWE superstar Logan Paul, as well as receiving the endorsement of Calloway and Glenn Jacobs – better known as WWE’s Kane, the Undertaker’s storyline brother – in a TikTok video.One explanation for such behaviour is simply that it’s strategic. A former boxing promoter, Trump has become a fixture at combat sports in general, especially Ultimate Fighting Championship (which merged with WWE to form the media conglomerate TKO in 2023), whose CEO, Dana White, was one of the first people brought on stage at his victory speech. By attaching himself to entertainment forms widely dismissed in polite society, Trump burnishes his anti-establishment vibes while reaching out to a younger, often politically apathetic, male electorate that populates these fandoms. It is pro wrestling, however, that is his natural home. The idea that Trump’s pro wrestling background is used strategically is also linked to his infamous campaign rallies. From the fireworks and thumping entrance music, to the carefully choreographed conflict and spectacle on the stage, the atmosphere of these rallies has often been compared with pro wrestling shows.View image in fullscreenTrump frequently resorts to call-and-response chants and indulges in “smack talk” against the “losers and haters” – assigning them diminishing nicknames such as “lyin’ Ted”, “crooked Hillary” and “sleepy Joe”. Being part of a pro wrestling audience – much like attending a Trump rally – allows spectators to experience emotions that are usually forbidden. They can scream, shout and display rage in a rare public context where it’s socially permitted. Trump rallies are safe spaces where it’s acceptable to emote: to shout and cheer for your country and candidate, while vocalising hatred for political opponents. In 2016, it was possible to think these similarities were coincidental. Today, the influence of pro wrestling is unavoidable. Watch the post-election footage of Donald Trump emerging to the strains of Kid Rock’s American Badass – the Undertaker’s previous entrance music – through the roaring crowd of a recent UFC event and it’s impossible not to make the connection.As the US political sphere becomes one gigantic pro wrestling arena, traditional theories and frameworks are inadequate for making sense of events. We need, therefore, to turn to pro wrestling for answers, particularly the industry-specific concept of “kayfabe”. Initially a label for the illusion that pro wrestling’s predetermined performances were “real”, today, kayfabe describes the peculiar way fans engage with pro wrestling as an acknowledged performance form. In her own insightful writings on pro wrestling and politics, the writer and author Abraham Josephine Riesman proposes “neokayfabe” as a label for Trump-inspired Republican strategies that deliberately blur truth and fiction so that producers and consumers lose the ability to distinguish between what’s real and what isn’t.The idea of politics as kayfabe can be taken further. In my view, the relationship between pro wrestling fans and performances are analogous to how electorates engage with contemporary politics more generally. Trump and his supporters are an extreme case of a wider phenomenon. Enjoying pro wrestling involves a deliberate suspension of disbelief, whereby fans acknowledge the theatricality of the performance while investing in it emotionally. Spectators collaborate with the performers by playing along as “believing fans”, cheering and booing as conventions dictate, embracing the spectacle even while recognising its pretence. In pro wrestling terms this is called “keeping kayfabe”.This mirrors people’s engagement with the artifice surrounding contemporary, professionalised politics. We all know, for example, that politicians’ words are written by speechwriters, based on focus group findings, targeted at specific voter demographics, identified by pollsters and strategists. Yet supporters suspend disbelief, cheer conference speeches and emotionally invest in sentiments they express, all while knowing and accepting and even discussing in detail the calculations behind their construction. In other words, they keep kayfabe. Politics increasingly amounts to this: electorates acting out their role as “believing supporters” while maintaining a knowing cynicism about the whole performance.What makes Trump special is thus not that he personifies “pro wrestlingified” politics, but that his supporters are willing to suspend their disbelief and support his campaign when its fakery is so blatant. If the best our political systems offer their understandably jaded electorates is the option to “suspend disbelief” and “keep kayfabe” with a political campaign they view as essentially simulated, we shouldn’t be shocked many choose the one with an anti-establishment pose and chaotic performance style (each products of a pro wrestling pedigree). It may be a performance, sure, but at least it’s entertaining.

      Dr David Moon is head of division for politics at Bath University More

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      Seth Meyers: ‘Trump’s fake populism was a con and it couldn’t be any clearer’

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      Late-night hosts talk Joe Biden’s act of clemency and Donald Trump becoming Time’s Person of the Year.Seth MeyersSeth Meyers could only laugh on Thursday evening at the image of Trump, just named Time magazine’s Person of the Year, ringing the opening bell at the New York Stock Exchange.The incoming president looked delighted – or, as the Late Night host put it, “like a Make-A-Wish kid who faked being sick until he got what he wanted”.“Before he was elected he toured the country telling grandpas in folding chairs he was just like them,” he added, “and as soon as he wins he’s on a fucking marble balcony on Wall Street rocking a bell like he just ate a 72-ounce steak in under an hour.”As for the cover, Meyers had concerns. “My only issue is this glamour shot of Trump in a pose I’ve literally never seen him take before,” he said. “I’ve only ever seen him screaming or hunched over, so apologies if I’m not buying Donnie Contemplation over here.”Moreover, “this guy has pretended for over a decade to be a populist champion of the working class and now he’s on literal Wall Street, getting pats on the back from the richest people in the country,” he said. “The only way that Trump’s hypocrisy could be any more on the nose is if he started doing campaign events with actual fat cats.”Case in point: though Trump repeatedly promised on the campaign to lower grocery prices, he told Time that “it’s hard to bring things down once they’re up … You know, it’s very hard.”“Fuck me, I can’t believe we really have to spend the next four years watching this idiot relearn how hard it is to be president,” said Meyers. “Yeah man, we know it’s hard. Everyone knows.”“Trump’s fake populism was a con and it couldn’t be any clearer,” he added. “The second that he won he started rubbing elbows with his rich Wall Street buddies and admitting that his promises were all BS.”Jimmy KimmelIn Los Angeles, Jimmy Kimmel also lamented Trump’s Time magazine cover. “Sadly there’s no one left to roll it up and spank him with it,” he quipped. “Maybe Elon will do it for him? I don’t know.”According to Time, the Person of the Year distinction is bestowed on the person, group or concept that had the biggest impact for good or for ill. “Well, that’s him all right,” said Kimmel. “It was a no-brainer in every sense of the word.”As for Trump’s appearance at the New York Stock Exchange, “he jammed his little finger on that bell like it was the Diet Coke button in the Oval Office,” Kimmel joked.Kimmel also touched on Joe Biden’s last-minute act of clemency, commuting more than 1,500 criminal sentences. “Before this, the biggest act of clemency was on election night on November 5,” said Kimmel.“Joe Biden is handing out pardons like they’re Werther’s Originals,” he added. “He has no more malarkey to give right now.”Stephen ColbertAnd on The Late Show, Stephen Colbert also noted Biden’s clemency, in which he also pardoned 39 people. “Wow, I did not know he had 39 sons,” the host joked.The mass commutation is a tradition for all outgoing presidents, but Biden committed the largest single-day act of clemency in modern history. “I believe that is an empathetic and generous act of forgiveness and hope – that will be knocked out of the headlines as soon as Trump threatens to bomb Manila because he cut himself on one of their envelopes,” said Colbert. “That’s coming. You know that’s coming.”Colbert also laughed at Pornhub’s year in review, which revealed generational trends, such as the fact that 18-to-24-year-olds spend, on average, 76 fewer seconds than any other age group on videos. “I guess young folks today don’t have the attention span,” Colbert quipped. “Back in the 90s, if you wanted to see boobs on your computer, you had to listen to this,” he added before a dial-up tone.The site also provided a map highlighting the most distinct searches in each state, such as Tennessee’s “chubby milf”, Delaware’s “mature” (“I assume in honor of Joe Biden,” Colbert joked), Maryland’s “girlfriend” (“dorks!”) and Pennsylvania’s “naked women”. “That’s clearly Amish teens on rumspringa getting their first crack at a computer,” Colbert noted. More

