It's the circumstances here that one has to look at. Suskind: Morris, looking back at the Know-Nothings in the 1850s, the Chinese Exclusion Act of 1882, you got the National Origins Act of 1924 - is there a common thread that links up with today that you can discern? So there's a religious feature to those laws, but what we're seeing today - the proposals today - are much more blatantly religious in their construction. Morris Vogel: The 1924 act, the National Origins Act, was directed at Jews, as well as at Italian Catholics, as well as Polish Catholics. But the real question it seems to me that rises from the Supreme Court, from Donald Trump, from the push-back against it, is the very central question of: Who is welcome in America? It's the central question of: What is this nation? Is it a nation of immigrants or is it a nation where we pick and choose the people that we want to have participate in our society? And that's very much on the table right now. It was a really clever thing to do, in a sense, because what it did is it bought time for tempers for cool. Heather Cox Richardson: I'm not at all surprised that the Supreme Court took up this case. These are heroes in our families, but suddenly people like that are seen as a threat. For me, it was a little man from Russia with a funny hat who slept on two chairs in the Lower East Side. For Cornelia, my wife, it was an Irish émigré during some potato famine or other. First, I think of the phrase "a nation of immigrants." I grew up with that. This week on Freak Out And Carry On, Ron Suskind and Heather Cox Richardson speak with Morris Vogel, president of the Tenement Museum, about the Supreme Court’s partial reinstatement of President Trump’s travel ban and the history of xenophobia in the United States, from the Know-Nothing Party of the 1850s to Japanese internment during World War II.
19, 2017, people carry posters during a rally against President Donald Trump's first executive order banning travel from seven Muslim-majority nations, in New York's Times Square.
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