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Reds! A Revolutionary Timeline

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So there was mention of the UN a bit earlier in the thread, does the UN survive WW2 into a form resembling OTLs? Or does it end up withering away completely/turns into a rump overshadowed by the two blocs deliberative process?
 
vilani99 said:
So there was mention of the UN a bit earlier in the thread, does the UN survive WW2 into a form resembling OTLs? Or does it end up withering away completely/turns into a rump overshadowed by the two blocs deliberative process?
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The UN is around after WW2. It serves as a mediating ground for the two blocs and international, apolitical humanitarian efforts as OTL
 
Honestly, I'd expect it to be more effective and powerful than IOTL simply because the member states that treat it purely as a vehicle to advance their own self-interest are fewer and weaker.
 
Jake said:
Honestly, I'd expect it to be more effective and powerful than IOTL simply because the member states that treat it purely as a vehicle to advance their own self-interest are fewer and weaker.
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India and the FBU will veto anything China, Russia, and America want to do and the latter will veto anything the former want to do.

The effect is that the security council does absolutely nothing unless it's something absolutely everyone can agree on.

A single one of the P5 disagreeing means the whole thing grinds to a halt.
 
Krasnyy Spartak said:
India and the FBU will veto anything China, Russia, and America want to do and the latter will veto anything the former want to do.

The effect is that the security council does absolutely nothing unless it's something absolutely everyone can agree on.

A single one of the P5 disagreeing means the whole thing grinds to a halt.
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So basically nothing has changed from OTL
 
ArvisPresley said:
What sort of situation would cause all 5 to agree unanimously in the first place?
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Well, you might manage to get them to agree to a peace mission if something akin to the OTL Rwanda Genocide happened? Infighting over how the UN administration should be run, and what to do after they pull out, would probably make the UN forces even less effective than OTL though.
 
I mean i cant think of any unanimous P5 decision from the OTL Cold War beyond Rwanda. Granted there are sizeable holes in my knowledge of the Cold War UN.
 
It's essentially the OTL Cold War era United Nations that remained largely small and probably even smaller than its OTL counterpart. And in this case it remains to be the case until 2020. It's not that important of a body because at the end of it all, you have two tightly integrated multinational blocs around that has more impact than the UN in IOTL ever did.
 
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So, where would big otl corporations like Disney and Amazon be in this world? Which is to say, how would their fields look like compared to our world. Like, in otl, I can think of how the Tech and Movie industries are dominated by a few big players and a bunch of small ones that make little but notable contributions to their fields. But, what would those fields look like in this world?
 
Z-Cosmonaut said:
So, where would big otl corporations like Disney and Amazon be in this world? Which is to say, how would their fields look like compared to our world. Like, in otl, I can think of how the Tech and Movie industries are dominated by a few big players and a bunch of small ones that make little but notable contributions to their fields. But, what would those fields look like in this world?
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In terms of films, initially, it's dominated by the post-revolution, collectivized descendants of the Hollywood studios as well as art and documentary centers. After some events in the 50's, those studios fracture, resulting in newer collectives and an era of experimentation called the American New Wave.

That fizzles out by the 80's, but changes in the 80's lead to the formation of spheres focusing on different audiences, which are largely around to the present.

After Disney leaves post-war to pursue big government projects, Hyperion under animator Art Babbitt opens a live action section, but mostly stays with animation.
 
Miss Teri said:
In terms of films, initially, it's dominated by the post-revolution, collectivized descendants of the Hollywood studios as well as art and documentary centers. After some events in the 50's, those studios fracture, resulting in newer collectives and an era of experimentation called the American New Wave.

That fizzles out by the 80's, but changes in the 80's lead to the formation of spheres focusing on different audiences, which are largely around to the present.

After Disney leaves post-war to pursue big government projects, Hyperion under animator Art Babbitt opens a live action section, but mostly stays with animation.
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I'd imagine that while there'd still be the usual icons of childhood (Mickey Mouse, Bugs Bunny, etc...) there wouldn't be the brands that are so dominant today, no overwhelming dominance of a brand or studio via mass marketing and merchandizing as there is OTL. I mean, you could still buy a Mickey Mouse toy at whatever Disneyland exists, ITTL, but it wouldn't be the corporate copyright as we know it.

Actually, come to think of it, WB fled to Cuba right? Does that mean Bugs Bunny is Americuban now?
 
Saint_007 said:
I'd imagine that while there'd still be the usual icons of childhood (Mickey Mouse, Bugs Bunny, etc...) there wouldn't be the brands that are so dominant today, no overwhelming dominance of a brand or studio via mass marketing and merchandizing as there is OTL. I mean, you could still buy a Mickey Mouse toy at whatever Disneyland exists, ITTL, but it wouldn't be the corporate copyright as we know it.

Actually, come to think of it, WB fled to Cuba right? Does that mean Bugs Bunny is Americuban now?
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There's a Tomorrowland in California, unaffiliated with Hyperion.