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      ‘I feel I’ve upset a few people over the years’: actor Brian Cox on overrated co-stars, charmless politicians and the joy of smoking weed

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      As I leave the office, my editor wishes me luck. “Hope he’s not too grumpy!” she says. A moment later, the deputy editor asks where I’m off to. To see Brian Cox, the actor, I say. “Oh!” she says, with a rather-you-than-me look. “Hope he’s not too grumpy!”Cox has played grumpy for going on 60 years. All sorts of grumpiness – idiot grumpy (independent candidate Bob Servant in the TV comedy of the same name), world-weary grumpy (school principal Dr Nelson Guggenheim in Wes Anderson’s film Rushmore), psychopathic grumpy (the first movie incarnation of Hannibal Lecter in Manhunter), egomaniacal grumpy (Robert McKee in Spike Jonze’s Adaptation) and, of course, brutal grumpy as media mogul Logan Roy in the TV series Succession. In recent years, he has often appeared on chatshows being grumpy about the state of the world. In 2022, he published his hugely entertaining memoirs, in which he was grumpy about method acting, useless directors, vain thesps, useless politicians, the church, capitalism, cancel culture, you name it. He was also fabulously indiscreet – Steven Seagal, whom he worked with on The Glimmer Man, is “as ludicrous in real life as he appears on screen”, Johnny Depp is “so overblown, so overrated”, Tarantino’s work is “meretricious”, Edward Norton is “a nice lad, but a bit of a pain in the arse because he fancies himself as a writer-director”, while Michael Caton-Jones, who directed him in Rob Roy, is a “complete arsehole”.‘I feel I’ve upset a few people over the years,” Cox says with an angelic smile. “The problem is, I can be quite a loudmouth. Sometimes I have been fairly volatile, and I think, ‘Why the fuck did you say that?’” He’s looking back over his epic career. “There’s a lot of stuff I’ve done which I look at and think, ‘That was crap.’” But today’s not the time for negativity. “No, I’m not going to go down that road.”Blimey, I say, we’re going to have to out you as a diplomat? He laughs – a lovely youthful chuckle. “Yes! You can out me as a diplomat!” he says enthusiastically. The thing is, he adds, certain people are overrated. We’re talking about his memoirs, and the unflinching references to the likes of Depp and Seagal. “But then they probably think they’re overrated as well. So I’m not saying anything they don’t think anyway.”View image in fullscreenWe meet at a hotel in London’s West End, close to the Haymarket theatre where he’s rehearsing The Score, about the ageing Bach, directed by Trevor Nunn. Cox stars in the play opposite his wife, Nicole Ansari-Cox, who is playing his stage wife. Cox looks so dapper in 50 shades of brown – brogues, socks, checked trousers and jacket, all offset with a purple tie. As a young man, he looked older than his years – a squat, Sherman tank of a man made for middle age. Now, at 78, with snow-white hair and a goatee, he looks surprisingly youthful.I ask him why he so often gets cast as grumps. He holds his hands up, nonplussed. Is it because he is one? “No, I’m not like that at all. It’s the antithesis of who I am, actually.” He stops to think about it. “No, that’s not entirely true. Of course, I get grumpy. Particularly about politics, I get very grumpy. A lot of that makes me angry. The failure of the Labour party in particular.” Pause. “But I don’t want to get into that.” Another pause. “Listen, I could go on for ages.” And another.One, two, three. And he’s off. “I don’t know why the Labour party is called the Labour party. It’s not labour orientated. I just think … ”He exhales with loud disappointment. “Keir Hardie, the guy who started it all, was an extraordinary man. And it was a very inclusive thing he was after – social justice. And this lot coming in now, they’re not exercising social justice. It’s true that the last lot left us in deep shit, so there’s a lot of stuff they’ve got to do, but they’ve got to be a bit canny about it in order not to alienate the folk. And Starmer is not exactly the most charming of individuals. He’s not Mr Charm. He’s not got the thing Tony Blair had, which served him brilliantly till hubris got the better of him. Starmer is minus one on that score.” Nor does he rate Rachel Reeves, the chancellor, on the charm front. “She’s had a charm bypass. There’s no question.” He laughs again. But he’s worried – for Scotland, for Britain, for Europe, for the world.Cox has been campaigning with the group Independent Age against the scrapping of the winter fuel payments for pensioners who aren’t on certain benefits, urging older people to check whether they are eligible for pension credit. “I just think it’s not on. It’s unjust. And means testing?” He hisses the word with contempt. “Means testing is something they did in the 30s. And I find that … I don’t know.” He stops, lost for words. “I can’t get with it at all.”View image in fullscreenHe loves his politics. For many years, he was a Labour loyalist. “I was a big Labour man. I was the voice of Labour for the 1997 campaign.” Eventually, he fell out with Blair over Iraq. As for Corbyn, he says, he was not cut out to be a leader. “Jeremy Corbyn is a great guy, don’t get me wrong, but he’s a professional backbencher. He’s a naysayer. And you can’t just be a naysayer, you’ve got to come up with something else in its place. That’s what progress is about.”And just to show he’s no naysayer, he’ll name the person most suited to the job. “I was all for Andy Burnham.” Unfortunately, he says, Burnham is mayor of Greater Manchester rather than a Labour MP. “But what he’s done in Manchester is phenomenal. And he’s keen on the idea that I’m keen on, which is a federal Britain. I believe the way we will survive and come out of the fucking shite that we’ve been in, and keep regurgitating again and again, is by being a federal society where each country has its own say. You can’t separate these islands off, but we’ve got to come together on a federal basis. Not as subjects.”Cox had a fascinating childhood, and is still exploring how it shaped him. He was born in Dundee, to observant Catholic parents. He was the youngest of five siblings – his oldest sister was 17 years his senior. His father, Charles, known as Chic, ran a grocer’s in a deprived part of Dundee; his mother was a spinner in the jute mills. Chic was a kind, sociable man who sold stuff on tick to the needy. “We lived in a tenement, and my dad had the grocer’s shop for 25 years, so he was lower middle class. Not working class.” The flat had two bedrooms – the three girls slept in one room in a single bed, his parents slept in the other, while Cox and his older brother bedded down in the living room.There were three landmarks within a street of where they lived – the church, the library and the cinema. He went to the church because he had to, the library because he wanted to, and the cinema because he was