(Roughly) Daily

Posts Tagged ‘Christmas

“The public domain is the basis for our art, our science, and our self-understanding. It is the raw material from which we make new inventions and create new cultural works.”*…

A collage of various book covers and movie posters, including titles like 'All Quiet on the Western Front,' 'Murder at the Vicarage,' and 'The Little Engine That Could,' along with classic animated characters.

From Nancy Drew to Animal Crackers to The Maltese Falcon, 1930’s greatest works enter the U.S. public domain on January 1, 2026. Aaron Moss counsels us to expect celebration, confusion, and at least one Betty Boop slasher film…

The weather’s getting colder, the nights are getting longer, and Hollywood has decided Betty Boop would be more marketable as a serial killer. It can only mean one thing: Public Domain Day 2026 is upon us.

Regular observers of copyright law’s favorite holiday know the drill: on January 1, 2026, a new crop of creative works from 1930 (along with sound recordings from 1925) will enter the public domain in the United States—ready to be remixed, recycled, or repurposed into B-grade horror films and ill-advised erotica.

This year’s film class is stacked with classics: Howard Hughes’s aviation epic Hell’s Angels (Jean Harlow’s screen debut and, at the time, the most expensive movie ever made); The Big Trail, featuring John Wayne in his first starring role; Greta Garbo’s first talkie, Anna Christie; Bing Crosby’s film debut in King of Jazz; and 1930 Best Picture winner All Quiet on the Western Front. There’s plenty of comedy too, including the Marx Brothers’ Animal Crackers, Laurel and Hardy’s Another Fine Mess, and Soup to Nuts, best remembered for featuring an early iteration of the Three Stooges.

Among the standout literary works in the Public Domain Day Class of 2026 are heavyweights like William Faulkner’s As I Lay Dying, Dashiell Hammett’s The Maltese Falcon, Edna Ferber’s bestseller Cimarron, and Evelyn Waugh’s champagne-soaked satire Vile Bodies. Children’s literature fans can look forward to Swallows and Amazons by Arthur Ransome, Watty Piper’s The Little Engine That Could, and Elizabeth Coatsworth’s Newbery Medal winner The Cat Who Went to Heaven.

Not to take anything away from Hammett’s Sam Spade, but it’s an especially strong year for female detectives—both young and old. The earliest Nancy Drew mysteries from 1930 hit the U.S. public domain on January 1, 2026, as does the first outing of the genteel Miss Marple in Agatha Christie’s The Murder at the Vicarage. Maybe they can team up to solve the mystery of why Hollywood is only interested in using public domain characters to make schlocky horror films.

In the world of comics and animation, two Disney shorts featuring early versions of Pluto are also set to enter the public domain. The future canine star first appeared as an unnamed bloodhound in 1930’s The Chain Gang before resurfacing later that year as Minnie Mouse’s pet “Rover” in The Picnic. He wouldn’t officially become Mickey’s dog Pluto until 1931’s The Moose Hunt—a film set to enter the U.S. public domain in 2027…

Read on for a rundown of more film, characters, and music that’s about to be more freely available: “Public Domain Day 2026 Is Coming: Here’s What to Know,” from @copyrightlately.bsky.social.

* James Boyle, The Public Domain: Enclosing the Commons of the Mind

The Holidays are upon us, and with them, (R)D’s annual solstice hiatus. Regular service will resume on or around January 2; in the meantime (and in lieu of an almanac entry), two seasonal offerings.

First, a collection of pieces from JSTOR: “Winter Holidays“…

December means the winter holidays are upon us: Solstice, Hanukkah, Kwanzaa, St. Stephen’s Day, and New Year’s Eve, with all your favorite wintertime traditions. Celebrate with some seasonal scholarship below. All stories contain free links to the supporting academic research on JSTOR. Happy Holidays!

And then, with your correspondent’s seasonal best, two timely tunes:

“Is this a holy thing to see / In a rich and fruitful land / Babes reduced to misery / Fed with cold and usurous hand?”*…

David Stein explains how the Democratic party abandoned New Deal Keynesianism in favor of balanced budgets, what that’s yielded, and how we might chart a saner, more humane path forward…

In the 1940s, liberals debated various means of direct and indirect government investment, but they took as a given that the private sector was ill-equipped for the task of stabilizing investment across business cycles, and thus stabilizing the production of needed goods and services (Harris 1948, 372). The ascent of Democratic deficit hawks ratcheted down the expectations of governments, suggesting that the most important thing policymakers could do is not to provide for the public, but to satisfy private investors. 

