From the BBC:

HOW TO THINK ABOUT X | COMMENT & ANALYSIS
Is the world ready for mass migration due to climate change?

National borders are largely arbitrary lines drawn on a map, although there are some physical limits to where humans can live (Credit: Alamy)
By Gaia Vince
17th November 2022

With up to three billion people expected to be displaced by the effects of global warming by the end of the century, should it lead to a shift in the way we think about national borders, asks Gaia Vince?

… Unable to adapt to increasingly extreme conditions, millions – or even billions – of people will need to move.

From Nature:

Seeding an anti-racist culture at Scotland’s botanical gardens

Botanical gardens are re-examining their collections’ colonial roots — botanists of colour say keep going.

Linda Nordling

Hidden figures haunt the archives of the Royal Botanic Garden Edinburgh (RBGE). They are the shadows of people whose contributions to the institute’s cornucopia of specimens have gone unrecognized. The archives contain, for example, exquisite drawings — some made by Indian illustrators centuries ago — of voluptuous pink lotuses, spindly legumes and delicate orchids. But, says Simon Milne, the public body’s chief executive and regius keeper, “we don’t know who those artists are”.

Today, such omissions speak volumes about the arrogance of white European explorers who, for most of the institute’s 350-year history, received the plaudits for building its vast collections of living and dried plants and historical botanical documents. But change is afoot at the RBGE … For the past two years, the institute — which has three other sites across Scotland — has accelerated its work to recognize the contributions of people who were not white Europeans and to make the gardens a more inclusive space to visit and work in.

Such ambitions had existed before the murder in May 2020 of George Floyd, a Black man, by a white police officer in the United States. But it was that event and the global movement it sparked that precipitated a step-change in the gardens’ equality, diversity and inclusivity activities. In March, the institution published a racial-justice report that will feed into an action plan to “embed” racial-justice work as a “core aspect” of the organization. This extends to its research and training activities, with the report proposing dedicated PhD funds for students from minority backgrounds and promoting more equitable collaborations with scholars around the world. “We’re not rewriting history, we’re actually trying to tell the whole story,” says Milne.

Plant scientists of colour who follow these discussions are encouraged by the advances, but agree that much remains to be done. …

Before Floyd’s murder, botanical gardens had largely escaped the scrutiny that had resulted in calls for museums to return cultural artefacts and human remains to their places of origin, says Caroline Lehmann, an ecologist at the University of Edinburgh. “Plants are viewed as apolitical, as something pretty you put in your garden,” says Lehmann, who also heads the RBGE’s tropical-diversity programme. However, a cursory look into the history of plant science shows this to be false. Crops associated with globalization, such as cotton, tobacco, coffee and rubber, were central to Europe’s projects of empire and slavery — as they were to slavery in the United States.

“The exploitation of plants is closely linked to the exploitation of people,” says Lehmann, who led the working group that produced the racial-justice report and who is white. The report recognizes that the gardens’ present-day work is partially founded on collections and data deriving from “exploitative, colonialist, and racist activities”. It recommends that the gardens address the lingering legacies of this, which are visible today in the organization’s low representation of Black and Asian staff, volunteers and students. Only around 4% of the gardens’ staff identify as belonging to a non-white minority groups, and all work at the institution’s only urban site, in Edinburgh, where such groups make up 8% of the population.

Representation matters. …

Milne admits that he did not fully fathom the historical links between botany and racism when the RBGE first embarked on its racial-justice work. He recalls telling his team early on that “at least we don’t have a statue or memorial that is of concern”. A colleague then pointed out that the Edinburgh garden’s central statue of Carl Linneaus could be considered just that. The eighteenth-century inventor of the system of classifying plants, animals and minerals espoused dividing the human species into racial ‘varieties’ characterized, in part, by skin colour and stereotypical temperaments. These notions underpinned racist science in the following centuries….

She [Fan] was sceptical that her Edinburgh employer would do any better. So, she was pleased when the RBGE’s Racial Justice Working Group formed. However, after getting involved with the group’s work, she was reminded once more of the emotional burden that disproportionately affects scientists of colour, such as herself, when engaging with efforts to decolonize an institution. Fan began to study the history and power dynamics between China and the United Kingdom. “Researching colonial exploitations towards a race I identify with, while knowing that my workplace was linked to and still benefits from these exploitations, was unsettling,” she says. “It felt very conflicting,” she says — trying to understand the institution’s need for perspectives from people of colour while also resenting the toll that such work takes on them.

