Tag Archives: On Politics

Dystopia now

By Dennis Hartley

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In Paul Verhoven’s 1987 sci-fi crime thriller, Robocop, the director and  his screenwriters Edward Neumeier and Michael Miner envision a “near-future” Detroit that has become a dystopian nightmare. Vicious gangs of criminals with high-powered weapons plunder and terrorize  the city with impunity.  Local law enforcement has been farmed out to a corporatized paramilitary outfit (a la Blackwater). Under-manned and out-gunned, the beat cops have become increasingly ineffectual at keeping up with the crime wave.  A gravely wounded cop becomes a guinea pig for the corporation’s R & D division,  which has been experimenting with robotic enhancements.

The meme reappeared  in Neill Blomkamp’s 2015 film Chappie. The backdrop is South Africa, but the tableau is similar.  From my review:

In this outing, Blomkamp returns to his native Johannesburg (which provided the backdrop for his 2009 debut, District 9). And for the third time in a row, his story takes place in a dystopian near-future (call me Sherlock, but I’m sensing a theme). Johannesburg has become a crime-riddled hellhole, ruled by ultra-violent drug lords and roving gangs of thugs. In fact, the streets are so dangerous that the police department is reticent to put its officers on the front lines. So they do what any self-respecting police department of the dystopian near-future does…they send droids out to apprehend bad guys.

Imagine that.

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Hang on, this just in…the future is now. It started Thursday, in Dallas:

Now, I’m sure we can all agree that the use of deadly force was appropriate to neutralize the Dallas shooter; as Chief Brown outlined in his CNN interview this morning, the perpetrator was barricaded in such a manner as to render direct assault too dangerous for officers, and despite 2 hours of attempted negotiation, the gunman continued to taunt and threaten the police. With five dead, seven wounded, and all practical possibilities exhausted,  the standoff simply had to end.

That said, now that the smoke has cleared, this troubling precedent begs some ethical (and legal) questions. While  robotic technology has been an accepted law enforcement tool for some time now, it’s chiefly purposed for reconnaissance and surveillance, so officers needn’t take unnecessary personal risks in precarious situations.

The robots have also proven an invaluable tool for bomb squad units as well; they are used to seek out and/or safely detonate otherwise unreachable explosive devices. Naturally,  it was only a matter of time (and circumstance) where the light bulb would go off over someone’s head, somewhere: “It can retrieve a bomb. It can detonate a bomb. Doesn’t it stand to reason that it can deliver, then detonate a bomb?”

I’ll be Captain Obvious and mention the use of drones, which have become de rigeur for facilitating this type of “special delivery” to bad guys in exotic lands. Then again, that is one of the primary missions of our military (to take out bad guys in exotic lands).  Last I checked, the primary mission of domestic law enforcement is to protect and serve.

I am aware that it’s easy for me to Monday morning quarterback Chief Brown’s decision. I wasn’t there, and he was, amid the horror and the carnage. The buck stopped with him. He didn’t have time to stand around pondering the history of social unrest in America, and/or the possible ripple effects of setting such a precedent.  I’m sure that he felt that his priority, his mission, if you will, was to do everything in his power to avoid further horror and carnage. And he did. He brought the standoff to an end, and likely saved many lives.

So why does this still trouble me? The  “precedent”  is the delivery system only; the bomb (C4) is eerily familiar. From my 2013 review of Let the Fire Burn, a documentary about the the 1985 MOVE incident:

[MOVE leader] John Africa (an adapted surname that all followers used) was a charismatic person. He founded the group in 1972, based on an odd hodgepodge of tenets borrowed from Rastafarianism, Black Nationalism and green politics; with a Luddite view of technology (think ELF meets the Panthers…by way of the Amish). Toss in some vaguely egalitarian philosophies about communal living, and I think you’re there.

The group, which shared a town house, largely kept itself to itself (at least at first) but started to draw the attention of Philadelphia law enforcement when a number of their neighbors began expressing concern to the authorities about sanitation issues (the group built compost piles around their building using refuse and human excrement) and the distressing appearance of possible malnutrition among the children of the commune (some of the footage in the film would seem to bear out the latter claim). The city engaged in a year-long bureaucratic standoff with MOVE over their refusal to vacate, culminating in an attempted forced removal turned-gun battle with police in 1978 that left one officer dead. Nine MOVE members were convicted of 3rd-degree murder and jailed.

