Michael Moore has announced that the DVD of his documentary “Capitalism: A Love Story” is now available. On its own, that wouldn’t really be enough to interrupt an episode of Law and Order:SVU with a special report. What makes this release interesting is that it is being carried by Wal-Mart, which is featured prominently in the film in a not particularly flattering manner. As Moore says on his blog:
The fact that Wal-Mart is carrying this movie — a movie that specifically exposes Wal-Mart’s past practice of taking out secret “dead peasant” life insurance policies on its employees and naming itself as the lone beneficiary should the employee meet an “untimely” early death — well, my friends, need you any further proof that Corporate America is so secure in its position as the ruler of our country, so sure of its infallible power that, yes, they can even sell a movie that attacks them because it poses absolutely no threat to them?
Moore contends that Wal-Mart is simply unafraid of any negative publicity due to their market dominance. They are too big to be hurt by a little documentary. I would go a step further. I believe that Wal-Mart is expressly aware that they can make a bundle off of this. And since their mission is to make money and increase shareholder value, that goal takes precedence over any potentially bad PR. They are demonstrating a principle articulated by the anti-consumerist artist Banksy, who said:
“I love the way capitalism finds a place – even for its enemies. It’s definitely boom time in the discontent industry.”
Modern marketing philosophy long ago adopted the position that the counter-culture was cool and, in order to attract contemporary consumers, you have to be willing to bash whatever is considered to be the establishment, even if it’s you. That strategy has led to progressive radio stations, who are owned by giant conglomerates, to explicitly insult their corporate parents. It has led to graffiti being embraced by staid art galleries. It has led to television commercials with music that is notably inconsistent with the product being advertised. Some of my favorite examples of the latter:
Jaguar’s use of “London Calling” by confirmed leftists The Clash.
Fidelity Mutual Funds use of David Bowie’s “Changes,” which contains the lyric “Don’t want to be a richer man.”
Carnival Cruise Lines use of Iggy Pop’s “Lust for Life,” which is about heroin use, not partying on yachts.
This self-deprecating brand of promotion is kind of like McDonalds opening up a health food restaurant and imploring people not to poison themselves on the crap at those golden-arched fast-food joints. And now Wal-Mart is selling Michael Moore’s Capitalism. What a world.
Last Night Sean Hannity devoted the entire hour of his Fox News program to the documentary “Generation Zero.” This morning Fox Nation featured it on their web site as a “Must-See” film.
Generation Zero recently made its public debut at the Tea Baggers Ball in Nashville and was subsequently screened at CPAC, where it was introduced by the terminally choleric Andrew Breitbart. The film was produced by David Bossie of Citizens United, the plaintiff in the recently decided Supreme Court case that granted corporations unprecedented financial participation in federal elections. It was directed by Stephen Bannon who, in another life, produced the Sean Penn directed “The Indian Runner.” Don’t tell Bill O’Reilly, who is boycotting Penn’s films.
I haven’t seen this film (it’s not actually been released yet), but its pedigree and cheer leaders reveal something of its intended mission. The web site says the film is not about the failure of capitalism, but it goes on to say that it will “change everything you thought you knew about Wall Street and Washington.” That assertion makes it difficult to separate the movie’s message from the tenets of capitalism. From reviews and discussion of the film, it seems the basic premise is that the current economic meltdown we find ourselves struggling through was caused by the selfishness and egocentrism of the children of Woodstock. This is a peculiar and illogical theory.
It’s a peculiar theory in that it presumes to blame the “Baby Boom” generation for today’s economic catastrophe. But in doing so, the film is really blaming the poor parenting skills of the “Greatest Generation” who, in their zeal to shield their kids from the pain of depression and war, acceded to their every material want and raised them to be shallow and self-indulgent. That’s a pretty harsh condemnation of the generation that survived decades of trauma in the first half of the last century. The filmmakers are essentially charging the generation that fought its way through the economic disasters of the 1930’s and the worldwide conflagrations of the 1940’s with raising their children to be so socially decadent as to lead the nation into near economic collapse. Do the filmmakers really believe that these parents passed no lessons on to their kids about the hardships they endured?
