Germany and Italy forbid glorifying Nazis or fascism, but disagree over whether these tasteless, kitschy wines qualify as harmful to society.
A bartender pours a glass of Lundarelli Führerwine. (AP)
The Fuhrer is causing a furor. Italian winemaker Vini Lunardelli's breathtakingly tasteless line of Nazi-themed wines has offended again, with two American tourists understandably peeved about discovering some bottles adorned with Adolf Hitler's image in a shop in Veneto province. The Italian-produced wines bear dozens of different labels displaying, with no hint of irony, such names as "Ein Volk, ein Reich, ein Führer!" (a Nazi slogan meaning "One people, one empire, one ruler"), "Der Prosecco Vom Führer," and, simply, "FÜHRERWEIN." Another line bears the images and slogans of Benito Mussolini and his fascist regime.
The American tourists, incensed (one of them noted that her father lived through Auschwitz), protested to Italian authorities and to the local, and then international, media. "We would think of it as neo-Nazism," one told the U.K. Telegraph. "It makes you wonder about the sympathies of the local people." You don't have to be Jewish or the child of a Holocaust survivor to find the wine labels appalling and odious, but it doesn't hurt. Local prosecutors say they've opened a formal inquiry, and a cabinet-level Italian minister issued a statement to "reassure our American friends" and to condemn the wines for "compromising the image of Italy abroad."
Italian officials might be expressing shock, but the Vini Lunardelli wines have been offending for almost two decades, and this is not their first international incident. There's no doubt that Führerwine is offensive, and it's difficult to know the vintner's motivations for sure. But it might reflect less "neo-Nazi sympathies" and more a crass willingness to exploit shock value and Europe's particular sensitivities to the fascist legacy -- not to mention the international media attention that comes with infuriating foreign governments -- to make a few bucks. And it seems to be effective.
Lunardelli launched their "Historical Series" in 1993, printing labels bearing "personages of Italian and world political history." The first Führer vintage was introduced in 1995, becoming "a great marketing success," the winemaker later toldDecanter. In 1997, the German government began lodging official complaints. Germany takes the Nazi legacy very, very seriously: neo-Nazi parties are illegal, Hitler's autobiography Mein Kampf has been officially banned for decades, and the German Parliament almost blocked approval for a relatively straightforward genetic testing law, apparently over the echoes of Nazi eugenics programs. By 2003, Germany's battle against Lunardelli had so escalated that the German justice minister wrote a formal letter to her Italian counterpart asking for Italy consider shutting down the "contemptible and tasteless" wines. The German state of Bavaria, the closest to Italy, opened an investigation as to whether any bottles had crossed the border.
Nothing came of it at first. Then, in early 2007, some German tourists ended up buying some number of the wines while in Italy. It's not clear how their purchases became public, but it re-sparked the old controversy. In September, Italian police finally moved against the wines, confiscating bottles for their "glorification of the perpetrators of crimes against humanity." The public prosecutor, according to Lunardelli, accused the winemakers of being Nazi apologists. Like in Germany, Italian law forbids the glorification of the 1930s fascist regime that helped spark World War Two, which cost tens of millions of lives. But, one month after police had seized the wines, an Italian judge ruled that they were OK to sell; the second time that Lunardelli had been exonerated of promoting fascism.
It's a sign of Germany's sensitivity to anything remotely hinting of Nazi sympathies that the government would not only formally investigate whether a bottle of Führerwein might have entered the country, but publicly request that the Italian government intervene to stop production. It's also an interesting contrast to Italy's own laws, which while similar in intent to Germany's, appear to be laxer in restricting speech, at least when it comes to these wine labels.
I don't have an answer as to whether or not the wines promote Naziism and fascism, but it's worth noting that this doesn't seem to have been Lunardelli's intent. "We would not have produced them unless there was a demand," the winemaker toldDecanter in 2007. "In fact the Hitler labels were not our idea, they were specifically requested by customers in Germany and Austria. ... When they saw the labels with Il Duce and Che Guevara, they suggested a series with Hitler." The company's website proudly boasts the line, not as a victory in Aryan soft power, but as a marketing triumph. "Thanks to this invention, the wine company Alessandro Lunardelli has obtained a lot of attention from the media all over the world both for the originality of the idea and for the quality of the wines." They say that line, which has 50 different labels, now makes up half of their sales.
In any case, some of the labels carry images of Stalin, Marx, and Che Guevara, not savory figures by any means but sworn enemies of Hitler and fascism, suggesting that the line is indeed less about glorifying any singular ideology than about shock value and the free marketing that comes with, for example, stories like this one.
