What Would Happen If a Nuclear Bomb Hit a Major City Today: A Visualization of the Destruction

One of the many mem­o­rable details in Stan­ley Kubrick­’s Dr. Strangelove or: How I Learned to Stop Wor­ry­ing and Love the Bomb, placed promi­nent­ly in a shot of George C. Scott in the war room, is a binder with a spine labeled “WORLD TARGETS IN MEGADEATHS.” A megadeath, writes Eric Schloss­er in New York­er piece on the movie, “was a unit of mea­sure­ment used in nuclear-war plan­ning at the time. One megadeath equals a mil­lion fatal­i­ties.” The destruc­tive capa­bil­i­ty of nuclear weapons hav­ing only increased since 1964, we might well won­der how many megadeaths would result from a nuclear strike on a major city today.

In col­lab­o­ra­tion with the Nobel Peace Prize, film­mak­er Neil Hal­lo­ran address­es that ques­tion in the video above, which visu­al­izes a sim­u­lat­ed nuclear explo­sion in a city of four mil­lion. “We’ll assume the bomb is det­o­nat­ed in the air to max­i­mize the radius of impact, as was done in Japan in 1945. But here, we’ll use an 800-kilo­ton war­head, a rel­a­tive­ly large bomb in today’s arse­nals, and 100 times more pow­er­ful than the bomb dropped on Hiroshi­ma.” The imme­di­ate result would be a “fire­ball as hot as the sun” with a radius of 800 meters; all build­ings with­in a two-kilo­me­ter radius would be destroyed, “and we’ll assume that vir­tu­al­ly no one sur­vives inside this area.”

Already in these cal­cu­la­tions, the death toll has reached 120,000. “From as far as away as eleven kilo­me­ters, the radi­ant heat from the blast would be strong enough to cause third-degree burns on exposed skin.” Though most peo­ple would be indoors and thus shel­tered from that at the time of the explo­sion, “the very struc­tures that offered this pro­tec­tion would then become a cause of injury, as debris would rip through build­ings and rain down on city streets.” This would, over the weeks after the attack, ulti­mate­ly cause anoth­er 500,000 casu­al­ties — anoth­er half a megadeath — with anoth­er 100,000 at longer range still to occur.

These are sober­ing fig­ures, to be sure, but as Hal­lo­ran reminds us, the Cold War is over; unlike in Dr. Strangelove’s day, fam­i­lies no longer build fall­out shel­ters, and school­child­ren no longer do nuclear-bomb drills. Nev­er­the­less, even though nations aren’t as on edge about total anni­hi­la­tion as they were in the mid-twen­ti­eth-cen­tu­ry, the tech­nolo­gies that poten­tial­ly cause such anni­hi­la­tion are more advanced than ever, and indeed, “nuclear weapons remain one of the great threats to human­i­ty.” Here in the twen­ty-twen­ties, “coun­tries big and small face the prospect of new arms races,” a much more com­pli­cat­ed geopo­lit­i­cal sit­u­a­tion than the long stand­off between the Unit­ed States and the Sovi­et Union — and, per­haps, one beyond the reach of even Kubrick­ian­ly grim satire.

Relat­ed con­tent:

Watch Chill­ing Footage of the Hiroshi­ma & Nagasa­ki Bomb­ings in Restored Col­or

Why Hiroshi­ma, Despite Being Hit with the Atom­ic Bomb, Isn’t a Nuclear Waste­land Today

When the Wind Blows: An Ani­mat­ed Tale of Nuclear Apoc­a­lypse With Music by Roger Waters & David Bowie (1986)

Inno­v­a­tive Film Visu­al­izes the Destruc­tion of World War II: Now Avail­able in 7 Lan­guages

The Map of Doom: A Data-Dri­ven Visu­al­iza­tion of the Biggest Threats to Human­i­ty, Ranked from Like­ly to Unlike­ly

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

How the Berlin Wall Worked: The Engineering & Structural Design of the Wall That Formidably Divided East & West

More than thir­ty years after the for­mal dis­so­lu­tion of the Union of Sovi­et Social­ist Republics, few around the world have a clear under­stand­ing of how life actu­al­ly worked there. That holds less for the larg­er polit­i­cal and eco­nom­ic ques­tions than it does for the rou­tine mechan­ics of day-to-day exis­tence. These had a way of being even more com­plex in the regions where the USSR came up against the rest of the world. Take the Ger­man cap­i­tal of Berlin, which, as every­one knows, was for­mer­ly divid­ed into East and West along with the coun­try itself — but which, as not every­one knows, but as clar­i­fied in a nine­teen-eight­ies infor­ma­tion­al video pre­vi­ous­ly fea­tured here on Open Cul­ture, was entire­ly sur­round­ed by East Ger­many.