It’s an illogical theory in that it attempts to create linkage between the hippies of the 1960’s and the financial barons of the 1990’s. So much of the rhetoric of right-wing history revisionists relies on castigating the youth movement of the 1960’s. They are portrayed as drug-addled degenerates and dropouts who contributed nothing of value to society. Their preoccupation with trivialities like civil rights, peace, and free love, permanently labeled them as subversive and anti-social. Since when did their reputation get rehabilitated to the point that they are now seen as captains of industry and finance with the blood of our capitalistic empire on their hands? Surely many former hippies went on to successful careers, but I would venture to say that not one of them became the CEO of AIG or Merrill Lynch.
The Baby Boomers that took the helm of big business were the ones that kept their hair short and listened to Pat Boone in the 60’s. They were the hall monitors and the narcs at their prep schools. They were born to wealth and privilege. It was they, who were already inbred with self-indulgence and egotism, who held the reins of power in the 2000’s. It certainly was not a bunch of idealistic, public school, counter-culture, former flower children who somehow grew up to be greedy sociopaths.
It wasn’t a cabal of aging hippies who invented credit default swaps. It was a cooperative of Wall Street pirates and their Washington patrons. It wasn’t the result of permissive parenting, but of submissive regulators and legislators. While Generation Zero dwells way too much on an unrealistic Leave It To Beaver version of the 1950’s, it actually does approach this part of the problem as well. The movie does not neglect the culpability of an entrenched financial class that has no historical memory whatsoever.
Ironically, that’s exactly what Michael Moore presented in “Capitalism: A Love Story.” Moore’s film was an indictment of the coziness between Wall Street and Washington. And it assailed the notion that solutions had to be afforded to the tottering financial institutions, rather than to the suffering citizens who were the victims. So some of the themes in Generation Zero that are now being heralded by the rightist media were previously explored by Moore. But while there are clear parallels between Moore’s Capitalism and Bannon’s Zero, it is unlikely that either side will acknowledge it. The chasm is far too wide to cross. Even on Hannity’s show there was an exchange that came close to recognizing this ideological affinity, but it was ultimately ignored as they broke away to a commercial.
Sean Hannity: Is it the political system that is more corrupt? Because I believe Capitalism works. Capitalism is the answer. David Bossie, Producer: Clearly Capital Hill is corrupt. Capital Hill is the problem, not Wall Street here. Stephen Bannon, Director: I think it an inextricably linked network between Capital Hill and Wall Street. […] You’ve had the American taxpayer, the average, middle-class American, paying taxes to bailout these big firms, and there’s been no change in behavior, no change in structure no change in regulation.
It’s interesting to see Bossie quickly suck up to Hannity and absolve Wall Street of any liability. It’s even more interesting to see Bannon contradict both of them and spread the blame evenly across the econo-political spectrum. But most interesting would be if all the people that go to see Generation Zero would pick up a copy of Capitalism: A Love Story as well. They may realize that Michael Moore is not the demon he’s made out to be by the right. And conversely, Moore might take a look at Generation Zero. If it isn’t stuffed with right-wing polemics and denunciations of 60’s “radicals,” perhaps he could promote it alongside his own movie.
If both of these films tell the same story of overarching corporate greed and government complicity, it would make a compelling double bill.
In an epic battle of good vs. evil, the archetypal superhero, Captain America, has come out four square against hysterical protest movements that embrace racism and disseminate disinformation in pursuit of a greedy, intolerant agenda: i.e. Tea Crusaders (It aint no party).
Actually, Captain America attempted to express his revulsion of the Tea Crusaders, but agents working for the rightist cabal succeeded in getting his publisher, Marvel Comics, to apologize and remove the offending comments from future printings.
The controversy involved a short segment of the comic wherein Captain America’s alter-ego, Steve Rogers, was observing a protest march by a group of right-wing, anti-tax, activists. The marchers, in an accurate portrayal of reality, were an all-white mob of angry tea-volutionaries carrying signs that recall the Tea Party actions last year. The part that got the Crusaders all worked up contained this image with a sign saying “Tea Bag the Libs Before They Tea Bag You.”
I’m not sure I understand what the Crusaders are grumbling about. The sign being carried by the comic protester is one that has made repeated appearances at Tea Party events. David Weigel of the Washington Independent captured it on film. It is a sentiment that they readily accept and promote. Now, all of a sudden, they are outraged by their own slogans.
