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In 1915, the Ford Motor Company published a creepy little booklet called “Helpful Hints and Advice to Employes,” which outlined the expectations the company had for its workers. These did not relate to how well they built cars. The booklet explained that the company’s employees were expected to maintain certain standards on and off the job, and told them everything from what kind of houses they should live in to how they ought to raise their children. 

In 1915, the Ford Motor Company published a creepy little booklet called “Helpful Hints and Advice to Employes,” which outlined the expectations the company had for its workers. These did not relate to how well they built cars. The booklet explained that the company’s employees were expected to maintain certain standards on and off the job, and told them everything from what kind of houses they should live in to how they ought to raise their children. 

The monthslong festival, running until early 2026, blends sports, music, and spectacle.

We need to reclaim not just the African narrative but also its data.

Robert Reich explains how his generation’s political flaws fueled Trump’s rise and the demise of the Democrats.

After decades advising presidents, the former Secretary of Labor is sounding the alarm.

Richard Burton’s legacy is one of contradictions. He is both a towering figure of 20th-century popular culture and a bright, brief candle whose peers made indelible marks on the 21st, too. He managed to achieve success as both a classical stage actor and marquee-name movie star at a time when slippage between those worlds was at a minimum. He was nominated for an Oscar seven times, but never won. His relationship with Elizabeth Taylor—with whom he co-starred in many films and stage productions, most famously Who’s Afraid of Virginia Woolf?—is remembered as an epic love story despite their twice divorcing. He described himself as a socialist, or indeed a communist, but moved to Switzerland to avoid paying taxes, wryly commenting, “I believe that everyone should pay them—except actors.” Famously an alcoholic, he claimed to drink to stave off the deadness of being offstage. Sometimes his alcoholism was functional; other times he was reportedly so drunk, like while filming The Klansman (1974), that he had to shoot all his scenes sitting or lying down. By his forties, he had become frail and weak. By 58, he was dead.

The genocide in Gaza has exposed the weaponization of the Holocaust as a vehicle not to prevent genocide, but to perpetuate it, not to examine the past, but to manipulate the present.