I don’t want to politicize this but if you follow what they are doing it is apparent to me as a lawyer and I think it also would be to a non-lawyer that the people on that case are very smart, very tough, and very aggressive. For examples of this – the number one revolving door legal job is the US Attorney’s Office for the Southern District of New York – their current most high profile case is the one against Michael Cohen. Theory is also correct that the incentives for going back to the private sector are to make a name for yourself by winning big cases. “No revolving door” for these people is basically saying agree to what will, by your mid 30s, be a 90% pay cut for the rest of your career. The truth is, many if not most of these people are not doing it for the revolving door – they are genuinely interested in public service and tend to go back into the private sector because they start having kids and the salary gap just gets bigger every year you stay in government. In the legal field the revolving door attracts highly talented, ambitious, and aggressive lawyers into the government because they know there is a pay off. I’m also part of the big corporate law firm world and his description of the dynamics are 100% true in my experience and widely understood there as well. I’m commenting on the “ case for revolving doors” comment.įirst, I have roughly the same background as theory, the previous commenter. Congratulations to the subreddit on reaching 10,000 subscribers. If you guys had just written this up as an adversarial collaboration, you could have been well on your way to winning $2000 by now.ģ. Comments of the week: a German economist explains ordoliberalism, a lawyer makes a surprising case for why one might not want to ban a revolving door from regulatory agencies to industry, Nabil al Dajjal tries to summarize the latest Hotel Concierge (if only there were something in between Nabil’s length and Concierge’s), and a bunch of people have a very long debate about why the FAA does what it does. See more information here – they seem to want “expressions of interest” by May 25.Ģ. The Future of Humanity Institute is starting a “Research Scholars Program”, offering salaried positions plus training and mentoring to early-career researchers interested in the same big-picture topics FHI is – AI, existential risk, far-future technologies, utilitarianism, and the like. You can also talk at the SSC subreddit or the SSC Discord server. Post about anything you want, ask random questions, whatever. "Humor, Entertainment and Popular Culture during World War I investigates the complex relationship between the entertainment industry, artists and the Great War, and how the experience of warfare or just being at war was often expressed through various forms of humor.This is the bi-weekly visible open thread (there are also hidden open threads twice a week you can reach through the Open Thread tab on the top of the page). Put more simply, it is a good read and a centennial must." - Serge Ricard, Université Sorbonne Nouvelle, France and editor of A Companion to Theodore Roosevelt By means of a purposely-cultural approach, this book examines the apparent war/laughter antinomy and humor as an antidote to trauma, and in so doing offers a remarkable contribution to the study of the Great War that will significantly complement the work of historians. "Editors Tholas-Disset andRitzenhoff, together with their international group of scholars, have beautifully risen to the challenge of 'histoire croisée/entangled history' as applied to the First World War context. It shows what we can learn about the past by taking comedy seriously." - Joanna Bourke, Professor, History, Birkbeck College, University of London, UK "Gallows humor, patriotic entertainment, and raucous consumerist fun: this collection looks at the Great War through a different lens. Enjoy this book for its scholarship of popular culture during the Great War, but delight in the amusing and unexpected humor that comes from films, anecdotes, poetry and songs in spite of such obvious sorrow." - Michael Cullinane, Senior Lecturer, US History, Northumbria University, UK "Tholas-Disset and Ritzenhoff have produced a volume that revivifies the battle scenes of World War I by filling the trenches with an unexpected sound: laughter. Refreshingly, it deals with a number of topics otherwise overlooked in relation to the conflict, and offers contributions from a mixture of new and established academics.” (Pip Gregory, Reviews in History, history.ac.uk, April, 2016) “This is a thoroughly enjoyable book offering insight and interest for cultural historians of the Great War the world over.
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