Archive Listing
May 19, 2005 - May 12, 2005
Wednesday, July 14, 2004
NEWS FLASH!
BREAKING NOW...
 
PRIORITIES. It's all
well and good to talk about war and peace and politics when nothing
serious is happening, but there are moments when it's time to put away
childish things and deal in matters of true import. Just such a moment
has arrived now. New
photographs
have become available that reveal a horrifying truth: Britney Spears
has thick ankles. Who could have guessed the dreadful irony of such an
eventuality? Certainly, the CIA gave us no hint. It's possible that
stock markets will crash, a wave of post-traumatic shock syndrome will
sweep through the female pre-teens of the nation, and life as we know
it will cease to exist. No wonder she went over the edge a few months
ago and savagely seduced
her childhood sweetheart. This is the ultimate catastrophe for a
country already ravaged by several hundreds of combat deaths and the
humiliation of the humiliation of terrorists in our custody. What next?
Madonna photographed without makeup? It's a sad day indeed that has
arrived on our shores. Our archetypal siren not only has feet of clay;
she has legs of piano and a sturdy peasant lower body that is bound to
get us laughed at by those who are awaiting the divinely slim virgins
of Allah -- the fleets of seraphs who will be surrendering their
virginity to holy hijackers and saintly suicide bombers. What base
fools we must look for adoring this coarse farm wench as a goddess. The
shame of it all.
Britney Baldwin Steinway
Tuesday, July 13, 2004
The Honorary Punk Award
Orson Scott Card.
PUNK'D. There's a
freelance science fiction writer from North Carolina we'd like to
recognize with the Honorary Punk Award. We don't give it out often. It
goes only to those who write pieces that need no elaboration or
injections of attitude to make their point. What we do in such cases is
simply reprint the the entire article, with no more than a brief
acknowledgment of one or two ways that they have earned our admiration.
Mr. Card has achieved this by driving home his point about media bias
in a single proof construct -- his Rumsfeld-Clinton example -- which no reasonable person could deny. This
is an astonishingly rare feat. Here is his essay entire. It's called
"High Bias.":
When Fox News Channel was founded by
Rupert Murdoch, the consensus was that no startup all-news cable
channel could possibly compete with CNN, and if any startup had a
chance, it was MSNBC, which had the combined clout of NBC's esteemed
news division and Microsoft, which in those days was believed to own
the future.
Now, almost a decade later, Fox News
Channel has left both CNN and MSNBC in the dust. There's no guarantee
that this is permanent, of course. But it certainly has the left in a
panic. They hated it that American conservatism had any voice at all,
back when it was confined to a few radio talk shows--remember how
everybody wanted to blame Rush Limbaugh and other conservative
talk-radio hosts for the Oklahoma City bombing?
Now, though, to have Fox News Channel be
the source for the largest portion of America's TV news junkies just
sticks in their craw. How could such a thing happen? Scott Collins,
author of "Crazy Like a Fox: The Inside Story of How Fox News Beat
CNN," thinks he has the answer.
It's not what Fox claims--that the
American news media have a pronounced and painful liberal bias, so that
huge numbers of Americans had given up on TV news, only to return in
droves when Fox News offered them a balanced, trustworthy source of
information. No, it's that a large number of Americans believed that
the news was biased. How they got this idea is that they
were . . . hmmm . . . idiots? But no
matter. Mr. Collins repeatedly states that the perception is what
mattered, and by homing in on the audience dumb enough to think the
media was biased, Fox News won the ratings race (but not, of course,
the race for quality news coverage).
I'm painting Mr. Collins's book far too
negatively, and I'm doing it deliberately. In fact, you can finish
"Crazy Like a Fox" and think you have received a balanced story.
Nowhere does Mr. Collins actually say that Fox News viewers are idiots.
But Mr. Collins is a product of the liberal American news media, which
are deeply offended at any accusation of bias. They don't twist the
news--they inform their readers of the truth. And when they see Fox
News trumpeting slogans like "we report, you decide" and "fair and
balanced," they see red. They take it for granted that those slogans
are true of every news outlet except Fox News.
So when Mr. Collins sets out to write a
fair and balanced account of Fox News's triumph, he does not realize
that his own reporting is biased, too. He scrupulously avoids
demonizing the folks at Fox News.
But the bias is there. It is simply taken
for granted that Fox distorts the news, that Fox is unusual for taking
sides, while all of the allegations about liberal bias are refuted so
that one could close this book believing that liberal bias in the vast
majority of the American news media is a delusion shared only by
dimwitted conservatives who don't like it that the world has passed
them by--and blame the messenger.
So let's put it to the test. Is there a
real leftist bias in the mainstream news?

One recent morning--the Sunday before
Memorial Day--I picked up the Asheville (N.C.) Citizen-Times and
started looking through national news coverage. You know, the stuff
that is filtered through the lens of liberal bias long before it even
reaches local papers, which rarely revise what they get off the wire
services.
In a story on Donald Rumsfeld's remarks
to the graduating class at West Point, here is the lead paragraph:
"Defense Secretary Donald H. Rumsfeld, making no mention of the
prisoner abuse scandal that has led to calls for his ouster, told a
cheering crowd of graduating cadets Saturday that they will help win
the global fight against terror."
Let's see, how could there be any bias in
that? Every word is true, right?
Except for this: The first thing
mentioned, the lens through which we are forced to view the rest of the
story, is something that did not happen and that only an idiot would
expect might happen: Mr. Rumsfeld mentioning the prisoner-abuse scandal
at a commencement address at West Point.
The lead, in other words, is not the
graduation that is supposedly being reported, but rather Mr. Rumsfeld's
failure to resign in the face of events that happened weeks ago. How is
Mr. Rumsfeld's not resigning news? It's mentioned in this story only
because the reporter does not want to let go of it.
This is bulldog journalism: Once you get
hold of a story, you never loosen your grip until your victim dies--at
least politically.
Does it happen to everybody? Or just
Republicans? Well, try this fictitious opening paragraph: "Senator
Hillary Clinton, making no mention of the $100,000 she once made by
trading cattle futures with astonishing perfection, told a cheering
crowd of activists that President Bush's globalist economic policy is
hurting poor people in other countries and costing American jobs."