As a result of their bellyaching, Marvel Comics, a subsidiary of the Walt Disney Company, took the exceedingly cautious (i.e. cowardly) move of apologizing. And since there was nothing about the comic that was false or defamatory, the only reason for the reversal must be to mollify prospective comic book readers who may also be Tea Baggers.
The moral of the story is that, while Captain America may be able to defeat the most vile and villainous enemies ever dreamed up in the imaginary world of comics, he was vanquished by a very real enemy, an international corporate media conglomerate. I’d say we need to call the X-Men, but they are already in the employ of super-villain Rupert Murdoch.
If you don’t know who Banksy is, find out. If you do, you may be interested to know that he made a movie that is debuting tomorrow at the Sundance Film Festival.
In the late 1990s, a hybrid form of graffiti began appearing in cities around the world. Enlisting stickers, stencils, posters, and sculpture and spread by the burgeoning Internet, it would be labeled “street art” and establish itself as the most significant counterculture movement of a generation. Los Angeles-based filmmaker Terry Guetta set out to record this secretive world in all its thrilling detail. For more than eight years, he traveled with the pack, roaming the streets of America and Europe, the stealthy witness of the world’s most infamous vandals. But after meeting the British stencil artist known only as “Banksy,” things took a bizarre turn.
I can’t wait. No, I mean that, I really can’t wait. Does anyone know where I can see it RIGHT NOW? Anyone?
About four years ago I wrote an essay on the the declining status of artists in public life. It detailed how cultural imperialists sought to brand artists as petty amusements who should dance smartly for us and keep their opinions to themselves (i.e. Shut Up and Sing). What an unholy perversion of the purpose of art.
Now, more than ever, we must support our creative advocates. They are the emotive flank of our army and they can inspire and motivate far better than the lecturers who holler at us and wave from their podiums.
…there has arisen a class of self-appointed, civic hall monitors who believe that they can decide who passes through the corridors of free expression. These martinets of virtue want artists to repress their natural inclination to share their insight and their soul.
But…
Every great social movement was fueled in part by the arts – from the Napoleonic era Disasters of War by Goya, to the guerilla postering of Robbie Conal. The art insurgency is latent now, but it is strong and committed. Like other insurgencies, it blends in with the populace and can strike with fierce and startling force. It stockpiles its weapons of mass construction for the building of consensus and passion and hope.<
Banksy is the embodiment of this philosophy. His public art is a free shot of adrenaline to a world that is too often half asleep or numbed by too many blows to the head.
The blockbuster, mega-million dollar, groundbreaking, techo-marvel, spectacle, Avatar is opening tonight. Thank goodness it hasn’t been over-hyped. Nevertheless, there is still a fair amount of anticipation for this cinematic tale of a person of color from another country…er…world.
With regard to the film itself, don’t expect to find me in line for an early screening. In fact, don’t look for me on February’s lines either. Suffice it to say that I don’t plan on rushing out to see this flick. There are two reasons in particular that sap any motivation for me to sit through this two and a half hour plus epic.
First, I’m terminally bored with special effects. Particularly when I am advised beforehand that they will change filmmaking, or my life or, or the rotation of the earth, forever. That’s a promise that has never been kept. I’ve seen enough special effects that I am now fully cognizant that anything that can be imagined can be committed to film. It comes as no surprise that digital artists (of which I am one) can produce wonders both realistic and fantastic. Consequently, to stoke my interest in a movie, I prefer to be moved by storytelling, character development, and the sort of drama or comedy or suspense that registers on an emotional level. To be sure, that can occur in a film that contains special effects, but the effects should compliment the storytelling, not supplant it. I really am not impressed by another realistic looking robot or alien or landscape.
Second, I hated Titanic. To be precise, it was something more than hate. I regard it as one of the worst movies I’ve ever seen. The acting, the effects, the script (oh lord), the naked schmaltz – there wasn’t a single thing I can recall that was redeeming about it. And in its time it was the mega-million dollar epic that was going to change everything.
Enough already. You know you have reached a new low when a fawning analysis in the iconic Hollywood Reporter relates this overheard bit of artistic defeatism:
So obviously has the creative bar been raised that I heard one young writer-director at the premiere say to his friends, “What do we do now?”
I would suggest that that young writer-director look for work selling insurance. If watching one movie exhausts his capacity to express himself creatively, he doesn’t have a calling for creative pursuits. He can save us all a lot of money and himself a lot of heartache by quitting now.
