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Aaron Lee Tasjan Brings His Circus to Nashville

Mother Jones

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Jacob Blickenstaff

At this year’s Americana Music Festival in Nashville, 30-year-old Aaron Lee Tasjan was getting considerable buzz as an artist on the rise, but his path has been long and unlikely. Growing up in the suburbs of Columbus, Ohio, he took to guitar in his preteens and, after turning down a scholarship to Boston’s Berklee College of Music, moved in 2004 to New York City, where he became a founding member of the glam-punk band Semi Precious Weapons. From there, he became a go-to side man playing, among other other projects, with a latter-day New York Dolls. In 2013, he moved to Nashville, where he has concentrated on songwriting and leading his own band within the East Nashville music scene.

Tasjan’s music operates at more of a sly and observational distance than many of the heart-on-sleeve singer songwriters to come out of Nashville recently. His showcase performance at the Cannery Ballroom—bookended by sets from Wynona Judd and Lee Ann Womack—was exemplary of his subversive philosophy: During the performance of a song called “Success,” he was joined by two female impersonators doing Judd and Womack. The intent was not to mock, but more to celebrate weirdness of the moment and break down the pretense celebrity. The message was in the lyrics: “Success ain’t about being better than everyone else, it’s about being better than yourself.”

On his brand new album, Silver Tears, Tasjan employs a kaleidoscopic approach, drawing from influences such as Tom Petty, Electric Light Orchestra, Elliot Smith, The Flying Burrito Brothers, Harry Nilsson, and Roy Orbison—artists who more or less occupied their own musical categories while remaining reverent of their roots.

Mother Jones: Tell me about the East Nashville scene.

Aaron Lee Tasjan: It’s like every other place. There are people that are great, and their hearts are in it and you really root for them. Then there’s people that are putting on the costume of the scene and showing up, doing something that’s a little less thought about. Any scene is gonna have both of those things and most of it will be the second category. But we’re lucky, ’cause there’s a good healthy amount of people more in the first.

MJ: What was it like to come here from New York?

ALT: I mainly moved here because it’s cheaper. I didn’t come here ’cause I knew anything about any of the songwriters, other than the ones everybody knows: Todd Snyder, Elizabeth Cook, people like that. When I got to town, I didn’t want to find my peers. I wanted to find people who are way better than I am and go try to hang out with them and see why they were great, try to understand that and apply it. I love it here, but I don’t know that I’m a huge participant necessarily of the Nashville scene. I’m not a country singer. Most of those guys are country singers, and I celebrate that. I love singing that music, but it’s really not like what my music is.

MJ: On your album, it’s easy to hear your influences. I’ve read that you’ve been self-deprecating about that in the past via an alternate persona, “Captain Folk,” who’d come out in an opening set and make fun of whom you were “ripping off.”

ALT: Everybody’s influenced by something, right, whether consciously or unconsciously. I make fun of it because this is a genre of music that’s clouded in earnestness. Earnestness is great, but not everybody is Jason Isbell. That works for him, because that’s who he really is, and that’s why it’s good. But I see people mimicking that who aren’t really that. And you sort of want to go, “Man, just go up there and be yourself and be a little weirder, and people will probably be more into it.” And that’s our whole circus: When we play shows and have drag queens and all that, we’re encouraging people to go be as true to their real self as they can. Those are the kinds of artists that we need to hear.

Wynona, Aaron Lee, Lee Ann Brady Brock

MJ: “Success” feels like your most direct statement on the album in terms of a personal philosophy. Is that belief central to what you’re doing right now?

ALT: Definitely, but this is where it gets tricky. I don’t really want to get up there and yell at people to do something, or tell them that I think I have some sort of answer for how they should be. With that song in particular, I’m just singing to myself about something that has worked very well for me. There’s that part of you that goes, “Well this person got this gig; why didn’t I get this gig?” or whatever. But I’ve tried really hard. I came to Nashville being a songwriter and a singer and a front man of a band with a very working-man’s attitude, because that’s what I’ve been my entire life—a working musician, playing guitar for whoever I could play for, for 50 bucks a night, or $100, all the way up to gigs that I did with the more well-known bands.

I just plod along at my own speed, and that works for me. That song is more of what was actually driving me to do it, because I use all these lessons to basically try to kill my ego every day, and just say, “This is making me a better person.” And that goes through every aspect of my life, not just music.

MJ: How else do you apply it?

ALT: I have two things that I go by. The first one is, the work will never fail you. You can hire the wrong publicist, sign to the wrong record label, have a bad manager or a booking agent who might be awesome but doesn’t necessarily understand what you do. But I guarantee you this: If you get really good at singing and playing the guitar and writing songs, someone will give you a job to do it somewhere. Always. So I focus on writing songs. And business people in my camp sometimes get mad at me, because I don’t really pay attention to a lot of that other stuff. But at the end of the day I think they know that the product they have to sell is better for it.

Also, I always try to have the feeling that I’m a student. I don’t have any of this figured out. And I really believe that! It’s hilarious to me when people ask me to explain the process. You’re like, “How can I explain something to you that I’m just learning myself?”

MJ: And now you’re getting some attention. Is that an odd place for you to be?

ALT: Yeah, it’s kind of right where I’ve always been, to be honest. I’ve been fired from bands as a guitar player because I got too much attention. This is the God’s honest truth: All I ever wanted to do was be Keith Richards in somebody’s band. And I could never find a singer or a band that was cool enough to let me do it. In Semi Precious Weapons, the singer and me were writing all the songs and coming up with the sound of it all. But when a critic would pick me out it would get on everyone’s nerves. It keeps you in this place of not really ever being able to break through to another level. I can sit and contemplate the whys and the whens and hows of that until the cows come home, but I’d fuckin’ rather just write a song that’s going to make people go, “Holy shit man, did you make that up?” And whether people understand me or not, I can make up a good song. I want to be as good of a songwriter as Guy Clark. I don’t even know if that’s possible; it’s probably not.

MJ: Well, at least one person did it.

ALT: That’s right. Isn’t that cool? Isn’t that cool enough? It is to me.

Jacob Blickenstaff

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Aaron Lee Tasjan Brings His Circus to Nashville

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Exclusive: The Democratic National Committee Has Told the FBI It Found Evidence Its HQ Was Bugged

Mother Jones

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In an episode reminiscent of Watergate, the Democratic Party recently informed the FBI that it had collected evidence suggesting its Washington headquarters had been bugged, according to two Democratic National Committee officials who asked not to be named.

In September, according to these sources, the DNC hired a firm to conduct an electronic sweep of its offices. After Russian hackers had penetrated its email system and those of other Democratic targets, DNC officials believed it was prudent to scrutinize their offices. This examination found nothing unusual.

