#also i wanted to use the portrait of jerome on a ship

[napoleonic-sexyman-tournament]

Barbara Childe:

Propaganda:

“Heroine of An Infamous Army. Appears and is instantly described as having "hair like my best copper coal scuttle" Accidentally has an emotional affair with a guy. When it is pointed out to her his wife is mad as hell, decides to do it on purpose because his wife was rude when she was trying to scotch scandal.”

Jérôme Bonaparte

Propaganda:

“Napoleon’s little bro. He was very handsome. His grandson created the FBI, so that’s a thing. The painting of him by Antoine-Jean Gros is awesome. He employed the Grimm brothers (Jacob Grimm was his librarian). Ruled part of Germany (Westphalia). One of Napoleon’s councilors of state, Louis-Philippe de Trémont, described Jérôme as a “half-educated, frivolous, prodigal and effeminate young satrap and sybarite” and if that isn’t just the darnedest description, I don’t what it is.”

The Gros Portrait in question:

[jesuisgourde]

gay/queer references in Peter’s journals

Again, I have probably missed stuff due to going through pretty quickly and also due to having stared at this document for so long, everything has kind of blurred together.

Sometime close to the day that Carlos & I watched 'Love And Death on Long Island' (and afterwards paraded through the tea rooms of Picadilly) we both filled in application forms and were tres excited to be invited to the same group 'interview' - twas more like an audition though. I got the part. Carlos never. This did not bring any animosity - we both know that success for either of us is magnified a million times if it is shared by us both.

from 'A Diamond Guitar' by Truman Capote "Except that they did not combine their bodies or think to do so, though such things were not unknown at the (Prison), they were as lovers. Of the seasons, spring is the most shattering: stalks thrusting through the earth's winter-stiffened crust, young leaves cracking out on old left-to-die branches, the falling asleep wind cruising through all the newborn green. And with Mr Schaeffer it was the same, a breaking up, a flexing of muscles that had hardened. It was late January. The friends were sitting on the steps of the sheep house, each with a cigarette in his hand. A moon thin and yellow as a piece of lemon rind curved above them, and under its light, threads of ground frost glistened like silver snail trails. Tico Feo had been drawn into himself - silent as a robber waiting in the shadows."

Then a meet with Bounds Green's African prince outside whitechapel tube, rugged lookies at I in military attire & to a ruptured Albion rooms tidied in hours and now lids drawn heated on the eyes. A young looking fella has a crush on me.

Jackie/Camillia/Marie/Kate/Chris/V. churchill Jackie/Evelina/Jasmine/Sachi/Dalston/Sussie Sandra/Carlene/FP/Jay/Dalston/Kraut

There sat a young black man, perhaps in his early or middle twenties. He looked for all the world like the archetypal rude boy. Clean, cheap reebok, nike, adidas variously rolled, laced & zipped about his lean, spreadeagled body that hung loosely about the waiting room chair. Gold & tattoos adorned his person, and a blank animal look was attached to his clear face. He sat before me in a row of four empty chairs, staring at polished floor or the mundane television. A balding white man minced in & all perceptions were suddenly proven to be false as they embraced and snuggled up to each other, giggling & whispering & touching each others noses.... very much in love, fingers crossed for the blood tests.

[Image: an article from Gay Times of an interview with Peter. For some reason, the portrait included alongside the article is of Carl wearing a grey and black t-shirt.] Name? Peter Doherty Age? 22 Where are you? I'm on the motorway just north of Southampton. What kind of day are you having? (Vaguely) Erm... quite misty. Something's waiting around the corner, but there are no corners on the motorway, so we'll just have to wait and see what lies ahead. Maybe something will happen tonight.... What's this we hear about you once being a rent boy? Well, when times are hard, duty calls. How long ago was it? When I was 19, about three years ago. How do we know this isn't just a Shaun Ryder-type lie? 'Cause if it was, it would make me a complete scumbag and I'm not, and I'm not interested in that kind of pantomime. It wasn't a very happy time. I didn't really enjoy it. Why did you give it up? (grimly) Well, certain people disappeared... and anyway, ultimately I found myself no longer in such a vulnerable position anymore. Dawn broke, and I realised that it was a beautiful world after all. Have you done any other dodgy jobs? All of us in the band have tried to deal, but it's not good if you like the drugs too much. You just end up using them yourself! I once was a gravedigger. I used to do it with my mate in Willesden Green cemetery. We didn't actually do the digging, a machine did that, but we used to have to fill them in. It was pretty grim work. So are you gay then? Love is love, wherever it comes from. I'm not anything, really. I am a very sexual person but... I dunno, I believe in liberty... The Marquis de Sade has a lot to answer for... Do you get a lot of gay fans? Yeah - well, there's one guy in particular. He's very shy and he follows us around. He brings in letters and cards and stuff, but he's very quiet. I think John (the bassist) is the main pulling power in the band. Are you jealous about that? Nah! I've known him too long.

