According to Politico, “Leaders are also reminding members that, under the bill, insurance companies could only charge people with pre-existing conditions more if they have a gap in coverage. If they remain on insurance, they cannot be charged more than a healthy person.”
But what about when Americans with pre-existing conditions haven’t been able to afford insurance and so have suffered a gap. I mean, DUH!
“Fox’s constant taunts about liberal bias have made news outlets so anxious and defensive they now spend as much time examining themselves as a body-dismorphic teenager, asking, ‘Oh, my God—does this story make me look liberal?’”
The Trump administration is depraved from stem to stern.
Commerce Secretary Wilbur Ross, Trump’s bombimg Syria is “after-dinner entertainment.”
And no, that’s not funny.
Did you see him with John Dickerson this am?
In The New York Times, Roslyn Sulcas wrote recently that “gloom pervaded” the ballet world of the 1980s and 1990s, gloom purportedly dispelled by the three choreographers whom she interviews in a piece entitled “Three Kings of Ballet Choreography.”
That would be Wheeldon, Ratmansky and Peck.
To support her point Sulcas quotes Jennifer Homans, writing in the Times that “a lifeless othodoxy” was reigning.
Except that Homans wrote that in 2002 not in 1987, as Sulcas claims.
In any case, the picture Roslyn paints is simply not accurate.
In 1980 ballet–at least in America–was at it’s all-time height of attendance, and media attention, coming off the dance boom of the 1960s and ’70s. Do people realize that balletgoers routinely lined up for standing room in those days?
Creatively, the thrust during the 1980s in new work was crossover collaborations where modern dance choreographers were invited to create for ballet companies. How many great works came out of that fusion is subject to debate, but it did provide for some artistic dynamism.
By the end of the 1980s ballet was beginning to be impaired by the reactionary culture of Reagan’s Washington, and by the corporate consolidation of the media, but was still prominent and respected in society–much more so than today. Attendance was not what it had been a decade earlier, but much healthier than today’s.
Although Sulcas is focusing on artistic product, the implication is that ballet itself has been revitalized by these three choreographers. But the reality is that attendance is far lower than it was in 1980 or even in 1989. And in terms of the media, the Times itself is one of the few publications–“mainstream” or not–that gives more than an extremely intermittent passing glance to ballet.
I just started reading The Education of Henry Adams. No sooner was I into chapter 1 than Adams was reminding me that “the practical value of the universe has never been stated in dollars.”
The Barker-in-Chief forecasts confrontation ahead with North Korea.
Sealing the deal, however, will undoubtedly depend on Trump’s approval ratings at home.
One reason the people around Trump are so shady–apart from the curtain of shade he casts–is that Trump only respects people who game the system. That’s what a “winner” does, right?
And in addition, Trump’s cabal of con men and women have lots of compromising skeletons that he can hold over them if the going gets rough and backstop is required.
If there’s anything more comically con man than Secretary Mnuchin’s moving-target hype of Trump’s tax windfall-for-himself “reform” bill, it’s probably any public utterance by Secretary Price.
Congressman Jamie Raskin passionately defends artistic expression in the face of the House GOP’s censorship of a student canvas.
But it may not even be non-profit.
Once again, the Trump, Inc. shingle engulfs all concepts and norms of governmental propriety.
Josh Marshall at TalkingPointsMemo writes:
“As is the case on many other fronts, Trump and his family ran the 2016 campaign not so much against Hillary Clinton but a looking glass Hillary Clinton which was actually what they aspired to be and do if they won.”