… After Floyd’s murder, Kew’s scientific director, Alexandre Antonelli, published an article outlining the institute’s ambition to “tackle structural racism in plant and fungal science”. …

Fungal Racism would be a good name for a band.

Beyond the efforts being made at specific gardens, work needs to be done on a global scientific level. Makunga co-founded Black Botanists Week, a global event to shine a light on Black and Indigenous scholars in botany and plant science. One of that community’s discussions, she says, is whether to rename plants whose scientific names are offensive to Indigenous people. For example, plenty of plants have the taxonomic name ‘caffra’, which derives from an Arabic expression that came to be used as an offensive term for Black people in southern Africa. “Those names have a terrible connotation,” says Makunga. …

For Xaba, there’s a long way still to go. For one thing, places such as Kew continue to hold many of the type specimens of plants that were found in South Africa. These are the first scientific samples of plant species, often dried and mounted with information about where and when they were collected. Botanists in developing countries might therefore have to travel to study these specimens, which remain the property of foreign institutions, Xaba explains.

“It’s those things that really worry people like me. We still have these very one-sided partnerships where we are the colony and natural resources are getting extracted, and people are publishing papers about our biodiversity. They still get economic benefits, and those don’t really trickle down,” he says. “It’s the culture that needs to change, and the whole system that needs to reboot.”

A travel article from the New York Times about a visit to Andaman Islands in the Indian Ocean

The Cool, Wild and Very Remote Andaman Islands

This archipelago in the Indian Ocean offers pristine nature, Indian culture, a glimpse of fascinating communities and some of the most spectacular beaches in the world.

By Jeffrey Gettleman
Nov. 22, 2022

… If you explore the outer islands, and there are about 30 open to tourists, you might even see some members of the Jarawa, one of the most untouched cultures in the world. The Jarawa live deep in the forest, and though their communities are strictly protected — Indian law prohibits even photographing them — I once saw a hunting party as I was driving down a jungle road. They carried bows and arrows and freshly slaughtered wild boars slung across their backs. I stared at them. The Jarawas stared back at me. The moment lasted maybe two seconds. I’ll never forget it.

… Flying back to the mainland from Port Blair, after a week of bliss, we passed over one island that stood alone: North Sentinel. I’ve read a lot about this place. Down there live a small group of hunter and gatherers, maybe only 50 or 75 people, who have no contact with the outside world and survive off the jungle and the sea. The few people who have tried to step on their shore, including a young American missionary in 2018, have been killed.

Now this is truly a fiercely isolated place. But as I stared down at that drop of green surrounded by bright blue, I wondered: For how long? …

A great moment for a tourist: seeing one of the world’s last hunter-gatherer tribes on the hunt.

But here’s something that struck me about contemporary travel writing: evidently, you aren’t supposed to describe what indigenous people look like anymore. The original Andaman Islanders are very short, very black (but, interestingly, not African) pygmy negritos. That strikes me as an interesting fact about them that helps me picture the scene above better, but it appears to be considered inappropriate for 2022 travel writing.

I first noticed this trend about 15-20 years ago when there were a lot of articles on the turmoil involved with South Sudan seceding from Sudan. Very few of even the longest articles mentioned that South Sudanese tribes such as the Dinka and Nuer are among the tallest people in the world. That would seem to me to be a picturesque detail that adds interest to a foreign affairs article about an otherwise fairly random place, but, apparently, a lot of Americans these days feel uncomfortable about anything reminiscent of physical anthropology: Hiss! Boo! Calipers!

From my new column in Taki’s Magazine, the second installment in a highly intermittent series:

What If I’m Right?
Steve Sailer

November 23, 2022

What if I’m right about how the world works? What policies would that imply?

My basic insight is that the world actually is pretty much what it looks like, loath as we may be to admit it. …

That all truths are connected to all other truths helps explain why my columns often seem to end somewhat abruptly and arbitrarily: I don’t seem to reach the natural end of a topic because, from my perspective, there is no end, just an endless network of cause and effect. So, instead, I tend to knock off around dawn when it’s time to go to bed.

Read the whole thing there.

For the first installment, see here.

As I may have mentioned once or twice over the last decade, the Theory of Intersectionality proves that black women, by being the most intersectional, have the most interesting thoughts. So what have they been thinking about since 1619? Mostly, about how they are peeved that people are blind to their fabulousness. Also, their hair.

