| By Made by History / Produced by Olivia B. Waxman | Since the end of the Civil War, a mythic story about Christmas has spread in many corners of the United States—that enslaved people enjoyed unusual freedom and joy on Southern plantations during the Christmas season. Of course, the reality was much different. As Robert E. May writes in Made by History, these myths have had tremendous staying power, because they serve to justify and excuse slavery and persistent racial discrimination. Such efforts downplaying the horrors of slavery and emphasizing the holiday benevolence of white Southerners keep the "Lost Cause" ideology alive, and, he argues, continue to shape U.S. politics to this day. | |
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| | |  | What to Know About Y2K, Before You Watch 'Y2K' | The Year 2000 computer problem continues to nag at us 25 years later. |
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|  | The Centuries of History Behind a Key Trump Strategy | The 18th and 19th century origins of the appeal to white victimhood. |
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|  | The 2024 Election Marked the Inversion of the Electoral Map | Basic political geography means Democrats might need to ask themselves a broader question as they look to rebound. |
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|  | Close Elections Signal a New Gilded Age | Close Elections Signal a New Gilded Age |
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|  | Syria Needs to Overcome Its History | The Assad regime cultivated ethnic and religious divides that threaten Syria's future even after the dynasty's fall. |
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|  | The Debate About Men Being Left Behind Is Decades Old | It's crucial to understand the real history behind claims that men are being marginalized. |
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| | This week in 1948: Olivia de Havilland |  | The Dec. 20, 1948, cover of TIME |
| Boris Chaliapin |
| "But with all its minor faults, The Snake Pit is an important motion picture. One of its notable achievements is that it establishes Olivia de Havilland not so much as a star, a dubious title she already held, but as an actress…To most of its makers, The Snake Pit has been more than a good movie. Olivia de Havilland expresses their feelings when she says: 'This picture is going to do so much good. When I visited the institutions for the mentally ill, I felt a great surge of compassion for the people. We are all victims of life, you see, and these people are the ones who have been hardest pressed.'" |
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| | This week in 1959: Anne Bancroft |  | The Dec. 21, 1959, cover of TIME |
| TIME |
| "Already a part of her was onstage, creating with incredible vitality a superior human being: half-blind Anne Sullivan, whose stubborn skill lit up life itself for a deaf, blind and mute child named Helen Keller. Already, Anne Bancroft was The Miracle Worker of Playwright William Gibson's impressive new play…Anne keeps talking of marriage, but when she told her psychiatrist not long ago that she had put a piece of a friend's wedding cake under her pillow, he answered ironically: 'At last you're taking active steps.' Says she: 'I don't know why, but I can't make a mature relationship based on trust, respect and recognition.' She adds: 'Most of Annie Sullivan is myself. It's my own blindness I draw on, my unawareness of myself.'" |
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| This week in 1974: Joni Mitchell |  | The Dec. 16, 1974, cover of TIME |
| Bob Peak |
| "Most sixties' superstars survive in repackaged groups with discounted reputations. But Joni's writing and singing continue to renew themselves. Her roots in rebellion have flourished as stubborn, invincible candor. 'The most important thing is to write in your own blood,' she says. 'I bare intimate feelings because people should know how other people feel.' Joni's confidences, delivered in poetic portraits, produce in her huge and varied audience a spirit of communion that separates the poet from the diarist." |
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