You know I'm alright i dont even care i like it when they stare & stare call me queer, dear oh dear a million things & what I wear He's real hard when he's with his mates but I'll saw him again & he was too late

Dear NME I'd have thought after the Gay Times piece, the interview with Rapture fanzine & our recent gig at the Slum Club everything would be clear. No it still remains to give a big hearty fuck off to all these twisted suburban types calling me a liar. Vulnerable young men & women all over the world find themselves victims of circumstance.

she was dressed in suit & tie & lightly etched-on moustache. 'I've always wanted to kiss a bird in the back of a taxi.' she says, running her hand up the fishnet ladders of my thigh. Stepping onto the front line in Bow puddles, elevators, buzzing doors,

[Image: the original page in the book has been preserved. Two paragraphs have been boxed off with biro. They read:] “...cast Richard Burton and Rex Harrison as bickering queer barbers and then much more uncompromisingly in William Friedkin's adaptation of The Boys in the Band (1970), which introduced some of the plainer four letter words in the English language to the screen for the first time. 'Who,' asks Cliff Gorman, in his brilliant portrayal of the most effeminate of the homosexual group as they gather for a soul-searching party, 'Who do you have to fuck to get a drink around here?' Other homosexual manifestations to occur in movies around this time included an elliptical but unmistakeable male fellatio scene in John Schlesinger's Midnight Cowboy (1969) when Jon Voight, as a broke and disillusioned Texas stud importunes in a New York cinema....”

[Image, top left: a blurry photo of John onstage, playing bass. Image, top right, sideways: a photo of the band onstage. Carl and John are on the left, sharing a mic. Peter is on the right, playing guitar and singing into his own mic. Image, centre left: a torn photo of Peter sitting in a chair, shirtless, playing guitar. Only his bottom half from the chest down is visible. Image, centre left: a torn photo of Peter sitting in a chair, shirtless, playing guitar. Only his top half from shoulders up is visible. Image, bottom left: a torn fragment of a photo. What looks like a denim-clad knee and a yellow carrier bag are visible. Image, bottom middle: a photo of someone's knee in torn jeans, taken from under a table. Image, bottom right: a torn photo of Carl in a black sleeveless shirt, posing with his fingers in his mouth.] [A paragraph from the original page of the book has been left exposed and boxed off with black biro. It reads:] “The Boys in the Band was displaced by an immeasurably more powerful portrayal of homosexual groups, Fortune and Men's Eyes (1971). Set in a Quebec prison, this disturbing, factually based drama vividly recounted the corrupted of a heterosexual convict trapped in a tough, potentially vicious homosexual society. In one horrifying scene, a weak, put-upon prisoner is gang-banged by his fellow inmates; in another, the 'hero' is blackmailed by his cellmate into accepting him as his lover for the duration...”

Like a cat on a hot tin roof Like a macho man in a roomful of poofs I have tried in my way to be free.

[Written in Peter's handwriting] Jerome... is that how it's spelt? [Written in someone else's handwriting] Yes it is [Written in Peter's handwriting] Can I read you something? [Written in someone else's handwriting] Yes please.....

I insist, new book of Albion, befuddled by drugs I may yes about 2 but I do not miss out entirely on the subtleties of the inhuman relation ships that are this the mainstay of my stay here in one bounce of a loaf. Boys are fooled into fooling with boys. [...]

