![DamianChavezArt's tweet photo. Art Deco didn't die from being exhausted, it got blacklisted.
Its three main phases - Zigzag, PWA / Stripped Classical, & Streamline - weren't exactly sequential, they overlapped all throughout the 30s. But what happened after 1929 wasn't just that zig zag Deco became too expensive, it was evolving from the 'Return to Order' (WW1) beginnings towards a more robust machine age adapted classicism.
Earlier funding collapsed from private elites to the state, and a more civic form emerged - Stripped Classical/Classical Moderne. It was transatlantic, global. The American WPA, PWA, democracies and authoritarian regimes across the West all embraced it because the goal was the same: instill optimism, civic-mindedness, and resilience. Put your skilled artists & artisans to work.
It was seen as worthy recieving state funding for its public face - blending both classical & modern, a forward facing embrace between design, industry & craft.
That more colorful zig zag form was made logistically difficult to revive after 29, then that difficulty was made permanent. Deco needed a 50-year Beaux-Arts ecosystem - terracotta kilns like Gladding McBean and Atlantic Terra Cotta, plasterers, metal foundries, carvers, mosaicists - & that ecosystem took two hits.
The 29 crash bankrupted the firms & dissolved the apprenticeship pipeline, then the war shifted what was left to war industries. By 1948 a fully crafted lobby was hard to build like 1926 even if you wanted to.
Hard isnt impossible. With a regular cycle craft revives with demand, but revival was blocked.
Tax codes, FAR, federal budgets, and curtain-wall specs all rewarded flat, uncrafted surfaces, so there wasnt much incentive to maintain the ateliers.
The firmest lockout was ideological. To make High Modernism the post-war approved standard, its promoters had to discredit what came before.
Politically, Stripped Classicism was rebranded as "fascistic" because Hitler, Mussolini and Stalin had used identical forms. Culturally Deco, especially Streamline, was the 1930s World's Fair spirit: mass-produced household objects made beautiful, futuristic, optimistic, commercial & everyday.
High Modernism was austere, 'European' & highbrow, it treated that populist optimism as kitsch. That created a self-fulfilling loop: disincentivize the decorative, let craft firms die, then accuse dead craft as proof decorative design is infeasible.
Hence the narrative that Deco simply "fell from public taste" is fake.
It was slowed by the war, logistically hollowed out by '48, then ideologically blacklisted afterwards - making way for [indirect] tacit state support through modernist capture this time with the opposite design ethos: (mid century)"modernism".
The people never chose the glass modernist box over Deco. The people were simply never asked.](https://pbs.twimg.com/media/HUL3JjTbsAAqBUn.jpg)
![DamianChavezArt's tweet photo. Art Deco didn't die from being exhausted, it got blacklisted.
Its three main phases - Zigzag, PWA / Stripped Classical, & Streamline - weren't exactly sequential, they overlapped all throughout the 30s. But what happened after 1929 wasn't just that zig zag Deco became too expensive, it was evolving from the 'Return to Order' (WW1) beginnings towards a more robust machine age adapted classicism.
Earlier funding collapsed from private elites to the state, and a more civic form emerged - Stripped Classical/Classical Moderne. It was transatlantic, global. The American WPA, PWA, democracies and authoritarian regimes across the West all embraced it because the goal was the same: instill optimism, civic-mindedness, and resilience. Put your skilled artists & artisans to work.
It was seen as worthy recieving state funding for its public face - blending both classical & modern, a forward facing embrace between design, industry & craft.
That more colorful zig zag form was made logistically difficult to revive after 29, then that difficulty was made permanent. Deco needed a 50-year Beaux-Arts ecosystem - terracotta kilns like Gladding McBean and Atlantic Terra Cotta, plasterers, metal foundries, carvers, mosaicists - & that ecosystem took two hits.
The 29 crash bankrupted the firms & dissolved the apprenticeship pipeline, then the war shifted what was left to war industries. By 1948 a fully crafted lobby was hard to build like 1926 even if you wanted to.