In late October, after conservative activist James O’Keefe released a new set of hidden-camera videos targeting Democrats, interim party chairwoman Donna Brazile ordered up another sweep. There was a concern that Republican foes might have infiltrated the DNC offices, where volunteers were reporting to work on phone banks and other election activities. (For some of their actions, O’Keefe and his crew have used people posing as volunteers to gain access to Democratic outfits.)

The second sweep, according to the Democratic officials, found a radio signal near the chairman’s office that indicated there might be a listening device outside the office. “We were told that this was something that could pick up calls from cellphones,” a DNC official says. “The guys who did the sweep said it was a strong indication.” No device was recovered. No possible culprits were identified.

The DNC sent a report with the technical details to the FBI, according to the DNC officials. “We believe it’s been given by the bureau to another agency with three letters to examine,” the DNC official says. “We’re not supposed to talk about it.”

A Democratic consultant who has done work for the DNC, who asked not to be identified, says he was recently informed about the suspected bugging.

The DNC officials will not say what countermeasures were subsequently taken. “As a general policy, we don’t talk about such efforts,” the other DNC official says. But this official adds, “You have to take all of this incredibly seriously.” The first DNC official notes, “We are the oldest political party in this country, and we are under constant attack from Russia and/or maybe others.”

Adam Hodge, a spokesman for the DNC, says, “The DNC is not going to comment on stories about its security. In all security matters, we cooperate fully with the appropriate law enforcement agencies and take all necessary steps to protect the committee and the safety and security of our staff.”

The FBI did not respond to a request for comment.

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Exclusive: The Democratic National Committee Has Told the FBI It Found Evidence Its HQ Was Bugged

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Presenting the Bad Hombre and the Nasty Woman: Cocktails to Get You Through Election Night

Mother Jones

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Bite is Mother Jones‘ new food politics podcast. Listen to all our episodes here, or by subscribing in iTunes or Stitcher or via RSS.

If this year’s presidential race hasn’t made you want to shotgun an IPA at full speed, then you haven’t been paying attention. Even the most reserved of us have probably reached for the bottle more than we’d like to admit. But election night is nearly upon us, and to toast the end of the shit-show as the total counts come in, we’re going to need some drinks. Strong ones. Lots of them.

We commissioned a bartender to mix up some presidential-race-inspired cocktails that turn Donald Trump’s off-color remarks into an excuse to have a stiff drink or two (or seven, we’re not judging). To hear how to make the Bad Hombre and the Nasty Woman, plus an interview with the Obama administration’s chef Sam Kass, listen to our latest episode of Bite below. The cocktail segment begins at 1:00.

Nicky Beyries is the bar manager at Foreign Cinema and Laszlo in San Francisco. When creating these political party favors for us, she cleverly chose spirits made by women and people of color (like Square One vodka and Ilegal mezcal). She also avoided predictable choices, like a cosmo for the Nasty Woman.

“I get really tired as a female bartender who faces a lot of sexism—not only from guests, but from the industry and from liquor companies themselves—of the idea that for it to be womanly it has to be a certain way or a certain color,” Beyries told me. “There’s nothing more feminine about something because it’s dyed pink.”

If you can’t track down the products Beyries recommends, our own Tom Philpott has another take on the Bad Hombre, with ingredients you just might have on hand.

So without further ado, here are the recipes for your election-night imbibing pleasure. Cheers!

Bad Hombre

1 dash chili bitters
2 dashes chocolate bitters
1/4 ounce creme de cacao (Tempus Fugit brand)
3/4 ounce Cocchi di Torino vermouth
2 ounces Ilegal Reposado

Stir well over ice, pour into a cocktail glass, garnish with a small chili de arbol balanced on the rim, and a sprinkling of fresh cinnamon.

Photo courtesy Nicky Beyries

Nasty Woman

3 Thai basil leaves
1/2 ounce simple syrup
3/4 ounce fresh lemon juice
2 ounces Square One Basil Vodka

Shake, double strain into a glass, and top with about 1.5 ounces Fever-Tree bitter lemon soda. Garnish with a spring of Thai Basil.

Don’t have these fancy ingredients at home? Try Tom Philpott’s out-of-the-cabinet Bad Hombre:

4 ounces mezcal
2 ounces dry vermouth
2 splashes Cointreau
2-4 dashes of orange bitters
A pinch of chipotle powder (or smoked hot paprika)
A teaspoon each of salt and chipotle powder (or smoked hot paprika), mixed and laid out on a small plate
Garnish: two quarter orange slices, dusted on both sides with salt and chipotle powder.

Wipe the edges of two coupe glasses with an orange slice to moisten. Dip them into the salt/powder mixture to line the edge.

Combine the mezcal, vermouth, Cointreau, a pinch of chipotle powder, and the bitters in a jar. Add ice cubes, stir vigorously, and strain into the coupes. Garnish with the oranges slices. Serves two.

And just in case you missed the internet frenzy over Trump’s “bad hombre” and “nasty woman” comments, here’s a round up of the best memes.

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Presenting the Bad Hombre and the Nasty Woman: Cocktails to Get You Through Election Night

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Remembering Candy Cigarettes, Big Tobacco’s Most Evil Way to Turn Children Into Smokers

Mother Jones

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Encouraging children to smoke? No, sir! Courtesy Robert Proctor

There was a time you’d think nothing of seeing young kids puffing on candy cigarettes. Parents would even hand them out on Halloween. Smoking was KOOL. “Just Like Daddy!” one candy ad promised. Hershey Corporation started the trend a century ago when it began hawking chocolate smokes, and by the 1920s, companies such as World Candies and Necco were selling a chalky white version. You could also get skinny bubble gum cigs in white paper tubes. Bonus: Blowing on them produced a little puff of gum-dust smoke.

All images courtesy of Robert Proctor

Big Tobacco often looked the other way as its names and logos popped up in candy aisles around the nation. “Not too bad an advertisement,” a lawyer for Brown & Williamson once conceded to a candymaker. Some tobacco execs even supplied art specs for use on candy packaging, notes Stanford historian Robert Proctor, who painstakingly details the industry’s evildoings in his 2012 book, Golden Holocaust.

Courtesy of Robert Proctor

It paid off, too: In a 2007 study that surveyed 25,000 people, researchers at the University of Rochester found that respondents who consumed candy cigarettes as kids were roughly twice as likely as those who hadn’t to report that they later became smokers. When tobacco companies eventually grew sensitive to negative PR and began policing their copyrights more aggressively, confectioners responded with a wink: “Marboro,” “Winstun,” “Kamel,” “Lucky Stripe.”