More general references/some extra explanations:

“The boy looked at Johnny” is a line from Patti Smith's song “Horses,” part one of a three-part song called “Land.” In the song, a young man named Johnny is assaulted by another man in a locker room; he then mentally journeys to other fantastical lands and visions. A lot of people interpret it as being about gay sex, although some people interpret it as being about a stabbing.

Peter quotes and references Jean Genet's writing and works about Jean Genet many times. While Genet's works are nearly all about crime and prison (one of Peter's main interests and points of fascination), all of his works are very explicitly gay. The Thief's Journal is more about Genet's various lovers than it is about his criminal history. Our Lady Of The Flowers is about a drag queen and her criminal lovers, and is also extremely erotic.

(“Jerome” is Jerome Alexandre, vocalist of The Deadcuts, who was friends with Peter and Mark Keds.)

[marvella15]

Astaire & Rogers Rewatch Part 7: Shall We Dance

• Something I didn’t consciously realize about this film until reading Hannah Hyam’s book is that Astaire and Rogers don’t dance together until nearly an hour in. That hasn’t happened since Gay Divorcee. What was anyone thinking??

• Shall We Dance suffers from a lot of extra crap that it didn’t need, such as extraneous characters, far too many interruptions in the Astaire and Rogers relationship, and a bunch of weirdness like life-sized dolls, life-like masks, and backbending ballerinas. The film also has a lot of wasted potential, including a great score and songs by George and Ira Gershwin. 

The Gershwins were already well acquainted with Astaire and Rogers. The duo had first met when she was starring in the brothers’ show, Girl Crazy, and Astaire was brought in to help with choreography. Rogers was close friends with George and even dated him. Astaire had known the brothers prior, having starred in a few of their shows with his sister, Adele. 

• Our characters/actors: Peter “Petrov” Peters (Fred Astaire), Linda Keene (Ginger Rogers), Jeffrey Baird (Edward Everett Horton), Arthur Miller (Jerome Cowan)

• Around the time I was first really into classic Hollywood films, including these ones, my family and I adopted a new dog. I annoyed my parents to no end by suggesting we name him Peter P. Peters. Don’t know why I latched onto that name but I did. 

• Even in the massive portrait of Petrov, you can see Astaire has his fingers curled in rather than fully extended.

• Astaire’s ballet attire lets us once again see just how skinny he is. 

• Always loved how Peter does a little tap at the rhythmic sound of his name and birthplace: Pete Peters, Philadelphia PA.

• Rogers’ cardigan with all of its baubles is truly awful looking. It will only be out done by a terrible floral dress she wears later. 

• I do however like that she shoves her handsy stage partner into a fountain. Why are men constantly the worst?

• “And why must there always be a kiss at the second-act curtain?” is YET ANOTHER example of these films trolling us. Not once up until this point has any act of an Astaire/Rogers outing included a kiss between them. 

• Linda’s disinterest in even meeting Petrov is based on the assumption that he’s a “simpering toe dancer.” While that’s incorrect, she’s not wrong that he is indeed another man who has seen a picture of her and wants to tell her he can’t live without her. So she gets partial credit. 

• If Peter wasn’t totally smitten before, Linda’s jab, “It’s just a game little American boys play” gets him. 

• As a mixed race number, “Slap That Bass” is incredibly unusual for the era. Astaire was a great admirer of African-American dancers and was strongly influenced by Bill Robinson and John W. Bubbles. I love the blend of all of the voices in this song. 

• The dance portion of “Slap That Bass” gives Astaire a chance to show off more of his innovative mind and choreography. He dances in time with the sounds of the ship’s engine and compels the camera to follow him across and up the vast set. The dance is also special in that we have behind the scenes footage of Astaire rehearsing, thanks to a home video shot by George Gershwin. 

• Peter making Jeffrey believe the boat is rocking may seem a bit unbelievable but having been on a large ship myself, sometimes you don’t realize it’s rocking until you see other passengers weaving or a giant chandelier swaying. 

• I usually skip most if not all of Jeffrey and Arthur’s scenes together. They slow down this film soooo much.

• Like in all of their films, songs are sometimes heard in the background before the actual musical number they appear in. But because this film is scored by the Gershwins, there’s an array of shorter pieces of music that are all their own, such as the whimsical score heard while Rogers and then Rogers with Astaire are walking her dog.

