SNL reimagines the Trump impeachment hearings as a soap opera (feat. Jon Hamm)

How America Ends ~The Atlantic

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This is a long story but worth reading .. A good historical/opinion piece.  rŌbert

 

By Yoni Applebalm

Democracy depends on the consent of the losers. For most of the 20th century, parties and candidates in the United States have competed in elections with the understanding that electoral defeats are neither permanent nor intolerable. The losers could accept the result, adjust their ideas and coalitions, and move on to fight in the next election. Ideas and policies would be contested, sometimes viciously, but however heated the rhetoric got, defeat was not generally equated with political annihilation. The stakes could feel high, but rarely existential. In recent years, however, beginning before the election of Donald Trump and accelerating since, that has changed.

“Our radical Democrat opponents are driven by hatred, prejudice, and rage,” Trump told the crowd at his reelection kickoff event in Orlando in June. “They want to destroy you and they want to destroy our country as we know it.” This is the core of the president’s pitch to his supporters: He is all that stands between them and the abyss.

In October, with the specter of impeachment looming, he fumed on Twitter, “What is taking place is not an impeachment, it is a COUP, intended to take away the Power of the People, their VOTE, their Freedoms, their Second Amendment, Religion, Military, Border Wall, and their God-given rights as a Citizen of The United States of America!” For good measure, he also quoted a supporter’s dark prediction that impeachment “will cause a Civil War like fracture in this Nation from which our Country will never heal.”

Trump’s apocalyptic rhetoric matches the tenor of the times. The body politic is more fractious than at any time in recent memory. Over the past 25 years, both red and blue areas have become more deeply hued, with Democrats clustering in cities and suburbs and Republicans filling in rural areas and exurbs. In Congress, where the two caucuses once overlapped ideologically, the dividing aisle has turned into a chasm.

As partisans have drifted apart geographically and ideologically, they’ve become more hostile toward each other. In 1960, less than 5 percent of Democrats and Republicans said they’d be unhappy if their children married someone from the other party; today, 35 percent of Republicans and 45 percent of Democrats would be, according to a recent Public Religion Research Institute/Atlantic poll—far higher than the percentages that object to marriages crossing the boundaries of race and religion. As hostility rises, Americans’ trust in political institutions, and in one another, is declining. A study released by the Pew Research Center in July found that only about half of respondents believed their fellow citizens would accept election results no matter who won. At the fringes, distrust has become centrifugal: Right-wing activists in Texas and left-wing activists in California have revived talk of secession.

Recent research by political scientists at Vanderbilt University and other institutions has found both Republicans and Democrats distressingly willing to dehumanize members of the opposite party. “Partisans are willing to explicitly state that members of the opposing party are like animals, that they lack essential human traits,” the researchers found. The president encourages and exploits such fears. This is a dangerous line to cross. As the researchers write, “Dehumanization may loosen the moral restraints that would normally prevent us from harming another human being.”

Outright political violence remains considerably rarer than in other periods of partisan divide, including the late 1960s. But overheated rhetoric has helped radicalize some individuals. Cesar Sayoc, who was arrested for targeting multiple prominent Democrats with pipe bombs, was an avid Fox News watcher; in court filings, his lawyers said he took inspiration from Trump’s white-supremacist rhetoric. “It is impossible,” they wrote, “to separate the political climate and [Sayoc’s] mental illness.” James Hodgkinson, who shot at Republican lawmakers (and badly wounded Representative Steve Scalise) at a baseball practice, was a member of the Facebook groups Terminate the Republican Party and The Road to Hell Is Paved With Republicans. In other instances, political protests have turned violent, most notably in Charlottesville, Virginia, where a Unite the Right rally led to the murder of a young woman. In Portland, Oregon, and elsewhere, the left-wing “antifa” movement has clashed with police. The violence of extremist groups provides ammunition to ideologues seeking to stoke fear of the other side.

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Russell Chatham’s Reflections On Role Of Artist