You can learn much else about life on the edges of the Fed­er­al Repub­lic of Ger­many and the Ger­man Demo­c­ra­t­ic Repub­lic from the new neo video above, “How the Berlin Wall Worked.” The first thing to clar­i­fy is that, even after the divi­sion of Ger­many, the Berlin Wall was­n’t always there; for a time the nar­ra­tor explains, with “social­ism and cap­i­tal­ism, two dif­fer­ent nations, and even two dif­fer­ent cur­ren­cies, were sep­a­rat­ed only by streets.”

Many “lived in one part of the city but worked in the oth­er: East Berlin­ers took jobs in the West in order to ben­e­fit from the stronger cur­ren­cy, while West Berlin­ers got their hair­cuts in the East at prices that were much cheap­er to them.” Kur­fürs­ten­damm’s shop win­dows dis­played the pur­chasable glo­ries of cap­i­tal­ism; just a few streets away, Stali­nallee swelled with proud­ly social­ist archi­tec­ture.

But on August 13th, 1961, “Berlin woke up to a divid­ed city.” The GDR imme­di­ate­ly began on a wall between East and West “made out of con­crete and topped off with barbed wire,” though it could­n’t com­mand the resources to build its whole length quite so solid­ly right away. Over time, how­ev­er, the wall was “con­sis­tent­ly upgrad­ed with more and more increas­ing secu­ri­ty fea­tures.” By 1975, it had become the struc­ture we remem­ber, con­sist­ing of not just one but two con­crete walls, and between them a barbed-wire sig­nal fence, tank traps, mats of steel nee­dles known as “Stal­in’s grass,” and watch­tow­ers manned by armed guards. “Vir­tu­al­ly impos­si­ble to cross” in its day, the for­mi­da­ble Berlin Wall now exists pri­mar­i­ly as a cul­tur­al phe­nom­e­non: a mem­o­ry, a series of tourist sites, a some­times-mis­used cul­tur­al ref­er­ence. Liv­ing in South Korea, I can’t help but ask myself if the same will ever be said of the DMZ.

Relat­ed con­tent:

See Berlin Before and After World War II in Star­tling Col­or Video

Google Revis­its the Fall of the Iron Cur­tain in New Online Exhi­bi­tion

The Dos & Don’ts of Dri­ving to West Berlin Dur­ing the Cold War: A Weird Piece of Ephemera from the 1980s

Louis Arm­strong Plays His­toric Cold War Con­certs in East Berlin & Budapest (1965)

Bruce Spring­steen Plays East Berlin in 1988: I’m Not Here For Any Gov­ern­ment. I’ve Come to Play Rock

Watch Samuel Beck­ett Walk the Streets of Berlin Like a Boss, 1969

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Every Political Ideology Explained in 8 Minutes


From the guy who brought you 51 Pro­pa­gan­da Tech­niques Explained in 11 Min­utes comes this: Every Polit­i­cal Ide­ol­o­gy Explained in 8 Min­utes. You get the usu­al suspects–conservatism, lib­er­al­ism, social­ism, com­mu­nism and fas­cism. And then some less fre­quent­ly encoun­tered ide­olo­gies: tran­shu­man­ism, syn­di­cal­ism, and com­mu­ni­tar­i­an­ism. By the end, he cov­ers 23 dif­fer­ent belief sys­tems that orga­nize our polit­i­cal and eco­nom­ic lives. The video is brief, nec­es­sar­i­ly super­fi­cial. But it’s a place to start. To take a deep­er dive, you can explore Andrew Hey­wood’s book, Polit­i­cal Ide­olo­gies: An Intro­duc­tion.