smitten. “My first love was cinema. There were 21 cinemas in my hometown, and I visited every single one of them.” From the age of six, he went by himself. First, he fell for Jerry Lewis and Dean Martin’s slapstick, then, by the age of nine, he was watching serious films about corruption and thwarted ambition such as On the Waterfront. There was no question, he says, that he would become an actor. “I knew this was my trade.”View image in fullscreenWere there any actors he knew, in the family or among friends? “No, but there were performers.” He looks at the biscuit next to his coffee. “D’you want it? I’m diabetic so I can’t eat it. Every Hogmanay the flat was packed with 70 people and I’d be summoned at 1am to perform.” How old was he? “I was three.” Was he the only one summoned? “No, everybody was. My second eldest sister, May, had a great voice. I’d do Al Jolson impersonations. It was weird for a wee boy to sing “Climb up on my knee. Sonny Boy, though you’re only three”! I always remember the effect on the room. There’s something about the room when it’s focused on something. The dynamic changes. Human beings get into a harmony with one another. It’s a wonderful feeling, and I thought, I want to be a part of that.”When he was eight, his father died and his life was uprooted. They discovered that Chic had given so much away on tick, he had left the family in debt. His mother never recovered from his death and their new poverty, and she had severe mental health problems from then on. Cox was farmed out to his three sisters. He left school at 15 and went to work at Dundee Repertory, and at the age of 17 went to England to study at the London Academy of Music and Dramatic Art.“The 60s were amazing. It was the time of social mobility, when you were welcomed. When I came to drama school, people made it obvious they were happy that I was there. I felt so liberated. London to me has always represented freedom. I loved the sense that I was allowed to be who I was and celebrated for coming from my class.” Does he think he would have a chance of making it nowadays, coming from his background? “No, I wouldn’t. The conditions are so different now.”He really hoped to be an American movie actor, but of course that was impossible. So he settled for being a British theatre actor. And this is where his identity started to fragment. He wanted to be the best he possibly could be in theatre, and that meant excelling in Shakespeare, and Shakespeare was unambiguously English. So Cox started to think of himself as British at best, possibly even a little bit English, and he became more and more divorced from his Scottishness. He moved away from his homeland physically and mentally.Ever since he fell out with Blairism, he has been reconnecting with his Scottishness – or more accurately his Celticness. He recently had a DNA test and discovered he is 88% Irish and 12% Scottish. And it makes sense to him now.View image in fullscreenCox campaigned for Scottish independence and became active in the Scottish National party. Did he ever consider going into politics? “Yes. Alex [Salmond] wanted me to stand as an SNP candidate. I just don’t believe in the word national. It’s got too many connotations. It should be called the Scottish Independence party. SIP.” Cox became close to Salmond, the SNP’s former leader who died in October. Salmond was a controversial figure, who was cleared of 12 charges of sexual assault in 2020, with one charge of sexual assault with intent to rape found not proven. “Alex wasn’t a saint by any stretch of the imagination, but his political thinking was quite brilliant. Probably the most brilliant we’ve had. He was a visionary. I saw a lot of Alex. He was great fun, a bon viveur.”Did he ever warn him about his behaviour? “I never got to that stage. I wish I had. Someone had asked me about his questionable relationship to women. I won’t go into the details. And I think that was problematic.” Was Salmond aware it was problematic? “He wasn’t a fool so he had to be aware of what was going on, but he got let off. He was never salacious in my company. I just liked his brilliance; his sense of the world.”One reason Cox wasn’t tempted by politics is that he has always loved his profession. Acting has been a calling; a vocation. Cox gave up on his Catholicism long ago because it made no sense to him. “If you want a real church, go to the theatre; that tells the truth. Or the cinema. Go and see the performing arts.” He talks about the great directors with awe, paying a special tribute to two who have passed on – Michael Elliott who directed him in a stage production of Moby Dick in 1984, and Lindsay Anderson, who cast him in In Celebration, his second film, in 1975, set in the Derbyshire mining town of Langwith, and also starring the great Alan Bates. “Michael Elliott and Lindsay Anderson were the two people who gave me standards – both were of Scottish extraction, it has to be said. It’s a sort of purity of vision. I loved working with both of them. I’ve still got Lindsay’s notes.”Cox, famously, can’t stand method acting. He believes it’s pointless, selfish, an enemy of the imagination and destroys the atmosphere for others on set. He has described the technique used by his Succession co-star Jeremy Strong, who plays one of his three children, as “fucking annoying”. But, today, the newly circumspect Cox would like to accentuate the positive. “He was wonderful to act with. I had no argument with Jeremy’s acting.” But? “He would be an even better actor if he just got rid of that so there would be much more inclusiveness in what he did.”Isn’t it a pain when you can’t have real conversations with a cast member because they are permanently in character? “Well, it’s not good for the ensemble. It creates hostility. That’s the problem.” Did he talk to Strong about it? “No, not in the way I would like to have talked to him, but it’s a very emotive subject for people who follow the Strasberg line.”View image in fullscreenCox is talking about Lee Strasberg, regarded as the father of method acting in America. Last year, Cox suggested that if Strong had been more relaxed about his technique it would have been helpful for the Succession cast: “Go back to your trailer and have a hit of marijuana, you know?” Does he hit the marijuana? “Oh yes,” he says. What does it do for him? “It relaxes me.” He says it was only in middle age that he discovered the joy of a spliff. He was introduced to it by the uncle of a former girlfriend. He does a Cockney wide boy impersonation of him. “He was staying with me, and I’d come home and say it’s difficult for me to switch off, and he said, ‘Have you ever tried the weed?’ I’d always been very against that because when I was young I thought drugs just obfuscated the career path. And probably it would have at that time. So he said, ‘Why don’t you try some weed?’ So I did, and I just thought, ‘Oh GOD! It’s just the best way to get rid of the day.’”Succession has made Cox more famous than he ever had been. A mixed blessing, he says. Beforehand, he would get stopped by people who recognised him, but didn’t know why. Now there’s no doubt. Strangers not only ask for selfies, they also beg him to tell them to fuck off Logan Roy style, which often he’s happy to do, with feeling.Looking back at earlier profiles, it’s an astonishing career progression. In the 1980s, when he won the Laurence Olivier award for best actor in a new play for Rat in the Skull, and Critics Circle award for Titus Andronicus and The Taming of the Shrew, we were told he was a latecomer to success. In his 70s, he has won a Golden Globe and been Emmy nominated three years on the trot for playing Succession’s dyspeptic media mogul, who some have compared to Rupert Murdoch. “There’s a lot of, ‘Oh Brian Cox, isn’t he doing well now?’” he says. “But I’ve done well my whole career. I’ve had a great career.”Succession has, however, given him opportunities that he might not otherwise have had. He has just finished directing his first movie. Glenrothan is a family saga about a whisky distillery, which he calls his love letter to Scotland. What he has learned most from the experience, he says, is that directing is the wrong word for the job. “I realised I’m not a director, but a curator.” What’s the difference? “Film is a communicative art, where you’re curating brilliant costume designs with brilliant set designs with a brilliant DP. It’s not you. You’re just gathering that together and organising it, rather than saying we must go there and do this and do that. Not me, me, me. I mean the film may be shite, but at least it’s shite on my terms.”He has worked alongside his wife, Nicole Ansari-Cox, before; he directed her in 2020 in Sinners, a play about a woman stoned for adultery. “I love directing her. Or even curating her! She’s great – so good, so open.” Before marrying Ansari-Cox, he had two children with the actor Caroline Burt, to whom he was married for 19 years. His oldest is the actor Alan Cox, now in his mid-50s, who played the young John Mortimer in the TV drama A Voyage Round My Father.Cox has straddled the classes over the years, and known both poverty and considerable wealth. Burt came from an upper middle class family, and they sent their children to prestigious public schools. He has often said he was lacking as a father first time round – impatient, absent. But now he’s not so sure. “I think that’s just to do with the fact that I got married so young first time. I was 21 and had my first kid at 24. It was all alien to me.”View image in fullscreenHe has experienced being both a young father and an old one. His two sons with Nicole, Orson and Torin (aged 22 and 20, respectively), have grown up in New York, where the family live. He becomes gooey when talking about them. “I still look at their baby pictures. I miss them from when they were small. They’re now grown adults. They’re ridiculously tall, which is embarrassing because I’m only 5ft 8in and Nicole’s 5ft 2in.” How tall are they? “6ft 4in and 6ft 3in. It’s something about America. I used to think, ‘If I go to America, I’ll grow tall. Well, I’ll be taller.’ And of course I never lived in America when I was young, so I never got tall!”As a US citizen, how does he feel about the return of Donald Trump as president? “The penny doesn’t seem to drop about him. I can’t understand it. That’s why it’s so shocking. A man known to be sexist, racist, a suspected rapist … ” He turns puce, and struggles to get the words out. “And he’s got a big Catholic vote behind him … and I kept thinking, ‘How does that tie in with Catholic consciousness?’” No wonder, he says, that he gave up on religion. “It’s all bollocks. BOLLOCKS,” he roars. I’ve never met anybody who says bollocks with such ferocity. Then he rows back. “I don’t want to be disrespectful of people who believe, so bollocks is a bit harsh.”The older he gets, the more he wants to know why we’re on Earth – what our purpose is, if there is any. And the re-election of Trump makes him even more baffled. “We don’t understand who the fuck we are. We really don’t. We have no fucking clue who we are. How did we get to a stage where 80 million Americans will elect this fucking, you know, to become president.” He says “fucking” every bit as ferociously as he does “bollocks”.Does the US election make him lose faith in people?” “No, it doesn’t make me lose faith in people. It just makes me realise people are stupid. We’re in for a pretty rough old four years coming up.” Does he think he’ll stay in the US with Trump in power? “I don’t know. I’ve got to because my sons are there. But I’ll try to spend as much time here as I can.”We change the subject to something more positive. He tells me how he got together with Nicole. He’d previously met her one evening in 1990, when he was playing Lear in Hamburg. They talked, they danced, and then eight years elapsed before they saw each other again. By now he was single, recently out of a long-term relationship, and working on Broadway. “I got this message from the stage doorman, Jerry, and he said, ‘This broad came here last night. Really good-looking broad, she left this note, and I had one of those weird thoughts, ‘If I open this note, it’s going to change my life.’ I literally had this premonition. I’ve never experienced anything like this in my life.” And it did. He had just heard there was a no-show, so he rang Nicole and offered her the ticket. “We got together over that weekend – 1998, 26 years ago.”View image in fullscreenHe has previously said the secret to a happy relationship is separate bedrooms. Did he mean it? “That helps.” Why? “Because it means we’re independent. We’re not dependent on each other. I mean it’s very hard at the moment because we’re having to share a room, as I’ve got such a small flat in London. It’s weird. The place is such a fucking mess.” Normally, back home in America, they have a totally different set-up. “We visit each other.” Does he stay overnight if he visits? “Yeayeayea. The secret of a happy marriage is to allow the person to be the person and not make them into what you want to make them.”I ask if he thinks about death. “Yes, all the time. I have a fantasy every night about how I’m going to die. I don’t think about it in a depressing way. I just think of all the possible scenarios.” What’s his favourite? “Going without fuss, wrapped up in bed with a cup of tea, maybe with the telly on.” I think you may have a long wait ahead of you, I say. “Maybe. Maybe.” I hope so.It’s time to leave. We head off together. He talks about where I grew up in Manchester, the years he spent there working in the theatre, and the people and places he loves that I may know. Grumpy? No way. Sure, he’s passionate about a better world and pointing out all that’s bad in the present one. Yes, he’s a loudmouth with a penchant for roaring “Bollocks” at the world’s shysters and hypocrites. But, whisper it, Brian Cox may just be one of life’s great enthusiasts. The Score is at Theatre Royal Haymarket in London from 20 February to 26 April 2025, trh.co.uk More