Courtesy of Robert Proctor

One state, North Dakota, actually outlawed candy cigarettes from 1953 to 1967, but federal lawmakers who tried the same were no match for Big Tobacco’s friends in Congress. In the end, didn’t matter. Following the massive tobacco settlements of the 1980s, which included restrictions on advertising and product placement, smoking became way less cool and candy cigs slowly disappeared from most stores on their own. You can still buy the fake cancer sticks online without the recognizable logos. Now they’re just “candy sticks.”

Courtesy of Robert Proctor

Courtesy of Robert Proctor

Courtesy of Robert Proctor

Courtesy of Robert Proctor

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Remembering Candy Cigarettes, Big Tobacco’s Most Evil Way to Turn Children Into Smokers

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Don’t Underestimate “Jane the Virgin,” the Soap Spinoff With a Social Conscience

Mother Jones

Jennie Synder Urman Richard Shotwell/Invision/AP

Perhaps because Jane the Virgin has such a silly premise—a 23-year-old virgin is accidentally inseminated at a routine gynecological appointment—and perhaps because it’s aired on CW, a network best known for its searing teen dramas, the show tends to get lost in the assumption that it should be judged by the company it keeps. But Jane the Virgin accomplishes quite a lot in each 43-minute episode. Inspired by a Venezuelan telenovela, the show balances a slightly satirical soap-opera style with heartfelt storylines and the comedy that stems inevitably from Jane’s predicament.

Jane the Virgin makes some unusual calls for a mainstream TV show: Its heroine is a virgin by choice, her abuela is undocumented and speaks only Spanish, and the writers give us an unvarnished look at the travails of new motherhood—some are mothers themselves—as well as issues such as postpartum depression and the difficulties faced by immigrants in America. With the season three premiere due for delivery on October 17, I caught up with Jennie Synder Urman, Jane‘s creator and showrunner, for a little chat.

Mother Jones: Tell us more about the show’s origins.

JSU: Ben Silverman brought me the original Venezuelan telenovela. He told me the log line—a virgin gets accidentally artificially inseminated. From there, I came up with the show. The original is very different, and I didn’t want to just remake what they made successfully. I started to think about an older character whose virginity was more of a choice, less than circumstance—when you’re younger, half the people are virgins, half aren’t. And I wanted it to be a multigenerational story between a daughter, her mother, and her grandmother, because those are the relationships that I love: strong women and matriarchies. We have a character who loves telenovelas and the characters, and how her life starts to become like one of the telenovelas she loves to watch. That’s what I ultimately pitched to the studio.

MJ: You and head writers Jessica O’Toole and Amy Rardin are white. How do you keep things real when it comes to Latina culture?

JSU: Well, we also have nonwhite women in our writing room, and I have a cast of Latina women. We’re all very close, and we talk and they tell me what feels real. But I’m trying to create characters, not represent an entire culture. If you try to do that, you fall into a trap of stereotypes and clichés. I’m writing Jane, the daughter of Xo, who’s the daughter of Alba. I’ve created those characters, so I’m loading them up with specific things. They’re a Catholic family and I’m not Catholic, but I also have Catholic writers. I feel like race and ethnicity is really important, but also socioeconomic class and religion, and I’m baking it all into these characters. We’re all humans, we all want the same thing: love and respect and success and family and happiness.

MJ: Your writers and directors are mostly women. Was that a conscious choice?

JSU: Yeah, I think so. Conscious in that I don’t have the unconscious bias that women are not able to do all of these jobs and do them well. To me, the heart of the show is the Villanueva women. So it was very important to get female views early on, because without women, maybe those little moments that you don’t think about would be defaulted to men. We want you to think about everything, so you’re not just assuming this person is a man because you have a “contractor.” Why can’t the contractor be a woman? Being surrounded by women helps to further that particular agenda. We have wonderful male writers and directors, too, but predominantly the people who have stuck and lasted on Jane have been women. They’ve done a great job. I brought ’em back.

MJ: It seems pretty special to have a mostly female space in television.

JSU: Most of my actors have told me they worked with more female directors on one season of Jane than they have in their whole career! I like that we have a space where a female director can succeed. She can take 10 minutes if she needs to pump because she has a new baby. Last year, I think 15 of 22 writers and directors were women. This year, I don’t know what our makeup is, but it’s gotta be that or more. I’ve got a son and a daughter and I want them to see women leading things in general.

MJ: In one interview, Jessica O’Toole said the writer’s room has “one token straight white male.”

JSU: We do! We’ll turn to him and be like, “Well, what do you think about this?” Laughs.

MJ: I’ve been impressed by your attention to the flaws in America’s immigration policies. Were you worried about blowback?

JSU: I was really moved and inspired early on when I met Diane Guerrero, who is Lina on our show and who is in Orange Is the New Black. She told me this story about when she was 14 and her parents were deported. Just stunning how no one checked up on her afterward! Her parents weren’t criminals; they just were undocumented. They tried to get their papers and because of circumstance, because of people who misled them, they didn’t, and they sent these parents of this 14-year-old girl away.

I remember feeling like we have to use this platform to dramatize that in some way. I cast the three women—Jane, Xo and Alba—as Venezuelan, partly as an homage to the telenovela and partly because I wanted to have Alba be undocumented, so we could play that fear and victory when she gets her green card. The cast would be so excited when we put a hashtag “immigration reform.” Our feeling was like, we’re gonna make everybody fall in love with Alba, because she’s this great grandmother. Then suddenly you’re like, “Wait, why are we trying to get her to leave the country?” It would affect people by personalizing the political.

MJ: The show’s realistic, unglamorous look at new motherhood isn’t something we typically see on TV. The scene where Jane’s milk comes in while she’s out on her front lawn comes to mind—or when she forgets her breast pump on a writer’s retreat.

JSU: I was very committed to that. I’ve got two very young kids and I was stunned at how hard it was. I had a lot of people at the beginning who were saying, “Well, what happens once she has the baby? Where does the story go from there?” The implication is that her life stops because she has a baby. How can a mother be interesting? Who cares about that love life or that career agenda? As a writer, you spend your whole life sort of thinking about yourself and forming your identity and where you want to be in the world and then you have a baby and you’re like, “Oh my god, I work for you now?” It’s a real earthquake.

I was writing at the same time I was having my kids, who now are five and six, but when I was doing Jane at the beginning they were probably three and four. The balance was hard. Nursing was really hard—I was shocked! I felt like someone had taken over my body for the first six months. I remember after the first day we had our son, my husband and I looked at each other in the morning and we were like, “That was one day? What the fuck? How are we going to do 18 years?” I hadn’t seen that on TV. We knew Jane had this baby, and I didn’t want the baby to just disappear. You’re always looking for drama and conflict and difficulties for your character, and having a new baby is a really difficult thing, especially for a character like Jane who plans everything.

