LA Freeways Are the Most Racist California Monuments ; Democratic Ad Makers Think They’ve Discovered Trump’s Soft Spot ; and More Picks 7/3

Face of a Dissident (Dana)

The author writes, “There has been a growing push among Black Lives Matter supporters, both on- and offline, for both photojournalists and private citizens to refrain from sharing photos of participants’ faces. Doing so, many fear, would make it easier for police to identify the protesters — and then, potentially, surveil them, harass them, or arrest them.”

LA Freeways Are the Most Racist California Monuments (Chris C.)

From the Los Angeles Times: “When the 1944 Federal-Aid Highway Act allocated funds for 1,938 miles of freeways in California, planners used the opportunity, with full federal support, to obliterate as much as possible the casual mingling of the races. Local officials rerouted the elaborate designs of freeway engineers — often at considerable expense — to destroy thousands of homes in racially diverse communities.” 

Germany Disbands Elite Commando Unit Infested With White Supremacists (Mili)

The author writes, “Investigators reportedly found Nazi memorabilia and explosives on the property of a KSK officer in May. They continue to search for 48,000 rounds of ammunition and more than 135 pounds of explosives that are missing from the KSK’s weapon stash.”

Democratic Ad Makers Think They’ve Discovered Trump’s Soft Spot (Reader Jim)

From Politico: “The ad makers’ overarching takeaway from their research was this: While Trump may not be vulnerable on issues of character alone, as he demonstrated in 2016, he is vulnerable when character is tied to his policy record on the economy and health care.”

Renaissance Couple: Unhinged Duo Reunited After 250 Years Apart (Dana)

The author writes, “A couple painted by the leading renaissance artist Bartholomäus Bruyn the Elder before their marriage in 1539 have finally been reunited after an art historian turned detective, spending two decades piecing together clues from across Europe to bring the two-panel portrait together again.”

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