Hard isnt impossible. With a regular cycle craft revives with demand, but revival was blocked.
Tax codes, FAR, federal budgets, and curtain-wall specs all rewarded flat, uncrafted surfaces, so there wasnt much incentive to maintain the ateliers.
The firmest lockout was ideological. To make High Modernism the post-war approved standard, its promoters had to discredit what came before.
Politically, Stripped Classicism was rebranded as "fascistic" because Hitler, Mussolini and Stalin had used identical forms. Culturally Deco, especially Streamline, was the 1930s World's Fair spirit: mass-produced household objects made beautiful, futuristic, optimistic, commercial & everyday.
High Modernism was austere, 'European' & highbrow, it treated that populist optimism as kitsch. That created a self-fulfilling loop: disincentivize the decorative, let craft firms die, then accuse dead craft as proof decorative design is infeasible.
Hence the narrative that Deco simply "fell from public taste" is fake.
It was slowed by the war, logistically hollowed out by '48, then ideologically blacklisted afterwards - making way for [indirect] tacit state support through modernist capture this time with the opposite design ethos: (mid century)"modernism".
The people never chose the glass modernist box over Deco. The people were simply never asked.](https://pbs.twimg.com/media/HUL3JH7asAEPgvE.jpg)
![DamianChavezArt's tweet photo. Art Deco didn't die from being exhausted, it got blacklisted.
Its three main phases - Zigzag, PWA / Stripped Classical, & Streamline - weren't exactly sequential, they overlapped all throughout the 30s. But what happened after 1929 wasn't just that zig zag Deco became too expensive, it was evolving from the 'Return to Order' (WW1) beginnings towards a more robust machine age adapted classicism.
Earlier funding collapsed from private elites to the state, and a more civic form emerged - Stripped Classical/Classical Moderne. It was transatlantic, global. The American WPA, PWA, democracies and authoritarian regimes across the West all embraced it because the goal was the same: instill optimism, civic-mindedness, and resilience. Put your skilled artists & artisans to work.
It was seen as worthy recieving state funding for its public face - blending both classical & modern, a forward facing embrace between design, industry & craft.
That more colorful zig zag form was made logistically difficult to revive after 29, then that difficulty was made permanent. Deco needed a 50-year Beaux-Arts ecosystem - terracotta kilns like Gladding McBean and Atlantic Terra Cotta, plasterers, metal foundries, carvers, mosaicists - & that ecosystem took two hits.
The 29 crash bankrupted the firms & dissolved the apprenticeship pipeline, then the war shifted what was left to war industries. By 1948 a fully crafted lobby was hard to build like 1926 even if you wanted to.
Hard isnt impossible. With a regular cycle craft revives with demand, but revival was blocked.
Tax codes, FAR, federal budgets, and curtain-wall specs all rewarded flat, uncrafted surfaces, so there wasnt much incentive to maintain the ateliers.
The firmest lockout was ideological. To make High Modernism the post-war approved standard, its promoters had to discredit what came before.
Politically, Stripped Classicism was rebranded as "fascistic" because Hitler, Mussolini and Stalin had used identical forms. Culturally Deco, especially Streamline, was the 1930s World's Fair spirit: mass-produced household objects made beautiful, futuristic, optimistic, commercial & everyday.
High Modernism was austere, 'European' & highbrow, it treated that populist optimism as kitsch. That created a self-fulfilling loop: disincentivize the decorative, let craft firms die, then accuse dead craft as proof decorative design is infeasible.
Hence the narrative that Deco simply "fell from public taste" is fake.
It was slowed by the war, logistically hollowed out by '48, then ideologically blacklisted afterwards - making way for [indirect] tacit state support through modernist capture this time with the opposite design ethos: (mid century)"modernism".