From the Washington Post:

In Paris, artist Mickalene Thomas takes on Monet, and art history itself

For “Mickalene Thomas: Avec Monet,” the American artist created works that reflect on the French painter and move Black women into the foreground

By Robin Givhan

Robin Givhan is senior critic-at-large writing about politics, race and the arts. A 2006 Pulitzer Prize winner for criticism, Givhan has also worked at Newsweek/Daily Beast, Vogue magazine and the Detroit Free Press.
November 22, 2022 at 6:00 a.m. EST

… There’s only a discreet posting near her building’s buzzer to indicate that behind these industrial doors lies a magical, kaleidoscopic world of paint, paper and paillettes depicting Black women in repose, Black women indulging in the luxury of self-assurance, Black women existing in a world of their own creation.

Thomas, 51, has built her substantial art-world reputation by focusing on Black women … Thomas’s women often look as though they have stepped from a blaxploitation film, the pages of Ebony or Jet magazines, or the imagination of someone who keenly understands the importance of celebrating your own fabulousness when the world is stubbornly blind to it.

“We, too, can recline,” Thomas declares. “We, too, can relax and be seen doing so and have it be empowering and validating for our sense of self. We can be in the moment and in own our space and not be seen as being lazy.”

She’s had a multitude of exhibitions, including at the Brooklyn Museum, the Wexner Center for the Arts in Columbus, Ohio, and numerous galleries. …

Thomas’s fine art is now the subject of an exhibition that opened in October at the Musée de l’Orangerie in Paris. The museum, in the Tuileries Garden, is known as the permanent home for eight of Claude Monet’s waterlily paintings. The exhibition organizers asked Thomas to create works that reflect on Monet and the time she spent as an artist-in-residence at his former home in Giverny, France, in 2011.

“Mickalene Thomas: Avec Monet” is her first exhibition at a museum in France. … The small museum was constructed in 1852, and over time, its collection has helped to tell the erroneous story of French art, establishing a narrative that European art is White when, in fact, it is Asian and African, too. Thomas disrupts that story in ways both obvious and subtle, by her mere presence and with her work.

Detail from “La Maison de Monet” by Mickalene Thomas.

So, she took some photos of Monet’s house, made a 1978 David Hockney-style collage out of them, and scribbled on it.

Thomas attributes the existence of her exhibition to an art-world reckoning of sorts. In 2018, the Wallach Art Gallery at Columbia University presented “Posing Modernity: The Black Model From Manet and Matisse to Today,” which explored how the Black female form was essential to the development of modern art and the manner in which Black women were represented. The exhibition later traveled to the Musée d’Orsay.

Manet’s Le Déjeuner sur l’herbe

This article seems vague about Monet and Manet being different guys. Manet painted several pictures that included a black woman model, such as the famous Olympia. But I can’t find evidence that Monet ever painted a black woman.

“The Black model was always present but was omitted from the conversation,” Thomas says. “I think because of that [exhibition’s] exposure, because of that conversation around the Black model and looking back into history … we’re open to forging forth with some of these conversations that we’ve so long kind of circled around.”

Two revelatory exhibitions upend our understanding of Black models in art

In 2022, she created “Le Déjeuner sur l’herbe: Les Trois Femmes Noires avec Monet.” The mixed-media composition installed at l’Orangerie, along with three other collage paintings and photographs, as well as a video composition, depicts three women at rest in a landscape they have claimed as their own. Thomas created it in response to Monet’s “Le Déjeuner sur l’herbe,” which followed Édouard Manet’s painting of the same title.

Monet’s unfinished Le Déjeuner sur l’herbe

OK, now I get the chain of what passes for logic in contemporary art. You see, while Monet was primarily a landscape painter (he would occasionally have his wife and their child pose to add a focal point to the landscape — the story of M. and Mme. Monet is tragic and beautiful), which is boring to the black ladies writing and starring in this article, and so far as I can tell, Monet never painted a black woman, Monet was inspired by Manet’s huge succès de scandale Le Déjeuner sur l’herbe of a naked lady at a picnic to begin painting his own less famous but prettier and more tasteful picnic picture. But he never finished it and instead went on to develop his famous style with fewer figures in his paintings.

So that gets us from boring old Monet, who is famous not for anything terribly controversial but because he painted a colossal number of beautiful paintings, to Manet, who was more of a 20th Century-style operator with a nose for getting his paintings talked about.