MJ: So, what can we look forward to in season three?

JSU: We’re going to try to continue to balance our comedy and drama and social responsibility. Our family is Venezuelan, and Venezuela is in a really difficult situation right now. I want the show to at least be aware of that reality. Food shortages and no medicine—I think the more we pull from specifics, the more texture it gets, and the more real it becomes. We want to always balance the fantastical telenovela twists and turns with the more grounded, emotional, dramatic and comedic moments.

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Don’t Underestimate “Jane the Virgin,” the Soap Spinoff With a Social Conscience

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You Thought 2016 Politics Were Intense? Watch This Exclusive Clip of the Gore Vidal vs. William F. Buckley Brawl

Mother Jones

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Best of Enemies co-director Robert Gordon confessed to me a while back that his biggest fear was that “people won’t go see this movie because they think it’s going to be boring.” It isn’t. The documentary—which premieres October 3 at 10 p.m. on PBS (Independent Lens)—chronicles the often fiery debates between William F. Buckley Jr. and Gore Vidal that ABC aired during the 1968 election cycle in an effort to boost ratings. “It sounds like a dry documentary because people forget how witty these two guys are,” Gordon told me.

Gordon and co-director Morgan Neville—whose Twenty Feet From Stardom won the 2014 Oscar for best documentary—skillfully weave archival footage together with interviews with the likes of Christopher Hitchens, Brooke Gladstone, Dick Cavett, and Buckley’s brother Neil. The movie climaxes during one of the duo’s final debates at the Democratic National Convention in Chicago where, while discussing Vietnam War protesters, Vidal calls Buckley a “crypto-Nazi.” The latter’s response, which could even make Donald Trump blush, was perhaps the first viral sound bite in modern media history. “Now listen, you queer,” Buckley retorted, twitching with anger. “Quit calling me a crypto-Nazi or I’ll sock you in the goddamn face and you’ll stay plastered.”

Indeed, the televised verbal brawls between these two brilliant intellectuals anticipated the culture wars that would define, for decades to come, America’s political struggles—and how the media would cover them. I sat down with Gordon in San Francisco not long ago to chat about the de-evolution of our political discourse and the challenge of making a film about conversations that took place decades ago.

Mother Jones: How did this project come to pass?

Robert Gordon: In 2010, a friend of mine acquired a bootleg DVD of the debates and shared it with me, and I was like, “Oh my God, this is today’s culture wars expressed by these two guys.” As a documentarian, you are always looking for that cache of film you can use to build a movie from; there was 2.5 hours of raw debate. It seemed so relevant to the division in the country that I just thought, “Let’s get on this immediately.”

MJ: Had you worked with Morgan Neville before?

RG: This is our fifth film together. Between the fourth and fifth, he made 20 Feet From Stardom and got the Academy Award. I called him up and said, “Way to go Morgan! You’re really putting the pressure on us now.” But it’s a big help having that accolade. People who don’t know us are more willing to trust us; it’s the stamp of legitimacy.

MJ: Was it challenging to get backers on board with such an unconventional documentary subject?

RG: Yes, it took a while. Most said to us, “This is all very interesting, but why do you see it as relevant today?” And since the movie has been made, the response has been, “I can’t believe how relevant to today this footage is.”

Gore Vidal (front) and William F. Buckley get primped for their clash. Independent Lens

MJ: Most of your past work has involved music. What made you want to stray from that subject?

RG: Most everything I’ve done has been about music, but music as a way to talk about bigger social issues, bigger cultural moments or movements. I don’t see it as that big of a leap. The debates are the operatic vignettes that recur, and it’s quite musical to me. The important thing to me is that my documentaries are about changes in America, and so is this.

MJ: It was quite a year, 1968. How did you decide what historical and cultural context to include?

RG: There were cultural touchstones that have been investigated over and over and over, and we didn’t want to redo those. And there are a lot of them to work with. I mean ’68, like you said, it’s rife with material, with cultural disagreement, violence, internationally—it’s all there. But we wanted to focus on our guys and what they stood for and where those changes occurred in relation to them.

MJ: But you did incorporate some major historical events into the film, like the riots outside of the DNC in Chicago.

RG: Yeah, totally, but only because it was there. It felt like the fighting on the street was being played out by these two guys in front of the glare of the national TV camera.

MJ: Was there anything that surprised you while researching these two men?

RG: I was surprised at the vigor with which Vidal pursued Buckley and his other enemies. Vidal seemed to thrive on animosity and on feuding, and at the same time could be very charming. You see him on Dick Cavett, and there’s a certain charm to him, you like to watch him, you like to see him talk, and I thought, “Well, surely this ‘man of ice’ was a put-on.” But then you read things like his obituary on Buckley, and, you know, he is a man of ice.

MJ: So did you feel like you had to hold back your own opinions about Vidal and Buckley?

RG: The film wasn’t about our personal views and our personal politics. That would have undermined the film’s potential. One of the interesting things I learned in the course of it was Buckley, whose politics I tend not to agree with, was strong enough to publicly change his mind on the Iraq War. He had come out very for it when it began, and over time, when he learned more about it, he changed. And that’s a brave position for someone in his situation. I think it’s very honorable and admirable.

MJ: There is that moment after the famous blowup between Buckley and Vidal when you pan through all the interviewees in the documentary sitting in shocked silence. And then Dick Cavett goes, “The network nearly shat.” Were those really these people’s reactions?

RG: That’s taking liberty in the editing room, is what it is. It was Cavett’s response that suggests that those were their real responses, because I asked Cavett about it and you see him turn and think, and he has a long silence, and then he gives that very funny answer, and we thought, “Wow, what if we extend that silence? Because that’s kind of musical in a way.” And we tested it and it was like, “Ohhh, this is funny.” And it never hurts to be funny.

The showdown Independent Lens

MJ: Yeah, the film has a lot of funny moments; Vidal and Buckley are very entertaining to watch.

RG: These guy were so smart, and they had a command of so many things: history, philosophy, economics, and, people forget, of humor as well. They were smart, witty guys.

MJ: I was struck by how intellectual their rhetoric was. It seems ironic that these debates helped inspire the trashy political debate we now see on cable.

RG: Yes, TV is pursued for the lowest common denominator. Networks, which had been civil to a fault up to that point in time, have worked themselves up to the point where all they are is a series of Roman candle explosions. The reason that the audience built for Buckley and Vidal is that, in addition to their cattiness, they were offering a lot of ideas and a lot of exchange, and they were humorous, too. It wasn’t just that explosive moment that made this what it was. But TV today seems to want to have you come back from a commercial and go right into a fight turned up to 10, and three minutes later go into a commercial—and that’s success! People have been introducing the show in theaters as “delicious,” and I think that suggests an appetite for more integrity on television; more intellectual exchange, less vacuous shouting.