The people never chose the glass modernist box over Deco. The people were simply never asked.](https://pbs.twimg.com/media/HUL3IrOaUAA3hFM.jpg)
Olivia
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PhilRa
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thinking outside the box…
Above toes, behind nose...
Joined August 2009
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How I started another year around the sun.
I swear... These leaders are really just going to light it up and go hide in their bunkers... 😡😡😡😡😡😡😡😡😡😡
Jamaican parents dont know math
Nobody knows Russian organized crime tradecraft like Roman Anin. That means he also knows how Vladimir Putin thinks. This is the best insight I’ve seen on how he’s thinking about the diesel deal. To me, this is as close to how things probably went down as an outsider can get.
Who to follow
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Created an account... forgot about it until 2019...
From the island of 🇧🇧
Lover of God and life!
Auditor 💻
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I want my mudda!
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IG: 350personalchefservices
Mr. December 31st
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NC born and raised, VA (757) residing. Widower, Tall Guy 6’8, Hampton U/Arizona State grad/🖕🏾TFG. 🚫MAGA 🚫GQP #Resist #FBR #Woke
How MAGA hallucinations became real
I pay for the data behind these myself and it take a lot of time and effort to analyze and create these graphics. If you want more of them, SUPPORT LINKS ARE IN BIO
At 1:05 p.m. on Oct 11, Nick Sortor posted that an Ohio mental hospital “CONFIRMS” James Talarico was discharged. That evening the hospital said Talarico never received treatment there. Talarico says he's never even been to Ohio. Rhein Amacher, who made the recorded call, posted that he made up a verification code to get past the front desk.
This story occurred over several days. Ken Paxton called Talarico “missing” on Oct 7. Sara Gonzales teased “unverified information” that would “END his campaign” on Oct 8. On Oct 9, Spencer Pratt said his sources put Talarico in a mental health facility, and a handful of accounts pasted near-identical “credible sources are leaking” posts. At 7:50 a.m. on the 11th, Sortor gave Talarico a deadline, “let us know by 1pm ET today.”
The earlier pushes never fully took off, and acted more as a booster for the posts that came later. Pratt's post got 6.4 million views, but only about 60 accounts posted about the story in the hour after it. Caroline Wren's private-plane theory the next day drew about 40. Before the 11th, the story never topped 80 posts an hour. In the first hour after Sortor's post, 267 accounts posted about it, and by 3 p.m. it was running at almost 500 posts an hour.
The first chart counts each account only once, at its first post about the story. Nothing they posted after that is counted, so it shows who started this and how far those first posts went. The first wave carried the whole thing. Sortor's post and the posts that followed in the next 12 minutes have 9 million views between them. The 55 accounts that joined in the first 20 minutes got 80% of the views in that lane. The other lines never came close. “He lied and covered it up,” the line Elon Musk and Richard Grenell pushed, got about 2 million views across 100 accounts. “He was in an Ohio mental hospital” got about 2 million across 132.
The pushback grew the opposite way, the way a real response does. It started small and kept building all afternoon and evening, with 12 to 46 new accounts joining every hour from 1 p.m. to 10 p.m. Leave out the three biggest posts, which were the hospital's statement, Talarico's reply and Ed Krassenstein's own call to the hospital, and regular accounts pushing back still reached 6 million views. The claim had nearly 90% of its views by 2 p.m. and barely grew after that. By the end of the night, the pushback had more views than the claim, 13 million to 11.4 million.
The second chart is the inorganic behavior, and it covers Oct 8 to 11, not just the day of the "exclusive". Sortor's headline was reposted word for word, or nearly, by 18 other accounts, half of them with under 1,000 followers. Caroline Wren's private-plane post was copied by 14. Four accounts posted the same Eric Daugherty post within 74 seconds of each other. Four more posted the same MAGAVoice line within 54 seconds, four hours after it first went up. Some accounts barely post anything of their own. One copied 21 of its 23 posts about Talarico from other accounts, another 11 of 11. And the spammers flooded the replies. One pasted the same reply 85 times in about two hours, another 15 times in 10 minutes.