Nope. You've never seen it, and you never
will. Because bulldog journalism only goes one way in our "unbiased"
mainstream media.
The only differences between Fox News and
all the other news media are (1) they admit that on some issues they
take sides, and (2) they allow the conservative side to be
heard--without contempt.
Fox News, for instance, made the decision
after 9/11 that they would display the American flag. This has caused
(and still causes) seething resentment from the rest of the news media.
Why?
First, it implies that the rest of the
news media aren't patriotic. Well, duh. Come on, prior to 9/11--and
even after it--they prided themselves on not being patriotic and spoke
of people who were self-consciously patriotic with contempt. They
thought of themselves as being above national borders. You can't have
it both ways, kids.
Second, it's pandering to the ignorant
unwashed masses of Americans who want their news from people who are
"on our side." Again, duh. When a nation is at war--which on 9/11 we
finally realized that we are--we don't want to hear the news from
neutral parties. We want the news to be accurate, yes--and Fox has had
its share of painfully accurate scoops that nobody wanted to hear, but
which we needed to know. But when a negative story comes out, we want
the people telling us the news to say it with regret. And when America
wins, we want our news media to tell us with excitement and happiness.
In other words, we want to hear the truth
from a friend. From someone who is one of us. And if it took an
Australian-born mogul, Rupert Murdoch, to give us an American national
news source, so be it.

But let me go on. A story about
terrorists murdering civilians and taking hostages in Khobar, Saudi
Arabia, never actually uses the word terrorist. Instead, the
killers are "gunmen" (in the headline), "suspected Islamic militants
wearing military-style uniforms" and "attackers" (in the body of the
story).
Suspected Islamic militant--this
pussyfooting appellation even though later in the story we learn that
an Islamic group called "Al-Quds" and signing itself "al-Qaida in the
Arab Peninsula" is claiming credit for the attack. But presumably they
are only "suspected" of being Islamic militants because, after all,
they might turn out to be long-hidden Nazis or perhaps holdouts from
the Irish Republican Army or--who knows?--maybe Timothy McVeigh's
buddies from the "red states" in America.
That's what makes some Americans turn
away from mainstream sources in disgust. Why in the world is there any
need for the news writers to wrap themselves in impartiality when the
story makes Islamic militants look bad, but when the story is about our
own secretary of defense, he gets slapped around from the first
paragraph on?
This "neutral" approach to a terrorist
attack on Americans and other westerners working for American companies
in Saudi Arabia is one reason why Fox News is triumphing. Fox makes it
clear that they're on America's side, that what happens to Americans
abroad is happening to "us"--in short, they feel our pain because they
are part of us.

Let's go on to the coverage of Bill
Cosby's remarks on the self-defeating actions of some segments of the
American black community. In the Asheville Citizen-Times, it's hard to
find what is newsworthy about the article at all. Mr. Cosby's remarks
are reported as taking place "earlier this month," and there is no
event since then to justify considering this new article as "news."
In fact, the "story" is a thinly
disguised editorial, in which Associated Press writer Deepti Hajela
seems to be trying to draw the controversy to a "balanced" conclusion.
Mr. Cosby's most heated remarks are quoted, but fairly, and in context,
and his credentials are respected. Ms. Hajela is not out to "get" him.
After summarizing Mr. Cosby's weeks-ago
remarks, Ms. Hajela then gives one paragraph to Jimi Izrael's criticism
of Cosby's remarks, who merely objected to Cosby's tone and privileged
position. Then Ms. Hajela quotes the Rev. Conrad Tillard of Roxbury,
Mass., at some length. Obviously, it was Mr. Tillard's statement that
provided the trigger for this article. It's the reason that Mr. Cosby
was "news" again--though Mr. Cosby gets the headline to himself because
who would read an article headlined "Rev. Tillard answers Cosby"?
Mr. Tillard is first quoted as saying
that "Cosby 'could absolutely have' gone even further," and though
slavery and Jim Crow had hurt African-Americans, "at the end of the
day, we have got to turn the tide." But then Mr. Tillard is quoted as
explaining that the real danger of Mr. Cosby's remarks is that white
people (i.e., racists) will "seize upon that and try to castigate the
African-American community. The conservatives and liberals are far too
quick to seize upon a statement and say to the rest of us, 'See, see,
it's not us, it's you.' What they have not wanted to acknowledge is
that there are still legacies of slavery."
How is this biased? In this
editorial-masquerading-as-news, Ms. Hajela is providing us with a
"clincher" that tells us what we are supposed to learn from all this:
that it would be a bad thing for Americans to let the racists off the
hook by telling blacks that they are causing some of their own
problems.
Harmless? Sure. In fact, I agree with Ms.
Hajela's editorial. But it was in the news pages, and it was not news,
and it was not impartial. It was shaped and designed solely to cause
readers to reach a certain opinion.
Nobody was quoted as saying, "Cosby was
absolutely right, it's ridiculous to keep complaining about things that
are completely under our own control. We can teach our children to
learn standard English and get a good education. We can teach our
children not to become criminals, and can hold them responsible for
their actions when they do commit crimes, instead of blaming racism."
Ultimately, both the "pro" and "con"
quotes said the same thing: Mr. Cosby had a point, but he shouldn't say
it openly because it gives aid and comfort to the enemy. Very PC. Don't
we all feel better now?

Then there's the half-page tie-in to
the movie "The Day After Tomorrow," with the headline "Could It Really
Happen?" The answer, buried deep in the story, is that of course it
couldn't. Geochemist Wallace Broecker, who is the most-quoted source,
is paraphrased only in the final paragraph as saying "Hollywood's idea
of 'abrupt' is much swifter than nature's, however. Climate shifts
unfold over years and decades--not in two reels, said Broecker."
This is as vague a way of saying "What
this movie actually shows is scientific nonsense" as you could possibly
imagine.
The bulk of the article--especially the
crucial first paragraphs and the large-type inset, which are all that
most people ever read--say quite a different thing. In answer to the
question "could the climate really go bonkers, just like that?" the
answer in the article was "Maybe. That was the consensus among
researchers at Columbia University's Lamont-Doherty Earth Observatory,
a leading center for climate studies."
The next paragraph includes a quote from
the observatory's director, G. Michael Purdy: "This is not fantasy.
It's happened before. It's well documented."