MJ: Yeah, I mean, it’s hard to imagine someone citing Pericles on network TV now!

RG: Yeah, I watched the Vidal-Buckley debates with a dictionary the first few times because I wanted to learn the words, and they were saying things I didn’t know, and what did it mean, and why were they choosing those words, and whom were they quoting? Wouldn’t you like to watch a half an hour of political TV and then take your notes and go look up what they were talking about? You glean what you need to glean, and then afterward you can take home more—it’s a prize that comes in the box!

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You Thought 2016 Politics Were Intense? Watch This Exclusive Clip of the Gore Vidal vs. William F. Buckley Brawl

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You Thought 2016 Was Intense? Watch This Exclusive Clip of the Gore Vidal vs. William F. Buckley Brawl

Mother Jones

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Best of Enemies co-director Robert Gordon confessed to me a while back that his biggest fear was that “people won’t go see this movie because they think it’s going to be boring.” It isn’t. The documentary—which premieres October 3 at 10 p.m. on PBS (Independent Lens)—chronicles the often fiery debates between William F. Buckley Jr. and Gore Vidal that ABC aired during the 1968 election cycle in an effort to boost ratings. “It sounds like a dry documentary because people forget how witty these two guys are,” Gordon told me.

Gordon and co-director Morgan Neville—whose Twenty Feet From Stardom won the 2014 Oscar for best documentary—skillfully weave archival footage together with interviews with the likes of Christopher Hitchens, Brooke Gladstone, Dick Cavett, and Buckley’s brother Neil. The movie climaxes during one of the duo’s final debates at the Democratic National Convention in Chicago where, while discussing Vietnam War protesters, Vidal calls Buckley a “crypto-Nazi.” The latter’s response, which could even make Donald Trump blush, was perhaps the first viral sound bite in modern media history. “Now listen, you queer,” Buckley retorted, twitching with anger. “Quit calling me a crypto-Nazi or I’ll sock you in the goddamn face and you’ll stay plastered.”

Indeed, the televised verbal brawls between these two brilliant intellectuals anticipated the culture wars that would define, for decades to come, America’s political struggles—and how the media would cover them. I sat down with Gordon in San Francisco not long ago to chat about the de-evolution of our political discourse and the challenge of making a film about conversations that took place decades ago.

Mother Jones: How did this project come to pass?

Robert Gordon: In 2010, a friend of mine acquired a bootleg DVD of the debates and shared it with me, and I was like, “Oh my God, this is today’s culture wars expressed by these two guys.” As a documentarian, you are always looking for that cache of film you can use to build a movie from; there was 2.5 hours of raw debate. It seemed so relevant to the division in the country that I just thought, “Let’s get on this immediately.”

MJ: Had you worked with Morgan Neville before?

RG: This is our fifth film together. Between the fourth and fifth, he made 20 Feet From Stardom and got the Academy Award. I called him up and said, “Way to go Morgan! You’re really putting the pressure on us now.” But it’s a big help having that accolade. People who don’t know us are more willing to trust us; it’s the stamp of legitimacy.

MJ: Was it challenging to get backers on board with such an unconventional documentary subject?

RG: Yes, it took a while. Most said to us, “This is all very interesting, but why do you see it as relevant today?” And since the movie has been made, the response has been, “I can’t believe how relevant to today this footage is.”

Gore Vidal (front) and William F. Buckley get primped for their clash. Independent Lens

MJ: Most of your past work has involved music. What made you want to stray from that subject?

RG: Most everything I’ve done has been about music, but music as a way to talk about bigger social issues, bigger cultural moments or movements. I don’t see it as that big of a leap. The debates are the operatic vignettes that recur, and it’s quite musical to me. The important thing to me is that my documentaries are about changes in America, and so is this.

MJ: It was quite a year, 1968. How did you decide what historical and cultural context to include?

RG: There were cultural touchstones that have been investigated over and over and over, and we didn’t want to redo those. And there are a lot of them to work with. I mean ’68, like you said, it’s rife with material, with cultural disagreement, violence, internationally—it’s all there. But we wanted to focus on our guys and what they stood for and where those changes occurred in relation to them.

MJ: But you did incorporate some major historical events into the film, like the riots outside of the DNC in Chicago.

RG: Yeah, totally, but only because it was there. It felt like the fighting on the street was being played out by these two guys in front of the glare of the national TV camera.

MJ: Was there anything that surprised you while researching these two men?

RG: I was surprised at the vigor with which Vidal pursued Buckley and his other enemies. Vidal seemed to thrive on animosity and on feuding, and at the same time could be very charming. You see him on Dick Cavett, and there’s a certain charm to him, you like to watch him, you like to see him talk, and I thought, “Well, surely this ‘man of ice’ was a put-on.” But then you read things like his obituary on Buckley, and, you know, he is a man of ice.

MJ: So did you feel like you had to hold back your own opinions about Vidal and Buckley?

RG: The film wasn’t about our personal views and our personal politics. That would have undermined the film’s potential. One of the interesting things I learned in the course of it was Buckley, whose politics I tend not to agree with, was strong enough to publicly change his mind on the Iraq War. He had come out very for it when it began, and over time, when he learned more about it, he changed. And that’s a brave position for someone in his situation. I think it’s very honorable and admirable.

MJ: There is that moment after the famous blowup between Buckley and Vidal when you pan through all the interviewees in the documentary sitting in shocked silence. And then Dick Cavett goes, “The network nearly shat.” Were those really these people’s reactions?

RG: That’s taking liberty in the editing room, is what it is. It was Cavett’s response that suggests that those were their real responses, because I asked Cavett about it and you see him turn and think, and he has a long silence, and then he gives that very funny answer, and we thought, “Wow, what if we extend that silence? Because that’s kind of musical in a way.” And we tested it and it was like, “Ohhh, this is funny.” And it never hurts to be funny.

The showdown Independent Lens

MJ: Yeah, the film has a lot of funny moments; Vidal and Buckley are very entertaining to watch.

RG: These guy were so smart, and they had a command of so many things: history, philosophy, economics, and, people forget, of humor as well. They were smart, witty guys.

MJ: I was struck by how intellectual their rhetoric was. It seems ironic that these debates helped inspire the trashy political debate we now see on cable.

