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The Carnival Campaign tells the fascinating story of the pivotal 1840 presidential campaign of General William Henry Harrison and John Tyler—"Tippecanoe and Tyler Too." Pulitzer Prize–nominated former Wall Street Journal reporter Ronald Shafer relates in a colorful, entertaining style how the campaign marked a series of "firsts" that changed politicking forever: the first campaign as mass entertainment; the first "image campaign," in which strategists portrayed Harrison as a poor man living in a log cabin sipping hard cider (he lived in a mansion and drank only sweet cider); the first time big money was a factor; the first time women could openly participate; and more. While today's electorate has come to view campaigns that emphasize style over substance as a matter of course, this book shows voters how it all began.
The 2021 Capitol Hill Riot marked a watershed moment when the 'old world' of factbased systems of representation was briefly overwhelmed by the emerging hyper-individual politics of aestheticized emotion. In The Trump Effect in Contemporary Art and Visual Culture, Kit Messham-Muir and Uroš Cvoro analyse the aesthetics that have emerged at the core of 21st-century politics, and which erupted at the US Capitol in January 2021. Looking at this event's aesthetic dimensions through such aspects as QAnon, white resentment and strongman authoritarianism, they examine the world-wide historical trends towards ethno-nationalism and populism that emerged following the end of the Cold War in 1989 and the dawning of the current post-ideological age. Building on their ground-breaking research into how trauma, emotion and empathy have become well-worn tropes in contemporary art informed by conflict, Messham-Muir and Cvoro go further by highlighting the ways in which art can actively disrupt an underlying drift in society towards white supremacism and ultranationalism. Utilising their outsiders' perspective on a so-called American phenomenon, and rejecting American exceptionalism, their theorising of the 'Trump Effect' rejects the idea of Trump as a political aberration, but as a symptom of deeper and longer-term philosophical shifts in global politics and society. As theorists of contemporary art and visual culture, Messham-Muir and Cvoro explore the ways in which these features of the Trump Effect operate through aesthetics, in the intersection of politics and contemporary art, and provide valuable insight into the current political context.
*The Instant New York Times Bestseller* "A book historians will relish." —Peggy Noonan, Wall Street Journal "Must read. I've read every book about the Trump presidency. This is the best." —Bill Press An account like no other, from the White House reporter who has known President Donald Trump for more than 25 years. We have never seen a president like this...norm-breaking, rule-busting, dangerously reckless to some and an overdue force for change to others. One thing is clear: We are witnessing the reshaping of the presidency. Jonathan Karl brings us into the White House in a powerful book unlike any other on the Trump administration. He’s known and covered Donald Trump longer than any other White House reporter. With extraordinary access to Trump during the campaign and at 1600 Pennsylvania Avenue, Karl delivers essential new reporting and surprising insights. These are the behind-the-scenes moments that define Trump’s presidency—an extraordinary look at the president, the person, and those closest to him. This is the real story of Trump’s unlikely rise; of the struggles and battles of those who work in the administration and those who report on it; of the plots and schemes of a senior staff enduring stunning and unprecedented unpredictability. Karl takes us from a TV set turned campaign office to the strange quiet of Trump’s White House on Inauguration Day to a high-powered reelection campaign set to change the country’s course. He shows us an administration rewriting the role of the president on the fly and a press corps that has never been more vital. Above all, this book is only possible because of the surprisingly open relationship Donald Trump has had with Jonathan Karl, a reporter he has praised, fought, and branded an enemy of the people. This is Front Row at the Trump Show.
President Donald Trump originated his political career by claiming that Barack Obama was not born in the USA. His “birtherism” theory was discredited, but there’s another possibility about birth. Evangelicals have given birth to Donald Trump in the immaculate mistake. Evangelicals are not a collection of dumb and irrational people; they are the creators of the demolition presidency of Trump. He is their child—the result of almost one hundred years of evangelical angst, resentment, and hurt. This is the story of how Trump has become a secular evangelical preacher and his message of fear, hatred, division, and getting even has captured the hearts and minds of evangelicals. Rather than dismissing them, this work takes them seriously and literally and offers a frank and disturbing series of portraits of their determination to win at all costs.
