I've been keeping an eye on elite bashing of working class and rural whites for years now, and I published my first article about it as long ago as 2011. But the election of 2016 brought the disdainful badmouthing by the chattering classes to a fever pitch, and I've occasionally blogged about the phenomenon, including here and
The legal dispute between the FBI and Apple over a locked iPhone is clouded in technical details that are hard for many to understand, an unclear area of law, and a terrible tragedy in San Bernardino that provokes unease and fear.
To make matters worse, the FBI and Apple are engaged in a very public battle using open letters, blog posts and hearings before Congress with terms like patriotism, marketability and backdoors.
Remember pagers? As outdated as they seem now, these were once seen as the technological tool of choice for drug dealers (to say nothing of doctors). The police also used to rely on “bumper-beepers” to track suspects in criminal investigations. There has always been an arms race of technology in crime and policing.
I don't watch TV or follow much pop culture, and most of the country music I occasionally listen to is from old albums by the likes of Sara Evans, Faith Hill, Martina McBride and Alison Krauss. But this was apparently a big week in country music thanks to Brad Paisley and his new album Wheelhouse.
In a recent post, I commented on what the film “Winter’s Bone” might reveal about white privilege. There I discussed Ree Dolly, the film’s heroine, in the overwhelmingly white context of Taney County, Missouri, where the median household income is about 75% of the national median. (In neighboring persistent poverty Ozark
Progressive law professors talk a lot about privilege, including white privilege. If we're white (like I am), we try to be aware of it and not re-create it. Law professors of color remind us that we benefit from it.