Which quote will leave the clearest
impression in the readers' minds? The fact is, what Mr. Purdy was
saying was "not fantasy" and has "happened before" is Manhattan being
covered in ice. That was during the Ice Age. It didn't happen in one
big storm. And it wasn't caused by human greenhouse-gas emissions.
Furthermore, any institution calling
itself an "earth observatory" has a built-in bias. They want to wrap
themselves in the much more fact-based science of astronomy, but this
isn't an observatory as most of us understand it, it's a group of
scientists who have gathered together specifically because they already
are true believers in a certain set of viewpoints about the human
impact on the environment.
And the large-type inset absolutely
treats global warming as a fact (it is still only a suspicion, by
rational standards) and ends with this statement, attributed to no one:
"Scientists believe this is probably due to man-made 'greenhouse gases'
in the atmosphere." Which scientists? Are there scientists who
disagree? These matters are not even addressed.
The whole point of this article is to
make sure that the people who read it take "The Day After Tomorrow" far
more seriously than the film deserves. Why? Because global warming has
become one of the weapons used in the political war to bring down
Western civilization, and without necessarily realizing it, the
left-biased news media are completely buying into that political
agenda.
Keep in mind that there is no way of
knowing whether human greenhouse-gas emissions are causing or
preventing disaster, mostly because we don't yet understand the causes
of the natural cycles that lead to ice ages and warmer interglacial
periods. So at this point, there is zero scientific basis for action.
There is only the quasireligious premise that any human change to
nature is dangerous and bad. Therefore, if human activities produce
gases that might cause a disaster, then we can't afford to wait until
the connection is actually proven. We must stop emitting those gases
right now.
What they don't tell you is that the only
way they are proposing to stop emitting those gases is to have such a
drastic change in the activities of Western civilization that it might
well lead to devastating impoverishment, and probably to famine and a
catastrophic drop in the human population.
But the reporters covering science in
America today are so wretchedly miseducated that they don't even know
what questions to ask when interviewing biased sources. And they are
perfectly willing to make ridiculous statements--which would include
any sentence beginning with "scientists believe."
This is the postreligious equivalent of a
fundamentalist preacher starting a sentence with "The Bible says." It
invokes authority without context, without understanding, and without
admitting the possibility of error. (Most self-respecting
fundamentalist preachers would at least tell you which book in the
Bible they were quoting.)
The fact is that Mr. Broecker is an
important scientist, and his model of the "conveyor belt" of warm water
in the Atlantic provides a plausible explanation for how ice-age
climate changes might happen and why they seem to be restricted to the
northern hemisphere, at least in the most recent ice-age events.
But the article in the paper was not
science or even respectable science reporting. It was designed as
propaganda to convince readers that smart people all agree that global
warming can cause an ice age like the one depicted in "The Day After
Tomorrow," unless we make the radical changes required to reduce
greenhouse-gas emissions to levels that true believers claim (but
cannot prove) would prevent this disaster.
If the evidence of global warming were a
report of burglars operating in your neighborhood, there's enough of it
to cause you to check that your doors and windows are locked--but the
true believers want you to respond by boarding up your house and moving
to another state.

In every case of bias I just cited, the
writers would almost certainly be outraged at my accusation that they
were doing anything other than reporting the facts as clearly and
fairly as possible. It doesn't occur to them that they are biased
because they live in a box filled with people who share exactly the
same bias. But that's how we human beings create our working definition
of sanity--someone who shares the same worldview as his
neighbors is "sane," and those who don't are crazy.
The left-wing news media live in a tiny
village of people who all think (or pretend to think) exactly alike.
Therefore, to them any reporter or media outlet that rejects their
premises must be insane or dishonest, and instead of seeking to refute
them with actual evidence, they merely call them names and accuse them
of venal motives.
The fact remains that on Fox News, and
only on Fox News, we get television reportage that gives us at least
two sides of every important issue. On all the other TV news
outlets--and "mainstream" newspapers--we mostly get coverage that is
hopelessly biased. The madmen have taken over the asylum and now,
dressed in white lab coats, they pronounce the rest of the world
insane.
Keep in mind that I found these egregious
examples of bias in a single issue of a single newspaper, randomly
chosen. I could do the same thing with any national news broadcast or
with any paper in America except the occasional paper that still has a
toehold on reality.

I wrote this essay for a newspaper that
is also biased. The only difference--and it's all the difference in the
world--is that the Rhinoceros Times admits that it's a conservative
paper and reports events through conservative eyes. Likewise for this
Web site.
Fox News Channel, on the other hand,
claims to have only one bias--it is definitely pro-American--and it
presents all the facts and every viewpoint and leaves the decision up
to the viewer. Imagine if these news stories had been written from that
perspective. They would be barely recognizable--and some of them would
not have been written at all.
What makes the liberal bias in the
mainstream media so pernicious is that they deny that they're biased
and insist that their twisted version of events is "reality," and
anyone who disagrees with them is either mentally or morally suspect.
In other words, they're fanatics. And, like all good fanatics, they're
utterly convinced that they're in sole possession of virtue and truth.
Nothing to add. The sure sign of a punk piece. Note the
insouciant confidence of Mr. Card in this excerpt: "I'm painting Mr.
Collins's book far too negatively, and I'm doing it deliberately." He
is bold, fearless, and provocative. He leaves nothing in his wake but a
levelled landscape in which liberal blindness, pretension, arrogance,
and assumption poke no higher than the shoots of clover that grow in
every razed North American battlefield. So much for our rationale. What
of the reward? It may seem a paltry thing. There will be no plaques, no
ceremonies, no luncheons, no lucrative book contracts, no lissome
literateurs eager to fraternize with greatness. There is only the punk
promise: if ever Mr. Card is in trouble, trouble unto death that is, he
can smile death in the face and wait serenely for his inevitable rescue
by the Shuteye
Train. Is that reward enough? Shammadamma.
