I Love You but You Didn’t Do the Reading

Democratic socialism, evangelical racism, and dirty dogs: This past week saw a lot of action. Here are some of the top stories that crossed our desk:

Lots this week about the connections of racism and evangelicalism.

1.) An interview with Jemar Tisby at R&P:

every time that the white community—especially Christians—failed to confront racism in its everyday, mundane forms, they created a context of compromise that allowed for an extreme act of racial terror like planting dynamite at a church. That’s the idea of complicity. It’s not that every Christian was a foaming-at-the-mouth racist hurling racial slurs and burning crosses on peoples’ lawns.

2.) The dangers of racism for the future of evangelical religion, at CT:

a warning sign for those concerned about the possible waning of evangelicalism in the United States. While current survey data says that white evangelicals have not experienced statistically significant population declines in the last decade, this will likely not continue into the future.

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Art to choke hearts.

Wow. Trumpy artist sues to get his painting displayed at the Smithsonian, at TI.  HT: TWOILH.

High school doesn’t have to be boring, at NYT. HT: LC.

Harvard University: Creationist factory? Interview with creationist Harvard PhD at WORLD.

What do today’s teens worry about? Not what you might think, at The Economist.

TEEN WORRIES ECONOMISTSOCIALISM 2020

Preaching Christianity to Christians, at RNS:

Christianity as merely a family tradition only requires maintaining the tradition. . . . Sadly, many people in the Bible Belt are haunted by the idea of Christ, while not understanding His love for them.

Queen Betsy threatens the budget for Special Olympics, but the budget goes up. Turns out this happens a lot, from MS.

dirty dogCountry dog? City dog? An argument for letting dogs be dogs at FPR:

while city dogs enjoy ever more doggy parks, doggy play dates and dog-friendly shops and stores, their elevated status burdens them with human-dominated constraints.

Can conservatives find a way to love Trump? At RCP:

Many [conservatives] are repulsed by [Trump’s] crudity, thin-skinned nature, and vitriolic personal attacks. . . . But—and this is crucial—conservatives and many independents recognize Trump’s biggest achievement, beyond strengthening the economy and rebuilding the military, is his persistent effort to roll back the administrative state, with its endless regulations and executive orders.

Put It Up!

I admit, at first I pooh-poohed the story as just another example of wacky boorish Trumpism. The more I think about it, though, the more I’m hoping the Smithsonian will relent.

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“Unashamed,” indeed.

Thanks to the ever-watchful John Fea, I’ve been following the story of artist Julian Raven and his Trump fan art. Raven has sued the Smithsonian to force the museum to display his portrait of Trump, “Unafraid & Unashamed.” So far, no dice. The gallery told Raven the painting was too big (it weighs 300 pounds), too political, and too terrible.

But the people love it. Attendees at the recent Conservative Political Action Conference lined up to have their pictures taken in front of the monstrous painting.

As Raven told the Daily Beast, the inspiration for this work came to him in a flash when he saw Trump speak back in 2015:

I just had the words go through my mind: ‘unafraid and unashamed’. . . . The image in my mind was this soaring flagpole, a U.S. flag pole falling to the ground. Right before it falls to the ground, an eagle swoops in and snatches it.

So far, the artist has had no luck in court. One judge informed him that the National Portrait Gallery does not have a Constitutional duty to display his painting. Yet Raven perseveres, complaining that the Smithsonian has trampled his First Amendment right to free speech, and now his Fifth Amendment right to due process. (He says his sales have been hurt by the negative publicity.)

What should the Smithsonian do? Put it up!

Here’s why: Nothing could capture the Trump era better than this gauche, over-sized, childish portrait, composed in a flurry on a sudden impulse and surprisingly beloved by conservatives. Even better, the artist is complaining—unburdened by any knowledge of the actual Constitution—that he has a First Amendment right to cram his painting into the Smithsonian. Furthermore, Raven insists that a left-wing conspiracy is the only thing keeping his portrait out of the National Gallery.

When future generations want to understand Trumpism, what could be better than this yuge painting, accompanied by a placard (or better yet, video interview) explaining the artist’s schlock-vs.-Goliath story?