However, there is a fun element of the hype machine churning around this marketing extravaganza. Right-wingers have latched onto the notion that the movie is a slap at America and its imperialistic ways. They are hammering director James Cameron as an America-hating leftist. I assume they would like to see this nearly half billion dollar monstrosity suffer a massive box office failure, just as they would like to see President Obama fail. And so far as Avatar is concerned, I eagerly support their desire. After all, Avatar is a production from Rupert Murdoch’s Fox studios and watching Murdoch lose money is always fun.
Here is a collection of some the rightist reviews of Avatar:
Hot Air:“Avatar” reportedly super mega ultra left-wing
Given the framework of the plot and the obvious allegorical intent – military invades planet to secure valuable commodity in the soil – what other way could this flick have conceivably tilted?
Debbie Schlussel:Don’t Believe the Hype: “Avatar” Stinks (Long, Boring, Unoriginal, Uber-Left)
It’s essentially a remake of “Dances With Wolves” and every other movie where we evil Americans terrorize the indigenous natives, kill them, take their land, and are just all around imperialistically wicked and inhumane. Oh, and we’re destroying the environment, clearing precious giant trees and natural landscapes and killing rare animals and their habitats, in order to invade and harvest valuable substances under the ground. Sound familiar? Yup, just like a million diatribes from Daily Kos, Democratic Underground, and every other far-left outlet about how we invaded Iraq for oil. Yes, “Avatar” is cinema for the hate America crowd.
Newsbusters:Is ‘Avatar’ A Multi-Million Dollar Ad For Global Warming?
With the imminent release of the science fiction blockbuster “Avatar,” some have characterized it as a multi-million dollar public service announcment for global warming.
Telegraph UK:Is Avatar an attack on the Iraq War?
The US public is frankly tired of the anti-war rhetoric of the Left, which has sounded increasingly hollow since the success of the surge in Iraq. James Cameron should leave the political commentary out as he promotes his new film, and acknowledge that the Iraqi people are immensely better off now than they were living under the boot of Saddam Hussein.
RedState:“Avatar” Is a Steaming Pile of Sith
In case you don’t get the analogy, we (the humans) are the Bad Guys who are going to attack the “Tower” that the Noble Savages hold dear. In other words, humans are attacking the environment with technology, and it’s analogous to 9/11. Americanism is terrorism, in other words. […] No one should be surprised that Hollywood liberals hate America and Western Civilization.
After all that I’m beginning to get more interested. I may yet decide to see Avatar if enough reviews like those keep coming out. Or if enough people I respect have good things to say about it. I haven’t seen a review of the film from Fox News. I wonder if that’s because they hated it and are hesitant to publish that, or because they loved it but don’t want to promote a treasonous piece of Marxist propaganda.
But I’m still waiting for the preeminent curator of culture to weigh in. After Glenn Beck’s revelations about the secret socialist art that is hidden in plain sight throughout Manhattan, I couldn’t really draw a conclusion on this without his insight. I’m sure he will find demonic horrors in the film that even Cameron didn’t know were there. And only Beck can decipher the coded signals to ACORN operatives and radical environmentalists that are surely cloaked in between the frames.
Sleep with one eye open, children. The lefties are now invading your thoughts in 3D.
A little over a year ago Barack Obama was elected to the presidency of the United States of America. It was an historic event that made headlines around the world and will forever be remembered as milestone in American politics.
No one deserves more credit for this achievement David Plouffe, Obama’s campaign manager. He orchestrated a brilliant strategy that emphasized hope and change, and the result was a remarkable victory over both the entrenched Democratic Clinton dynasty and the wealthy Republican Grand Old Machine of Washington.
Now the winner of this contest has a book out that is competing with the second banana of the loser’s ticket. It is a contest that pits Sarah Palin’s book, “Going Rogue,” that was ghost written for her from the perspective of defeated candidate, and is chock full of the ideology that contributed to her defeat, against a book written by a modern master of politics with insight into the winning philosophy and strategy.
David Plouffe not only led the effort that put Barack Obama in the White House, but he also changed the face of politics forever and reenergized the idea of democracy itself. The Audacity to Win is his story of the groundbreaking achievement, taking readers inside the remarkable campaign that led to the election of the first African American president.