The remaining members of MOVE relocated their HQ, but it didn’t take long to wear out their welcome with the new neighbors (John Africa’s strange, rambling political harangues, delivered via loudspeakers mounted outside the MOVE house certainly didn’t help). Africa and his followers began to develop a siege mentality, shuttering up all the windows and constructing a makeshift pillbox style bunker on the roof. Naturally, these actions only served to ratchet up the tension and goad local law enforcement. On May 13, 1985 it all came to a head when a heavily armed contingent of cops moved in, ostensibly to arrest MOVE members on a number of indictments. Anyone who remembers the shocking news footage knows that the day did not end well. Gunfire was exchanged after tear gas and high-pressure water hoses failed to end the standoff, so authorities decided to take a little shortcut and drop a satchel of C-4 onto the roof of the building. 11 MOVE members (including 5 children) died in the resulting inferno, which consumed 61 homes.

Apples and oranges? Yes; that was then, this is now, I totally get that. But here is the heart of the matter (and the relevancy)-as I continued:

Putting aside any debate or speculation for a moment over whether or not John Africa and his disciples were deranged criminals, or whether or not the group’s actions were self-consciously provocative or politically convoluted, one simple fact remains and bears repeating: “Someone” decided that it was a perfectly acceptable action plan, in the middle of a dense residential neighborhood (located in the City of Brotherly Love, no less) to drop a bomb on a building with children inside it. Even more appalling is the callous indifference and casual racism displayed by some of the officials and police who are seen in the film testifying before the Mayor’s investigative commission (the sole ray of light, one compassionate officer who braved crossfire to help a young boy escape the burning building, was chastised by fellow officers afterward as a “nigger lover” for his trouble).

Again, what happened in Philadelphia in 1985 and what happened in Dallas last Thursday may be dissimilar in crucial ways, yet certain elements within our sociopolitical climate that contributed greatly to both incidents remain stubbornly constant. I hate to put sci-fi writers out of work, but if we don’t engage in some semblance of a civil and constructive discourse to address these core issues, all I can say is:

Welcome to The Near Future.

# # #

UPDATE 7/11/16:

Well, there you go…

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h/t to Digby and Tom Sullivan

America: A history of violence

By Dennis Hartley

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It’s happened again. Another mass shooting. Yawn. That’s not detachment, it’s numbness.  I’ve written about horrific act after horrific act until my thumbs are blue. I don’t know how to react anymore; how do you even begin to make sense of such insanity? it’s overwhelming. It’s been occurring here in the land of the free and home of the heavily-armed with such frequency, and over so many decades, that it’s become as American as apple pie; so much so that I find myself reflexively compartmentalizing each incident by sub-genre anymore.

‘Sub-genre’? WTF am I raving about…you may be wondering? Allow me to explain. Take this latest  incident in Dallas, for example. As soon as some of the particulars became known, my brain (in order to keep my head from exploding, no doubt) began to process it all thusly:

“OK. We have a shooter, who goes on a (allegedly) racially-fueled rampage;  Ex-military. African-American. Five dead cops. Shocking, unthinkable, but sorry…not unique. Been there, done that, America.”

From The Times Picayune archives:

Mark Essex’s campaign of terror against the New Orleans police climaxed on Jan. 7 in an 11-hour rampage at the Howard Johnson’s hotel on Loyola Avenue, where he killed seven people, including three police officers, and wounded eight.

A week earlier, he had killed two other police officers and wounded one.

Mark James Robert Essex was born in Emporia, Kansas. Kicked out of the Navy after two years with a general discharge for unsuitability for “character and behavior disorders,” the 23-year-old took up radical Black Panther politics and developed an intense hatred for the police. He came to the city to meet up with a friend who shared his politics.

In late December 1972, Essex mailed a note to WWL-TV warning about a Dec. 31 attack on the New Orleans Police Department. The note wasn’t opened until the day before the hotel attack. And indeed, On New Year’s Eve, he gunned down a police cadet and another officer who chased him to Gert Town. He eluded police for a week until he wounded a Gert Town grocer and then headed for the Howard Johnson’s.

In front of room 1829, Essex shot to death Dr. Robert Steagall and his wife Betty Steagall. He soaked telephone books with lighter fluid and set them ablaze under the curtains of the Steagalls’ room. On the 11th floor, Essex shot his way into rooms and set more fires. He killed Frank Schneider, the hotel’s assistant manager, and shot Walter Collins, the hotel’s general manager.