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      in US Politics

      ‘Harm to children was part of the point’: a harrowing film on US family separations

      by

      He thought he was working in the past tense, making a film about what one Republican-appointed judge described as “one of the most shameful chapters in the history of our country”. Then Donald Trump won the 2024 presidential election. Now Errol Morris’s documentary about family separations at the US-Mexico border looks like a dreadful premonition.“It’s interesting how things have radically changed,” Morris says via Zoom from a book-lined office in Cambridge, Massachusetts. “The movie, which presumably is recounting past history, seems to be a crystal ball into what may happen next and that was not clearly imagined at the outset. But it is clearly suggested now.”Separated is based on the NBC News correspondent Jacob Soboroff’s book Separated: Inside an American Tragedy (“one of the best collaborations I’ve ever had”, says the Oscar-winning Morris) and premieres on the MSNBC network on 7 December. It is an excruciatingly timely reminder of how Trump ripped 5,500 children from their parents (up to 1,400 of whom are not yet confirmed as reunited).The 93-minute documentary forensically details how the first Trump administration’s policy of family separations was deliberate, systematic and intentionally inhumane, leaving children in wire-mesh cages with feelings of fear and abandonment. Trump said with casual cruelty: “When you have that policy, people don’t come. I know it sounds harsh but we have to save our country.”Wearing white shirt and spectacles, sipping from a white coffee mug and speaking slowly in honeyed tones, Morris reflects: “The separations was an abomination. It was racist, was cruel, was unnecessary. As one of the interviewees in my film says, there were other levers that we could pull. This seemed to be something we did not need to do.”Trump had come into office promising a crackdown on illegal immigration including the construction of a border wall. The pre-existing catch-and-release scheme (which had allowed migrants to remain in the country until their immigration hearing) was ditched in favour of something more draconian.Family separations under his administration began as early as March 2017 under a pilot programme in El Paso, Texas. The fact it is was happening covertly undermines the notion that it could act as a deterrent.A “zero tolerance” policy, officially announced in spring 2018, marked a significant escalation. It mandated the prosecution of all adults crossing the border illegally. Anyone who did not arrive at a designated port of entry and claimed asylum would be arrested.While the policy never specifically called for children to be taken from parents, separation became inevitable because the adult was detained and charged. Since children were not allowed to be held in a federal jail, they were taken from their parents and placed in the care of the Office of Refugee Resettlement (ORR).Jonathan White, a civil servant who worked at the ORR and fought against the policy, says in the film: “Harm to children was part of the point. They believed it would terrify families into not coming.”Images of children held in cages in a McAllen, Texas, facility triggered outrage in June 2018. But Homeland security secretary Kirstjen Nielsen denied that there was a policy of separating families at the border and sought to shift blame to Congress, even though the enforcement of laws happens at the president’s discretion. The Bush and Obama administrations had largely allowed families to stay together.Morris comments: “There was a totally fatuous claim that is made by Kirstjen Nielsen in the film: we’re just following the law – if you arrest a criminal and they have a child with him or her, you separate them.“There have been miserable policies towards immigrants from probably every administration, the first Bush on through to Donald Trump. But none of those administrations felt the need to do what he did. It was considered to be a step too far, a no-no, and yet they embraced it anyway.”He continues: “There are a lot of things that get to me but what really appalls me is that they would separate nursing infants from their mothers. This is clearly not right. What’s the word I’m searching for? This is wrong.”For Morris, the child separation saga pointed to a wider issue. “It’s an issue about racism and what I see as the racist rhetoric and policies of Donald Trump and his acolytes. I find it repulsive. I often like to remind people that racism is disgusting and it’s also bad manners. Haven’t we been taught not to act like that? Isn’t that part of the repertoire of being a civilised, cultured human being?“I hate analogies, but like everyone else, I can’t avoid using them. I like to tell people, as an American Jew, I always wondered what it was like to live in Germany in the 1930s, more specifically to be a Jew living in Germany in the 1930s. Now I know a lot more about what it must have been like.”Morris’s works include The Thin Blue Line, The Fog of War, American Dharma and My Psychedelic Love Story. Separated came with some distinct challenges. Much of the separation process happened away from TV cameras; the director compensations with dramatisations to portray a Guatemalan mother and son experiencing the border crossing, separation and reunification.View image in fullscreenIt was also hard to get interviews with those involved. Morris explains: “There are all kinds of impediments to getting people to talk; I’ve never seen anything this severe. If you’re working for the government, for example, like Jonathan White was working for the government, you’re constrained. You’re not allowed to talk without getting the permission of your superiors.