• The dog Peter borrows to give himself an excuse to talk to Linda hits his bark cue perfectly and looks extremely happy about it. 

• I would love to know what exactly Astaire and Rogers are talking about while walking her dog. Maybe they were given lines that were then not recorded or maybe it’s improv. But it seems very natural. 

Rogers did say that Astaire was a wonderful conversationalist and was adept at talking while dancing, something she noted most men couldn’t manage. 

• Wow do I love it when Rogers gets to be extra sassy

Peter: “Isn’t it wonderful being here tonight like this? Still on the same boat together.”

Linda: “Oh, I seldom change boats in mid-ocean.”

• “Beginner’s Luck” is such a charming, fast song that Astaire delivers wonderfully. He hardly seems to take a breath. 

A jazzed up version of “Beginner’s Luck” is the song Peter tried to dance to in Paris but the record kept getting stuck. 

• Something this movie fails at is letting Linda and Peter’s relationship continue to progress before throwing more obstacles in their way. We know from the gossip of the ship’s staff that they have been spending a lot of time together. When we see them, they are having a relaxing evening that’s incredibly domestic: sitting side by side on the deck while she knits and he smokes. Wouldn’t it have been nice to see more of this part of their relationship? 

• Why on earth did Peter think sending Jeffrey to fix the false baby rumors was the right decision? Jeffrey can’t handle a single thing. 

• Infuriated at the rumors that she’s married to Peter and pregnant with their baby, Linda tries to call him. “Operator! Get me Mr. Petrov. What? Don’t you dare congratulate me!”

• The theme of this movie is supposed to be the blend of dancing and music styles. Peter’s ballet and Linda’s jazz styles are one example, George Gershwin’s varied score, which switches from jazz to waltz to foxtrot to classical, etc, is another. But it’s a fairly weak concept that doesn’t quite land and reportedly, neither Astaire or Ira Gershwin was wild about it. 

• I love the new version of “Slap That Bass” that plays as Peter and Jeffrey enter the rooftop club. 

• When Rogers sings “They All Laughed,” she is singing to an off-screen Cary Grant, her friend and sometimes date who was visiting the set at the time. 

She is also wearing a dress with a horrible pattern. It’s supposed to be floral but it always makes me think of amoebas. Maybe it looked better in color?

• Astaire clearly has fun during the part where Peter hams it up a bit with his ballet next to Linda’s tapping. 

• In some ways, “They All Laughed” is reminiscent of “Isn’t it a Lovely Day.” They’re testing each other, trading glancing as they see whether the other can keep up with the increasingly complex steps. Until now, Linda didn’t know Peter could dance this way so her surprise and amusement unfolds slowly as the routine progresses. But he has been grinning since the start because he’s hoping to win her back through this dance.

• This is another duet where it takes a long time before they touch. The first physical contact is just her executing a series of spins with the help of his fingers. And it’s during this part that Rogers finally breaks into a wide smile.  

• When he spins her up onto the piano the first time, she happily waits for him to retrieve her. And when he spins her into a seated position and upright again a few times don’t miss how he looks at her with a wry, slightly mischievous smile. 

• The Linda doll is so creepy and not lifelike. Who was fooled by this?

Also, Arthur is terrible. Jeffrey is terrible too but he’s an idiot so I’m more willing to let it slide. 

• Peter walking out of Linda’s bedroom in the morning in his robe right in front of her fiancé while she is in her negligee is pretty funny. 

• Peter and Linda’s nice day out is just further proof that this movie should’ve spent more time on the two of them together rather than breaking them up every few minutes. 

• “Let’s Call the Whole Thing Off” is a fun song, though Astaire gets most of the good words imo. However, Rogers does do an extra affectation to some of her lyrics and that makes them funnier. 

At one point when she’s singing, he turns to her and for just a moment his face goes soft in that way it does sometimes when he looks at her. 

• Some film historians have labeled this dance as not that great when compared to other Astaire and Rogers numbers. But I’ve always found it very enjoyable and innovative. While Gene Kelly probably takes the gold medal for dancing on skates in It’s Always Fair Weather, Astaire and Rogers did it first, did it well, and deserve some extra credit for a duet on skates rather than a solo. 