The wines are interesting test case for Europe's decades-old speech restrictions against glorifying the nightmarish regimes of the 1930s and 1940s, meant both to guard against the rise of all-too-real neo-Nazi or neo-fascist parties and to maintain the carefully instituted national histories that hold these ideologies as a horrid mistake. It seems unlikely, as the Italian courts may have concluded in allowing continued Lunardelli production, that slapping Hitler's face on a cabernet label is going to increase popular support for a return of the Third Reich.
Still, Neo-Nazism and the ethnic nationalism behind it remain real, if marginal, forces in Europe. Treating Hitler and his Nazi slogans as kitsch, as fodder for a bit of silly shock value, would seem to risk divesting these images of the horror and shame that two generations of Germans and Italians have ingrained to remind themselves of one of history's greatest crimes. Buying a bottle of Der Prosecco Vom Führer might just be a bit of harmless fun, but maybe, from the German perspective, that's exactly the problem.
Moonlight won Best Picture, but only after La La Land was mistakenly announced as the winner.
A largely predictable Oscars ceremony ended in the most stunning way possible, as Moonlight was named Best Picture—but only after the producers of La La Land took the stage, gave their speeches, and then were interrupted with the news that the wrong envelope had been opened. The final moments of the 89th Academy Awards are likely to be pulled apart and obsessed over for generations; it was the epitome of live television, the kind of epic screw-up that dreams are made of. Perhaps it was fitting for such a surprising win: For most of the night, La La Land’s victory seemed obvious as it collected six trophies, including Best Director.
But it was Moonlight that won the final trophy of the evening, snagging three Oscars in all (including Best Supporting Actor for Mahershala Ali and Best Adapted Screenplay). Its victory represents a hugely unexpected triumph for the writer/director Barry Jenkins, and the indie studio A24. That a film about a young gay African-American boy growing up in Miami, made for $1.5 million by a filmmaker with only one minor feature to his name, could break through over a throwback showbiz musical that has grossed $140 million and counting at the box office was unanticipated, to say the least.
When President Obama left, I stayed on at the National Security Council in order to serve my country. I lasted eight days.
In 2011, I was hired, straight out of college, to work at the White House and eventually the National Security Council. My job there was to promote and protect the best of what my country stands for. I am a hijab-wearing Muslim woman––I was the only hijabi in the West Wing––and the Obama administration always made me feel welcome and included.
Like most of my fellow American Muslims, I spent much of 2016 watching with consternation as Donald Trump vilified our community. Despite this––or because of it––I thought I should try to stay on the NSC staff during the Trump Administration, in order to give the new president and his aides a more nuanced view of Islam, and of America's Muslim citizens.
Two of the world’s three richest people extol the virtue, and relevance, of optimism in the age of Trump—and predict a comeback for fact-based discourse.
Bill Gates, the world’s richest man, and Warren Buffett, the third richest, are—not entirely coincidentally—two of the most unremittingly optimistic men on the planet. So when I met the two of them in New York recently to talk about the state of humankind, and about the future of American democracy, I had a clear understanding of my mission, which was to pressure-test their sanguinity at every turn.
I tried, and failed, though not completely. Both men appear to doubt some of President Trump’s innovations in rhetoric and policy. Both men have warm feelings about immigrants, and also about facts, and so are predisposed to react skeptically to recent developments in the capital. When I asked whether they believed America needed to be made great again, Buffett nearly jumped out of his chair: “We are great! We are great!” And when I asked about the Trump Administration’s problematic relationship with empiricism, Gates said, “I predict a comeback for the truth.” He went on to say, “To the degree that certain solutions are created not based on facts, I believe these won’t be as successful as those that are based on facts. Democracy is a self-correcting thing.”
Long after research contradicts common medical practices, patients continue to demand them and physicians continue to deliver. The result is an epidemic of unnecessary and unhelpful treatments.
First, listen to the story with the happy ending: At 61, the executive was in excellent health. His blood pressure was a bit high, but everything else looked good, and he exercised regularly. Then he had a scare. He went for a brisk post-lunch walk on a cool winter day, and his chest began to hurt. Back inside his office, he sat down, and the pain disappeared as quickly as it had come.
That night, he thought more about it: middle-aged man, high blood pressure, stressful job, chest discomfort. The next day, he went to a local emergency department. Doctors determined that the man had not suffered a heart attack and that the electrical activity of his heart was completely normal. All signs suggested that the executive had stable angina—chest pain that occurs when the heart muscle is getting less blood-borne oxygen than it needs, often because an artery is partially blocked.
Barry Jenkins’s gorgeous movie, which charts the coming-of-age tale of a black man in Miami, is one of the best of the year.