Relat­ed Con­tent

Umber­to Eco Makes a List of the 14 Com­mon Fea­tures of Fas­cism

Intro­duc­tion to Polit­i­cal Phi­los­o­phy: A Free Online Course from Yale Uni­ver­si­ty

How to Spot a Com­mu­nist by Using Lit­er­ary Crit­i­cism: A 1955 Man­u­al from the U.S. Mil­i­tary

 

 

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How George Washington Became President of the United States: It Was Weirder Than You Think

After serv­ing two terms as the first Pres­i­dent of the Unit­ed States of Amer­i­ca, George Wash­ing­ton refused to con­tin­ue on to a third. We now see this action as begin­ning the tra­di­tion of peace­ful relin­quish­ment of pow­er that has con­tin­ued more or less ever since (inter­rupt­ed, as in recent years, by the occa­sion­al trou­bled tran­si­tion). At the time, not every­one expect­ed Wash­ing­ton to step down, his­to­ry hav­ing most­ly offered exam­ples of rulers who hung on until the bit­ter end. But the new repub­lic’s cre­ation of not just rules but cus­toms result­ed in a vari­ety of unusu­al polit­i­cal events; even Wash­ing­ton’s elec­tion was “weird­er than you think.”

So declares his­to­ry Youtu­ber Pre­mod­ernist in the video above, an expla­na­tion of the very first Unit­ed States pres­i­den­tial elec­tion in 1789. “There were no offi­cial can­di­dates. There was no cam­paign­ing for the office. There were no polit­i­cal par­ties, no nom­i­nat­ing con­ven­tions, no pri­ma­ry elec­tions. The entire elec­tion sea­son was very short, and the major issue of this elec­tion was the Con­sti­tu­tion itself.” It also took place after thir­teen pres­i­dent-free years, the U.S. hav­ing been not a sin­gle coun­try but “a col­lec­tion of thir­teen sep­a­rate colonies,” each tied more close­ly to Britain than to the oth­ers; there had­n’t even been a fed­er­al gov­ern­ment per se.

The U.S. Con­sti­tu­tion changed that. Draft­ed in 1787, it pro­posed the exec­u­tive, leg­isla­tive, and judi­cial branch­es of gov­ern­ment, whose names every Amer­i­can who’s tak­en a cit­i­zen­ship exam (and every immi­grant who’s tak­en the cit­i­zen test) remem­bers. Set­ting up those branch­es in real­i­ty would prove no easy task: how, to name just one prac­ti­cal ques­tion, would the exec­u­tive — the pres­i­dent — actu­al­ly be cho­sen? Con­gress, the leg­isla­tive branch, could the­o­ret­i­cal­ly do it, but that would vio­late the now prac­ti­cal­ly sacred prin­ci­ple of the sep­a­ra­tion of pow­ers. The vot­ers could also elect the pres­i­dent direct­ly, but the framers reject­ed that option as both imprac­ti­cal and unwise.

Enter “the famous elec­toral col­lege,” a body of spe­cial­ized vot­ers cho­sen by the indi­vid­ual states in any man­ner they please. Hav­ing reject­ed the Con­sti­tu­tion itself, North Car­oli­na and Rhode Island did­n’t par­tic­i­pate in the 1789 elec­tion. Each of the oth­er states chose their elec­tors in its own way (exem­pli­fy­ing the polit­i­cal lab­o­ra­to­ry of Amer­i­can fed­er­al­ism as orig­i­nal­ly con­ceived), though it did­n’t go smooth­ly in every case: the wide­spread divi­sion between fed­er­al­ists and anti-fed­er­al­ists was pro­nounced enough in New York to cre­ate a dead­lock that pre­vent­ed the state from choos­ing any elec­tors at all. The elec­tors that did make it cast two votes each, with the first-place can­di­date becom­ing Pres­i­dent and the sec­ond-place can­di­date becom­ing Vice Pres­i­dent.

That last proved to be a “bad sys­tem,” whose mechan­ics encour­aged a great deal of schem­ing, intrigue, and strate­gic vot­ing (even by the sub­se­quent­ly estab­lished stan­dards of Amer­i­can pol­i­tics). Only with the rat­i­fi­ca­tion of the twelfth amend­ment, in 1804, could elec­tors sep­a­rate­ly des­ig­nate their choice of Pres­i­dent and Vice Pres­i­dent. In 1789, of course, “Wash­ing­ton eas­i­ly got all 69 elec­toral votes,” and went on reluc­tant­ly to pre­vail again in the next pres­i­den­tial elec­tion, which more recent­ly became the sub­ject of its own Pre­mod­ernist video. Both of them mer­it a watch in this par­tic­u­lar moment, as the run-up to the U.S. con­test of 2024 gets into full swing. This elec­tion cycle cer­tain­ly won’t be as short as 1789, but it may well be as weird.