Rogers also deserves some extra credit since the idea to dance on skates was supposedly hers. And probably deserves even more credit for doing this dance on skates while also in heels. 

• For some reason I really enjoy that they perform this number in their hats and street clothes. It’s so informal and feels like something you do on a fun date. 

• Throughout this dance, Peter continues to be the playful one, as he’s been in their interactions in the film, and Linda is the more serious one who needs to be coaxed into having fun. Maybe this is why Astaire frequently glances at her and even spends long seconds watching her at different parts as they move into the next series of steps. Rogers is more reserved in her expressions but whenever they are face to face, she appears happiest. 

A few times she looks triumphant, leading me to wonder if they or she had finally nailed a section that was giving them or her trouble. 

• Can’t say for certain but I swear she almost falls when they do the backwards steps. She just baaaarely snags his hand in time. 

They had to film this dance something like 150 times so I imagine there was more than one time where at least one of them did indeed fall. 

• The circular dance they do leading up to the end is based on a dance Astaire and his sister made famous in their time on the stage. 

• Apparently the grassy bank they tumble onto wasn’t padded so those fake grimaces of pain aren’t that fake. Their exchange after the tumble feels very much like married banter to me:

Peter: “Yes, it was my idea.”

Linda: “Have you any more of them?”

Peter, exaggerating: “No.”

• They’re such a good match:

Linda: “Peter, you’ve got to marry me.”

Peter: “Why, Linda, this is so sudden.”

• Oh 1930s Hays Code humor. The cop who overhears their conversation thinks she’s pregnant and pressuring the father of the baby into marrying her. Hurr hurr hurr.

• Heh:

Linda: “I beg your pardon but what are grounds for divorce in this state?”

Clerk: “Marriage.”

• It will never make sense to me that a dance was not planned in this film for “They Can’t Take That Away From Me.” It’s a truly lovely song. I know Astaire and Rogers will dance to it more than ten years later in The Barkleys of Broadway but it’s just not the same. 

It’s also a good reminder in the film that Peter has legitimate feelings for Linda and she does for him but they’re far more conflicted. Though he must sense he’s hooked her in a bit since he becomes very aloof once they return to the hotel in the stupid hope of making her want him more? Idk, men are dumb. 

• “They Can’t Take That Away From Me” carries special poignancy because it became a form of consolation to Ira Gershwin after his brother suddenly died two months after this film was released. 

• Oh Linda’s face when she walks in to see Peter with the loathsome Lady Tarrington is so sad and crestfallen. Ever thought you and your crush were finally on the same page only to find them canoodling with someone else? 

Although, she could’ve knocked first instead of just walking straight into his room…

• The ballet portion of the finale is weird and unappealing in every way. Harriet Hoctor was known for the backbend dance she does in this film. Maybe it was something spectacular in 1937?? but it doesn’t hold up. 

One thing I’ll say about Astaire’s duet with Hoctor, it’s a great chance to see him in a romantic duet with someone other than Rogers and notice how different he acts. No secret smile, no lingering looks, no whispered words, no soft expressions. 

• “Shall We Dance” is another upbeat song that deserves more than being featured in the remaining few minutes of the film. Their dance is far too short but wonderful all the same. Her delight when he finds her always makes me smile. She also executes some impressive full length lunges that I couldn’t do at this moment much less in a dress and heels in the middle of a dance number. 

For a few seconds, his fingers press into the exposed dip of her spine in yet another example of Victorian hotness. 

• And so we finish film number 7. Shall We Dance underperformed at the box office and wasn’t a critical darling. Everyone, the actors included, started to feel the magic was coming to an end. Coming up next is a film I pretty much never rewatch: Carefree. 

[tortuga-aak]

America will survive Trump, but it won't ever be the same

Kevin Lamarque/Reuters

President Donald Trump has not carried most of the promises from his campaign.

Even if he wants to achieve more of his agenda, he doesn't know how to do it.

His unethical administration is either staffed by people who were have since resigned or who try to contain him.

Trump has exacerbated the already divided United States by continuing to use class resentments, racism, and xenophobia.

  When I walked into the U.S. Embassy in Riyadh, Saudi Arabia, this summer, I was struck by the glowering portrait hanging in the lobby. Donald Trump is president? It seems like something out of a dystopian film. But it's not science fiction; it's reality. Exactly a year ago, the voters of America, in their dubious wisdom, choose the reality TV star and real estate mogul as our 45th chief executive.