RG: Yes, TV is pursued for the lowest common denominator. Networks, which had been civil to a fault up to that point in time, have worked themselves up to the point where all they are is a series of Roman candle explosions. The reason that the audience built for Buckley and Vidal is that, in addition to their cattiness, they were offering a lot of ideas and a lot of exchange, and they were humorous, too. It wasn’t just that explosive moment that made this what it was. But TV today seems to want to have you come back from a commercial and go right into a fight turned up to 10, and three minutes later go into a commercial—and that’s success! People have been introducing the show in theaters as “delicious,” and I think that suggests an appetite for more integrity on television; more intellectual exchange, less vacuous shouting.

MJ: Yeah, I mean, it’s hard to imagine someone citing Pericles on network TV now!

RG: Yeah, I watched the Vidal-Buckley debates with a dictionary the first few times because I wanted to learn the words, and they were saying things I didn’t know, and what did it mean, and why were they choosing those words, and whom were they quoting? Wouldn’t you like to watch a half an hour of political TV and then take your notes and go look up what they were talking about? You glean what you need to glean, and then afterward you can take home more—it’s a prize that comes in the box!

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You Thought 2016 Was Intense? Watch This Exclusive Clip of the Gore Vidal vs. William F. Buckley Brawl

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Can This Charming New Host Convince Millennials to Love “A Prairie Home Companion”?

Mother Jones

On July 1, Garrison Keillor said goodbye on his final broadcast of the radio variety show A Prairie Home Companion. Fans bemoaned the loss of the avuncular host, who had for 42 years regaled them with characters like Guy Noir, cheery ads for powder-milk biscuits, and the imagined inhabitants of a fictional Midwestern town, “where all the women are strong, all the men good-looking, and all the children above-average.”

With Keillor’s retirement, Lake Wobegon may go the way of Atlantis, but that doesn’t mean the show is over. “It feels like something ends and something else is about to happen,” Keillor told his audience during his denouement. That something is 35-year-old Chris Thile, a multiple Grammy-winning mandolin prodigy and leader of the insanely talented Punch Brothers, whom Keillor has anointed as his successor.

Thile first made waves with Nickel Creek, the new-grass band he co-founded in his home-state of California at age 12. Since then, he has appeared dozens of times as a musical guest on Keillor’s program, collaborated with virtuosos such as Béla Fleck and Yo-Yo Ma, and in 2012 was awarded a MacArthur Foundation Fellowship (a.k.a “genius grant”).

In his new role as radio host, Thile aims to preserve the spoken-word humor, musical showmanship, and even the fake commercials that have garnered A Prairie Home Companion three million loyal fans in the US. But judging by the guests, Thile’s Companion already feels edgier than Keillor’s ever did—White Stripes guitarist Jack White, comics John Hodgman and Aparna Nancherla, soul group Lake Street Dive, and cellist Esperanza Spalding will appear on the first few episodes.

Here are a handful of reflections Thile shared with me as he prepares to step into Keillor’s shoes on October 15:

On his first Prairie Home Companion gig: “My life has always been intertwined with the show. Some of my very earliest memories are being in our living room, listening to the show is when I was two years old, and Garrison’s voice emanating from the radio in the corner. At that age it was kind of unclear to me whether that might actually be my dad’s voice just coming through the radio instead of from his body. Not that they sound similar—but just sort of this warm, authoritative, male voice.

Playing the show for the first time at 15, I was already aware of the enormity of the moment. Even for this little bug, it was a realization of a goal at a very young age—like, ‘Oh, this is something I’ve dreamed of happening.’ Garrison signed my program and wrote me a limerick.

There once was a fellow named Thile. Played mandolin wild and freely. He played for the town, while riding around, on a bicycle doing a wheelie!

On the fateful phone call from Keillor: “He called me out of the clear blue sky. I had his number in my phone, but it was always nerve-wracking when he would call and his name shows up on caller ID. You know, it’s a long, grand name accompanied by this incredibly grand voice. I was practicing, in the middle of a duet with the bassist Edgar Meyer. I let it go to voicemail because I thought to myself he probably wants me to play on next week’s show or something, and there’s no way I can do it. I listen to the voicemail and it says imitates Keillor‘s voice ‘Chris I have something that may be of some interest to you…’

“So I called him back and he outlined his exact plan. I was pacing as it started dawning on me what he was talking about. I had to leave the bus and just started like walking all over Ann Arbor trying to process all of this. As he came to the end of the pitch, I am struggling for words, because even then there was this air of inevitability about it. Almost like the forehead slap of, Of course this is what I’m going to do; of course I’m going to try this, as crazy and scary as it seemed at the time. He said, ‘You host a couple of shows, you know, early next year, and we’ll see where we are.’ And that’s what we did.”

On how Thile’s Prairie Home Companion will be different: “We’re going to have a spoken-word guest every show, who may often be a comedian, actor, a poet. I suspect you’ll still be hearing about powder milk biscuits, and you may still be encouraged to eat enough ketchup and potentially be soothed by a piece of rhubarb pie, because we just can’t help ourselves. But the world has changed a lot in the last 40 years. Garrison was keenly aware of that, but you could look out into the audience at a lot of these live shows and see a lot of 50-plus-year-old white folks.

“My dearest hope is that we can create the kind of environment that’s representative of everyone in this beautiful country of ours, especially now. These are hard times. The last couple nights, it’s like I haven’t been able to look directly at the TV—as if it’s the sun. I try and catch up over Twitter afterward, almost it’s like that board from elementary school with the little hole cut into it so you can check out the sun, like check out an eclipse, with those little rudimentary tools. It’s an oft-uttered statement but these are troubled times. I am all the more fervently seeking the beauty that human beings are capable of developing, and I want the show to be a place for those beautiful things. So that, quite frankly, is our great goal, our great challenge.”

On his favorite musical act of late: “I was with Béla Fleck and his wife Abigail Washburn, and they were spending time with this adopted daughter of someone they know. And this little girl, she was improvising a song and making up lyrics on the fly. She sang the words, “My heart breaks into song.” And I was dumbstruck. I mean I didn’t stop the song, but afterward I asked her, “Did you say, ‘My heart breaks into song?'” And she said, ‘Yeah.’ I would just love for this show to be an opportunity for everyone’s hearts to break into song—or to break into laughter, to break into thought, to break into imagination. Our hearts should be breaking right now. But to figure out a way to turn that into energy we can use to comfort each other.”

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Can This Charming New Host Convince Millennials to Love “A Prairie Home Companion”?

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Why a Donald Trump Victory Could Make Climate Catastrophe Inevitable

Mother Jones

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This story first appeared at TomDispatch.com.

In a year of record-setting heat on a blistered globe, with fast-warming oceans, fast-melting ice caps, and fast-rising sea levels, ratification of the December 2015 Paris climate summit agreement—already endorsed by most nations—should be a complete no-brainer. That it isn’t tells you a great deal about our world. Global geopolitics and the possible rightward lurch of many countries (including a potential deal-breaking election in the United States that could put a climate denier in the White House) spell bad news for the fate of the Earth. It’s worth exploring how this might come to be.