Manet’s second most famous painting is another naked lady picture, Olympia, of a nude strumpet being presented with a bouquet of flowers, presumably from a gentleman admirer, by her black maid. To the black ladies involved with this article, it galls them that everybody looks at the white whore rather than at her black maid who rather recedes into the dark background. It’s time for a Reckoning: from now on, everybody should look at lounging black women instead of lounging white women!

Granted that’s pretty far from having much to do with Monet, but Monet/Manet, they were both white men.

Like her predecessors’, Thomas’s work is lush with flowers and trees. But instead of ivory-skinned picnickers and sunbathers, she positions Black women in their glory, with brown skin and Afros. They look back at the viewer. They aren’t staking a claim on a White world; they’re inhabiting their own realm, one in which Monet exists but over which they have authority. They’re at ease and self-satisfied.

In “Salle à Manger et Sofa avec Monet,” the dining room of Monet’s home is reimagined to incorporate parts of Thomas’s realm, including a pale yellow sofa that has served as something akin to a throne for the subjects of her portraiture.

Thomas’s aesthetic — not just the pieces at l’Orangerie, but her entire body of work — is a corrective. It’s a reclamation of history and future history.

“What I respond to and admire and visually love about Mickalene’s work is she doesn’t shy away from the 19th-century images because they’re fraught with all the layers and stereotypes of women of color,” says Denise Murrell, who curated the “Posing Modernity” show in New York. “She reimagines these images and gives us a sense of the subject and how these women would have, could have been seen by themselves or been seen by others.”

Murrell zeroes in on one of Thomas’s works from 2012, “Din, Une Trés Belle Négresse 1.” It features a Black woman dressed in a floral print and posed against a floral backdrop. She’s wearing a large shell necklace, and her hair is styled in a grand Afro that surrounds her face like a sacred halo. Her full lips are lacquered in a deep blackberry hue, and her eyes are dramatically highlighted in dark shadow. The title, translated, means Din, A Very Beautiful Black Woman, but Thomas uses the discomforting “négresse,” which in art history often has rendered individual Black women as an anonymous commodity.

“She’s taking all the physical features, the hair and lips, that have been stereotyped in a derogatory way in the 19th century and giving them full beauty and lushness. She’s not just presenting a 19th-century woman, but the woman of the current moment,” says Murrell, who is the Merryl H. and James S. Tisch curator at-large at the Metropolitan Museum of Art.

In Thomas’s portraits, “the attire is of the late 20th century, the pose, the affect, the stance. You could see them at parties or on the street. She’s making these arguments in the artistic language of the current moment,” Murrell adds. “They’re gorgeous and self-possessed. They’re the opposite of the pictorial subordination in previous depictions of Black women. They claim all aspects of their being.”

… One could easily imagine one of Thomas’s women reclining languidly in “Le Jardin d’Eau de Monet,” but they don’t have to be present for their ownership to be evident. It’s still clear that this landscape, this space, belongs to Thomas and her muses.

Like most male team sports: evidently, not very. A reader does some counting of top soccer players and writes:

I assume you saw that the opening day of the World Cup was taken up by a lot of media stories about European teams planning to wear a rainbow armband which they later backed down from.

The English media is really, really obsessed with finding a gay male soccer player willing to come out and has been for about ten years. The absence of said out gay players is toted as evidence of prejudice despite increasingly visible inclusivity attempts by the sport’s governing bodies. You can easily find stories about closeted players like this one who claim they are afraid of coming out due to resistance from fans or teammates. Former England star Gary Lineker says he knows of two. I’m sympathetic to the theory that coming out while playing could limit your career, but I would assume that this social pressure pretty much evaporates when your career ends in your early 30s. So I went looking for examples of ex-players who have since come out.
First, what’s the denominator? 1795 players have made more than 50 Premier League appearances since it was founded in 1992. The right tail is very long, 2523 players have made more than 25 appearances. I stopped clicking but there are easily >3,000 unique players who have made at least a single Premier League appearance. The average age of an active player today is 26, so I would estimate something like 2/3 to 3/4 of players who’ve ever made an appearance over the last 30 years are no longer active today. So we are looking at 2,000 or so ex Premier League players. Youngest ex-player is around 30 and oldest in his early 60s.
England is perhaps the world’s most gay-friendly place and anyone coming out is guaranteed a sympathetic media portrayal. So do gay players come out when they retire? It seems not. Google only finds me one ex-Premier League player who has come out after retiring, a player called Thomas Hitzlsperger. He only made 117 appearances in the Premier League and this would put him well outside the top 1,000 players by appearance.