Monday, July 12, 2004
Instapunk07120
Context II
THE NEW YORK
TIMES. The Gray Lady. The paper of record. Alma mater of
distinguished or, er, at least famous journalists like Punch "keep
it in the family" Sulzberger, Howell
"keep your mouth shut when I'm talking" Raines, and Jayson
"keep the facts out of my way when I'm writing" Blair. Aerie of op-ed
scintillants like Paul
Krugman of the low forehead and high dudgeon, Maureen
Dowd of the low IQ and high-society airs, William
Safire of the low readability and high grammatical standards, and Bob
Herbert of the low sense and high distortion rate. It's also the
home base of critic Frank Rich, who came very close to saving the world
from Mel Gibson's Passion of the Christ, if only
his cool objectivity about the film hadn't melted the keyboard of his
Selectric before he said what he really thought. Thankfully, the
equipment malfunction has now been repaired and he's just in time to
tell us who should really be president, which is a very important
service expected of all NYT movie reviewers. Guess who this highest of
highbrow film critics thinks it should be: Spiderman!
That's right. We're taking up the cudgel for Part II of our InstaPunk
focus on context. We're not as grandiloquent as yesterday's
contributors, which is why it's so fortunate that we're discussing one
of this week's entries in The New
York Times. When the Times is involved, you don't have to define
context or even mention it unless the title of the piece is "Context."
The Times is the context. The
major television networks don't pick what's news; they pick up the
Times and read it right off the page. No wonder. The folks who write
the paper of record are the best and the brightest in the business, as
any one of them will tell you. That's why it must mean something when Frank Rich begins
to tack in a new political direction.
For example, it seems that he's growing tired of the leadership of
Michael Moore:
The Michael Moore explosion is now
officially unbearable. It's not just
that you can't pick up a Time Warner magazine without seeing his mug on
the cover. Or turn on a TV news show without hearing another tedious
debate about the accuracy of "Fahrenheit 9/11" - conducted by the same
press corps that never challenged the Bush administration's souped-up
case for invading Iraq. What's most ridiculous is the central question
driving the whole show: Might a hit documentary swing the November
election?
Frank knows it's not going to affect the election, because he's not
going to allow it. He has something better to offer:
.
If you want to find a movie that might
give a more accurate reading of
the national pulse, it isn't hard to do: take a look at "Spider-Man 2,"
which is now on a pace to outdraw Moore's film and maybe every other
movie this year - in every conceivable demographic. It may not be on
the radar screen of the Washington pack busy misreading the electoral
tea leaves of Moore's box-office receipts. No one is shouting about it
on Fox. But with an opening five-day take of about $152 million - next
to $128 million for "Shrek 2," $125 million for "The Passion of the
Christ," $124 million for the last Frodo, $109 million for the last
Harry Potter - "Spider-Man 2" is front-and-center for most everyone
else.
.
It deserves to be on its merits, by the
way. It's hard not to fall in
love with "Spider-Man 2." It's not only better than any other movie
based on a comic book - not the highest bar to reach - but also
superior to all the other so-called franchise movies...
Why is Frank so taken with a blockbuster he would normally carve to
ribbons? Because it suddenly reminded him of a feeling he hasn't had in
quite a while..
Unlike the sunnier first "Spider-Man,"
which was conceived before the
terrorist attacks, the new one carries the shadow of 9/11. The
director, Sam Raimi, dotes on both the old (the Empire State Building
in silvery mode) and the new (the Hayden Planetarium), on both the
dreamily nostalgic (a fairy-book Broadway theater seemingly resurrected
from an Edwardian past) and the neighborhood of freshest wounds (the
canyons of Lower Manhattan). The movie is suffused with a nocturnal
glow of melancholy that casts its comic-book action in an unexpectedly
poignant light.
Melancholy. Poignancy. Something about 9/11. Some deep memory must be
coming to the surface in Frank's great mind. But what?
.
In "Spider-Man 2," the writers seem
determined to remind the audience
that it is a civilization, not merely a crowd of extras, that is the
target of attack.
Now there's a groundbreaking premise. The very foundation stones of the
Times building must have trembled when Frank had this epiphany.
Certainly he was shaken,
because he then opened his eyes and saw, as if in a great Timesian
vision, that Spiderman 2 was really this, well, this sort of really
important almost, like, allegory that all of us lower folk might be
able to learn from.
.
This is a world worth saving, but the
superhero who can save it is no
Superman. He's a bookish nerd racked with guilt and self-doubt. "With
great power comes great responsibility" is the central tenet of his
faith, passed down not from God but from his Uncle Ben (Cliff
Robertson). He takes it seriously. Spider-Man wants to vanquish evil,
but he doesn't want to be reckless about it. Like the reluctant sheriff
of an old western, he fights back only when a bad guy strikes first,
leaving him with no alternative. He wouldn't mind throwing off his
Spider-Man identity entirely to go back to being just Peter Parker,
lonely Columbia undergrad. But of course he can't. This is 2004, and
there is always evil bearing down on his New York.
Do you see where he's going here? He detects something deeply
meaningful and relevant to our current state of affairs. Yes, there's
trouble and evil in the world. It lurks and it's powerful, so powerful
that it even threatens New York (symbolized in the movie by New York --
pretty subtle, eh?), and it has to be battled, but how? What kind of
person do the genius scriptwriters and Frank Rich want us to be looking
for? Why, someone like the reluctant
sheriff in an old western (here symbolized by a comic book
superhero so that it won't be too obvious -- art, you know). This is
starting to get heavy. H-E-A-V-Y. This is the point in Rich's piece
where we could feel our ignorant American synapses starting to fire,
raggedly at first, not unlike the engine of a rusted '47 Dodge pickup,
but stronger with each new drop of wisdom from Rich's pen. Eventually,
even we could see that he wants us to rethink what kind of president we
should have. He should be the kind of guy who has a secret identity but
isn't happy about it, who has an obsession with putting on red tights
and swinging like Tarzan through the jungles of evil that beset us, but
humbly, like an awkward adolescent. And reluctantly, like a, er,
reluctant western sheriff. Yeah. That sounds right. Frank leaves
nothing to chance, though. He wants to make sure that even the dumbest
of us get what he is talking about:
.
The extraordinary popularity of this
hero on America's Fourth of July
weekend might give partisans on both sides of the political race pause.