The Washington Post’s Pulitzer Prize–winning book critic uses the books of the Trump era to argue that our response to this presidency reflects the same failures of imagination that made it possible. As a book critic for The Washington Post, Carlos Lozada has read some 150 volumes claiming to diagnose why Trump was elected and what his presidency reveals about our nation. Many of these, he’s found, are more defensive than incisive, more righteous than right. In What Were We Thinking, Lozada uses these books to tell the story of how we understand ourselves in the Trump era, using as his main characters the political ideas and debates at play in America today. He dissects works on the white working class like Hillbilly Elegy; manifestos from the anti-Trump resistance like On Tyranny and No Is Not Enough; books on race, gender, and identity like How to Be an Antiracist and Good and Mad; polemics on the future of the conservative movement like The Corrosion of Conservatism; and of course plenty of books about Trump himself. Lozada’s argument is provocative: that many of these books—whether written by liberals or conservatives, activists or academics, Trump’s true believers or his harshest critics—are vulnerable to the same blind spots, resentments, and failures that gave us his presidency. But Lozada also highlights the books that succeed in illuminating how America is changing in the 21st century. What Were We Thinking is an intellectual history of the Trump era in real time, helping us transcend the battles of the moment and see ourselves for who we really are.
The election of Donald Trump as US President in 2016 seemed to catch the world napping. Like the vote for Brexit in the UK, there seemed to be a new de-synchronicity – a huge reality gap – between the unfolding of history and the mainstream news media’s interpretations of and reporting of contemporary events. Through a series of short, sharp interventions from academics and journalists, this book interrogates the emergent media war around Donald Trump. A series of interconnected themes are used to set an agenda for exploration of Trump as the lynch-pin in the fall of the liberal mainstream and the rise of the right media mainstream in the USA. By exploring topics such as Trump’s television celebrity, his presidential candidacy and data-driven election campaign, his use of social media, his press conferences and combative relationship with the mainstream media, and the question of ‘fake news’ and his administration’s defence of ‘alternative facts’, the contributors rally together to map the parallels of the seemingly momentous and continuing shifts in the wider relationship between media and politics.
The 2016 campaign ended with Donald J. Trump as president-elect of the United States, astounding just about everyone. More than two dozen candidates had vied for the two parties’ nominations, leaving Trump and former Secretary of State Hillary Clinton. Her flaws standing in rough proportion to her strengths, Clinton had been the presumed Democratic nominee, though Bernie Sanders had nearly upended her run. In contrast, Trump’s capturing the Republican nomination seemed preposterous before and after the fact. The campaign overall was far more than the result. It was a long, tumultuous, outrageous frolic of American politics. The Campaign Chronicles was written contemporaneously with events as they happened so as to capture the sense of each amazing if horrific moment. Even weeks after the election, the country remained stunned by the outcome, which as we learned foretold of a presidency unlike any before it. But, before the presidency, there was a campaign, about which many histories will be written. But before the histories must come the chronicling, history stripped of faded memories and coherent perspective. Herewith, such a chronicling written from a determinedly neutral posture, presenting the good with the bad for all concerned.
The American law state's many personalities create its political-legal dysfunction, setting the stage for new eras including the rise of Trump
The panoramic story of how the horror genre transformed into one of the most incisive critiques of unchecked American imperial power The American empire emerged from the shadows of World War II. As the nation’s influence swept the globe with near impunity, a host of evil forces followed—from racism, exploitation, and military invasion to killer clowns, flying saucers, and monsters borne of a fear of the other. By viewing American imperial history through the prism of the horror genre, Dark Carnivals lays bare how the genre shaped us, distracted us, and gave form to a violence as American as apple pie. A carnival ride that connects the mushroom clouds of 1945 to the beaches of Amity Island, Charles Manson to the massacre at My Lai, and John Wayne to John Wayne Gacy, the new book by acclaimed historian W. Scott Poole reveals how horror films and fictions have followed the course of America’s military and cultural empire and explores how the shadow of our national sins can take on the form of mass entertainment.