“Most people who are still working in some capacity for the government simply would not talk and it didn’t matter how much begging and how much cajoling I might do. Jonathan would and that represents an extraordinary act of courage on his part.“He felt that the issues were so important that he had to talk. Call him a whistleblower. Call him whatever you want to call him. He did something that was incorrect and greatly appreciated by me. He took risks in order to tell a story which I believe needed to be told. A hero.”In his interview White describes Scott Lloyd, the head of the ORR, as “the most prolific child abuser in modern American history”, given White’s disturbing lack of awareness of the trauma inflicted on children under his care.Morris reflects: “Why is he doing the job? He’s a political appointee. He was known for his anti-abortion activism and that was his chief concern: preventing any of the women in ORR custody from ever getting abortions, even though at that time Roe was the law of the land.“Was Scott Lloyd interested very much in the care of people in his charge? I don’t know. It seems to me – I hate to make these inferences but I don’t hate them so much that I’m unwilling to make them – that he was currying favour with the administration. He was interested in self-advancement. He was ambitious and perfectly willing to do the bidding of the hardliners in the Trump administration.”Separated is also a study in the bureaucratic machinations behind how the sausage is made. “There is a very strong theme running through this about bureaucrats and bureaucracy, good bureaucrats and bad bureaucrats. Most interesting to me in the story is how pliable our morality is.“If we need to find a way to justify the most appalling behaviour, we somehow find a way to do it. You can listen to Kirstjen Nielsen braying like a donkey that she is just following the law – you wouldn’t want me to break the law, would you?“Well, I don’t look at it that way and, when it’s suggested that she might be separating families as a deterrent to immigration, she gets outraged. I can’t even believe you would suggest such a thing. This is all Looney Tunes. It’s people living in some strange nimbus of self-deception.”The film highlights the role of civil servants who challenged the policy and fought to reunite families – courageous individuals such as White and Jallyn Sualog who worked within the system to mitigate its harmful effects. And it offers a reminder of the mass street protests – plus worldwide condemnation from the pope and others – that ultimately compelled Trump to back down: the one significant policy reversal of his first term.Yet a scandal that has been called “torture”, and by Morris himself as leading to “state-created orphans”, gained relatively little attention during this year’s presidential election campaign. Democrats were on the defensive on the border issue and tried to avoid the subject.Morris says: “People were scared to talk about immigration. The Democrats were and the Republicans weren’t scared to talk about it as long as they could frame it in the most draconian, repulsive terms: we’ll deport everybody.”View image in fullscreenHe was denied a chance to help put the issue on the agenda when Separated was not scheduled for TV broadcast until after election day. Morris complained on the X social media platform: “Why is my movie not being shown on NBC prior to the election? It is not a partisan movie. It’s about a policy that was disgusting and should not be allowed to happen again. Make your own inferences.”Trump claimed that undocumented migrants are “poisoning the blood of our country” and asserted, without evidence, that Haitians were eating pet cats and dogs in Springfield, Ohio. He pledged the biggest mass deportation in US history and has already announced a team including the immigration hardliners Tom Homan and Stephen Miller, both of whom were instrumental in family separations during the first term.Will there be another public revolt this time or, given Trump’s victory in the national popular vote, are people demoralised and desensitised? Morris asks: “Did people in Germany all know that there was antisemitism? Well, yes. Did they know that they were involved in genocide? Probably not everybody.“On the part of the public, there’s a concept I’m very fond of: anti-curiosity. I sometimes say to myself, how much will it cost me to know less? There’s denial, there’s self-deception, there’s willful disbelief and on and on and on and on and on. I often say Homo sapiens: very bad and most certainly a compromised species.”But a mass deportation operation will be costly, logistically difficult and likely to produce harrowing images on TV that could reignite the anti-Trump resistance. At a recent screening of Separated in Washington, an audience member interrupted Soboroff and others on a panel discussion by shouting: “We’re not going to let him make our federal government the Third Reich of the US! We’re not going to let him make our National Guard people the Gestapo of the United States! We are not going to let that happen!”The sequel is always worse. Mass deportations would mean a return to child separations by another name. Some 4.4 million US citizen children lived with at least one undocumented parent as of 2018. The return of Trump has left Morris thinking about questions of justice.“What happens when you have crime without punishment?” he asks. “We all have this kind of quasi-religious model that moral transgressions have to be punished. There has to be some kind of societal reply. But what if there isn’t? What if crime goes unpunished?“I was just in Ukraine and I kept wondering – they’ve recorded over 100,000 war crimes by Russian soldiers – will these go unpunished? Will there ever be any kind of accountability? My answer to that is: ask America about crime without punishment and what ultimately that does to a society.”