I, like most people — including probably Trump himself — was shocked by the outcome. Actually "shocked" is far too mild a word for what I felt. Poleaxed is more like it. I went to bed late on the evening of Nov. 8, 2016, in a daze, incredulous that my fellow citizens could elect a man so unqualified for the presidency and fearful of what he would do in office. The past year has been both better and worse than I anticipated.

It has been better in that Trump has not actually carried out most of his lunatic campaign rhetoric. He has not ordered the torture of terrorist suspects. He has not pulled out troops from Japan, South Korea, or Germany even though those countries have not increased their subsidies for U.S. protection. He has not launched a trade war with China even though our trade deficit with China has only grown over the past year. He has not tried seriously to get Mexico to pay for his border wall; even Congress is unlikely to fund it. He has not lifted sanctions on Russia or reached a grand bargain with Russian President Vladimir Putin. He has not "locked up" Democratic presidential nominee Hillary Clinton. He has pulled out of the Trans-Pacific Partnership and the Paris climate accord, and he decertified the Iranian nuclear deal, but NAFTA is still standing — for now.

He has moved us closer to war with Iran and North Korea, but the bombs haven't started falling — yet.

Trump supporters can argue that he is more moderate in practice than his rhetoric would suggest. There's an element of truth in this, but the more compelling explanation for his failure to make good on his promises is threefold.

First, Trump doesn't really believe in much beyond his own awesomeness. He didn't run for office to get anything done; he ran to stoke his own ego and pad his own bank account by increasing his visibility. Thus he would say outrageous stuff on the campaign trail, contradict himself 30 seconds later, and immediately segue to some non sequitur. He didn't mean a lot of what he said — it was just something to rouse the rubes at rallies.

Carlos Barria/Reuters

Second, Trump has been utterly incompetent. Even if he wants to achieve more of his agenda, he doesn't know how to do it. As Daniel Dale of the Toronto Star puts it, he "talks like a strongman" but governs like a "weak man." Maybe tax reform will get done — maybe — but so far he hasn't signed a single major piece of legislation. Actually that's not quite true: Congress did pass a law strengthening sanctions against Russia over the administration's protests. Aside from a Supreme Court appointment, the only things Trump has succeeded in accomplishing are those he can do by executive order, thus doing on a far larger scale what he once criticized Obama for.

The third reason why Trump has gotten so little done is that he's surrounded by people who, by and large, don't share his xenophobic, isolationist, protectionist "America First" outlook. Most of those who did — Michael Flynn, Steve Bannon, Sebastian Gorka — have been forced out because they were incompetent crackpots. Lacking any interest in ideas, Trump has staffed his administration with people based largely on superficial criteria such as appearance. That helps to explain why most of his senior appointees, including Rex Tillerson, James Mattis, John Kelly, H.R. McMaster, and now Jerome Powell as Federal Reserve chairman, look as if they are straight out of central casting. It also explains why former United Nations Ambassador John Bolton didn't snare a job: Trump was said not to like his mustache. As a result, Trump is surrounded by aides who view him as a screwball to be contained, not a sage to be followed.

So does that mean Trump's presidency has been just swell, as his fans claim? Not at all. In important respects, Trump has been worse than I imagined. If the past year has done anything, it has dispelled naive hopes that he would grow in office or become more presidential. He's the same old Trump that he was for the previous 70 years: ignorant, petulant, unethical, avaricious, conspiratorial, nasty, shameless, bullying, egomaniacal.

One of the salient features of his presidency has been its lack of ethics. His former campaign manager Paul Manafort has been indicted on charges of money laundering, and former national security advisor Michael Flynn is said to be on the verge of indictment for acting as an unregistered foreign agent. Many of the president's men, and even the president himself, had undisclosed business dealings with Russia, ranging from Trump's attempts to build a Trump Tower in Moscow during the campaign to Commerce Secretary Wilbur Ross's continuing investment in a shipping firm closely tied to the Kremlin. Trump and his aides, including Attorney General Jeff Sessions, have also consistently lied about their dealings with Russia. Former Trump foreign-policy advisor George Papadopoulos pled guilty to deceiving the FBI about his Kremlin ties; others may follow.

