Hundreds of the biggest Democratic fundraisers in the past two presidential elections are already picking candidates for — and Kamala Harris has a significant early edge, while Pete Buttigieg and his from-scratch campaign has scrambled into the second tier. While the Democratic presidential campaigns have been focused on building small-donor armies this year, bundlers mine their networks for checks to pass along to campaigns six or seven-figures at a time, giving them a potentially massive role in a crowded primary.
Donations from these key fundraisers signal the out-of-the-gate interest the candidates are generating among many of the most wealthy and connected campaign supporters in the country. And while candidates have taken a more muted approach to raising checks from wealthy supporters this cycle as they seek to prove they have grassroots support online, they still benefit greatly big-donor support — and most are pursuing it seriously. Kirsten Gillibrand 67 bundlers and Amy Klobuchar 61 also picked up pieces of the Obama and Clinton networks.
But the longtime senators were closely followed by a rising candidate, Buttigieg, who got backing from 51 bundlers, despite having few fundraising connections before his campaign caught fire in March — prompting a wave of small donors to flock to his campaign, too. Then Buttegieg caught his attention. Some donors — including powerful fundraisers for Obama — are waiting to see if former Vice President Joe Biden decides to run before deciding where their loyalties lie. So yes it's a little dated, but timeless at its core. Loved it. Jun 30, Emily added it Shelves: read-in Well, that's what happened to me with John Dos Passos's U.
For those who aren't familiar with this trilogy, its novelty is in its form. Dos Passos, an American Modernist and contemporary of Hemingway, Faulkner, Stein and the rest of that expat cadre, has assembled something less like a novel and more like a collaged portrait of the United States during three consecutive periods of history: The 42nd Parallel deals with the early years of the 20th century; is concerned with the American experience of World War I; and The Big Money , the long-awaited to me capstone of the trilogy, is concerned with the boom years following the War, during which America was hurtling unknowingly toward the Great Depression.
All three were written during the Great Depression, fro to , so the shadow of coming events looms large over them, especially the last one. The novels in the series share a common structure: they are composed of four different types of sections, which alternate unpredictably with one another like an improvisational jazz piece.
The "Newsreel" sections are themselves collages, juxtapositions of newspaper headlines, contemporary speeches, and fragments of popular songs of the time. Dos Passos is excellent, I think, at giving a sense of the sweeping progress of history as found in the minutiae of the popular media, and also a sense of its myopia and the self-serving language of politics, advertising, and the press. Forgive the lengthy block quote, but I think the easiest way to explain the Newsreels is just to show you how they work: 'Twarn't for powder and for storebought hair De man I love would not gone nowhere.
Louis woman wid her diamon' rings Pulls dat man aroun' by her apron strings. Jan 26, Marc Gerstein rated it it was amazing Shelves: classics. It is, quite literally, the story of life in the USA. It focuses on three decades, the s, the s, and the s in a way that could have been the s, s, s; the s, s, s, or any period of time or more than three decades if an author would have the wherewithal to do it. Once you tune into the grand scheme, its easy as you read to envision the whole thing being re-told with details from today. The scheme for the work is subtle and fascinating. But after having finished the trilogy, I now get it.
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I find it almost analogous to the scientific method, where you want to observe the impact of X on Y but you want to control for variations in A, B, C, etc. Small variations in environmental details? All of the above? Some of the above? Parallels from what we saw then to what we see today are hard not to notice if one can avoid getting too wrapped up in details. Apr 08, Mike rated it it was amazing. I'm so glad I finally got to read DosPassos.
There's not much I can say about "The Big Money" volume 3 of the USA trilogy that hasn't already been said by all sorts of people much smarter than me, over the past several decades. In "The Big Money" DosPassos captures the spirit of a generation- the "lost generation"- as the lives of several characters intersect and intertwine in the years between the end of the First World War and the crash of Looking back from DosPassos' perspective at the time of writing, it seems like the crash and the ensuing Depression were a judgement, of sorts, on American society: paying the piper for years of crass materialism, empty satisfaction of material and physical wants wealth, sex, and booze , and the betrayal of the American dream: no longer was wealth- even mere security- obtained through work and innovation; rather, through manipulation of financial markets and abuse of credit.