Views are each post's total as of early Oct 12. A copy means word for word or at least 90% the same as an earlier post.
I pulled and analyzed about 14,000 posts for this. Sharing it helps more than anything, and if you want to chip in so I can keep doing this, the links are in my bio. It goes a long way.
https://t.co/BvY4CjVVwB
This is hilarious! 😂
Today is the U.S. federal holiday known as "Columbus Day."
Columbus admitted in a letter to Doña Juana de la Torre, a friend of the Spanish queen: "There are plenty of dealers who go about looking for girls; those from nine to ten are now in demand, and for all ages a good price must be paid."
Columbus took and gifted Taíno women to his crewmen, who would violently beat and rape them. Pregnant Taíno women who were taken captive gave birth to babies who were sometimes thrown to hungry dogs. Columbus established a business in the sale of 9- and 10-year-old Taíno girls for sexual slavery.
Children's literature about Columbus teaches them that colonialism, genocide, and racism are normal and acceptable; they are literary monuments to European domination and the subordination of non-white Others.
“Columbus was a wétiko. He was mentally ill or insane, the carrier of a terribly contagious psychological disease, the wétiko psychosis. The Native people he described were sane people with a healthy state of mind. Sanity or healthy normality among humans and other living creatures involves a respect for other forms of life and other individuals. I believe that is the way people have lived (and should live). The wétiko psychosis, and the problems it creates, have inspired many resistance movements and efforts at reform or revolution. Unfortunately, most of these efforts have failed because they have never diagnosed the wétiko as an insane person whose disease is extremely contagious.”
- Jack D. Forbes, Columbus and Other Cannibals
Dr. Forbes was of Powhatan-Renapé and Lenape descent. #columbus #columbusday #epstein #unitedstatesofamerica #usa
Listen
When was the last time you've had one?
Art Deco didn't die from being exhausted, it got blacklisted.
Its three main phases - Zigzag, PWA / Stripped Classical, & Streamline - weren't exactly sequential, they overlapped all throughout the 30s. But what happened after 1929 wasn't just that zig zag Deco became too expensive, it was evolving from the 'Return to Order' (WW1) beginnings towards a more robust machine age adapted classicism.
Earlier funding collapsed from private elites to the state, and a more civic form emerged - Stripped Classical/Classical Moderne. It was transatlantic, global. The American WPA, PWA, democracies and authoritarian regimes across the West all embraced it because the goal was the same: instill optimism, civic-mindedness, and resilience. Put your skilled artists & artisans to work.
It was seen as worthy recieving state funding for its public face - blending both classical & modern, a forward facing embrace between design, industry & craft.
That more colorful zig zag form was made logistically difficult to revive after 29, then that difficulty was made permanent. Deco needed a 50-year Beaux-Arts ecosystem - terracotta kilns like Gladding McBean and Atlantic Terra Cotta, plasterers, metal foundries, carvers, mosaicists - & that ecosystem took two hits.
The 29 crash bankrupted the firms & dissolved the apprenticeship pipeline, then the war shifted what was left to war industries. By 1948 a fully crafted lobby was hard to build like 1926 even if you wanted to.
Hard isnt impossible. With a regular cycle craft revives with demand, but revival was blocked.
Tax codes, FAR, federal budgets, and curtain-wall specs all rewarded flat, uncrafted surfaces, so there wasnt much incentive to maintain the ateliers.
The firmest lockout was ideological. To make High Modernism the post-war approved standard, its promoters had to discredit what came before.
Politically, Stripped Classicism was rebranded as "fascistic" because Hitler, Mussolini and Stalin had used identical forms. Culturally Deco, especially Streamline, was the 1930s World's Fair spirit: mass-produced household objects made beautiful, futuristic, optimistic, commercial & everyday.
High Modernism was austere, 'European' & highbrow, it treated that populist optimism as kitsch. That created a self-fulfilling loop: disincentivize the decorative, let craft firms die, then accuse dead craft as proof decorative design is infeasible.