Russia aside, Trump uses his office to promote his own properties in violation of the emoluments clause of the Constitution. He has refused to disclose his tax returns as every president has done more than 40 years. And while private-sector figures from Harvey Weinstein to Michael Oreskes are being fired for sexual harassment, the president remains in office despite credible accusations of misconduct from at least 16 women. Trump himself basically admitted to the allegations in his infamous "grab ‘em by the pussy" video, but now the White House press secretary shamefully labels his accusers as liars. The real liar, of course, is Trump himself. According to the Washington Post, during his first 263 days in office, he made 1,318 false or misleading claims. That's an average of five falsehoods a day.

Trump presides over what is easily the least ethical administration since Nixon's — and in all likelihood "Don the Con" will be judged by history to be a great deal worse than "Tricky Dick." The major difference between them? Nixon sought to subvert the rule of law in private. Trump does it out in the open for all to see.

It has become routine for the president to demand criminal investigations of his political opponents based on, so to speak, trumped-up charges (Donald Trump Jr. even accuses the Clintons of murder); to call for the broadcast licenses of critical media outlets to be revoked; to attack the special counsel investigating him; to impugn the FBI, the judiciary, and the Justice Department; and to suggest that his own attorney general should resign for not doing his political bidding. Granted, most of these threats have been empty ones — but not all. Trump did fire FBI Director James Comey in a blatant attempt to obstruct justice. Moreover, his very words — coming from the man charged with ensuring "that the laws be faithfully executed" — corrode trust in our legal system.

When Trump is not undermining the rule of law, he is demeaning the presidency and embarrassing the country. Trump uses Twitter to carry out unseemly vendettas against Gold Star parents, the mayors of London and San Juan, lawmakers from "Liddle" Bob Corker (R-Tenn.) to "Pocahontas" Elizabeth Warren (D-Mass.), journalists from those at the "failing New York Times" to "Crazy" Mika Brzezinski, and an endless array of other targets, many of them women and minorities. Trump's tweets are frequently vituperative and full of errors in spelling and grammar. They sound as if they are coming from a mental institution, not from the White House.

What most troubles me about Trump's presidency is the extent to which he is dividing Americans by race and ethnicity in service to his own political ambitions. Having won with overwhelming support among white, working-class voters, Trump notoriously hesitates to criticize white supremacists: He thought there were "very fine people" on both sides at the white supremacist rally in Charlottesville, and he has defended Confederate statues as part of "our heritage." When white killers go on a rampage, as they did recently in Las Vegas and Sutherland Springs, Texas, Trump labels it a tragedy about which there is little to be done beyond "thoughts and prayers."

Brian Snyder/Reuters

By contrast, he exploits every terrorist act committed by a Muslim, such as the Halloween attack in New York, labeling the perpetrators "animals" and calling for Draconian immigration restrictions. He has gone on an extended tirade against the African-American football players who kneel when the national anthem is played to protest police brutality. He has pardoned racist former Sheriff Joe Arpaio. And he has revoked the executive order that former President Barack Obama used to protect "Dreamers" — immigrants brought to America illegally as children — from deportation. Sadly, other Republican office-seekers, such as gubernatorial candidate Ed Gillespie in Virginia and Senate candidate Roy Moore in Alabama, have imitated Trump's noxious example by seeking to rally white voters with blatantly racial appeals. Gillespie failed, but that won't stop other Trump imitators from trying their luck.

Trump took a divided nation and instead of trying to heal those divisions, he has exacerbated them. A Boston Globe reporter who traveled to York County, Pennsylvania, an area that Trump won, found that "the class resentments, racism, and xenophobia that became flashpoints during the election have hardened, not healed."

And that's what Trump has done in just the year since he won the presidency. Imagine what the next three years — or, God forbid, the next seven years — will hold. The United States will survive Trump, but we won't be the same nation after him. The very fact that much of his misconduct is now so routine that it's hardly noteworthy indicates his success in, as former Sen. Daniel Patrick Moynihan (D-N.Y.) put it, "defining deviancy down." Far from making America "great again," he is reducing a once-great country to his tawdry level.

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