In this extraordinary book, David Plouffe unfolds one of the most important political stories of our time, one whose lessons are not limited to politics, but reach to the greatest heights of what we dream about for our country and ourselves.
For some reason, the loser is winning this book race. I’m not sure what this says about the America’s book consumers, but there is a disturbing message in there somewhere. Well, Plouffe is not taking it laying down. He has launched “Beat Sarah Palin Day,” an effort to sell more copies of his book, “The Audacity to Win,” in one day than Palin’s collection of fables and self-indulgence. This no easy task, as Palin’s disciples are motivated and hungry for more of her shallow platitudes and liberal bashing. Plouffe describes her book and his impression of her in the video below saying…
“Her book obviously talks about an agenda that was completely rejected November 4, 2008, by the American people, and I think would take us in the completely wrong direction. So the truth is, I hope her book tour goes on for a long time because I think having her out there, and her message, as the kind of opposing viewpoint to what the President is trying to do, could not be more helpful.”
I agree. Palin is the best thing to happen to Democrats in decades. Republicans like to demonstrate how popular she is by citing polls that show 60-70% of the GOP want her to run for president in 2012. I bet if they polled Democrats the number would be 100%.
Today is our opportunity to give Sarah a big smackdown. We can show that we are out here too, and we’re not buying her garbage. To be clear, the results of this contest don’t really have a great deal of meaning in the big picture. It is more for the fun of it. Book sales are not an accurate barometer of electoral strength. Just as right-wingers like to believe that Fox News’ ratings validate their superiority, the truth is that that is a poor gauge. It is always better to win at the ballot box than at the idiot box, which is what we did in 2006 and 2008, despite Fox’s ratings. And the same holds true for publishing. Especially when the rightist propaganda engine skews the numbers by purchasing tens of thousands of books that they give away or offer as premiums for joining their organizations or subscribing to their magazines.
So if you are interested in reading a true account of a brave campaign, today is the day to buy Plouffe’s book. If you are looking for a gift for family or friends, this would be an excellent choice. If you just want to stick it Palin and thumb your nose at the Tea Baggers lining up at Barnes & Noble, here is your chance. Plouffe says in the video that if you weren’t already planning to buy his book, that you shouldn’t do so for this event. But I disagree. If you’ve got $15.00 that you don’t need for rent, this is a great way to use it. Not only do you get an enlightening literary experience, you also get to poke Palin. And on top of that, $1.00 from every book sold today will be donated to child and adult literacy programs.
So now is the time to take up the challenge. Let’s BEAT SARAH PALIN today. And then every day thereafter. What could be more satisfying – and fun?
Michael Moore’s new documentary “Capitalism: A Love Story,”opened nationally yesterday in 900 plus theaters after a limited engagement in just four theaters in New York and Los Angeles. The bi-coastal exclusive set the record for the year so far in per theater box office. The wide launch is now adding handsomely to the film’s success.
For Friday alone Capitalism earned $1.5 million, putting it in seventh place. The six movies ahead of it were all in two to three times as many theaters. Capitalism was the third highest earner on a per screen basis.
[Update 10/5/09: The full weekend take for Capitalism was $4.85 million. It took eighth place for the weekend. It was fourth on a per screen basis]
Three months ago I made a prediction that Capitalism would draw a larger audience than the Fox-sponsored Tea Baggings. So how did I do?
With ticket sales of $4.85 million, and an average ticket price of $7.18, it comes to about 675,000 tickets sold. That number is higher than any estimate of the Tax Day Tea Parties last April. In addition, the attendees of the 9/12 Tea Bagging in Washington were estimated to have been about 60,000 to 70,000. That estimate was provided unofficially by the DC Fire Department. There were other debunked estimates that went as high as 2 million, and they came with photo documentation. The only problem was that the photo was proven to be from a rally that took place over ten years prior. So if we throw out the ludicrous seven-figure fabrications, it would still take ten times the Fire Department’s numbers to approach (yet still fall short of) the audience for just one weekend of Capitalism’s attendance.