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I know! History is repeating itself! There's nothing like a traditional plot here: DosPassos' characters simply drift through the decade, experiencing the base thrills and degradation that the America's economy and society had to offer. Powerful stuff. I'm going to read more. Jun 01, Andy rated it liked it Recommends it for: lurid melodramatists. Shelves: 20th-century-blues.
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Oy vey what a train wreck. The book was torn between Upton Sinclair power to the people proletariatisms and Harold Robbins potboiler men in power and their sins-type sensation. I had to occasionally check the cover to make sure I was still reading Dos Passos.
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Apr 03, Tom rated it really liked it. This review has been hidden because it contains spoilers. To view it, click here. I started reading the series because it kept showing up on lists of must-read 20th century literature. It probably belongs on them but not because it's especially profound or moving. Instead, it's a vivid picture with a heavy socialist tint of everyday American life in the years between McKinley's assassination and the stock market crash. Dos Passos employs an unusual narrative structure which has an almost Cubist effect, revealing the world from a variety of distances and perspectives.
The bulk of the work is a set of chapters that each focus on one of about a dozen characters, telling their stories from childhood onward. These stories are punctuated by the so-called "Newsreels," collages of headlines, news story fragments and snatches of lyrics of popular songs, that are sometimes reminiscent of Burroughs' fold-ins.
The Newsreels provide both a sense of time and an immediate historical context. A deeper cultural and mythical context is provided by a set of biographies of important figures of the time beginning with Eugene Debs, proceeding through the likes of J. Interspersed with these three narrative forms is a fourth obscure set of chapters that come under the heading "Camera Eye" and provide Dos Passos' impressions of various times of his own life.
These are given without background or explanation but provide an immediacy absent from the rest of the book. The tone throughout the trilogy is one of sustained bitterness. The individual characters lead eventful, but troubled and unsatisfying lives- WWI is actually a bright spot for most of them- which is probably why Sartre held the series in high esteem.
At the outset there is some hope in the goals of the Wobblies. But while they are prominent in The 42nd Parallel, they've faded to irrelevance by the beginning of the third book. This process was helped along by mass arrests by Woodrow Wilson, documented in his own biography titled "Meester Veelson. It is perhaps only outshined by the biography that appears at the end of titled "The Body of an American Soldier. I can't say that feeling completely disappeared by the end of the book, but Dos Passos managed to allay most of it by avoiding the predictable dramatic climax synchronized with the stock market crash.
In fact, that event is barely mentioned in one of the last Newsreels.
In the meantime, the stories of the various individual characters all sputter to unremarkable though frequently premature endings. The anger of the first two books is replaced with quiet resignation, which is probably the most fitting response to the first three decades of the 20th century in the United States. An interesting but not very enjoyable read. Or more specifically, the post-WWI to pre-stock market crash America. They also provide an interesting contrast between the idea of the American dream and the reality.
One of the most interesting is the description of the life and death of Rudolph Valentino, and the riots of crazed fans who immortalized him immediately after death. The description of his diseased body in contrast with his image of legendary, silver screen beauty is an interesting metaphor for myth versus the reality that lurks beneath.
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In contrast, the stories of the individuals in The Big Money can be viewed as the realities behind the headlines. Jun 19, Jerjonji added it Shelves: the-classics.
epaph.com/muv-tracking-honor-phone.php Over pages long, I discovered an America I never knew existed, an America hidden from the children of the Cold War, not in our history books or bedtime stories, and I fell in love with the spirit of Socialism. I longed for a copy, a real paper copy of the Worker. I read Marx and understood little. I was insufferable, with just enough information to drive everyone around me insane.
One night at supper, my father silently handed me a book of poetry. I began reading it at the supper table and tears streamed down my face.