WISDOM FROM THE LEGENDARY FORMER RESIDENT OF PARADISE VALLEY

Pale Winter Moonrise by Russell Chatham
Pale Winter Moonrise by Russell Chatham
In Jackson Hole, the immutable muse for generations of visual artists has been the Tetons. In Big Sky, that landmark is Lone Peak and in Bozeman, the Bridgers.
Just to the east, painter, writer, restaurateur, and incorrigibly-addicted angler Russell Chatham became legend for his association with a different topographical feature, Paradise Valley.
We all know of Paradise Valley for the Yellowstone River that runs through it from Yellowstone National Park to Livingston and then angles to an eventual rendezvous with the Missouri.
A lot of folks also have treated themselves to a sojourn at Chico Hot Springs before moseying into Livingston where Chatham for decades was a social fixture and held court at his signature restaurant.
Scores of residents throughout Greater Yellowstone own original Chatham oils and high-end lithographs, displaying them next to priceless works by French Impressionists and treasured western artists like Bierstadt, Moran, Rungius and Catlin. Some of the notable private collectors in the region and beyond include Robert Redford, Warren Beatty, Ted Turner, Jessica Lange, Margot Kidder, Jack Nicholson, Tom Brokaw, Jeff Bridges and Harrison Ford.
Chatham’s artistic life force was his grandfather, the great California muralist Gottardo Piazzoni (1872-1945).  A few years ago, Chatham moved back to his childhood homeland in northern California and recommenced painting where his extraordinary career with fishing and standing behind the easel began.
I once asked one of Chatham’s closest friends William Randolph Hearst III to interpret Chatham. “You must understand that ‘Russell The Personality’ is a wholly separate character from the life of Russell Chatham the painter, though at the same time they are inseparable. No matter what he does, his adventure with it becomes larger than life,” Hearst said.
“As good a painter as he is,” Hearst added, “Russell’s an equally wonderful storyteller and devoted friend, an absolutely superb fisherman who might be among the best on the planet, an intrepid restaurant owner, gourmet cook, wine aficionado, writer, boutique book publisher and general roustabout.”
If any contemporary landscape painter qualified as a genuine rock star in the northern Rockies, it was Chatham, now a late septuagenarian.
Starting in the 1960s, he was among a group of artists who went to Paradise Valley to escape the rat race, to fish, and go about their own media adventures without being hassled.
Those figures included Chatham, writers Jim Harrison, Tom McGuane, the late William Hjortsberg, Richard Brautigan, actors Peter Fonda, Jeff Bridges, Kidder, Warren Oates, Nicholson, Dennis Quaid, Meg Ryan, Sam Waterston, singer Jimmy Buffett, director Sam Peckinpah and others.
Chatham’s style of painting landscapes, known for its fleeting, muted, tonal bands of horizontal color, summons up moods of introspection rather than blushes of superficial sanguine cheeriness.
They evoke the feeling you get when you realize you are getting older and the sensation hits home when you take a good hard look at yourself in the mirror, thinking about the kind of life you’ve lead.
When I asked Chatham to ponder that feeling, he shared this thought: “Early on, I was never concerned about having a career, so I didn’t have one. And now nothing could interest me less. But I think we all have a programmed tape running inside us, and most of mine is now stored on the right hand side of the cassette.  I finally feel I know enough to paint what I could only dream about in my twenties.  People say it’s time to slow down, relax, go fishing.  Well, I took the first forty years of my life off and went fishing, and now my tape is telling me to finish what I was put on earth to do.  Before, time didn’t matter. Now it does.”
Given the times, he still feels compelled to act upon a conviction he stated earlier in his life about the role of artist: “The artist does not simply hold a mirror to society. If the world now is greedy, the artist must be generous.  If there is war and hate, he must be peaceful and loving.  If the world is insane, he must offer sanity, and if the world is becoming a void, he must fill it with his soul.”
Chatham didn’t say it, but one could add that the artist’s challenge is really no different from the obligation of the viewer. If painting represents a near-religious experience for some, perhaps it’s not a bad thing to act on those kindly impulses.
EDITOR’S NOTE: If it isn’t obvious, Chatham loves water. Here are a few of his interpretations of some classic Western rivers.
Winter On The South Fork Of Deep Creek, lithograph, by Russell Chatham
Winter On The South Fork Of Deep Creek, lithograph, by Russell Chatham
Summer Twilight, Colorado River, lithograph, by Russell Chatham
Summer Twilight, Colorado River, lithograph, by Russell Chatham
Winter Dawn On The South Platte River, lithograph, by Russell Chatham
Winter Dawn On The South Platte River, lithograph, by Russell Chatham
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ALTA Q&A

‘You’re an Artist. That’s What You Do.’

Russell Chatham at his studio in Marin County, California. ”I paint everything from memory,” he says.

PAIGE GREEN
Russell Chatham at his studio in Marin County, California. ”I paint everything from memory,” he says.
In what would be his final interview, the famed Marin County–based landscape painter Russell Chatham tells Alta publisher Will Hearst where he finds inspiration, what it’s like to work on commission, and why Gauguin brought him to tears.

UPDATE: It was with sadness that we learned Russell Chatham passed away on November 10, 2019. This was his final interview.

Landscapes are notoriously easy to paint but exceedingly difficult to paint well. For Russell Chatham, the challenge was impossible to resist. There was no other way. Chatham is the grandson of San Francisco muralist Gottardo Piazzoni, and before he turned 20, he had found his calling in painting nature.

In a career that has spanned half a century, Chatham became famous for capturing Montana’s rugged vistas and California’s golden hillsides through an approach that seems to combine a muted, idealized reality and the stuff of dreams. His collectors include Hollywood names like Jessica Lange, Jack Nicholson, and Robert Redford. Along the way, he was married three times, and made a fortune from his paintings, book publishing, and running a restaurant—only to lose it all. Chatham steadfastly believed in following one’s heart.

In what would be the artist’s final interview, Alta editor and publisher Will Hearst sat down with Chatham as he reflected on the difficulties he endured as a young painter and how he’s depended on the love and support of the women in his life. (Disclosure: Hearst is a collector of Chatham’s paintings.)

WILL HEARST:As a little boy, did you think, “I like painting” or “This is what I want to do with my life”?

RUSSELL CHATHAM:When I was eight or nine, it was clear painting was a big deal to me, and so I did it on my own, and all through school I stayed at it relentlessly…through my teen years and through my 20s.