Conclusion? I was right! So what’s the significance of this foresight? It isn’t that I’m an uncommonly gifted observer of politics and media (well, not just that, anyway). As I wrote last June, the media made quite a spectacle of both the Tax Day Tea Baggings and the 9/12 event. The implication was that any public gathering that attracted such a crowd should be regarded as statement of the public’s mood. If that’s the case, and if Moore’s movie performs the same or better as an attraction, then wouldn’t that make this event at least as representative of the public mood as the Tea Parties were said to be? Wouldn’t that suggest that it deserves at least as much attention from Fox News and the rest of the media?
So far, Sean Hannity has not hosted a live, on location event with thousands of cheering Moore supporters. Glenn Beck has not assembled throngs of patriotic Americans who agree with Moore that our economic system is dangerously flawed. We haven’t even seen Griff Jenkins cheerleading for the film and riding along on bus tours promoting it. What’s more, the rest of the press is not treating this cinema sensation, that is outperforming the Fox-sponsored rallies by every measure, with equivalent resources and exposure.
The fact that Capitalism produced a bigger turnout than the Tea Parties should guide coverage of, not just the movie, but the issues underlying. It ought to inform the press corps that Americans are expressing their views through the free market by actually paying to align themselves with a political position that is woefully underrepresented in the media. It ought to put the lie to the claim that Tea Baggers were non-partisan opponents of reckless government spending. Were that true, they would be flocking to Moore’s movie which addresses the very issues they claimed to be so riled up about. Instead they are bashing the movie, without having even seen it.
Capitalism, the economic system, is demonstrating that Capitalism, the movie, is a far better gauge of where America is today than the lame tea socials that were so heavily promoted by Fox News and the rightist media. Despite not having anywhere near the promotional boost, or the free publicity from Fox, the movie is proving that Americans are far more interested in honesty and fairness in government than in pandering to the giant multinational corporations who got us into this mess in the first place. The Beck’s and O’Reilly’s and Hannity’s of the world pretend to be guardians of the people’s welfare, but in reality they are defenders of greed and deregulation and all of the worst faults of unbridled capitalism. When will the press recognize this and balance their coverage with reports on what the film’s success really means?
It’s is rather ironic that the success of the movie, in which Moore describes capitalism as “evil,” is also a demonstration of the free market voting for Moore’s perspective on free markets. God bless America.
Let’s face it…Glenn Beck is insane. He rattles off loopy conspiracy theories that connect dots that only he can see. He makes wild and unsubstantiated accusations against his perceived enemies. He weeps incessantly over unexplained threats to “his” country. And, best of all, he draws pictures of his hallucinations that he thinks makes everything oh-so-clear.
It occurred to me that he might be able to use a little help (OK, a lot of help). So I drew up a few pictures of my own that convey a bit of the altered reality that infests Beck’s brain. This is my contribution to enhancing the understanding of a profoundly disturbed individual going through a very public psychological collapse.
If you are so inclined, feel free to make your own contributions and leave links to your work in comments.
Have at it.
And just to put some perspective on the impact of Beck, a new Wall Street Journal/NBC poll reveals that most respondents don’t know who the heck he is:
“According to the poll, 24 percent have a “positive” view of the Fox News host, while 19 percent view him negatively. Interestingly, 15 percent were “neutral” and 42 percent said they didn’t know Beck or weren’t sure.”
That’s comforting. And I wouldn’t worry about the 24% positive. It’s probably the same deadenders that support Bush, Palin, and Joe the Plumber.
In the 1982 film Blade Runner, Rutger Hauer plays a replicant (human clone) who returns to Earth from an extraterrestrial labor colony to find what all humans want – more life. In a climactic scene with Harrison Ford he tries to convey the depth of his passion for life saying that “I’ve seen things you people wouldn’t believe.” His character’s name is Roy Batty. And batty would certainly describe Glenn Beck’s latest hallucinatory escapade in pursuit of demonizing progressives. He too is seeing things, and yes, we don’t believe it. [See Beck’s previous Messianic Delusions]
“I’m trying to show you the things that seem to be hidden but they’re not. They are out in plain sight. Those with eyes will not see and those with ears will not hear. You’re awake. You need to see the things that are hidden in plain sight.”
Those with fingers will not touch and those with feet will not smell. If only some of those with tongues did not speak.
Beck has used his divine vision to reveal the evidence of Satan’s secret seeds. Planted amongst us are the vile devices of communists and fascists meant to steal our thoughts and sway our allegiances to the dark side. And what are these tricks of the netherworld’s master? They are paintings and sculptures and other works by history’s subversives – the artists! These mental traps were set decades ago by devious social perverts with a century long plot and an abundance of patience.