Relat­ed con­tent:

George Wash­ing­ton Writes to the First Jew­ish Con­gre­ga­tion of New­port, Rhode Island: “The Gov­ern­ment… Gives to Big­otry No Sanc­tion, to Per­se­cu­tion No Assis­tance” (1790)

Sal Khan & the Mup­pets’ Grover Explain the Elec­toral Col­lege

A Japan­ese Illus­trat­ed His­to­ry of Amer­i­ca (1861): Fea­tures George Wash­ing­ton Punch­ing Tigers, John Adams Slay­ing Snakes & Oth­er Fan­tas­tic Scenes

Elect­ing a US Pres­i­dent in Plain Eng­lish

George Washington’s 110 Rules for Civil­i­ty and Decent Behav­ior

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

51 Propaganda Techniques Explained in 11 Minutes: From Cognitive Dissonance to Appeal to Fear

The con­cept of pro­pa­gan­da has a great deal of pow­er to fas­ci­nate. So does the very word pro­pa­gan­da, which to most of us today sounds faint­ly exot­ic, as if it referred main­ly to phe­nom­e­na from dis­tant places and times. But in truth, can any one of us here in the twen­ty-first cen­tu­ry go a day with­out being sub­ject­ed to the thing itself? Watch the video above, in which The Paint Explain­er lays out 51 dif­fer­ent pro­pa­gan­da tech­niques in 11 min­utes, and you’ll more than like­ly rec­og­nize many of the insid­i­ous­ly effec­tive rhetor­i­cal tricks labeled there­in from your recent every­day life.

You won’t be sur­prised to hear that these man­i­fest most clear­ly in the media, both offline and on. The list begins with “agen­da set­ting,” the “abil­i­ty of the news to influ­ence the impor­tance placed on cer­tain top­ics by pub­lic opin­ion, just by cov­er­ing them fre­quent­ly and promi­nent­ly.”

Scat­tered through­out the news, or through­out your social-media feed, adver­tise­ments bring out the “beau­ti­ful peo­ple,” which “sug­gests that if peo­ple buy a prod­uct or fol­low a cer­tain ide­ol­o­gy, they, too will be hap­py or suc­cess­ful” – or, in its basest forms, oper­ates through “clas­si­cal con­di­tion­ing,” in which “a nat­ur­al stim­u­lus is asso­ci­at­ed with a neu­tral stim­u­lus enough times to cre­ate the same response by using just the neu­tral one.”

In the even more shame­less realm of pol­i­tics, the com­mon “plain folk” strat­e­gy “attempts to con­vince the audi­ence that the pro­pa­gan­dis­t’s posi­tions reflect the com­mon sense of the peo­ple.” When “an indi­vid­ual uses mass media to cre­ate an ide­al­ized and hero­ic pub­lic image, often through unques­tion­ing flat­tery and praise,” a pow­er­ful “cult of per­son­al­i­ty” can arise. And in pro­pa­gan­da for every­thing from pres­i­den­tial can­di­dates to fast-food chains, you’ll hear and read no end of “glit­ter­ing gen­er­al­i­ties,” or “emo­tion­al­ly appeal­ing words that are applied to a prod­uct idea, but present no con­crete argu­ment or analy­sis.” You can find many of these strate­gies explained at Wikipedi­a’s list of pro­pa­gan­da tech­niques, or this list from the Uni­ver­si­ty of Vir­ginia of “pro­pa­gan­da tech­niques to rec­og­nize” — and not just when the “oth­er side” uses them.

via Laugh­ing Squid

Relat­ed con­tent:

Han­nah Arendt Explains How Pro­pa­gan­da Uses Lies to Erode All Truth & Moral­i­ty: Insights from The Ori­gins of Total­i­tar­i­an­ism

A Field Guide to Fake News and Oth­er Infor­ma­tion Dis­or­ders: A Free Man­u­al to Down­load, Share & Re-Use

An Archive of 800+ Imag­i­na­tive Pro­pa­gan­da Maps Designed to Shape Opin­ions & Beliefs: Enter Cornell’s Per­sua­sive Maps Col­lec­tion

“Glo­ry to the Con­querors of the Uni­verse!”: Pro­pa­gan­da Posters from the Sovi­et Space Race (1958–1963)

The Red Men­ace: A Strik­ing Gallery of Anti-Com­mu­nist Posters, Ads, Com­ic Books, Mag­a­zines & Films

Sell & Spin: The His­to­ry of Adver­tis­ing, Nar­rat­ed by Dick Cavett (1999)

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Meet the Man Who Created the Iconic Emblem of the Day of the Dead: José Guadalupe Posada

Odds are you’re acquaint­ed with the lady pic­tured above.