As a man locked in a war against terror, Peter Parker could not be
further removed from the hubristic bravura of Bush and his own
cinematic model, the Tom Cruise of "Top Gun." There's nothing
triumphalist about Spider-Man; he would never declare "Mission
Accomplished" after a passing victory, and his very creed is
antithetical to the Bush doctrine of pre-emptive war. But neither is he
a stand-in for John Kerry. Whatever inner equivocation he suffers over
his role as a superhero, he stops playing Hamlet when he has a decision
to make. Nor does he follow Kerry's vainglorious example of turning his
own past battles into slick promotional hagiography.
It's okay to fight back against evil, but when you do that, you can't
do it right out in the open, as if you were leading a country or
something. You can't make a big deal out of anything that's
accomplished in the fight. You have to do it the way you would if your
life could be ruined by someone learning your secret identity, but you
still have to be decisive, like a, er, reluctant western sheriff or
comic book superhero. You can't be too masculine about it, though. You
have to have doubts. You have to have hurty parts. And a softer side.
Maybe someone like Hillary. But definitely not someone triumphalist
like Bush or vainglorious like Kerry. It just wouldn't do to fight a
war against evil by coming right out and fighting that war boldly and
in the open. You have to do it in the shadows, in disguise, without
asking for any support from the populace, and only after the evil has already launched
another attack. You have to do it like Spiderman. Hey, do you suppose Spiderman is available?
So should we all order our Spidey for President bumper stickers? Maybe,
but there's also a chance -- we figured this out after a lot of
blockhead talk like us blockheads do all the time-- that Frank Rich
wasn't actually suggesting Spiderman for president. It seems possiblle,
anyway, that what he was after was using the incredibly deep and subtle
symbolism of Spiderman to help us look at Bush and Kerry in a new way.
In a new, you know, context? So that we'd be able to see some things we
could never have seen without a little inspired help.
And you know what? We were right? When we went back and finished
reading the rest of the article, Frank practically came out and said
it, proving we weren't so dumb, after all:
.
Whatever light
"Spider-Man 2" may cast on the dueling, would-be heroes
of the presidential race, however, it is not going to change the
dynamic of the election any more than "Fahrenheit 9/ 11" will. But if
it or any movie cannot move an election, its box-office triumph shows
us something about those who will be doing the voting.
.
"Spider-Man 2" is an
escapist movie that serves as a rebuke to what its
audience wants to escape: a pop culture that is often too shrill and an
election-year political culture that increasingly mimics that pop
culture. It gives us a selfless hero unlike any on the national stage,
and promotes a credo of justice without vindictiveness.
.
This year that appears to be the
heretofore missing formula for
capturing a landslide mandate in red and blue states alike.
Thank you, New York Times,
for Frank Rich. Thank you, God, for the New York Times. Think where'd we be
without such a powerful lantern to light the way.
Sunday, July 11, 2004
instapunk071004
Context I
SEPTEMBER 2001. Context is the bigger picture, the longer timeframe,
the multiple perspectives that enable us to escape our myopic focus on
the here and now. What's so wrong about the here and now? It barges in
on us with the force and freshness of what is new, making the old seem
stale or even obsolete. The here and now is more entertaining. And if
it seems to obliterate the preoccupations of yesterday, that can be a
liberating experience.
We have been through a particularly intense period of such
obliterations this week. The Senate Intelligence Committee has decided
that the CIA is to blame for failing to prevent both 9/11 and Bush's
unpopular war in Iraq. Blame is a great here-and-now emotion. It gives
us the sense that the past is somehow under control. We get to feel
superior about the fools of yesterday who weren't as smart as the
pristine certainties we enjoy in hindsight. They are folly. We are
wisdom. We are not vulnerable as they were. And so we kid ourselves
that we are also separated from the stream of consequences that
continue to flow out of the past. Once blame has been assigned, we can
start anew, as if we have magically achieved a clean slate.
New beginnings are joyful occasions. They're a time for broad smiles,
fresh faces, lavish parties. That's why so many plays and movies launch
the "happily ever after" of their concluded conflicts with the
apotheosis of new beginnings, the wedding ceremony. The bride and groom
in consummating their union are symbolically renewing the promise of
life for all of us. That's why it's no surprise that this week also
brought us the ecstatic
exchange of vows
between John Kerry and John Edwards, as well as the star-studded
reception in which the guests presented their toasts
as scathing denunciations of the unacceptable past. Scorn is a great
obliterator. It is so self-absorbing, like a balloon in one's innards,
that its expansion drives out the ability to perceive irony. Who has
noticed the wit of the idiot Bush in choosing this week to speak out
against gay
marriage?
More soberly, who has juxtaposed the self-congratulating Democrat
contempt for Bush displayed in Kerry's tony fundraiser with the odious
fracas in Seattle,
where we got an Independence Day reminder that anger is obliterating,
too:
...Jason Gilson, a 23-year-old military
veteran who served in Iraq, marched in the local event. He wore his
medals with pride and carried a sign that said "Veterans for Bush."
Walking the parade route with his mom,
younger siblings and politically conservative friends, Jason heard
words from the crowd that felt like a thousand daggers to the heart.
"Baby killer!"
"Murderer!"
"Boooo!"
To understand why the reaction of
strangers hurt so much, you must read what the young man had written in
a letter from Iraq before he was disabled in an ambush:
"I really miss being in the states. Some
of the American public have no idea how much freedom costs and who the
people are that pay that awful price. I think sometimes people just see
us as nameless and faceless and not really as humans. ... A good
portion of us are actually scared that when we come home, for those of
us who make it back, that there will be protesters waiting for us and
that is scary."
Is it unfair to drag John Kerry away from his preening embrace of a
not-quite-one-term prettyboy senator into this squalid scene? Sometimes
real life provides its own helpful context. One of Gilson's fellow
marchers had good reason to know the precedent for this kind of
treatment of veterans. His father is a man named Frederick Scheffler.
Scheffler -- an Army veteran of two
tours in Southeast Asia -- was shot in the leg during that long-ago
conflict.
He came home with a cane, only to
discover the American public was either indifferent to his sacrifice or
downright hostile.
"I didn't think in this day and age
combat veterans would be treated in this manner," Scheffler, 60, tells
me, reflecting on Jason. "I saw it happen to veterans in Vietnam. I'm
not going to let it happen today, not to these kids."
Oh, but he has no choice. He cannot hold back the gaiety of Democrat
nuptials and their power to mesmerize both the media and the
Hollywood-adoring onlookers. If their party is loud enough and scornful
enough, it just might be possible to make America believe that the past
is not still waiting and working and warring against us.