So I’m increasingly sympathetic to your theory that whatever psycholocial traits make men highly interested in team sports make them highly heterosexual too. I looked up the top 20 players by Premier League appearances and checked wikipedia (mainly) to see what their marital status and number of children were. 19 of the 20 have been married and the one who hasn’t (Emile Heskey) has six children. It wasn’t clear whether Sylvain Distin has kids so I marked him down as zero but there is a story in French about him having had an affair. Jermain Defoe is also at zero kids but there seems to have been a paternity test involved. Six of the 20 (Giggs, Ferdinand, Defoe, Terry, Rooney, Distin) seem to have had some extra-marital stuff that the English tabloids dug up. So all-in-all guys who manage to sustain a career as a high-level soccer player seem very, very heterosexual. My casual knowledge of North American team sports is that you see pretty much the same pattern too.

Anyway I find occupational selection by sex, race, and sexual orientation quite interesting but you seem to be the only person who can write about it plainly. You are welcome to use any and all of this analysis. I will never publish it even pseudonymously!

Last month I posted about the egregious cancellation of tenured professor Bryan J. Pesta, who was fired by Cleveland State U. in effect for co-authoring a landmark scientific article on racial admixture and IQ in 2019. (I put considerable effort into a Taki’s Magazine column explicating in less daunting prose a 2021 study that replicated Pesta’s 2019 findings on the even more impressive ABCD database.)

The relationship between the race gap in IQ and DNA has been quite possibly the single most contentious issue in the human sciences since Arthur Jensen’s 1969 Harvard Education Review article. Pesta’s career was targeted for destruction for his role in publishing what might eventually go down in history as the single biggest step forward toward resolving this great debate between scientific titans such as Jensen, Richard Herrnstein, and Charles Murray vs. Stephen Jay Gould, Richard Lewontin, Christopher Jencks, and James Flynn.

Charles Murray and myself have been trying to alert academics that Pesta’s case shows that their ancient right of tenure is no longer secure. As Beria liked to tell Stalin about his stewardship of the NKVD, “Show me the man and I’ll find you the crime.”

4/6 Pesta's work is said to be "shoddy" and otherwise unworthy–but that's what they always say. Go back to the target article and decide whether "shoddy" is your reaction. Bottom line: Solid work on a technically challenging topic can strip your tenure protection

— Charles Murray (@charlesmurray) November 7, 2022

6/6 There are no collateral allegations of sexual misbehavior or racism in Pesta's teaching or any of the other personal failings that universities use as excuses for ridding themselves of their turbulent faculty. Pesta's firing is a pure expression of intellectual censorship.

— Charles Murray (@charlesmurray) November 7, 2022

Dr. Pesta has long tried to maintain a low profile, but having been deprived of his income by violation of his tenure, he has established a Give Send Go account at https://www.givesendgo.com/G9END .

Dear Potential Donors,

My name is Bryan J. Pesta. I used to be a tenured full professor of management at Cleveland State University (CSU), with top departmental seniority. As a student there many years ago, I’ve also earned three degrees (one BA and two master’s degrees) from CSU. In fact, I have a near continuous presence (as faculty or student) at this school dating back to 1986 (I am old).

This all changed on March 4, 2022, as CSU terminated my (tenured) employment with them.

They “convicted” me of conducting and publishing unethical and racist research regarding my scientific explorations into why Blacks and Whites score differently—on average—when taking IQ tests.

Note, it’s trivially simple to find very smart Blacks and not so smart Whites. It’s frustrating that people have trashed my work and reputation by alleging I believe that ALL members of some race group are smarter than ALL members of some other group.

Note, I had been studying this topic at CSU since 2006. The school never expressed any concerns about the nature of my research until recently. In fact, CSU regularly awarded me (yearly) merit pay wage increases, specifically because of my research.

Note, the average IQ differences in question here are incredibly well-documented by lots of quality data, going back to at least World War I. The differences are also unfortunately rather large, but they predict very important social outcomes (e.g., education rates, income rates, crime rates, and even numerous measures of physical and mental health). As such, I believe we have ethical and moral obligations to figure out what is going on here. I’ve also argued elsewhere, that figuring this out would dramatically improve human well-being for all.

That said, the actual causes of these differences (i.e., genetic factors, environmental factors, test bias, racism, etc.) remain unknown.

Importantly, CSU did not outright call me a racist for studying all this (though many other students and academics both internal and external to CSU certainly have!). Instead, the school hid behind numerous pretextual accusations that I had mishandled sensitive genetic data, or otherwise committed “academic research misconduct” regarding a specific article that colleagues and I published in 2019 ( https://www.mdpi.com/2624-8611/1/1/34 ).