As dusk approached, Essex was trapped in a block house on the hotel roof. The U.S. Marines volunteered a helicopter to get to him. During passes over the roof, officers poured gunfire at the block house while Essex popped out sporadically to fire back.

For hours after they killed him, police searched vainly for a second sniper who they erroneously believed was on the loose. In the days before SWAT squads, the police response was chaotic.

While we obviously do not have a complete pathology of the Dallas shooter yet, there are a lot of spooky parallels . But I’m not going to dwell on matching the psychological profiles; I’ve been there, done that in enough posts over the past several years, and it leads nowhere.

No, crazy is as crazy does; whether you’re white (the Charleston shooter), Muslim (the Orlando shooter), or African-American (the Dallas shooter). My point is, if America has reached a juncture where we can circle back and cite historical precedent for nearly every such unthinkable, heinous variation of mass violence…it’s been going on for far.too.fucking.long. But hey, now’s not the time to talk about gun control legislation, amirite?  Oh look, America’s Got Talent is on!

Related posts:

Orlando’s Silver Lining (?)

The Death Hour: How Hollywood Tried to Warn Us

A Sad Sequel: The American Assassin on Film II

Star-spangled ban: thoughts on the 1970 Atlanta Pop Festival

By Dennis Hartley

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46 years ago today, the 3-day 1970 Atlanta International Pop Festival opened.  Attendees were estimated to be around 200,000.

Historically overshadowed by Woodstock (held 11 months earlier), it still boasted an equally impressive roster of performers. Granted, a number of Woodstock luminaries were there (Jimi Hendrix, Johnny Winter,  Ten Years After, John Sebastian, Richie Havens, Mountain et.al.), but there were top acts exclusive to the Atlanta Festival like The Allman Brothers, B.B. King, The Chambers Brothers, Procol Harum, Grand Funk Railroad, Spirit, Rare Earth, Mott the Hoople, and It’s A Beautiful Day (just to name a few).

The cost of a ticket?  $14.  I’ll spell that out, so you don’t think it’s a typo: fourteen dollars. Yes, I know, inflation, yadda yadda…but still (a front row seat at this fall’s Desert Trip will only set you back $9,400).

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But I digress. Back to Atlanta, 1970.  At midnight on July 4th, Jimi Hendrix performed to the biggest domestic audience of his career (sadly, just over two months later, he was gone forever). He played a rousing set, which is documented in the excellent 2015 Showtime production, Jimi Hendrix: Electric Church (currently available  on Showtime’s In-Demand feature, if you haven’t caught it yet). Hendrix included his idiosyncratic “Star Spangled Banner” salute (how could he not do it on the Fourth?), with fireworks. Pretty awesome stuff.

Unfortunately, despite the “right of the people peaceably to assemble”  (not to mention that whole freedom of expression thing) someone didn’t find Jimi’s paean so awesome (there’s one in every crowd). The “someone”?  Governor Lester Maddox. Two days after the festival, he announced he was going to push for legislation to ban any future such DFH events in his state.  Because you know…freedom.

Oh, Georgia. Happy holiday weekend, everyone!

Forward, into the past: A timely reissue of Peter Watkins’ Culloden ****

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on June 26, 2016)

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“For some time, [United Kingdom] constitutional nerds such as myself used to float this kind of nightmare scenario, in which one or more parts of the U.K such as Northern Ireland or Scotland [votes to stay in the E.U.], while England, being the largest group [votes to leave the E.U.]…basically those other parts of the U.K. are out-voted. […] Now this has actually happened; this isn’t a nightmare scenario any longer, it’s the reality.”

– Andrew Blick, lecturer in politics and contemporary history (from an interview on CNN, June 24, 2016).

There’s been a substantial amount of speculation among the chattering class over the last 36 hours regarding a possible “contagion effect” on the nations who remain allegiant to the European Union, following the U.K.’s voter-mandated breakaway this past Thursday.

While no one with a modicum of sense and/or logic is expecting World War III to break out next week as a result of the “Brexit” referendum decision, there remain a number of compelling historical reasons why the possibility of profound political and socioeconomic instability in Europe down the road is concerning to those who keep track of such things.

