Newspaper editor and anti-slavery advocate Horace Greeley
represented the short-lived Liberal Republican Party in 1872 to oppose Republican President Ulysses S. Grant’s reelection. The party’s campaign mottoes included “Liberty, Equality and Fraternity, Universal Amnesty and Impartial Suffrage.” (That “amnesty” and “suffrage” was about restoring citizenship rights to former Confederate loyalists.) They lost in a landslide. Greeley actually died before the Electoral College convened.
One of my favorite Greeley quotes: “Is not Life miserable enough, comes not Death soon enough, without resort to the hideous enginery of War?” - The New York Tribune, May 12, 1846
I’m imagining him rocking out to Daft Punk here.
You know you learned/taught history right when you learned/taught about Greely. One of my favorite characters in the abolition movement. God I am a nerd.
Neal Hudson, a residential property analyst at Savills, has produced a fascinating map illustrating the distribution of different housing tenure types in central and inner London. Green means social housing, blue means private rented, orange signifies home owners with mortgages and red shows wholly-owned.
To outsiders, the loud, aggressive world of heavy metal might seems like an unlikely place to find progressive politics. But any metalhead worth their leather can attest that the genre has often commented on society’s ills. Black Sabbath railed against the Vietnam War, Nuclear Assault offered apocalyptic visions of Reagan’s ‘80s, Sepultura howled scathing condemnations of the treatment of indigenous tribes in their native Brazil, Napalm Death addressed government failures and corruption, and more recently, Cloud Rat roared about sexism and urban blight atop a grindcore soundtrack. Thrash metal, in particular, has a long-running habit of tackling sociopolitical subjects with its rough barked vocals, wailing solos, and frenetic shredding.
In both a geographical and cultural sense, Mumbai seems about as far as one can get from the California Bay Area where the thrash-metal movement reached its apex. But the Indian band Sceptre offers proof of just how widely this style has spread. Inspired by their American forebears in Exodus and DRI and the music of classic German thrash bands like Kreator and Sodom, Sceptre recently celebrated its 15 anniversary, and is distinguished as one of India’s longest-running metal bands. Their latest recording taps into their genre’s liberal-leaning ideological tradition in a way that’s refreshing and urgent in modern India.
Age of Calamity is a concept album that deals with the plight of women in Indian society, and all proceeds from its sales will go directly to benefit a girls’ orphanage in Mumbai. Its haunting cover artwork was created by Indian artist Saloni Sinha, and depicts a weeping woman cradling her head in her hands, surrounded on all sides by crumbling walls and grasping shadows. It’s a powerful image, and in keeping with the theme, the band chose to work with a female artist.