Hence the narrative that Deco simply "fell from public taste" is fake.
It was slowed by the war, logistically hollowed out by '48, then ideologically blacklisted afterwards - making way for [indirect] tacit state support through modernist capture this time with the opposite design ethos: (mid century)"modernism".
The people never chose the glass modernist box over Deco. The people were simply never asked.
![DamianChavezArt's tweet photo. Art Deco didn't die from being exhausted, it got blacklisted.
Its three main phases - Zigzag, PWA / Stripped Classical, & Streamline - weren't exactly sequential, they overlapped all throughout the 30s. But what happened after 1929 wasn't just that zig zag Deco became too expensive, it was evolving from the 'Return to Order' (WW1) beginnings towards a more robust machine age adapted classicism.
Earlier funding collapsed from private elites to the state, and a more civic form emerged - Stripped Classical/Classical Moderne. It was transatlantic, global. The American WPA, PWA, democracies and authoritarian regimes across the West all embraced it because the goal was the same: instill optimism, civic-mindedness, and resilience. Put your skilled artists & artisans to work.
It was seen as worthy recieving state funding for its public face - blending both classical & modern, a forward facing embrace between design, industry & craft.
That more colorful zig zag form was made logistically difficult to revive after 29, then that difficulty was made permanent. Deco needed a 50-year Beaux-Arts ecosystem - terracotta kilns like Gladding McBean and Atlantic Terra Cotta, plasterers, metal foundries, carvers, mosaicists - & that ecosystem took two hits.
The 29 crash bankrupted the firms & dissolved the apprenticeship pipeline, then the war shifted what was left to war industries. By 1948 a fully crafted lobby was hard to build like 1926 even if you wanted to.
Hard isnt impossible. With a regular cycle craft revives with demand, but revival was blocked.
Tax codes, FAR, federal budgets, and curtain-wall specs all rewarded flat, uncrafted surfaces, so there wasnt much incentive to maintain the ateliers.
The firmest lockout was ideological. To make High Modernism the post-war approved standard, its promoters had to discredit what came before.
Politically, Stripped Classicism was rebranded as "fascistic" because Hitler, Mussolini and Stalin had used identical forms. Culturally Deco, especially Streamline, was the 1930s World's Fair spirit: mass-produced household objects made beautiful, futuristic, optimistic, commercial & everyday.
High Modernism was austere, 'European' & highbrow, it treated that populist optimism as kitsch. That created a self-fulfilling loop: disincentivize the decorative, let craft firms die, then accuse dead craft as proof decorative design is infeasible.
Hence the narrative that Deco simply "fell from public taste" is fake.
It was slowed by the war, logistically hollowed out by '48, then ideologically blacklisted afterwards - making way for [indirect] tacit state support through modernist capture this time with the opposite design ethos: (mid century)"modernism".
The people never chose the glass modernist box over Deco. The people were simply never asked.](https://pbs.twimg.com/media/HUL3J2kbQAAryoG.jpg)
This is more better but the foundational concept is ugly so everything else produced after that will be as well. You can’t make 60 and 5 fetch
If i answer my phone n say hi
And The person goes good morning and waits
I just sit there on the phone n wait… lmao
Just bc i know they’re waiting for me to say good morning back 🤣🤣 idk why
Im always like spit it out wha you waiting on
Can’t make this up—After slapping tariffs on half the world for buying Russian oil, Trump agrees to buy Russian oil.
I’m alive, and I’m coming back.
For everyone who has checked on me, thank you. I have concerns about my safety and the possibility that I’m under threat. I’m being careful about what I share publicly while I work to understand what’s happening.
I’ve put too much into this work to quietly disappear. I still have reporting to finish and things to say, and you’ll be hearing from me again.
Make sure you’re following for the book drop, and whatever comes next. ✊🏼
This is clearly not acceptable
Could be us
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