The delegates to that 2015 climate summit were in general accord about the science of climate change and the need to cap global warming at 1.5 to 2 degrees Celsius (or 2.6 to 3.5 degrees Fahrenheit) before a planetary catastrophe ensues. They disagreed, however, about much else. Some key countries were in outright conflict with other states (Russia with Ukraine, for example) or deeply hostile to each other (as with India and Pakistan or the United States and Iran). In recognition of such tensions and schisms, the assembled countries crafted a final document that replaced legally binding commitments with the obligation of each signatory state to adopt its own unique plan, or “nationally determined contribution,” for curbing climate-altering greenhouse gas emissions.

As a result, the fate of the planet rests on the questionable willingness of each of those countries to abide by that obligation, however sour or bellicose its relations with other signatories may be. As it happens, that part of the agreement has already been buffeted by geopolitical headwinds and is likely to face increasing turbulence in the years to come.

That geopolitics will play a decisive role in determining the success or failure of the Paris Agreement has become self-evident in the short time since its promulgation. While some progress has been made toward its formal adoption—the agreement will enter into force only after no fewer than 55 countries, accounting for at least 55 percent of global greenhouse gas emissions, have ratified it—it has also encountered unexpected political hurdles, signaling trouble to come.

On the bright side, in a stunning diplomatic coup, President Barack Obama persuaded Chinese President Xi Jinping to sign the accord with him during a recent meeting of the G-20 group of leading economies in Hangzhou. Together, the two countries are responsible for a striking 40 percent of global emissions. “Despite our differences on other issues,” Obama noted during the signing ceremony, “we hope our willingness to work together on this issue will inspire further ambition and further action around the world.”

Brazil, the planet’s seventh-largest emitter, just signed on as well, and a number of states, including Japan and New Zealand, have announced their intention to ratify the agreement soon. Many others are expected to do so before the next major UN climate summit in Marrakesh, Morocco, this November.

On the dark side, however, Great Britain’s astonishing Brexit vote has complicated the task of ensuring the European Union’s approval of the agreement, as European solidarity on the climate issue—a major factor in the success of the Paris negotiations—can no longer be assured. “There is a risk that this could kick EU ratification of the Paris Agreement into the long grass,” suggests Jonathan Grant, director of sustainability at PricewaterhouseCoopers.

The Brexit campaign itself was spearheaded by politicians who were also major critics of climate science and strong opponents of efforts to promote a transition from carbon-based fuels to green sources of energy. For example, the chair of the Vote Leave campaign, former Chancellor of the Exchequer Nigel Lawson, is also chairman of the Global Warming Policy Foundation, a think tank devoted to sabotaging government efforts to speed the transition to green energy. Many other top Leave campaigners, including former Conservative ministers John Redwood and Owen Paterson, were also vigorous climate deniers.

In explaining the strong link between these two camps, analysts at the Economist noted that both oppose British submission to international laws and norms: “Brexiteers dislike EU regulations and know that any effective action to tackle climate change will require some kind of global cooperation: carbon taxes or binding targets on emissions. The latter would be the EU writ large and Britain would have even less say in any global agreement, involving some 200 nations, than in an EU regime involving 28.”

Keep in mind as well that Angela Merkel and François Hollande, the leaders of the other two anchors of the European Union, Germany and France, are both embattled by right-wing anti-immigrant parties likely to be similarly unfriendly to such an agreement. And in what could be the deal-breaker of history, this same strain of thought, combining unbridled nationalism, climate denialism, fierce hostility to immigration, and unwavering support for domestic fossil fuel production, also animates Donald Trump’s campaign for the American presidency.

In his first major speech on energy, delivered in May, Trump—who has called global warming a Chinese hoax—pledged to “cancel the Paris climate agreement” and scrap the various measures announced by President Obama to ensure US compliance with its provisions. Echoing the views of his Brexit counterparts, he complained that “this agreement gives foreign bureaucrats control over how much energy we use on our land, in our country. No way.” He also vowed to revive construction of the Keystone XL pipeline (which would bring carbon-heavy Canadian tar sands oil to refineries on the Gulf Coast), to reverse any climate-friendly Obama administration acts, and to promote the coal industry. “Regulations that shut down hundreds of coal-fired power plants and block the construction of new ones—how stupid is that?” he said, mockingly.

In Europe, ultranationalist parties on the right are riding a wave of Islamophobia, anti-immigrant sentiment, and disgust with the European Union. In France, for instance, former President Nicolas Sarkozy announced his intention to run for that post again, promising even more stringent controls on migrants and Muslims and a greater focus on French “identity.”

Even further to the right, the rabidly anti-Muslim Marine Le Pen is also in the race at the head of her National Front Party. Like-minded candidates have already made gains in national elections in Austria and most recently in a state election in Germany that stunned Merkel’s ruling party. In each case, they surged by disavowing relatively timid efforts by the European Union to resettle refugees from Syria and other war-torn countries. Although climate change is not a defining issue in these contests as it is in the United States and Britain, the growing opposition to anything associated with the European Union and its regulatory system poses an obvious threat to future continent-wide efforts to cap greenhouse gas emissions.

Elsewhere in the world, similar strands of thinking are spreading, raising serious questions about the ability of governments to ratify the Paris Agreement or, more importantly, to implement its provisions. Take India, for example.

Prime Minister Narendra Modi of the Hindu nationalist Bharatiya Janata Party has voiced support for the Paris accord and promised a vast expansion of solar power. He has also made no secret of his determination to promote economic growth at any cost, including greatly increased reliance on coal-powered electricity. That spells trouble. According to the Energy Information Administration (EIA), India is likely to double its coal consumption over the next 25 years, making it the world’s second-largest coal consumer after China. Combined with an increase in oil and natural gas consumption, such a surge in coal use could result in a tripling of India’s carbon dioxide emissions at a time when most countries (including the United States and China) are expected to experience a peak or decline in theirs.

Prime Minister Modi is well aware that his devotion to coal has generated resentment among environmentalists in India and elsewhere who seek to slow the growth of carbon emissions. He nonetheless insists that, as a major developing nation, India should enjoy a special right to achieve economic growth in any way it can, even if this means endangering the environment. “The desire to improve one’s lot has been the primary driving force behind human progress,” his government affirmed in its emissions-reduction pledge to the Paris climate summit. “Nations that are now striving to fulfill this ‘right to grow’ of their teeming millions cannot be made to feel guilty about their development agenda as they attempt to fulfill this legitimate aspiration.”