Like all great films, Moonlight is both specific and sweeping. It’s a story about identity—an intelligent, challenging work that wants viewers to reflect on assumptions they might make about the characters. It’s also a focused and personal work, a mental odyssey about the youth, adolescence, and adulthood of Chiron, who is growing up gay and black in Miami. From start to finish, the director Barry Jenkins’s new film balances the scope of its ambitions: The story weaves random memories and crucial life experiences into a tapestry, one that tries to unlock the shielded heart of its protagonist.
In short, Moonlight demands to be seen, even though the film is about a man who desperately wants to keep the audience at arm’s length. Inspired by the play In Moonlight Black Boys Look Blue by Tarell Alvin McCraney, Jenkins’s movie is a meditation on growing up, and the ways we all try to prevent ourselves from standing out or getting hurt. There’s insight to Moonlight that should pierce viewers to their core, even if Chiron’s life is very different from their own. This is not an “issue” film that’s mainly “about” race or sexuality; this is a humane movie, one that’s looking to prompt empathy and introspection most of all. On those terms alone, Moonlight is one of the year’s most gripping viewing experiences.
Priming kids to expect rewards for good behavior can harm their social skills in the long term.
After working with thousands of families over my years as a family psychologist, I’ve found that one of the most common predicaments parents face is how to get kids to do what they’re asked. And one of the most common questions parents ask is about tools they can use to help them achieve this goal.
One such tool is the sticker chart, a type of behavior-modification system in which children receive stickers in exchange for desired behaviors like brushing their teeth, cleaning their room, or doing their homework. Kids can later “spend” their accrued stickers on prizes, outings, and treats.
Though data on how widely sticker charts are used (and when and why they became so popular) is difficult to find, anecdotal evidence suggests that these charts have become fairly commonplace in American parenting. Google searches for “sticker chart,” “chore chart,” and “reward chart” collectively return more than 1 million results. Amazon has more than 1,300 combined product results for the same searches. Reddit, too, is teeming with forums for parents asking each other about the merits of the charts and discussing specific strategies.
“No… it’s a magic potty,” my daughter used to lament, age 3 or so, before refusing to use a public restroom stall with an automatic-flush toilet. As a small person, she was accustomed to the infrared sensor detecting erratic motion at the top of her head and violently flushing beneath her. Better, in her mind, just to delay relief than to subject herself to the magic potty’s dark dealings.
It’s hardly just a problem for small people. What adult hasn’t suffered the pneumatic public toilet’s whirlwind underneath them? Or again when attempting to exit the stall? So many ordinary objects and experiences have become technologized—made dependent on computers, sensors, and other apparatuses meant to improve them—that they have also ceased to work in their usual manner. It’s common to think of such defects as matters of bad design. That’s true, in part. But technology is also more precarious than it once was. Unstable, and unpredictable. At least from the perspective of human users. From the vantage point of technology, if it can be said to have a vantage point, it's evolving separately from human use.
Since the middle of last year, a group of Filipino reporters, photographers, and cameramen have been at the frontline of Philippine President Rodrigo Duterte’s war on drugs. They are a different type of war correspondent, and the drug war, a different type of war.
The correspondents work what they call the “night shift,” the unholy hours between 10 p.m. and 5 a.m., when the dead bodies are found. They wait at Manila’s main police station and rush from there to the site of the most recent kill. They keep count of the corpses, talk to witnesses and families, interview the police, attend wakes and funerals. A lot of what the world learned about the carnage, especially in the early months, is due largely to the night shift reporters.
Students can learn the basics with a set of knitting needles.
The Finns are pretty bemused by Americans’ preoccupation with whether to put iPads in every classroom. If a tablet would enhance learning, great. If it wouldn’t, skip it. Move on. The whole thing is a little tilting-at-windmills, anyway.
That was the gist of the conversation one recent morning at the Finnish Embassy in Washington, D.C., where diplomats and experts gathered to celebrate the country’s education accomplishments as Finland turns 100. And Americans could stand to take notes. (Yes, from Finland—again.)
Coding and programming are now part of the curriculum in the Scandinavian country, and they’re subjects kids tackle from a young age. But unlike in some parts of the United States where learning to code is an isolated skill, Finnish children are taught to think of coding and programming more as tools to be explored and utilized across multiple subjects.
The preconditions are present in the U.S. today. Here’s the playbook Donald Trump could use to set the country down a path toward illiberalism.
It’s 2021, and President Donald Trump will shortly be sworn in for his second term. The 45th president has visibly aged over the past four years. He rests heavily on his daughter Ivanka’s arm during his infrequent public appearances.
Fortunately for him, he did not need to campaign hard for reelection. His has been a popular presidency: Big tax cuts, big spending, and big deficits have worked their familiar expansive magic. Wages have grown strongly in the Trump years, especially for men without a college degree, even if rising inflation is beginning to bite into the gains. The president’s supporters credit his restrictive immigration policies and his TrumpWorks infrastructure program.
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