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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:
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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.
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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?
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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.
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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:
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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:
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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.
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"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.
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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.........................




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