At one point, fully 21 different allegations of academic research misconduct were “thrown at the wall” against me. I was able defend most of these allegations, but precisely four of them “stuck” with CSU, and I was ultimately fired. However, I will show that CSU’s rationale for these four charges was inane.

Unfortunately, the allegations against me are also very technical and full of jargon. This makes my case rather difficult to comprehend, especially if one lacks knowledge about how scientific research proceeds. I won’t get into the weeds now, but I will soon add a link to my complaint in federal court, once it is officially filed.

Not surprisingly, I have suffered rather severe financial and emotional consequences because of CSU’s illegal firing of me. I am also hated there, and I am completely unemployable in academics anywhere in the USA.

I would sincerely appreciate any financial assistance you might provide here. I’m confident I will prevail, but I need to survive as my suit progresses through the system. In sum, money is nice for sure, but this case is squarely about academic freedom and first amendment rights. Please consider helping me defend myself, and our constitution.

Sincerely,

Bryan J. Pesta

He says of his GiveSendGo account:

All donations would be completely anonymous, except I will get the donor’s email address in case disputes arise (“I pledged $100 but you took $1,000!” etc,). I would appreciate whatever interested donors are willing to give.

Many, many thanks!

The Washington Post has been on a jag for weeks complaining that blacks are not over-represented in NFL head coaching ranks, but only have about the same share of coaching jobs as of the American population.

Thirteen NFL teams have never had a Black coach. Here’s the story of one.

A flagship franchise in the league, the New York Giants reflect a process in which some say unconscious bias remains unchecked

By Adam Kilgore and Nicole Dungca
Nov. 21 at 3:21 p.m.

That got me thinking about soccer managers in the 2022 World Cup. The World Cup is progressive and globalist and totally not jingoistic, right? Oh, wait, well, never mind that, but let’s look at the coaches. Surely People of Color are well represented.

Well, yes, in the three Sub-Saharan entrants in the 32 team World Cup, all three are coached by home country black men.

Of the two East Asian entrants, Japan has a Japanese manager, but South Korea has a Portuguese manager.

Of the five Middle Eastern entrants, Morocco has a Moroccan coach and Tunisia a Tunisian coach, but Iran has a Portuguese coach, Saudi Arabia a Frenchman, and Qatar a Spaniard.

Mexico’s manager

All the historically white countries have white coaches. The most diverse is that Switzerland has a Switzerland-born coach of Turkish descent, Murat Yakin, who looks a little central Asian.

As far as I can tell from a glance, all the Latin American teams have coaches who’d be considered white walking down the street in America.

For example, Mexico’s coach looks a little like actor John Goodman.

Soccer strikes me as less complicated to coach, especially during games, than American football, but that’s probably an outmoded notion. Most big things in our world keep getting more complicated, and soccer is a really big thing.

Here are links to all 32 managers:

G. Alfaro (ECU) • G. Martino (MEX) • L. Scaloni (ARG) • G. Arnold (AUS) • Tite (BRA) • R. Song (CMR) • L. Suárez (CRC) • Z. Dalić (CRO) • K. Hjulmand (DEN) • J. Herdman (CAN) • G. Southgate (ENG) • D. Deschamps (FRA) • H. Renard (KSA) • H. Flick (GER) • O. Addo (GHA) • H. Moriyasu (JPN) • W. Regragui (MAR) • L. van Gaal (NED) • C. Michniewicz (POL) • P. Bento (KOR) • C. Queiroz (IRN) • F. Santos (POR) • A. Cissé (SEN) • D. Stojković (SRB) • Luis Enrique (ESP) • R. Martínez (BEL) • F. Sánchez (QAT) • M. Yakin (SUI) • J. Kadri (TUN) • G. Berhalter (USA) • D. Alonso (URU) • R. Page (WAL)

Somebody wants to publish an anthology of my best stuff in hard cover: These fragments I have shored against my ruins. If I go ahead with the project, what should be in the book?

I asked my readers this question before back in 2016 and got lots of helpful comments. But there’s been a lot of water under the bridge since then.

I don’t know nothin’ about cryptocurrency, but this takedown of the “stablecoin” Tether, the third biggest type of cryptocurrency, in Revolver is a good read:

FTX on Steroids: Is “Tether” the Biden World’s Crypto BCCI?
November 19, 2022 (1d ago)