And they can always count on our most civilized compatriots, the
Europeans, to do their part in magnifying the distractions of the here
and now. Again this week, the magisterial Hans Blix uttered the
pronouncement that the threat of global terrorism is outweighed by the
impending catastrophes of hunger and global warming. Now there's some
welcome obliteration: we have bigger things to worry about than Bush's
feckless war on terror.
Yet underneath the accumulating mountain of diversion, there is a
single tectonic plate whose magnitude we all do remember, no matter how
dazzlingly diverse our efforts to forget it. In each of us lies that
earthquake moment which divided the whole context of the present from
the context of the past. Everything we are piling up to build more
distance between ourselves and the crack in the world created by 9/11
is really an outgrowth of it. The hugs and kisses of Kerry-Edwards do
not change the momentum of the quake; their power is no more than the
false comfort of Mommy's lap as the roof is caving in with crushing
strength.
It's impossible to look ahead farsightedly if you do not carry the
past vividly with you through the mad parade of the present.
Fortunately, there are those who work tirelessly to help us remember.
For this reason, we'll close with a thank you to Charles Krauthammer,
who survived the week's nonsense to counter Hans Blix's wishful
thinking with plain and simple truth:
Hunger
is a scourge that has always been with us and that has not been a
threat to humanity's existence for at least 1,000 years. Global warming
might one day be, but not for decades, or even centuries, and with a
gradualness that will leave years for countermeasures.
There is no gradualness and there are no
countermeasures to a dozen
nuclear warheads detonating simultaneously in American cities. Think of
what just two envelopes of anthrax did to paralyze the capital of the
world's greatest superpower. A serious, coordinated attack on the
United States using WMDs could so shatter the United States as a
functioning advanced industrialized society that it would take
generations to rebuild.
What is so dismaying is that such an
obvious truth needs repeating.
The
passage of time, the propaganda of the anti-American left, and the
setbacks in Iraq have changed nothing of that truth. This is the first
time in history the knowledge of how to make society-destroying weapons
has been democratized. Today, small radical groups allied with small
radical states can do the kind of damage to the world that in the past
only a great, strategically located industrialized power like Germany
or Japan could do.
Somewhere in our heads, the planes are still flying into the towers,
the victims are still jumping and burning, the mightiest buildings in
the history of New York are still crumbling into ruin, a whole
nation is still grieving and ready for war, an untried president is
still feeling the weight of a new world settling on his shoulders and
grabbing a bullhorn to rally us back from despair. We have to find
that place in our heads and preserve its pain, because it is that
important kind of pain which no one can kiss away.
Friday, July 09, 2004
Instapunk070904
Terminally Crass

BLOCKBUSTER. One of
our far-flung correspondents checked in with his
review of a movie that could be the vanguard of a major
new Hollywood trend -- the two-hour commercial. Here's what Gawkur has to say:
LET'S GO TO
THE MOVIES! Too busy? OK, just listen up and we’ll tell you one.
It’s The Terminal, directed
by Steven
Spielberg and starring Tom Hanks, two Hollywood giants. So the moment
our hero, Viktor Navorski, arrives at JFK International, you expect big
things. What you get are gargantuan product placements for
dozens—dozens I tell you—real-life enterprises, all of which are doing
a brisk business in the terminal, wherever you look, for the entire 128
minutes. This might not be a great picture, but it is big brand
marketing of epic proportions. But now to the sub-plot.
Right off the plane from his native Krakozhia, our Eastern European
hero is nabbed by immigration. While winging his way to America, the
Krakozhian government has fallen to a coup; and upon arrival Viktor is
informed that his papers are, somehow, invalid. He is a man without a
country, he can’t leave the terminal, America has shut her doors.
At first, Viktor can’t comprehend his predicament. How could he not?
Well, because he can’t speak English and must be stupid. Viktor’s arch
nemesis, the Republican-looking Frank Dixon (played by Stanley Tucci
with a red, white & blue lapel pin) is the chief immigration
Gestapo who banishes Viktor to the terminal. Got that? Oh, I forgot to
explain that while the Gestapo would love nothing more than to drop our
lovable visitor deep into the bowels of the nearest dungeon, the evil
fascist just can’t pull it off until a law has been broken. That
better? Anyway, as Viktor schleps through the terminal with a
mysterious can of nuts and his ugly Eastern European luggage in tow, he
is tortured by images of American materialism on the one hand, and on
the other, CNN coverage of his homeland disintegrating in flames.
Somewhere in between, Viktor stumbles into Amelia (played by Catherine
Zeta-Jones) a gorgeous, adulterous stewardess (isn’t that the best
kind?) who is oh so eager to strike a better deal with our nerdy hero.
That’s what happened.
This is where the old Spielberg/Hanks magic really shines through—the
Alien, the Castaway, the Lost Soul searching for a way back home. Now
see the pitiful, famished Viktor gazing at all the superb airport food
just beyond reach because he has no money, even though he stepped off
the darned plane just a few minutes earlier… Viktor in innocent
dignity, bathing in the men’s room… Viktor pursuing the American Dream,
returning baggage carts for a few paltry shekels… Viktor coming to the
aid of cuddly little WASP kids… Viktor befriending a veritable rainbow
of metaphorically trapped airport workers named Enrique and Gupta and
even a guy named Joe … Viktor launching his second business as an
independent contractor in the building trade (cash under the table, of
course)…Victor falling even deeper in love with the frisky,
kind-hearted stew.
All of this to a musical score by the masterful John Williams. Do you
feel the lovely and subtle Eastern European ethnic quality of clarinet
and accordion?
We soon learn that Viktor is actually rather clever; after all, he does
pick up some English. More importantly, we discover him to be a man on
a mission, one inextricably tied to a paternal death-bed promise and
that very formidable can of nuts. This is a man of character and his
word can be trusted. His honor and reliability are central themes. In
the end, the Gestapo is foiled and Viktor is victorious.
