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Monday, Mar 27, 2006 8:01 AM UTC2006-03-27T08:01:00Zl, M j, Y g:i A T

Exclusive Daily Download: “New England,” Billy Bragg

Although Billy Bragg is in some ways the archetypal modern political musician, listening through his best work, much of which is collected together on the new box set from Yep Roc, “Volume 1,” is a reminder that Bragg is often at his best when the subject of his songs isn’t overtly political — especially early in his career, when everything about his performance style, from the baldly crude solo electric guitar to the foghorn bellow of a voice to the exaggerated Cockney accent, was in some way already a political statement. “New England” is from his very first solo release, the 1983 EP “Life’s a Riot,” and it’s a classic Bragg tune, sweet and awkward and biting, a wordy, heartbroken love song fueled by a punk energy.

– T.B.

Sunday, Feb 19, 2012 7:00 PM UTC2012-02-19T19:00:00Zl, M j, Y g:i A T

“Downton Abbey,” we’re breaking up

As the Season 2 finale arrives, an obsessive mourns that her favorite show is now just another ridiculous soap

Maggie Smith in "Downton Abbey"

Maggie Smith in "Downton Abbey"

I have a confession to make. “Downton Abbey” is getting on my nerves. This will be taken as heresy in some circles. More specifically, it will be almost treasonous in my own circles. But it’s become harder and harder to sit through the episodes of Season 2 (which concludes tonight) without feeling the need to constantly apologize — to my husband, in particular — for its excesses.

Let me be clear. I remain an avid fan. I loved “Downton Abbey” from the first moment I laid eyes on it. The lustrous sets. The gorgeous costumes. I could watch the upholstery on that show for an hour and be satisfied. Each month that passed between the end of Season 1 and the start of Season 2 brought a small heartache. I squealed just a little when the swelling violins took up again in January.

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Sunday, Feb 19, 2012 3:00 PM UTC2012-02-19T15:00:00Zl, M j, Y g:i A T

America’s last hope: A strong labor movement

To achieve economic justice in the 21st century, we need to fight for democracy in the workplace

labor_protest

The 99 Percent Plan is a joint Roosevelt Institute-Salon series that explores how progressives can shape a new vision for the economy. This is the third essay in the series.

The fate of the labor movement is the fate of American democracy. Without a strong countervailing force like organized labor, corporations and wealthy elites advancing their own interests are able to exert undue influence over the political system, as we’ve seen in every major policy debate of recent years.

Yet the American labor movement is in crisis and is the weakest it’s been in 100 years. That truism has been a progressive mantra since the Clinton administration. However, union density has continued to decline from roughly 16 percent in 1995 to 11.8 percent of all workers and just 6.9 percent of workers in the private sector. Unionized workers in the public sector now make up the majority of the labor movement for the first time in history, which is precisely why — a la Wisconsin and 14 other states — they have been targeted by the right for all out destruction.

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Dorian T. Warren is a Fellow at the Roosevelt Institute. He is also an Assistant Professor of Political Science & Public Affairs at Columbia University. You can follow him on Twitter @dorianwarrenMore Dorian Warren

Sunday, Feb 19, 2012 2:00 PM UTC2012-02-19T14:00:00Zl, M j, Y g:i A T

What it’s like to be shipped home

The one-way flight back to Guatemala is a trip no unauthorized immigrant wants. But some take it over and over

Guatemalans deported from the United States are escorted by an immigration official upon their arrival at La Aurora international airport in Guatemala City

Guatemalans deported from the United States are escorted by an immigration official upon their arrival at La Aurora International Airport in Guatemala City.  (Credit: AP/Moises Castillo)

GUATEMALA CITY — “No one will throw you out of here,” says the woman with the jaunty ponytail and the cheer of a motivational speaker. “Here we’ll give you affection.” Then she sends some love in the direction of Guatemala, the ostensible home of the bleary-eyed deportees who have just descended from U.S. government-funded flights a few feet away. “Our volcanoes! Our mountains! Everything we have!”

By the time she gets to the tortillitas and tamales and call-and-response, the deportees — the vast majority of them young men, a handful of them minors — are smiling. Some of them even wink and flirt. This may well be the least exhausting part of their journey.

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Irin Carmon is a staff writer for Salon. Follow her on Twitter at @irincarmon or email her at icarmon@salon.com.  More Irin Carmon

Sunday, Feb 19, 2012 1:00 AM UTC2012-02-19T01:00:00Zl, M j, Y g:i A T

A new breed of porn CEO — female

Lux Alptraum, the new head of Fleshbot, embodies how the Internet is changing the face of the adult industry

lux

 (Credit: Adam Courtney)

Lux Alptraum is not your stereotypical adult-industry executive: She’s young, female, queer, Ivy-educated and based in New York. As the newly minted CEO of the porn blog Fleshbot, which until recently was part of the Gawker Media empire, Alptraum is proof of how the Internet is changing the face of the adult business.

She took “a long and winding road” to this point. In college at Columbia, she discovered the online amateur porn scene, which was exploding at the time. “There were a lot of different people doing things that were really fascinating and intriguing and not standard porn,” she says. Alptraum started modeling and doing cam shows for a site that specialized in “nerdy girls,” but after a year she quit and started her own site, That Strange Girl.

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Tracy Clark-Flory

Tracy Clark-Flory is a staff writer at Salon. Follow @tracyclarkflory on Twitter.  More Tracy Clark-Flory

Saturday, Feb 18, 2012 10:00 PM UTC2012-02-18T22:00:00Zl, M j, Y g:i A T

The Oscar favorite no one really likes

"The Descendants" is Oscar-bait, from George Clooney to its tropical locale. And it'll lose to a French silent film

The Descendants and The Artist

Stills from "The Descendants" and "The Artist"

I can’t be the only person who had a mixed, double reaction to George Clooney’s big emotional scene near the end of Alexander Payne’s “The Descendants,” which seems destined to end up as the also-ran or bridegroom in this year’s Oscar race. Wearing his bad haircut, his Hawaiian shirt and his 15 extra pounds as Honolulu lawyer Matt King, Clooney bends over his recumbent wife in her hospital bed, murmuring things to her that I won’t specify, in case you haven’t seen the movie yet. He calls her “my joy and my pain,” lets a quite convincing tear run down his face, and leaves the audience digging for tissues.

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Andrew O

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