Russia is similarly likely to put domestic economic needs (and the desire to remain a great power, militarily and otherwise) ahead of its global climate obligations. Although President Vladimir Putin attended the Paris summit and assured the gathered nations of Russian compliance with its outcome, he has also made it crystal clear that his country has no intention of giving up its reliance on oil and natural gas exports for a large share of its national income. According to the EIA, Russia’s government relies on such exports for a staggering 50 percent of its operating revenue, a share it dare not jeopardize at a time when its economy—already buffeted by EU and US sanctions—is in deep recession. To ensure the continued flow of hydrocarbon income, in fact, Moscow has announced multibillion-dollar plans to develop new oil and gas fields in Siberia and the Arctic, even if such efforts fly in the face of commitments to reduce future carbon emissions.

Such nationalistic exceptionalism could become something of the norm if Donald Trump wins in November, or other nations join those already eager to put the needs of a fossil-fuel-based domestic growth agenda ahead of global climate commitments. With that in mind, consider the assessment of future energy trends that the Norwegian energy giant Statoil recently produced. In it is a chilling scenario focused on just this sort of dystopian future.

The second-biggest producer of natural gas in Europe after Russia’s Gazprom, Statoil annually issues “Energy Perspectives,” a report that explores possible future energy trends. Previous editions included scenarios labeled “reform” (predicated on coordinated but gradual international efforts to shift from carbon fuels to green energy technology) and “renewal” (positing a more rapid transition). The 2016 edition, however, added a grim new twist: “rivalry.” It depicts a realistically downbeat future in which international strife and geopolitical competition discourage significant cooperation in the climate field.

According to the document, the new section is “driven” by real-world developments—by, that is, “a series of political crises, growing protectionism, and a general fragmentation of the state system, resulting in a multipolar world developing in different directions. In this scenario, there is growing disagreement about the rules of the game and a decreasing ability to manage crises in the political, economic, and environmental arenas.”

In such a future, Statoil suggests, the major powers would prove to be far more concerned with satisfying their own economic and energy requirements than pursuing collaborative efforts aimed at slowing the pace of climate change. For many of them, this would mean maximizing the cheapest and most accessible fuel options available—often domestic supplies of fossil fuels. Under such circumstances, the report suggests, the use of coal would rise, not fall, and its share of global energy consumption would actually increase from 29 percent to 32 percent.

In such a world, forget about those “nationally determined contributions” agreed to in Paris and think instead about a planet whose environment will grow ever less friendly to life as we know it. In its rivalry scenario, writes Statoil, “the climate issue has low priority on the regulatory agenda. While local pollution issues are attended to, large-scale international climate agreements are not the chosen way forward. As a consequence, the current NDCs are only partly implemented. Climate finance ambitions are not met, and carbon pricing to stimulate cost-efficient reductions in countries and across national borders are limited.”

Coming from a major fossil fuel company, this vision of how events might play out on an increasingly tumultuous planet makes for peculiar reading: more akin to Eaarth—Bill McKibben’s dystopian portrait of a climate-ravaged world—than the usual industry-generated visions of future world health and prosperity. And while “rivalry” is only one of several scenarios Statoil’s authors considered, they clearly found it unnervingly convincing. Hence, in a briefing on the report, the company’s chief economist, Eirik Wærness, indicated that Great Britain’s looming exit from the European Union was exactly the sort of event that would fit the proposed model and might multiply in the future.

Indeed, the future pace of climate change will be determined as much by geopolitical factors as technological developments in the energy sector. While it is evident that immense progress is being made in bringing down the price of wind and solar power in particular—far more so than all but a few analysts anticipated until recently—the political will to turn such developments into meaningful global change and so bring carbon emissions to heel before the planet is unalterably transformed may, as the Statoil authors suggest, be dematerializing before our eyes. If so, make no mistake about it: We will be condemning Earth’s future inhabitants, our own children and grandchildren, to unmitigated disaster.

As Obama’s largely unheralded success in Hangzhou indicates, such a fate is not etched in stone. If he could persuade the fiercely nationalistic leader of a country worried about its economic future to join him in signing the climate agreement, more such successes are possible. His ability to achieve such outcomes is, however, diminishing by the week, and few other leaders of his stature and determination appear to be waiting in the wings.

To avoid an Eaarth (as both Bill McKibben and the Statoil authors imagine it) and preserve the welcoming planet in which humanity grew and thrived, climate activists will have to devote at least as much of their energy and attention to the international political arena as to the technology sector. At this point, electing green-minded leaders, stopping climate deniers (or ignorers) from capturing high office, and opposing fossil-fueled ultranationalism is the only realistic path to a habitable planet.

Michael T. Klare is a professor of peace and world security studies at Hampshire College and the author, most recently, of The Race for What’s Left.

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Why a Donald Trump Victory Could Make Climate Catastrophe Inevitable

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Donald Trump’s Newest Adviser Says Global Warming Is a Huge Threat to National Security

Mother Jones

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Former CIA Director R. James Woolsey has signed on as a senior adviser to Donald Trump—even though the two men’s views are oceans apart on an issue very close to Woolsey’s heart: climate change.

For years, the former CIA director has been an advocate for cleaner energy and has called for addressing global warming from a national security perspective. He argues that our current energy sources put us at “the whims of OPEC’s despots” and make us more vulnerable to terrorist attacks. He wants the United States to shift from its reliance on coal and oil to renewables and natural gas. “There’s enough consensus that human-generated global warming gas emissions are beginning to have an effect,” he said in an interview in 2010. “Next year might be cooler than this year but that doesn’t mean the trend isn’t there.” (Indeed, the world keeps getting warmer.)

In 2013, Woolsey was one of dozens of national security experts who signed a statement declaring that climate change represents a “serious threat to American national security interests.” The “potential consequences are undeniable, and the cost of inaction, paid for in lives and valuable US resources, will be staggering,” read the statement. “Washington must lead on this issue now.”

Trump, on the other hand, doesn’t believe in global warming, having called it a Chinese hoax. He’s even pointed to cold winter weather in an attempt to debunk this “GLOBAL WARMING bullshit.” Trump wants to scrap President Barack Obama’s Clean Power Plan and back out of the Paris climate accord. Rather than move toward renewable energy, he wants to make the United States energy independent by resuscitating the coal industry.

Mother Jones reached out to Woolsey to ask how he feels about Trump’s climate change denialism. He did not immediately respond. In a statement distributed by the Trump campaign, Woolsey, who served as CIA director under President Bill Clinton, criticized Hillary Clinton for how she ran the State Department. Trump, Woolsey insisted, “understands the magnitude of the threats we face and is holding his cards close to the vest.” So does he think Trump is a secret believer in climate change after all?

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Donald Trump’s Newest Adviser Says Global Warming Is a Huge Threat to National Security

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