Democratic deficit hawks believed shrinking the deficit would encourage the Federal Reserve to lower interest rates, which would catalyze private investment and ultimately create new jobs (Rubin and Weisberg 2004, 355–56). Producing a public good or service ceased to be the key metric of sound economic policymaking. Instead, a policy’s cost-effectiveness or impact on the deficit took precedence. The government’s role was thus mainly to create a climate that pleased private businesses and investors, upon whom, they believed, the social and economic vitality of society overall now rested. As this form of politics became entrenched within the Democratic Party, the deficit hawks constrained social spending proposals at all times, even during recessions. 

To be clear, the deficit is important to economic policy, though not in the way that deficit-hawk rhetoric represents it. According to sectoral-balance analysis, developed by British post-Keynesian economist Wynne Godley, a federal government deficit will be offset with a surplus in the nongovernmental sector, and vice versa: A government surplus will be counterbalanced with a nongovernmental or private deficit (Godley 1999). Sectoral-balance analysis emphasizes governmental and nongovernmental sectors as different accounting identities. 

Versions of this viewpoint were influential within New Deal–era economic debates. When he was at the Treasury Department in 1934, economist Lauchlin Currie developed a data series called the “Net Contribution of the Federal Government to National Buying Power.” This series would render the net surplus or deficit of government expenditures minus tax receipts to analyze the government’s impact on the economy. If the government took in more tax receipts than it spent—i.e., reducing the budget deficit—it would generally operate as a contractionary force on the economy. And by contrast, if the government received less in taxes than it spent—increasing the deficit—then it would serve to stimulate the economy (Currie 1938). Decades later, economist Alan Sweezy, Currie’s Keynesian compatriot, emphasized the importance of Currie’s innovation: “This was both a technical improvement on the official deficit as a measure of the impact of the government’s fiscal operations on the economy, and even more important a semantic triumph of the first magnitude,” he stressed (Sweezy 1972). Yet, this perspective was never able to become hegemonic in the Roosevelt administration or beyond, as Currie’s boss, Treasury Secretary Henry Morgenthau, adhered to more traditional fiscal conservatism (Zelizer 2000). 

Instead, relative intellectual incoherence would become a hallmark of post–New Deal economic policy, with the disjointedness on the issue of public debt a particularly salient feature of this general dynamic (Smith 2020, 59). While most Democratic policymakers after the New Deal generally agreed that some degree of ameliorative countercyclical economic policy was necessary during a recession, there was never firm agreement on the specific role deficits and their composition should play. Additionally, even from a sectoral-balance—or Currie-inflected “net contribution”—perspective, the composition and distribution of specific fiscal policies would shape their impacts.

In exploring how deficit hawks came to dominate Democratic policymaking between the 1970s and the 2000s—and what was lost as a result—this paper argues that we need a new approach…

Rethinking fiscal responsibility: “The Deficit-Hawk Takeover: How Austerity Politics Constrained Democratic Policymaking,” from @DavidpStein and @rooseveltinst. The full brief is here.

* William Blake, Songs of Experience

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As we reengage our roots, we might recall that it was on this date in 1897 that The (New York) Sun ran an editorial entitled “Is There a Santa Claus?”  Written by Francis Pharcellus Church in response to a letter from 8 year-old Virginia O’Hanlon, it is now remembered best by one of its lines: “Yes, Virginia, there is a Santa Claus.”

200px-Yes,Virginia,ThereIsASantaClausClipping

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“Books make great gifts because they have whole worlds inside of them. And it’s much cheaper to buy somebody a book than it is to buy them the whole world!”*…

With this post (and all best wishes for the season), your correspondent begins his annual Holiday hiatus. Regular service should resume on or around the New Year… In the hope that it’s helpful to those still searching for last-minute gifts, this, from the marvelous Tom Gauld

And as a bonus, this appreciation of Jean Shepherd, the man whose work inspired (and fueled) that yuletide staple, A Christmas Story— and so much more: “The Old Man at Christmas“…

… Most of Shepherd’s career, particularly his first three decades on the radio, relied on riffing and improvisation, which makes for a vast but fairly evanescent archive. People often rewatch classic movies, and sometimes rewatch beloved old TV shows, but they very rarely replay old radio shows. The real marker of twentieth-century success always lay in syndication, and it’s there, a little late in the game, and in a medium that had otherwise eluded him, that Shepherd secured his legacy. In the petty grievances and joys of Seinfeld and Curb Your Enthusiasm, in NPR-style storytelling, in everything that straddles the line between countercultural and popular representative of the monoculture, from Calvin and Hobbes to Steely Dan, echoes of his work can be found, so abundant and diffuse they can be easy to miss—but they’re everywhere you care to look…

Daniel M. Lavery in The New York Review of Books

* Neil Gaiman

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As we read, we might recall that it was on this date in 1882 that an associate of Thomas Edison, Edward Hibberd Johnson (President of the Edison Electric Light Company, a predecessor of Con Edison) lit and displayed the first known electrically illuminated Christmas tree at his home in New York City.