For a continent that encompasses a relatively modest 3,930,000 square miles altogether (for perspective, the United States by itself is 3,806,000 square miles in size), Europe has a densely complex history of political volatility, avarice-driven disputes, willful military aggression and generations-spanning (ruling) family squabbles that boggles the mind.

I’m not saying we haven’t gotten our own hair mussed once or twice here in the good ‘ol U.S. of A; after all, 620,000 people died in the Civil War. That said, 17 million people died in World War I, and an estimated 60 million souls slipped the surly bonds of Earth in the course of World War II. Yes, those were “world” wars, but volatility in Europe was the primary impetus. I guess what I’m saying is, the fact that we have known the existence of a unified Europe in our lifetimes is a blessing that we have taken for granted.

However, as implied by the quote at the top of the post, what makes the Brexit decision even more fascinating to me is the possibility of the U.K. itself splintering apart eventually as a result. Which in effect would be history repeating itself, particularly in the case of Scotland, which voted almost overwhelmingly in favor of remaining in the E.U. In fact, Scotland’s First Minister, Nicola Sturgeon has already announced a plan to keep Scotland in the E.U., as well as noting that drafts are in the works for legislation proposing another vote on Scottish independence from the U.K. (there was one in 2014).

To say that the history between England and Scotland is a “bloody” one would not be overstatement. Consider a particularly nasty bit of business generally referred to as the “Jacobite Uprising” or “The Forty-five Rebellion” (1745-1746). Depending on which historian you’re reading, the conflict was either a clan war betwixt Scottish lowlanders and highlanders, a religious civil war, or a Scottish war of independence against England. For the sake of expediency, I’m going to split the difference and call it “all of the above”.

The culmination of the conflict occurred on April 16, 1745 with the Battle of Culloden:

(from The National Trust for Scotland website)

Towards one o’clock, the Jacobite artillery opened fire on government soldiers. The government responded with their own cannon, and the Battle of Culloden began.

Bombarded by cannon shot and mortar bombs, the Jacobite clans held back, waiting for the order to attack. At last they moved forwards, through hail, smoke, murderous gunfire and grapeshot. Around eighty paces from their enemy they started to fire their muskets and charged. Some fought ferociously. Others never reached their goal. The government troops had finally worked out bayonet tactics to challenge the dreaded Highland charge and broadsword. The Jacobites lost momentum, wavered, then fled.

Hardly an hour had passed between the first shots and the final flight of the Prince’s army. Although a short battle by European standards, it was an exceptionally bloody one.

Culloden was not only “an exceptionally bloody” battle, but holds distinction as the last such pitched battle to be fought on British soil. Although the slaughter did not stop there:

(from The New World Encyclopedia website)

After their victory, Cumberland ordered his men to execute all the Jacobite wounded and prisoners, an act by which he was known afterwards as “the Butcher.” Certain higher-ranking prisoners did survive to be tried and executed later in Inverness. […]

Immediately after the battle, Cumberland rode into Inverness, his drawn sword still covered in blood, a symbolic and menacing gesture. The following day, the slaughter continued, when patrols were sent back to the battlefield to kill any survivors; contemporary sources indicate that about 70 more Jacobites were killed as a result…

[…] 3,470 Jacobites, supporters, and others were taken prisoner in the aftermath of Culloden, with 120 of them being executed and 88 dying in prison; 936 transported to the colonies, and 222 more “banished.” While many were eventually released, the fate of nearly 700 is unknown.

The Rebellion left a profound cultural impact on Scotland as well. From the same article:

[The ’45 Rebellion] had enormous psychological impact upon the Highland Scots, and severe civil penalties thereafter (for example, it became a criminal offense to wear tartan plaid). What followed can be described as cultural vandalism, with the destruction of a way of life that many had found meaningful, giving them a sense of identity and kinship.

So how does this all tie in with the Brexit vote? In a well-written 2011 Daily Kos piece inspired by the (then) 265th anniversary of the Battle of Culloden, OP OllieGarky notes:

Cameron and Thatcher’s recent ruthlessness towards Scottish public institutions is nothing new. It is a pale relic of previous attempts to rebuild Scotland into a properly British province, according to whatever fashion the current leaders took. […]

Culloden and its aftermath is an emotional issue for the Scottish Diaspora. Depending on your definition, how you include or exclude individuals from the Diaspora, the Diaspora outnumbers the population of Scotland by no less than 12 to one. This loss of people has been disastrous for Scotland in recent years, leading to the rise of the Scottish National Party. […]

The Scottish Nationalists are Nationalists in name only. They don’t espouse any of the ethnocentric bile typical of traditional Nationalist groups like the BNP, or White Nationalists in the US. Indeed, the music of Scottish Nationalism is disgusted with the ethnocentric ideas that are themselves an integral part of the BNP’s British Nationalism, or its predecessor the National Front’s English Nationalism.