Jack Warner and Leon Schlesinger fled. Tex Avery, Bob Clampett, Chuck Jones, etc. stayed in Hollywood form the Termite Terrace Animation collective.
 
Miss Teri said:
There's a Tomorrowland in California, unaffiliated with Hyperion.

Jack Warner and Leon Schlesinger fled. Tex Avery, Bob Clampett, Chuck Jones, etc. stayed in Hollywood form the Termite Terrace Animation collective.
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Okay, so the company leadership fled to Cuba, while the animators stayed put. So yeah, Comrade Bugs... weird concept.
 
Z-Cosmonaut said:
So, where would big otl corporations like Disney and Amazon be in this world? Which is to say, how would their fields look like compared to our world. Like, in otl, I can think of how the Tech and Movie industries are dominated by a few big players and a bunch of small ones that make little but notable contributions to their fields. But, what would those fields look like in this world?
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This is My Opinion:

I am thinking the biggest corporations would be in Western Europe, Oceania and India. By the 10s and 20s we start to see rising stars out of Africa, Middle East, Southeast Asia and South America (Brazil). Most of them started out in commodities like Oil, Tropical Foods and Minerals and over time diversified into fields like Consumer Goods, Foods, Transportation and so on. In the FBU and richer members of the Alliance they play by the rules and having PR firms and lawyers to handle any embarrassments. In the poorer members they own or heavily influence local governments and communities for tax breaks, subsidies and so on. While not megacorporations in the Cyberpunk sense it is more like the Company Town where entire communities/districts are employed or supply a specific industry.
 
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Red Emma
  • Sidestory
    • This was a piece originally written by AH.com user Ravenclaw (don't know if they're on here). I want to thank them very deeply, both for allowing me to use their piece (with modifications by yours truly) and for writing this absolutely wonderful piece in the first place. Even after all these years, it has remained a favorite of mine. So, without further adieu:
    Red Emma: The Musical

    Cast[1]
    Emma Goldman—Lenina Miranda
    Alexander Berkman—Aaron Tveit
    Crystal Eastman—Tracy Nicole
    Johann Most/Modest Aronstam/Daniel DeLeon— Joshua Henry
    Eugene Debs/Leon Trotsky—Joseph Lane
    Upton Sinclair— Utkarsh Ambudkar
    William Z. Foster— Daveed Diggs
    Norman Thomas/Roger Nash Baldwin—Brian Darcy
    "Big Bill" Haywood/Harry Haywood—Leo Diggs
    Henry Clay Frick/Douglas MacArthur—Jonathan Groff
    Herbert Hoover/J. Edgar Hoover—Adam Kantor
    George Patton/John Reed—Leslie Odom, Jr.
    Earl Browder—Jesse Martin
    Robert Taft/Franklin Roosevelt—Christopher Jackson

    Musical Numbers
    Act I
    "Emma Goldman (Overture)"—Full company (except MacArthur)
    "What Is to Be Done?"—Goldman
    "Haymarket"—Debs, Goldman
    "Sachs' Café"—Goldman, Berkman, Most
    "No Lords, No Masters"—Goldman, Berkman, Debs, Haywood
    "Homestead Strike"—Goldman, Berkman, Aronstam
    "Berkman the Assassin"—Berkman, Frick, Aronstam
    "One Big Union"—Debs, De Leon
    "Tomorrow There'll Be More Of Us"—Debs
    "Roaring Twenties/Biennio Rosso"—Goldman, Foster, Browder, Sinclair, Thomas, Reed
    "The Election of 1932"—Thomas, Sinclair, Foster, H. Hoover
    "MacArthur's Coup"—MacArthur, H. Hoover
    "The Revolution Marches On"—Thomas
    "Mourn Not The Martyrs"—Goldman, Sinclair, Foster, Browder
    "The Battle of Pittsburgh"—Patton
    "May Day"—Goldman, Foster, Sinclair, Berkman
    "Washington (The World Turned Upside Down)"—Full company
    "What Comes Next?"—MacArthur

    Act II
    "Non-Stop"—Goldman, Eastman, Sinclair, Browder
    "What'd I Miss"—Reed, Foster, Browder
    "Take What You've Got"—Goldman
    "The Basic Law"—Foster, Browder, Sinclair, Goldman, Eastman, Reed, Trotsky, Baldwin
    "The Central Committee"—Foster, Browder, Sinclair, Goldman, Eastman, J. Hoover,
    "History is Being Made"—Goldman, Sinclair, Eastman, Foster, Trotsky
    "End the Patriarchy"—Goldman & Eastman
    "Thin Red Line/Hoover's Maneuver—J. Hoover, Goldman, Eastman
    "The Election of 1936"—Foster, Goldman, Sinclair, Reed Roosevelt, Taft, Baldwin
    "It's Quiet Uptown"- Goldman, Berkman
    "Rise of the Cadres"- Foster, Goldman, Eastman Hoover
    "The Room Where It Happens"- Goldman, Foster, Reed, Baldwin, Hoover
    "Not For Me (Reprise)"—Goldman
    "The World Was Wide Enough"- Goldman, Berkman, Foster, Reed
    "A Good Long Life"—Goldman, Eastman, Berkman
    "Internationale/Requiem"—Full Company
    "Who Lives, Who Dies, Who Tells Your Story"—Full Company