He had Christmas tree bulbs especially made for him–80 red, white, and blue electric light bulbs the size of walnuts, hand-wired around the tree. From that point on, electrically-illuminated Christmas trees, indoors and outdoors, grew in popularity in the United States and elsewhere. In 1895, President Grover Cleveland sponsored the first electrically lit Christmas tree in the White House. And in 1901, the Edison General Electric Company advertised the first commercially-produced Christmas tree lamps (manufactured in strings of nine sockets).

Photo taken on 25 Dec 1882 showing Edward H. Johnson’s Christmas tree with strings of electric lamps. (source)

“Come they told me / Pa rum pum pum pum”*…

A special Holiday Hiatus-interrupting edition of (Roughly) Daily to share this excerpt from the Pee Wee’s Playhouse Christmas Special in 1988…

Happy Holidays!

TotH to @BoingBoing.

* “The Little Drummer Boy

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As we hum along, we might recall that it was on this date in 1823 that “A Visit from St. Nicholas” (aka “‘Twas the Night Before Christmas”) was published for this first time in the Troy, New York Sentinel on this day in 1823. It was originally published anonymously though the author was Clement Clarke Moore who was a professor and didn’t want his reputation to be ruined for writing such an un-scholarly verse. At the urging of his children he acknowledged his work in 1837, then, in 1844, included the poem in a collection of his works.

‘Santa’s Portrait’ byThomas Nast, published in Harper’s Weekly, 1881 (source)

“Christmas may not bring a single thing; still, it gives me a song to sing”*…

Our reviewer

At the same time, as Mahalia Jackson said, “if you want me to sing this Christmas song with feeling and the meaning, you better see if you can locate that check.”

Novelist and publisher Tariq Goddard reviews this year’s crop of seasonal songs, for example…

Kelly Clarkson and I at least meet as equals, neither of us having heard of the other, although 25 million album sales mean more people have heard of her than they have me. Her handle on Christmas is not that much more assured than mine – she knows only what the seasonal songs that use the same formulas as hers tell her, which is of course a game of diminishing returns. There is the odd nod on When Christmas Comes Around to modernity (‘Christmas Isn’t Cancelled (Just You)’), but her trite take on tradition, if heard in a public space while experiencing another of life’s seasonal setbacks, may just bring the number of shopping trips down this Yuletide. Meghan Trainor, A Very Trainor Christmas, is more evidence that reality is multi dimensional, a Christmas euphemism for, ‘Are they all fucking mad or are we?’ Meghan is a hyperbolically successful young American whose version of ‘Rockin’ Around The Christmas Tree’ makes Kim Wilde and Mel Smith’s version sound like Bitches Brew-era Miles Davis — which is unfortunate as her frightened and life-denying version of the track is also by far the best thing on the record.

Billy Idol‘s Happy Holidays was the record I was most looking forward to, and like the later odes of Holderlin, is a lot stranger than you might expect. Idol starts in the only way the voice behind ‘Rebel Yell’ would be expected to, bullishly, going for broke on ‘Frosty The Snowman’ like he wants him to cry more, more, more. Eschewing howling axes for triangles and bells, the song is a Carry On Christmas-style piss take with a wink to music hall, full of fruity nudge nudges and spoken asides, which – unlike the awkward office party singalong it could have been – works because Idol sounds like he is having fun. He is a Bill Sykes that plays to the gallery and not to his demons. Unfortunately by track two he is beginning to grow a little more jaded, as if it is slowly occurring to him that just because we all grow old and still need something to do, that something doesn’t actually need to be this. Still, the realisation that a whole album of this stuff is going to be overkill, does not stop his version of ‘God Rest Ye Merry Gentlemen’ from keeping Richard Harris company in the astral bar that never closes, and ‘Auld Lang Syne’, a risk if ever there was one, is genuinely spooky, more Fagin watching the gallows being built from his cell than a new beginning in January.

So much more at “Jingle Hell: Tariq Goddard Reviews Christmas Music,” from @theQuietus. Via always-illuminating The Browser.

* Charles Dickens

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As we hum along, we might on the other hand recall that it was on this date in 1955 that Carl Perkins recorded “Blue Suede Shoes,” at Memphis Recording Service (later known, for the record label with which it shared a building, as Sun Studios). Written by Perkins and produced by Sam Phillips, it combined elements of blues, country, and pop music– and is thus considered one of the first rockabilly records.

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