It’s no secret that there was an undercurrent of anti-immigrant nativism streaking through rhetoric spouted by some of the high profile spokespersons in the “leave the E.U.” camp.

Which (finally) brings us to writer-director Peter Watkins’ largely forgotten, yet somewhat groundbreaking made-for BBC-TV docudrama from 1964 entitled Culloden. The film has been newly remastered for a beautifully-transferred “two-fer” (Region “B” only) Blu-ray release from BFI that also includes Watkins’ more well-known (and controversial) 1965 BBC docudrama The War Game (****), which is an unblinking, startlingly realistic envisioning of the after-effects of a nuclear attack on the city of Kent.

Truth be told, the primary reason I ordered the set was to snag a copy of The War Game; I was previously unaware of Culloden (it never aired outside of the U.K., unlike The War Game, which gained its higher profile from international cinematic distribution in 1966, subsequently earning it an Academy Award for Best Documentary Feature back in 1967).

It is by pure kismet that I just happened to view Culloden for the first time about 2 weeks ago, so it’s fresh in my mind; otherwise I likely never would have connected this relatively obscure battle that took place 270 years ago with the results of the Brexit referendum just this past Thursday. At any rate, I was happy to discover this gem, which is very much in the vein of Stanley Kubrick’s Paths of Glory. While he shares Kubrick’s eye for detail and realistic depiction of the horror of battle, Watkins does him one better:

(From David Archibald’s essay, written for the companion booklet to the BFI Blu-ray)

“Culloden” emerged at the high point in British television. In 1956 Bertolt Brecht’s Berliner Ensemble toured Britain for the first time, and the company’s non-Aristotelian, distanciation techniques, which attempted to highlight theater’s constructed nature and, in turn, politicize the spectator, were becoming increasingly popular among leftist theater-makers […]

The experimental and constructed nature of [“Culloden”] is all-too apparent: on-location shooting; fourth-wall breaking direct address to the camera; repeated, shaky camera work; tight close-ups on the protagonists’ faces and the presence of a narrator who describes events as if reporting on the daily news.

The anachronistic conceit that Watkins employs cannily presages the advent of the “mockumentary” (although you will discover nothing “funny” is going on in the course of the film’s 69 minutes). Yet there is nothing “gimmicky” about it, in fact, the overall effect is quite powerful and involving. As Archibald goes on to conclude in his essay:

Yet this is not simply an adaptation of [John Prebbles’ eponymous 1962 book] but stands in its own right as a legitimate historical representation of an important chapter in Scottish and British history. […]

[Peter Watkins] never returned to television [following “The War Game” in 1965], but he leaves behind a brace of innovative yet accessible, provocative yet popular documentaries, which remain strikingly fresh and politically potent.

Here are 2 things I know to be true: Culloden is strikingly fresh. And history is cyclical.

 

(BFI’s Blu-ray is Region “B”; it requires a region-free player for viewing!)

Orlando’s silver lining (?)

By Dennis Hartley

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‘Wait’ has always meant ‘never’ – Rev. Martin Luther King, Jr.

“Now is not the time to talk about [insert gun-violence related meme here] .” We’ve heard that before; predictably, we’re hearing it again.

But there is something about this mass shooting that screams “Last call for sane discourse and positive action!” on multiple fronts. This incident is akin to a perfect Hollywood pitch, writ large by fate and circumstance; incorporating nearly every sociopolitical causality that has been quantified and/or debated over by criminologists, psychologists, legal analysts, legislators, anti-gun activists, pro-gun activists, left-wingers, right-wingers, centrists, clerics, journalists and pundits in the wake of every such incident since Charles Whitman  perched atop the clock tower at the University of Texas and picked off nearly 50 victims  (14 dead and 32 wounded) over a 90-minute period. That incident occurred in 1966; 50 years ago this August. Not an auspicious golden anniversary for our country. 50 years of this madness.  And it’s still not the appropriate time to discuss? What…too soon?