      Separated will air on MSNBC in the US on 7 December More

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      in US Politics

      Rapper Rhymefest on Trump, Kanye and David Cameron: ‘There’s a political realignment happening in the US’

      by

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      View image in fullscreenChe Smith is your favorite rapper’s favorite wordsmith. As Rhymefest, the Chicago native announced himself as a formidable battle rapper, verbally sparring with Eminem and other stars in the late 90s. He co-wrote some of Kanye West’s biggest hits, not least the Grammy-winning Jesus Walks, while carving out his own exemplary career as a conscious emcee. He won a Golden Globe and an Oscar for Glory, the Selma film soundtrack theme he co-wrote with John Legend and Common, a fellow Chicagoan.Even as the successes piled up, Smith, 47, never stopped thinking about his humanitarian obligation to his home town of Chicago, cut down to a metonym for urban violence and rot.This year, when Chicago held school board elections, the first in the city’s history, Smith decided to run as an independent because he believed his experiences and relationships in the art and music community could prove beneficial.“I had my eye on this,” says Smith, an imposingly sage presence who commands attention whether on the stage or the stump. “I knew how historic an elected school board would be to Chicago, the last major municipality that did not have the democracy of an elected school board.”Pitted against a pastor, a non-profit CEO and a former district principal, Smith won with 32% of the vote. Once sworn in, he hopes to use art to expand students’ horizons. “In terms of Stem – science, technology, engineering and math – why are we not adding arts to make Steam?” says Smith, a former teaching fellow at the University of Chicago’s Institute of Politics. “I know it sounds cliche, but if you’re taking a trigonometry class and learning angles, and you’re in art class learning angles, it could make you better at trigonometry.”Smith’s twinning of commercial artistry with activism separates him from his rap celebrity peers who’d sooner shovel money into a foundation and occasionally turn up to hand out school supplies.View image in fullscreenHe might have become one of those check-writing celebrities if West’s mother, Donda, hadn’t intervened. “One of my biggest teachers,” Smith says of the late mentor he called Miss Maya, for Maya Angelou. “We would [come to campus] and play music for her when we’re 14 or 15. When she would hear us talk about shooting or selling dope, she would ask, ‘Is that really who you are? And if you get famous, is that who you want to be? Because if that is who people perceive you as, you’re going to have to live inside that character for the rest of your life.’”Smith and Ye (as the artist is now known) have been friends since they were teenagers, bonding over music. They came of age as Chicago was emerging as a hive of socially conscious rap and hip-hop force to rival the coasts. With Common and the producer No ID as guides and Twista and Lupe Fiasco pushing them, Smith and Ye emerged as a dynamic duo – the former putting weighty words to the latter’s chipmunk soul beats, inspiring generations of homegrown talents that run from Chance the Rapper to Earl Sweatshirt.In 2011, Smith and Ye founded Art of Culture, a youth mentoring non-profit where Smith teaches writing and leads cultural retreats around the world. It was originally named Donda’s House. But differences of opinion over how the non-profit should be run drove a years-long rift between the two. Things are better between them now. “What we do have is brotherhood,” Smith says. “And I think we as human beings in America have to learn how to have brotherhood and village without always expecting somebody to make our dream come true.”View image in fullscreenSmith’s imagination has carried him quite a distance. Unlike Ye, who was raised middle-class, Smith grew up poor and was raised by a single mother who had him at 15. He recounts some of this in a 2015 Showtime documentary called In My Father’s House. In it, Smith is driven to reunite with his father, absent from his life since age 12, after purchasing his childhood home. Despite dropping out of high school to pursue music, Smith gravitated to Donda and other individual teachers in his neighborhood – not least the Rev Jesse Jackson, who opened up the south side headquarters of his Operation Push civil rights organization for Wu-Tang concerts and rap shows featuring local artists.After seeing that combination of song and social responsibility play out so seamlessly up close, with Donda’s “sage counsel” still ringing in his ears, Smith committed himself to a more practical brand of rap realness. “When you hear lines like ‘we all self conscious / I’m just the first to admit it’ [from Ye’s All Falls Down], that didn’t come from how brilliant we are as artists,” Smith says. “That came from teachers that trained us how to be authentic. We have great teachers here that work with you in art. And the same way that was done for me, it’s my duty to serve in that way for up and coming artists.”Chicago city politics are notorious for being a vipers’ pit of sharp-elbowed, take-no-prisoners wheeler-dealing, defined by major party crony favor-trading for the better part of a century. The standard was set by Richard J Daley, the imperious mayor fabled to have fixed the 1960 presidential election for John F Kennedy. Decades later the same political machine would put Barack Obama in the White House.It’s only in the last few years that the Chicago Teachers Union has emerged as a major political player, funneling more than $23m into Illinois candidate Pacs since 2010 – investment that culminated in the 2023 election of the mayor, Brandon Johnson, a former public school social studies teacher. In 2023 CTU and its affiliate unions spent nearly $6.5m on Chicago elections, more than any interest group.Smith wasn’t the strongest candidate to represent district 10 – a craggy south side outcropping where a handful of high-performing schools are sprinkled among the failing and condemned. His given name alone, Che, taken from the Marxist revolutionary, writes its own attack ads; his Muslim faith provides the exclamation point.“I have a brother that walked across 15 countries, through the Darién Gap, who lives in my house,” Smith says when I ask him how the immigration crisis is affecting city schools. “Chicago has been having low birth rates, 10,000 less children for the last 10 years. That means there are hardly any children to enroll in public schools.” The new arrivals, he argues, keep the schools filled and funded.Then of course there’s the matter of Smith’s music career, another potential reason for voters to not take him seriously. Broadly, Smith takes offense at the way musicians are treated in the political arena, as if they’re only good for kicking off rallies. It pained him to watch Lil Jon deliver Georgia’s roll call at this year’s Democratic national convention in Chicago. “Lil Jon’s father is an aerospace engineer and his mother is a military nurse,” Smith says. “He can relate to people whether they’re low information or high information, and he’s not the only one. Kanye is the son of a Fulbright scholar. Lupe’s mom was a community activist. Chance’s parents are political operatives in the city. Why wouldn’t you let them reimagine policy? It’s a missed opportunity, but we artists have to take it upon ourselves not to wait to be handed power.”Smith might have waited longer to make his move if Mark Ronson, a close collaborator and one-time label boss, hadn’t pushed him to write an open letter to the former British prime minister David Cameron after the then Conservative party leader took exception to the hip-hop-coded content on BBC Radio 1 in 2006, saying it “encourages people to carry guns and knives”.“David Cameron – someone who I have very little, if anything, in common with – inspired me to know what my influence was as an artist and leverage my cultural currency for social and political justice,” recalls Smith. “But he said something that made sense in our meeting: ‘I turn on the radio, and all I hear is sirens, gunshots and violent rhetoric. I thought it was a national emergency. What am I supposed to do with that as a political leader?’“I thought he had a point,” Smith goes on. But what I had to tell him is that his politics created that warning shot he heard on the radio.”View image in fullscreenHe believes one reason Cameron ultimately lost power is because he “was never really in tune with the people on the street”.Keen to live up to his independent tag, Smith put $100,000 of his own nest egg into his school board bid – which was notably not endorsed by the Chicago Teachers Union. He says his victory is a credit to a grassroots coalition that ran the gamut from “the streets” to former university students – whose votes he counted as a “‘very good’ professor rating”. He further appreciates that some of the same people who voted for him also voted for Donald Trump – a man who once disparaged Chicago as a “war-torn” city of Black people and Latinos “living in hell”.“Votes for Trump went up across the board in Black communities and Latino communities,” Smith says of the rightward shift in deep blue Chicago. “They voted for a deconstructor of systems. There’s a political realignment happening in America, and I don’t even think the institutions have caught up with it. There are a lot of people that long for the dismantling of the system for the opportunity to build it anew.”Smith has a lot he wants to tackle in his first term – busing, strategic partnerships, the district’s $1bn budget shortfall. That doesn’t seem like it leaves much room for making or performing music. But because school board politics is essentially pro bono work, he’ll have to find the time. “You have to ask yourself, why are these interests putting millions of dollars into running candidates for a job that doesn’t pay?” he says.There was a time in the not too distant past when Smith thought his raptivism could have lasting impact only if he were on a similar fame level to Ye, and not just a dope lyricist. But after his landmark victory, Smith feels like he’s finally meeting the political moment that was laid out for him long ago and is encouraging his industry peers to take similar authorship. “It’s not enough to make a song anymore,” he says. “You gotta make a song and then create a reality from it. It’s time to take all those raps and all those words and start to walk through them and create a better society from the imagination of the music. That’s what I’m doing.” More