She’s called La Cat­ri­na, and her like­ness adorns count­less t‑shirts and tote bags.

She is a pop­u­lar Hal­loween cos­tume and a main­stay of Day of the Dead cel­e­bra­tions.

She pops up in the ani­mat­ed fam­i­ly fea­ture, Coco, to guide its young hero to the Land of the Dead. 

She’s spent the bet­ter part of a cen­tu­ry mak­ing cameos in numer­ous artists works, most famous­ly Diego Rivera’s sur­re­al 1947 mur­al, Sueño de una Tarde Domini­cal en la Alame­da Cen­tral, a fever dream that places her front and cen­ter, arm in arm with a dis­tin­guished-look­ing, mus­ta­chioed gent in a bowler hat.

That gent is her orig­i­nal cre­ator, José Guadalupe Posa­da, a hard­work­ing print­mak­er and polit­i­cal car­toon­ist who pro­duced over 20,000 images dur­ing his life­time, on sub­jects rang­ing from the Mex­i­can Rev­o­lu­tion and oth­er events, both cur­rent and his­tor­i­cal, to pop­u­lar enter­tain­ment and the dai­ly lives of aver­age men and women. 

The artist fre­quent­ly ham­mered his point home by depict­ing the par­ties in his works as calav­eras - exu­ber­ant skele­tons seem­ing­ly unaware they had lost all flesh and blood. 

Posa­da was still a teenag­er in 1871 when a home­town paper picked up his first car­toons. One report­ed­ly enraged a local politi­cian to such a degree that the paper was forced to cease pub­li­ca­tion.

La Cat­ri­na was pub­lished posthu­mous­ly in 1913, as a broad­sheet illus­tra­tion accom­pa­ny­ing a satir­i­cal poem about chick­pea ven­dors. It’s believed that Posa­da intend­ed his image to be a jab at upper class Mex­i­can women obsessed with Euro­pean fash­ions.

(Rivera was the one who changed her name from La Cucaracha — the cock­roach — to the much more lyri­cal La Cat­ri­na. He also plant­ed the seed that Posa­da, who died pen­ni­less and large­ly for­got­ten, had been a rev­o­lu­tion­ary. The Mex­i­can pro­gres­sive print­mak­ing col­lec­tive El Taller Grafi­ca Pop­u­lar took graph­ic inspi­ra­tion from his calav­eras, while embrac­ing and dis­sem­i­nat­ing this myth.

What’s that they say about imi­ta­tion being the sin­cer­est form of flat­tery?

After Posada’s death, his col­leagues at the pub­lish­ing firm of Anto­nio Vane­gas Arroy­or, saved time and mon­ey by con­tin­u­ing to pro­duce work from his blocks and plates. 

As Jim Nikas, found­ing direc­tor of the Posa­da Art Foun­da­tion told Atlas Obscu­ra “If the image was neu­tral enough, you could change the text and use it as an illus­tra­tion for any sto­ry.”

Whether increas­ing pub­lic aware­ness of harm­ful agri­cul­tur­al pes­ti­cides, protest­ing Amer­i­can immi­gra­tion poli­cies, or, uh, sell­ing tequi­la, 21st cen­tu­ry artists, activists, and entre­pre­neurs con­tin­ue to har­ness Posada’s vision for their own pur­pos­es.

Nikas, who sam­pled Posada’s La Calav­era de Don Quixote for an Occu­py Wall Street col­lab­o­ra­tion with Art Hazel­wood and Mar­sha Shaw writes that “the calav­era is some­thing we all have bio­log­i­cal­ly in com­mon and, accord­ing­ly, may be used to con­vey mes­sages:

Posa­da and his pub­lish­ers used depic­tions of calav­eras not only to remind us of our col­lec­tive mor­tal­i­ty but also to shed light. His illus­tra­tions were often satir­i­cal car­i­ca­tures uproot­ed from the cur­rent polit­i­cal cli­mate and used to poke fun at our human con­di­tion. This use was evo­lu­tion­ary, occur­ring over time, and as applic­a­ble today as it was over a cen­tu­ry ago.