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Everything old is new again: The cover of Time, Aug. 12, 1966

The Orlando incident contains nearly every hot-button trigger. The gunman: spousal abuser,  obsessed with firearms, mental issues, of the Muslim faith. The weapon: a legally purchased assault rifle. The target: a nightclub popular with the LGBTQ community. The motivation: too early to say definitively, but history points to  a likelihood of either personal, political, ideological, or perhaps ‘all of the above’. The initial rush to judgement per social media and the MSM: that this was a terror attack on America, pure and simple, end of story.http://ww3.hdnux.com/photos/47/24/15/10306394/3/1024x1024.jpgAll I can say is, if this “worst mass shooting in U.S. history” (which is saying a lot) isn’t the perfect catalyst for prompting  meaningful public dialogue and positive action steps once and for all regarding  homophobia, Islamophobia, domestic violence, the proliferation of hate crimes, legal assault weapons, universal background checks, mental health care (did I leave anything out?), then WTF will it take?

The big carnival: Weiner ****

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on June 11, 2016)

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In my 2011 review of George Clooney’s political drama, The Ides of March, I wrote:

I suppose that is the message of this film (politics is all awash in the wooing). The art of seduction and the art of politicking are one and the same; not exactly a new revelation (a narrative that goes back at least as far as, I don’t know, Shakespeare’s “Julius Caesar”). The politician is seduced by power. However, the politician first must seduce the voter. A pleasing narrative is spun and polished, promises are made, sweet nothings whispered in the ear, and the voter caves. But once your candidate is ensconced in their shiny new office, well…about that diamond ring? It turns out to be cubic zirconium. Then it’s all about the complacency, the lying, the psychodramas, and the traumas. While a lot of folks do end up getting ‘screwed’, it is not necessarily in the most desirable and fun way. 

In Weiner, Josh Kriegman and Elyse Steinberg’s no-holds-barred documentary recounting Anthony Weiner’s 2013 run for NYC mayor, their subject waxes rhetorically:

Do my personal relationships suffer because of the superficial and transactional nature of my political relationships-or is it the other way around? Do you go into politics because you’re not connecting on that other level? […] Politicians probably are wired in some way that needs attention. […] It is hard to have normal relationships.”

To which your humble movie reviewer can only append: “Is there an echo in here?”

So, are those driven to willingly throw themselves into that shark tank we call ‘politics’ doing so to compensate for an inability to connect with (or commit to) someone else on a personally meaningful level? Or is it neediness, insecurity, and/or narcissism? Perhaps they are gluttons for punishment? Wait, that’s too cynical; surely, it must be attributable to a sense of altruism, patriotism or a sincere desire to devote one’s life to public service?

Of course I’m being coy; you and I know that if we’re referring to human beings, the answer is “all of the above”. While individual politicians are occasionally equated with saints, politicians and saints are mutually exclusive. Two lessons I’ve learned from films:

  • “Politicians, ugly buildings, and whores all get respectable if they last long enough.” – from Chinatown
  • “Well…nobody’s perfect!” – from Some Like it Hot

Kriegman and Steinberg’s film raises a number of related questions; the most obvious one being: should ‘we’, as constituents, be willing to forgive the personal indiscretions (barring prosecutable criminal offenses) of those who we have voted into public office? Should we view that as a personal betrayal? After all, if making boneheaded decisions in one’s love life was a crime, I’d bet that there would be barely enough politicians left outside of prison to run the country. Then there’s the existential question: WTF were you thinking?!

 The filmmakers were given remarkable access to Weiner, his family and 2013 campaign staffers during the course of his ill-fated mayoral run (not really a spoiler, as I am assuming you’ve become familiar with the phrase ‘New York City mayor Bill de Blasio’). I’m guessing their fascination stemmed from the fact that Weiner was putting himself in the ring just two years after a highly publicized “sexting” scandal led to his resignation from the U.S. House of Representatives in 2011.

The resultant public shaming seemed to go on and on; not helped by having a surname synonymous with the part of his anatomy that got him into trouble in the first place. This naturally offered limitless variations of nudge-nudge-wink-wink double entendre for late-night hosts, comedians, and water cooler wiseacres to reap from.