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      in US Politics

      The deep historical forces that explain Trump’s win

      by

      In the days since the sweeping Republican victory in the US election, which gave the party control of the presidency, the Senate and the House, commentators have analysed and dissected the relative merits of the main protagonists – Kamala Harris and Donald Trump – in minute detail. Much has been said about their personalities and the words they have spoken; little about the impersonal social forces that push complex human societies to the brink of collapse – and sometimes beyond. That’s a mistake: in order to understand the roots of our current crisis, and possible ways out of it, it’s precisely these tectonic forces we need to focus on.The research team I lead studies cycles of political integration and disintegration over the past 5,000 years. We have found that societies, organised as states, can experience significant periods of peace and stability lasting, roughly, a century or so. Inevitably, though, they then enter periods of social unrest and political breakdown. Think of the end of the Roman empire, the English civil war or the Russian Revolution. To date, we have amassed data on hundreds of historical states as they slid into crisis, and then emerged from it.So we’re in a good position to identify just those impersonal social forces that foment unrest and fragmentation, and we’ve found three common factors: popular immiseration, elite overproduction and state breakdown.To get a better understanding of these concepts and how they are influencing American politics in 2024, we need to travel back in time to the 1930s, when an unwritten social contract came into being in the form of Franklin D Roosevelt’s New Deal. This contract balanced the interests of workers, businesses and the state in a way similar to the more formal agreements we see in Nordic countries. For two generations, this implicit pact delivered an unprecedented growth in wellbeing across a broad swath of the country. At the same time, a “Great Compression” of incomes and wealth dramatically reduced economic inequality. For roughly 50 years the interests of workers and the interests of owners were kept in balance, and overall income inequality remained remarkably low.View image in fullscreenThat social contract began to break down in the late 1970s. The power of unions was undermined, and taxes on the wealthy cut back. Typical workers’ wages, which had previously increased in tandem with overall economic growth, started to lag behind. Inflation-adjusted wages stagnated and at times decreased. The result was a decline in many aspects of quality of life for the majority of Americans. One shocking way this became evident was in changes to the average life expectancy, which stalled and even went into reverse (and this started well before the Covid pandemic). That’s what we term “popular immiseration”.With the incomes of workers effectively stuck, the fruits of economic growth were reaped by the elites instead. A perverse “wealth pump” came into being, siphoning money from the poor and channelling it to the rich. The Great Compression reversed itself. In many ways, the last four decades call to mind what happened in the United States between 1870 and 1900 – the time of railroad fortunes and robber barons. If the postwar period was a golden age of broad-based prosperity, after 1980 we could be said to have entered a Second Gilded Age.Welcome as the extra wealth might seem for its recipients, it ends up causing problems for them as a class. The uber-wealthy (those with fortunes greater than $10m) increased tenfold between 1980 and 2020, adjusted for inflation. A certain proportion of these people have political ambitions: some run for political office themselves (like Trump), others fund political candidates (like Peter Thiel). The more members of this elite class there are, the more aspirants for political power a society contains.By the 2010s the social pyramid in the US had grown exceptionally top-heavy: there were too many wannabe leaders and moguls competing for a fixed number of positions in the upper echelons of politics and business. In our model, this state of affairs has a name: elite overproduction.Elite overproduction can be likened to a game of musical chairs – except the number of chairs stays constant, while the number of players is allowed to increase. As the game progresses, it creates more and more angry losers. Some of those turn into “counter-elites”: those willing to challenge the established order; rebels and revolutionaries such as Oliver Cromwell and his Roundheads in the English civil war, or Vladimir Lenin and the Bolsheviks in Russia. In the contemporary US we might think of media disruptors such as Tucker Carlson, or maverick entrepreneurs seeking political influence such as Elon Musk alongside countless less-prominent examples at lower levels in the system. As battles between the ruling elites and counter-elites heat up, the norms governing public discourse unravel and trust in institutions declines. The result is a loss of civic cohesiveness and sense of national cooperation – without which states quickly rot from within. View image in fullscreenOne result of all this political dysfunction is an inability to agree on how the federal budget should be balanced. Together with the loss of trust and legitimacy, that accelerates the breakdown of state capacity. It’s notable that a collapse in state finances is often the triggering event for a revolution: this is what happened in France before 1789 and in the runup to the English civil war.How does this landscape translate to party politics? The American ruling class, as it has evolved since the end of the civil war in 1865, is basically a coalition of the top wealth holders (the proverbial 1%) and a highly educated or “credentialed” class of professionals and graduates (whom we might call the 10%). A decade ago, the Republicans were the party of the 1%, while the Democrats were the party of the 10%. Since then, they have both changed out of all recognition.The recasting of the Republican party began with the unexpected victory of Donald Trump in 2016. He was typical of political entrepreneurs in history who have channelled popular discontent to propel themselves to power (one example is Tiberius Gracchus, who founded the populist party in late Republican Rome). Not all of his initiatives went against the interests of the ruling class – for example, he succeeded in making the tax code more regressive. But many did, including his policies on immigration (economic elites tend to favour open immigration as it suppresses wages); a rejection of traditional Republican free-market orthodoxy in favour of industrial policy; a scepticism of Nato and a professed unwillingness to start new conflicts abroad.It seemed to some as though the revolution had been squashed when a quintessentially establishment figure, Joe Biden, defeated Trump in 2020. By 2024 the Democrats had essentially become the party of the ruling class – of the 10% and of the 1%, having tamed its own populist wing (led by the Vermont senator Bernie Sanders). This realignment was signalled by Kamala Harris massively outspending Trump this election cycle, as well as mainstream Republicans, such as Liz and Dick Cheney, or neocons such as Bill Kristol, supporting the Harris ticket.The GOP, in the meantime, has transformed itself into a truly revolutionary party: one that represents working people (according to its leaders) or a radical rightwing agenda (according to its detractors). In the process, it has largely purged itself of traditional Republicans.Trump was clearly the chief agent of this change. But while the mainstream media and politicians obsess over him, it is important to recognise that he is now merely the tip of the iceberg: a diverse group of counter-elites has coalesced around the Trump ticket. Some of them, such as JD Vance, had meteoric rises through the Republican ranks. Some, such as Robert F Kennedy Jr and Tulsi Gabbard, defected from the Democrats. Others include tycoons such as Musk, or media figures, such as Joe Rogan, perhaps the most influential American podcaster. The latter was once a supporter of the populist wing of the Democratic party (and Bernie Sanders in particular).The main point here is that in 2024, the Democrats, having morphed into the party of the ruling class, had to contend not only with the tide of popular discontent but also a revolt of the counter-elites. As such, it finds itself in a predicament that has recurred thousands of times in human history, and there are two ways things play out from here.One is with the overthrow of established elites, as happened in the French and Russian Revolutions. The other is with the ruling elites backing a rebalancing of the social system – most importantly, shutting down the wealth pump and reversing popular immiseration and elite overproduction. It happened about a century ago with the New Deal. There’s also a parallel in the Chartist period (1838–1857), when Great Britain was the only European great power to avoid the wave of revolutions that swept Europe in 1848, via major reform. But the US has so far failed to learn the historical lessons.What comes next? The electoral defeat on 5 November represents one battle in an ongoing revolutionary war. The triumphant counter-elites want to replace their counterparts – what they sometimes call the “deep state” – entirely. But history shows that success in achieving such goals is far from assured. Their opponents are pretty well entrenched in the bureaucracy and can effectively resist change. Ideological and personal tensions in the winning coalition may result in it breaking apart (as they say, revolutions devour their children). Most importantly, the challenges facing the new Trump administration are of the particularly intractable kind. What is their plan for tackling the exploding federal budget deficit? How are they going to shut down the wealth pump? And what will the Democrats’ response be? Will their platform for 2028 include a new New Deal, a commitment to major social reform?One thing is clear: whatever the choices and actions of the contending parties, they will not lead to an immediate resolution. Popular discontent in the US has been building up for more than four decades. Many years of real prosperity would be needed to persuade the public that the country is back on the right track. So, for now, we can expect a lasting age of discord. Let’s hope that it won’t spill over into a hot civil war. More