    Musical Review: "Red Emma"
    Alexandra Smirnova, Metropolis Arts Review, October 2015
    Where can one hear the story of one of the Revolution's most pivotal figures, told entirely through toasting, hip-hop, and blues songs? In Red Emma, the new musical taking Broadway by storm this year, chronicling Goldman's life from her birth in Rossiya through her immigration to America and subsequent radicalization, and her journey to become People's Secretary for Labor in the nascent UASR government to her resignation from said post.
    The Manhattan division of the Metropolis Theater Collective, known for its award-winning plays Newsies and Washington Place, have been working on this play for the past year, starting when current chairwoman and lead actor Lenina Miranda bought a copy of historian Nadezhda Meyer's biography Red Emma: The Untold Story at an airport. Meyer, who acted as historical consultant for the play, has praised the production for both its historical accuracy and accessibility to the masses. "History too often has a tendency to be seen as a dry, boring field of study. I hope that this musical will renew interest in the history of our nation."
    Emma Goldman and hip-hop music are two things I would never expect to see together, but Miranda pulls it off perfectly. We see Goldman address her inner conflict of anarchist ideology and joining the revolutionary state to serve as the first People's Secretary for Labor in "Take What You've Got," and ultimately renounce anarchism (and ultimately her position as Secretary of Labor) in "Not For Me".
    Neither Miranda's script nor Meyer's original source material shy away from depicting Goldman's bisexuality, or confirming her covert relationship with Eastman (Tracy Nicole). The two wax lyrical about both their love and devotion to feminism in "End the Patriarchy," though they are not without their disagreements—most notably in the next song, "Thin Red Line," where the issue of SecPubSafe's growing power is raised.
    The musical does not shy away from this or other uncomfortable truths of Foster's authoritarian tendencies, though this gives us a fantastic rap battle between Roosevelt and Foster, with Baldwin mediating. Joseph Lane's Leon Trotsky shoots off rapid-fire verses in Russian and English, alternately critical and hopeful towards the American socialist experiment. Hoover and MacArthur appear as almost cartoonish villains, though Kantor's performance lends Hoover a certain quiet dignity. Groff's portrayal of MacArthur rightly displays the fascist as an object of ridicule, hopelessly out of touch with the people; but also as an embodiment of bourgeois patriarchal entitlement.
    Notably, a large proportion of the cast is made up of people of color, including the title character and director. Miranda stated that this was intended to represent "Revolutionary America then, played by Revolutionary America now".
    Notable among these Utkarsh Ambudkar and Daveed Diggs, in their respective roles as Sinclair and Foster are good as alternating friends and rivals of Goldman. Sinclair is a somewhat wizened veteran, often overwhelmed by his tasks, which Ambudkar raps in Sinclair's calm demeanor. Standout Diggs plays Foster as both a firebrand leftist and a political schemer who clashes with Goldman, but ultimately comes to respect her after her death (and his own near assassination at her funeral, lightly alluded to in the musical).
    Of course, Leslie Odom Jr. is probably the best aside from Miranda and Nicole as both pompous George Patton and sly Party man John Reed, the latter ascending rapidly through his connections to the Soviets and becomes a key part of forcing Goldman out.
    The production ends with Goldman's funeral, as each character comes forward and recounts the impact she made on their lives, and the lives of workers everywhere (Who Lives, Who Dies Who Tells Your Story). Before she passes, Goldman recognizes that she has no control over how she will be remembered, but she hopes to have lived a life worth remembering—something we should all aspire to.

    Red Emma will be performing on Broadway for the foreseeable future, though tickets are sold out through December.
    --------------------------------------------------------------------------------------------------------------------------------
    [1] All of these are real Broadway actors, except Lenina Miranda, who is, of course, a genderbent version of Lin-Manuel Miranda (the creator of Hamilton)
     
  • Sidestory
    • I got a question

    how accurate overall is the Miraheze

    and someone mentioned on the wiki there is no "third world" per say TTL, with most of the global south more industrialized, what leads to this TTL by the modern day?

    also how does tech advance faster
     
    Ikram said:
    how accurate overall is the Miraheze
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    Mostly accurate, since we discuss the ideas in it as canon on Discord. There are some tentative stuff, so bare that in mind.
    Ikram said:
    and someone mentioned on the wiki there is no "third world" per say TTL, with most of the global south more industrialized, what leads to this TTL by the modern day?

    also how does tech advance faster
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    Stay tuned
     
    Nyvis said:
    Hamilton, but about someone worth celebrating? Cool stuff!
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    Definitely. The piece came back to mind partially because there was a discourse about Hamilton and I thought about how to apply the theatrics and fun of Hamilton towards leftism, and I realized someone already did something like that.
     
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