That’s a shame, as the directors remind us with an opening montage highlighting  Weiner’s finer political moments. What tends to get lost in the flurry of sophomoric dick jokes that continue to this day, is that he was one of the first truly fearless progressive firebrands to stand their ground and call out the obstructionist bullshit amidst one of the most toxic partisan takeovers of the House in recent memory.

Which makes me sad. And mad…re-prompting “that” question. WTF were you thinking?!

 If you’re curious to see this film because you think it reveals the answer…don’t waste your time. It’s not for lack of trying by the filmmakers; at one juncture (just as “new” details about the 2011 sexting hit the media) one director asks Weiner outright: “Why have you let me film this?” Weiner doesn’t really have an answer.

However, if you want to see an uncompromising, refreshingly honest political documentary about how down and dirty campaigns can get in the trenches, this one is a must-see. Just be warned-it’s not for the squeamish. Not that there is anything gross, or graphic (aside from a little colorful language here and there). It’s just that some scenes could induce that flush of empathetic embarrassment you experience when a couple has a loud spat at the table next to yours at a crowded restaurant, or when a drunken relative tells an off-color joke at Thanksgiving dinner. It’s equally unfiltered and cringe-inducing.

Putting the deeper political and psychological analysis aside, the film also happens to be entertaining. In fact, it is so sharply observed and cleverly constructed (kudos to editor Eli B. Despres) that it plays like the best political mockumentary that Armando Iannucci never created (even he couldn’t concoct a script this perfect if he tried).

I came away with something else just as unexpected. In light of what is happening right now (and getting more horrifying by the day) regarding the 2016 presidential race, Anthony Weiner’s sexting scandal, humiliating resignation from Congress, and subsequent ill-advised 2013 mayoral run (replete with all of its angst, mudslinging and “Carlos Danger” memes) already feels, in relative terms, like the distant memory of some bygone era when we lived in an America with a kinder, gentler, saner political landscape.

(Currently in limited theatrical release and on PPV)

We are the presumptive champions

By Dennis Hartley

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Oh, Donnie. Brian May is less than pleased with Trump co-opting Queen’s “We Are the Champions” as his grand entrance theme:

[From Rolling Stone]

“I’ve had an avalanche of complaints – some of which you can see in our ‘Letters’ page – about Donald Trump using our ‘We Are The Champions’ track as his ‘theme’ song on USA TV,” May wrote on his website. “This is not an official Queen statement, but I can confirm that permission to use the track was neither sought nor given. We are taking advice on what steps we can take to ensure this use does not continue. Regardless of our views on Mr. Trump’s platform, it has always been against our policy to allow Queen music to be used as a political campaigning tool.”

[…]

May isn’t the first musician to deny Trump access to their catalogs. In September, after the politician used R.E.M.’s hit “It’s the End of the World as We Know It (And I Feel Fine)” at a rally, singer Michael Stipe angrily responded, “Go fuck yourselves, the lot of you – you sad, attention-grabbing, power-hungry little men … Do not use our music or my voice for your moronic charade of a campaign.”

Sad! In the interest of mediation, may I suggest the following (and much more apropos) selection for Mr. Trump’s intros going forward?

The other half of the sky

By Dennis Hartley

http://www.msnbc.com/sites/msnbc/files/styles/ratio--3-2--830x553/public/dem_2016_clinton.jpeg-4e62a.jpg?itok=rKUxW0wQ

All my games were political games; I was, like Joan of Arc, perpetually being burned at the stake.

– Indira Gandhi

As Digby pointed out in her excellent piece this morning, it seems to be getting tougher for the MSM to recognize a truly historic moment right away, even when it jumps up and bites them right on the ass.

Ditto for a distressingly large percentage of the American population, whose collective attention span holds a rough equivalency to the average life expectancy of  a photo once you post it on Snapchat.

However, I think it’s safe to say that, for those of us old and/or cognizant enough to have a sense of history, Hillary Clinton’s 99.9 % assured confirmation as the  presumptive Democratic nominee for POTUS last night can be recognized as a truly historic moment.

Love her or hate her, this is significant. Yes, it’s old hat for other democracies around the world; for the nation that allegedly leads the way in such matters, it’s shamefully overdue, but most welcome.

As for Hillary herself; she’s survived more trials by fire than The Mother of Dragons. You have to respect that, begrudgingly or not.

So feel free to put your phone on silent mode and take a moment…

https://youtu.be/_O8s2kg8ufc