See more of José Guadalupe Posada’s calav­eras in the Library of Con­gress’ Prints and Pho­tographs Divi­sion col­lec­tion.

– Ayun Hal­l­i­day is the Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine and author, most recent­ly, of Cre­ative, Not Famous: The Small Pota­to Man­i­festo and Cre­ative, Not Famous Activ­i­ty Book. Fol­low her @AyunHalliday.

Charlie Chaplin’s Final Speech in The Great Dictator: A Statement Against Greed, Hate, Intolerance & Fascism (1940)

The nar­row “tooth­brush mus­tache” caught on in the late nine­teenth cen­tu­ry, first in the Unit­ed States and soon there­after across the Atlantic. When Char­lie Chap­lin put one on for a film in 1914, he became its most famous wear­er — at least until Adolf Hitler rose to promi­nence a cou­ple of decades lat­er. By that point Chap­lin had become the most famous com­e­dy star in the world, which may have inspired the Nazi Par­ty leader, a known fan of Chap­lin’s work, to adopt the same mus­tache as a kind of tool of self-advance­ment. Chap­lin him­self could hard­ly have approved of his new dop­pel­gänger, and it trou­bled him to dis­cov­er their oth­er shared qual­i­ties: their births in April of 1889, their poor child­hoods, their love of Wag­n­er.

Still, as an invet­er­ate enter­tain­er, Chap­lin grasped the comedic poten­tial of his and Hitler’s par­al­lel icon­ic sta­tus. The result, released in 1940, was The Great Dic­ta­tor, his first gen­uine sound film. Chap­lin had con­tin­ued mak­ing silent pic­tures, and refin­ing his sig­na­ture visu­al humor, well into the era of “talkies.”

But he could only have done so much to ridicule Hitler, who had come to pow­er in large part through speech­es broad­cast over the radio, with­out being able to use his voice as well. Yet he deliv­ers his most mem­o­rable lines not in the role of Hitler sur­ro­gate Ade­noid Hynkel, but that of the unnamed Jew­ish bar­ber who — through, of course, sev­er­al absurd turns of events — ends up mis­tak­en for Hynkel and made to address the nation.

“I’m sor­ry, but I don’t want to be an emper­or,” says Chap­lin-as-the-Bar­ber-as-Hynkel. “That’s not my busi­ness. I don’t want to rule or con­quer any­one. I should like to help every­one — if pos­si­ble — Jew, Gen­tile, black man, white. We all want to help one anoth­er. Human beings are like that. We want to live by each other’s hap­pi­ness, not by each other’s mis­ery.” Through­out the three-and-a-half-minute mono­logue, he speaks against “greed,” “clev­er­ness,” “nation­al bar­ri­ers,” and “the hate of men”; he advo­cates for “kind­ness and gen­tle­ness,” “uni­ver­sal broth­er­hood,” “a world of rea­son,” and “the love of human­i­ty.” These may not be espe­cial­ly pre­cise terms, but, know­ing his pub­lic well — much bet­ter, indeed, than Hitler ever knew his — Chap­lin also knew just when to go broad.

Relat­ed con­tent:

How Did Hitler Rise to Pow­er? : New TED-ED Ani­ma­tion Pro­vides a Case Study in How Fas­cists Get Demo­c­ra­t­i­cal­ly Elect­ed

When Mahat­ma Gand­hi Met Char­lie Chap­lin (1931)

Carl Jung Psy­cho­an­a­lyzes Hitler: “He’s the Uncon­scious of 78 Mil­lion Ger­mans.” “With­out the Ger­man Peo­ple He’d Be Noth­ing” (1938)

When Char­lie Chap­lin Entered a Chap­lin Look-Alike Con­test & Came in 20th Place

The Famous Down­fall Scene Explained: What Real­ly Hap­pened in Hitler’s Bunker at the End?

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

 

Fascism!: The US Army Publishes a Pamphlet in 1945 Explaining How to Spot Fascism at Home and Abroad

Fas­cism is a word that’s been used a great deal these last few years,” says the arti­cle pic­tured above (scanned in full here at the Inter­net Archive). “We come across it in our news­pa­pers, we hear it in our news­reels, it comes up in our bull ses­sions.” Oth­er than the part about news­reels (today’s equiv­a­lent being our social-media feeds, or per­haps the videos put before our eyes by the algo­rithm), these sen­tences could well have been pub­lished today. Some see the fas­cist takeover of mod­ern-day democ­ra­cies as prac­ti­cal­ly immi­nent, while oth­ers argue that the con­cept itself has no mean­ing in the twen­ty-first cen­tu­ry. But 78 years ago, when this issue of Army Talk came off the press, fas­cism was very much a going — and fear­some — con­cern.