Need another reason to take in The
Terminal? How about this—You can say you had a laugh, shed a
tear or two, through the most persistent barrage of guerilla
advertising in cinematic history… American Express, Anne’s Pretzels,
Baskin-Robbins Ice Cream, Baja Fresh, Panda Express, Burger King,
CitiGroup, Verizon Wireless, Dean & Deluca, Discovery Store,
Brookstone, Cambridge SoundWorks, Hugo Boss, La Perla, Hudson News,
Borders Books, Paul Mitchell, Godiva, Swatch, Harry and David’s,
Origins, Smarte Carte, Nathan’s Famous, Au Bon Pain, Yoshinoya,
S’Barro, Krispy Kreme, The Daily Grill, United Airlines, and Starbucks.
Did I miss anything? Oh yes, Planters, which is the unsung hero of this
most remarketable film.
And how can we be sure that Gawkur is right, that all this brand
assault is deliberate and probably paid for? Here's a paragraph from
Roger Ebert's review:
Most
of this movie was shot on a set, a vast construction by production
designer Alex McDowell. We're accustomed these days to whole cities and
planets made of computerized effects. Here the terminal with all of its
levels, with its escalators and retail shops and food courts and
security lines and passenger gates, actually exists. The camera of the
great Janusz Kaminski can go anywhere it wants, can track and crane and
pivot, and everything is real. Not one viewer in 100 will guess this is
not a real airline terminal.
Spielberg built his own terminal and stocked it like the shelves of a
supermarket with famous names.Yet Ebert failed to observe the
blitzkrieg of product placements. Maybe he was too enchanted by the
movie to notice. Or maybe we're all too numbed by the commercials we're
continuously exposed to on everything from billboards to DVDs and
computer and TV screens. You'd think someone besides Gawkur would have commented on a
brazen ploy this big, though. But as far as we know, you heard it here
first. Don't slip on the way out of the theater in your rush to go buy
something.
Thursday, July 08, 2004
Instapunk070804
Michael Moore's Little
Oysters
PSOMETHINGS.17.
Since the latest InstaPunk piece that mentioned Michael
Moore, some of his followers (would those be Moorites,
Stiletto-Heads...? You pick it, though we prefer Oysters) have finally
figured out how to make entries in the Boomer Bible Forum. This
is fine. We welcome input from readers and are happy to discuss your
views on the topics we touch on in our decidedly opinionated blog site.
Forum participants are by no means unanimous about the mouthy output of
InstaPunk, but the regulars share a penchant for backing up their opinions with facts and
ideas they've gathered through their own research.
In this milieu, the Oysters stick out like a sore thumb. They enter in
high dudgeon, dragging their flamethrowers and gatling guns behind
them, and leap immediately into combat without a glance at where they
are and who they are attacking. We thought it might be fun to show you
a couple of the Oysters at work, along with some Forum responses, to
acquaint you with the fact that you also have an opportunity to mix it
up with the punks. Unlike Moveon.org and DemocraticUnderground.com, we
don't ban people for disagreeing with us. We ban people for arbitrary
and capricious reasons, and then we bring them back for more jousting.
But our preference is for people who can contribute some insight and
who know how to frame a real argument. Bomb throwers try our patience,
but even they will receive a thoughtful response. Now for our examples
of recent dustups.
One Oyster wrote us:
Let me say that
I do disagree with your 6/25 analysis of the Moore movie/doucu/polemic
as "an act of fiction, a work of fiction." There is no fiction in
Halliburton, or in the Carlyle Group, the collusion with the Saudis on
oil by GWB Sr. and JR. THAT IS NOT FICTION. It is treason and
collaboration. You are ignorant of the law and of the Nuremberg
policies and legal precedents from WW II Germany. You and Ashcroft. Too
bad. Indeed.
Have you no shame??? 3,000 dead in NYC, 200 dead
in the Pentagon, 75 dead in Pa., 900 (almost) soldiers dead in Iraq????
Is that enough "fiction" for you??? Please reconsider the film and your
comments.
Thanks.
This drew the following response from our own 'Sigma':
In the first
place, I did not use the word 'fiction' in my discussion of F911.
That said, I propose that you don't seem to have
a very clear grasp of what fiction is. Using facts in artful ways to
bolster a conspiracy theory for which there is little or no evidence
does qualify as fiction.
The congressman who was edited to look
speechless at Moore's question about sending his son to war is a good
small-scale example. In fact, that congressman had a nephew serving in
the military and told Moore about him. When Moore drops that bit of
film on the editing room floor, he is lying by omission and
promulgating an untruth.
Clearly, he has inveigled you into unquestioning
acceptance because he drapes his other untruths, half-truths, and empy
accusations around the kinds of facts you reference so stormily: the
fact that Halliburton exists, the fact that the Carlyle Group exists,
the fact that the 9/11 attack happened, the fact that the Iraq War
happened. So what. None of this easily recognizable 'truth' tells us
anything about whether the Bush family colluded with the bin Ladens. To
do that, you'd have to examine the evidence in detail, including the
chronologies of association between the Bushes, Cheneys, etc, with the
organizations you contemn and determine whether they even could have participated in the
decisions you believe occurred. Fact checkers have done this pretty
meticulously with regard to Moore's F911, and the 'facts' make Moore's
accusations look silly, malicious, and, yes, largely fictitious.
I'd be interested in hearing the credentials
that back up your pompous lecturing to me about history. I doubt you've
read a tenth the history I have, and if there's any 'shame' to be
apportioned in this discussion, it goes to the correspondent who lists
names and calls them facts. Learn how to think before you start getting
rude with grownups.
This infuriated a second Oyster, who rallied to his colleague's defense:
Many thanks on your fairytale reading
of fiction, and your most cavalier interpretation of war crimes.
Oh yes, you failed to mention oil & Saudi Arabia, and the Lobbying
by GWB & the Halliburton group. How very convenient. Years of
secret ties to the Saudis & the Oil Cartels.
You don't mention either the flight of the Bin-Laden clan AFTER the
attacks in NYC. Totally illegal and traesonous. Have you no shame???
Did you know that Waffa Bin-Laden left NYC a WEEK before the attacks
and hid in London??? And you, Wise Scholar, dare to suggest NO
CONSPIRACY? Absurd fairytale? No. Hardly, a type of fiction. Pure fact.
We will not rest until this is all over. You can read your history
until doomsday. You can choke on facts. You cannot change the
underlying conspiratorial truth of this situation. You are just so put
out and jealous of Michael Moore's success, you might explode.
Treason will NOT go unpunished. Halliburton and Carlyle and other DOD
contractors will ultimately face the Nuremberg line. of prosecution.
You will not stop the march of history with your diatribes against
Michael Moore. Treason will always find its way to the dustbin of history.
Once again, Sigma replied:
Oh goody. The
crazy idiots are here. Come on in, everybody. I love to hear from the
intellectual base of the hard left. And I do mean base. I'm amazed they
can even spell Nuremberg. Questions they can't answer:
Why did Richard Clarke take full responsibility
for the decision to fly the bin Ladens back to Saudi Arabia? He's
clearly no apologist for Bush.
If Bush and the Saudis were really in cahoots
(that means 'conspiring' for you geniuses who have trouble spelling
'treason'), then why did the Saudis refuse to permit any support for
the Iraq invasion from U.S. installations in Arabia?
Who is it that's making all the money on oil in
your conspiracy scenario? Prices at the pumphead are sky high, oil
companies are announcing reduced profits, and control of Iraqi oil is,
and has been, under control of Iraqis. Starting a war is clearly so
much cheaper and easier than backing down at no cost, letting the U.N.
remove the sanctions from Iraq, and letting the free flow of Iraqi oil
reduce prices, thereby accelerating demand and profits. (Or were you
foreign policy/economics experts too stoned to listen the day they
covered the demand-supply curve in economics?)
I'm sure it's much more fun to squeal about war
crimes than to do any real research or thinking. Much better to go see
a movie and accept every frame of it uncritically.
Jealousy isn't quite the word for the way I feel
about Michael Moore. I admire his film editing skills but despise his
whole fake populist act.
Now, unless the cretins have something NEW to
say, no more response is needed. Variations on the same illiterate
diatribe do not count as making a contribution to the discussion.
But another of our number, known as Pawntificate, offered a better and
more typical response, one that can be used as our standing invitation
to all who read InstaPunk and feel tempted to join the fun:
I'll attempt to
rise above the bitterness and presumption of your posts. Have you read
the Snopes account of the Bin Laden flight? http://www.snopes.com/rumors/flight.htm
If not, do so. It suggests a very different
interpretation of the flights - not treason or conspiracy but a
reasonable and generous offer to preserve innocent people from facing
the risk of an American people enraged and willing to avenge themselves
on anyone they felt to be guilty by association. Its not a pretty
thing, but at least one such murder did occur.
I ask you, what should the government have done?
Arrest anyone with the last name of Bin Laden? All people from Saudi
Arabia? All muslims? Or turn a blind eye to any lynchings that might
occur?
Accusing the government of treason is a mighty
big thing to do. In previous times you would only say such a thing if
you were willing and eager to sacrifice your own life to bring
"justice". Are you? Or are you just a cowardly adolescent grasping at
Michael Moore's arrogance to make you feel morally superior to anyone
and everyone?
Prove your point. Astound us with your depth of
insight into constitutional law. Exegete the Nuremberg trials for our
benefit. Demonstrate the vast interconnected conspiracy you speak of.
Answer the myriad objections that have been leveled against F911. I
will listen. But your essay had better be pretty damn impressive,
because you've insulted a close friend, and it's taking great restraint
to respond to you with any measure of respect.
Once I've read this great, life-changing work
that I know you are anxious
to share with us, then I will be glad to continue our conversation.
Do you want to come play with us? Yeah, it gets
rough, and personal, but we enjoy the challenge. As the illustrious
junior senator from Massachussetts would say, "Bring it on."
Wednesday, July 07, 2004
Instapunk070704
Kerry-Edwards
Kerry-Edwards

Kerry-Edwards
KERRY-EDWARDS.
I wandered over to RealClearPolitics.com
today, where they have 14 articles about Kerry-Edwards. I know it's
required for every pundit, columnist, and lowly blogger to weigh in on
the intensely interesting subject of Kerry-Edwards. So I'm trying to do
my part here. Kerry-Edwards. Kerry-Edwards! Kerry-Edwards? It will come
to me in a minute, I'm sure.
They sure do make some big teeth down south. Do you think maybe there's
a little horse in some of those bloodlines? Forget that. It's
off-topic. Sort of off-topic anyway. They keep reminding us that he's
this rich successful trial lawyer, but I keep seeing him as the guy on
TV who wants you to come on down to the dealership and make an
eye-popping deal on a leftover Chevy pickup. Why do they always shout
and carry on like that? Is there some sort of secret car-dealer society
where they learn all that hokey jabber? Well, this line of talk isn't
going anywhere. Kerry-Edwards.
Kerry-Edwards. Somebody or other told me Chris Matthews said that
Edwards would clean Cheney's clock in a debate. Because he's a rich
trial lawyer. Am I the only one who's ever watched Court TV? I can't
believe all those trial lawyers are so anxious to be filmed on the job.
Perry Mason they're not. What they are is slow, halting, repetitive,
and boring. Real life cross-examination is more like an audit than an
episode of Law and Order. I
think Cheney could stand up to an audit pretty well. Heaven knows he's
probably been through enough of them. Of course, Chris Matthews isn't
the most objective fellow in the world. Not the smartest fellow in the
world either. In fact, he's kind of a dope. But a fast-talking dope.
He's the only man in broadcasting who can give a 700-word sound bite.
Oh. Did I stop talking about Kerry-Edwards again? Sorry.
Kerry-Edwards. Will Edwards help the ticket? Who knows. Will he hurt
the ticket? Who knows. Should it have been Gephardt or Bayh or Clinton
instead? Who cares. The decision's been made. Will Edwards carry his
own home state? Well, that's why we have elections, to find out that
very thing. Are women going to flock to Edwards? I don't know. I'm not
a woman. What do men think of him? Lots of things probably. Most men
have pretty different opinions about everything but women, and Edwards
isn't a woman, so there's no help there. Kerry-Edwards.
Kerry-Edwards. I'm trying. I'm really trying to figure out what could
have been in all those other articles about Kerry-Edwards. But I can't.
I couldn't even read them. As soon as they get to the part about
Kerry-Edwards a certain feeling steals over me and my eyelids start
getting heavy. Kerry-Edwards, Kerry-Edwards, and then my head starts to
droop toward my chest and before I know it
I.........................
Back to Archive Index
|