“Begin­ning in 1943, the War Depart­ment pub­lished a series of pam­phlets for U.S. Army per­son­nel in the Euro­pean the­ater of World War II,” writes his­to­ri­an Heather Cox Richard­son. The mis­sion of Army Talks, in the pub­li­ca­tion’s own words, was to help its read­ers “become bet­ter-informed men and women and there­fore bet­ter sol­diers.”

Each issue includ­ed a top­ic for dis­cus­sion, and on March 25, 1945, that top­ic was fas­cism — or, as the head­line puts it, “FASCISM!” Under that ide­ol­o­gy, defined as “gov­ern­ment by the few and for the few,” a small group of polit­i­cal actors achieves “seizure and con­trol of the eco­nom­ic, polit­i­cal, social, and cul­tur­al life of the state.” Such rul­ing class­es “per­mit no civ­il lib­er­ties, no equal­i­ty before the law. They make their own rules and change them when they choose. If you don’t like it, it’s ‘T.S.’ ”

Fas­cists come to pow­er, the text explains, in times of hard­ship, dur­ing which they promise “every­thing to every­one”: land to the farm­ers, jobs to the work­ers, cus­tomers and prof­its to the small busi­ness­men, elim­i­na­tion of small busi­ness­men to the indus­tri­al­ists, and so on. When this regime “under which every­thing not pro­hib­it­ed is com­pul­so­ry” inevitably fails to deliv­er a per­fect soci­ety, things turn vio­lent, both in the coun­try’s inter­nal strug­gles and in its con­flicts with oth­er pow­ers. To many Amer­i­cans at the time of World War II, this might seem like a whol­ly for­eign dis­or­der, liable to afflict only such dis­tant lands as Italy, Japan, and Ger­many. But a notion­al Amer­i­can fas­cism would look and feel famil­iar, work­ing “under the guise of ‘super-patri­o­tism’ and ‘super-Amer­i­can­ism.’ Fas­cist lead­ers are nei­ther stu­pid nor naïve. They know that they must hand out a line that ‘sells.’ ”

That some­one’s always try­ing to sell you some­thing in pol­i­tics — and even more so in Amer­i­can pol­i­tics — is as true in 2023 as it was in 1945. Though who­ev­er assumed back then that “it could­n’t hap­pen here” pre­sum­ably fig­ured that the Unit­ed States was too wealthy a soci­ety for fas­cist temp­ta­tions to gain a foothold. But even the most favor­able eco­nom­ic for­tunes can reverse, and “lots of things can hap­pen inside of peo­ple when they are unem­ployed or hun­gry. They become fright­ened, angry, des­per­ate, con­fused. Many, in their mis­ery, seek to find some­body to blame. They look for a scape­goat as a way out. Fas­cism is always ready to pro­vide one.” And not only fas­cism: polit­i­cal oppor­tunists of every stripe know full well the pow­er to be drawn from “the inse­cure and unem­ployed” look­ing for some­one on who “to pin the blame for their mis­for­tune” — and how easy it is to do so when no one else has a more appeal­ing vision of the future to offer.

You can see a scan of the orig­i­nal doc­u­ment here, and read the text here.

Relat­ed con­tent:

How to Spot a Com­mu­nist Using Lit­er­ary Crit­i­cism: A 1955 Man­u­al from the U.S. Mil­i­tary

Umber­to Eco Makes a List of the 14 Com­mon Fea­tures of Fas­cism

The Sto­ry of Fas­cism: Rick Steves’ Doc­u­men­tary Helps Us Learn from the Hard Lessons of the 20th Cen­tu­ry

Wal­ter Ben­jamin Explains How Fas­cism Uses Mass Media to Turn Pol­i­tics Into Spec­ta­cle (1935)

Sin­clair Lewis’ Chill­ing Play, It Can’t Hap­pen Here: A Read-Through by the Berke­ley Reper­to­ry The­atre

Hunter S. Thomp­son Gets in a Gun­fight with His Neigh­bor & Dis­pens­es Polit­i­cal Wis­dom: “In a Democ­ra­cy, You Have to Be a Play­er”

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

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