In this sermon (captured on YouTube), Beck associates the evil artists with their patron, Rockefeller. Unfortunately, he doesn’t specify which one. In fact, he jumps around to several of them without making any distinction. It’s as if they were all incarnations of the same demon spirit. Was Beck referring to John D. Rockefeller, Sr., the ultra-capitalist business maven who founded Standard Oil? Or was it his son, the real estate magnate who built Rockefeller Center? Or was it Nelson, who was the Republican Governor of New York and Vice President of the United States? Or was it Jay, the current Senator from West Virginia? No matter. In Beck’s mind, they were all socialist stooges.
Beck begins his unveiling with a denouncement of a relief at the entrance to Rockefeller Center. The work shows two men on either side of the doors. Beck tells us that one is holding a hammer, and the other a sickle. Ergo communism! It’s right there in plain sight. Except that the first man is actually holding a shovel according to the historians curating the Center’s artwork. The figures were meant to represent the strength of America’s industry and agriculture, which I’m sure Beck views as treasonous.
Then Beck focuses on a bas relief carving by Italian American sculptor Attilio Piccirilli called Youth Leading Industry. Beck’s interpretation of this work centers on his theory that the artist, and thus the work, were avowedly fascist. Beck asserts that a strong male figure in the piece is Mussolini. Whether or not that’s true, and there is some debate, it is illustrative of Beck’s dementia that he can jump from warnings about progressives being communists to progressives being fascists without taking a breath. In the real world, Mussolini was a bitter foe of Stalin and vice versa. And the artwork itself is simply heralding a young, creative, and prosperous America. Another subversive concept in Beck’s mind.
Turning to a more conventional subject matter for art, Beck finds fault with a biblical representation of the verse regarding turning swords into plowshares. I’m not even sure what Beck’s complaint is here, but he’s upset about something. Perhaps it just has to do with the fact that there is another swords/plowshares sculpture on the grounds of the United Nations. And the site for the U.N. was donated by – Rockefeller. Obviously there’s something sinister in there somewhere. I also like Beck’s explanation for why he keeps his own sculpture depicting the swords and plowshares. It isn’t because of the message of a peace delivered by God. It’s because it reminds him that something beautiful (the statue) can come from someplace ugly (Russia). Evidently he has never heard Tchaikovsky or seen Chagall or read Dostoyevsky.
The next piece for which Beck provides his striking analysis is a painting by renowned Mexican artist Diego Rivera. Beck is concerned by the presence of people like Stalin and Lenin in the artwork. The funny thing about this hypothesis is that the painting Beck is reviewing doesn’t exist at Rockefeller Center. Beck is reviewing a version of the painting that Rockefeller rejected because of his objection to the very iconography that Beck is pointing out. Rockefeller had commissioned a work from a draft that did not contain those elements. Yet Beck still blames him for the piece he had thrown out. And, of course, it is not one of those works of propaganda that Beck said is hidden in plain sight. Unless you’re walking around Mexico City.
For Glenn Beck to set himself up as an art critic/historian is funnier than anything Monty Python ever thought up. While his interpretations lack any knowledge of the subject, they are jam-packed with paranoid fantasies that would make David Berkowitz’ dog shudder. And Beck is the only one who can see any of it. He’s the only one who can see that Rockefeller (whichever one) was not a capitalist captain of industry at all, but a clandestine communist (or was it fascist) revolutionary. He is the only one who can see the coded symbols in the wicked artwork.
Beck has just recently recognized the malicious power of art as propaganda. He took on the National Endowment for the Arts for holding a tele-conference with artists for the purpose of promoting public service and volunteerism. Now I actually would have agreed with him that that may be outside the mandate of the NEA, but his manic distortions of reality make it impossible to even tangentially agree with anything that comes out of his warped brain. If he regards an initiative to boost the Peace Corps as a dangerous example of propaganda, how can he be taken seriously?
Rightist demagogues have long feared the power of artistic expression. In January of 2003, shortly before the U.S. invasion of Iraq, Colin Powell assembled the media at the United Nations to comment on his presentation in support of war. But before the media arrived, the tapestry of Picasso’s masterpiece, Guernica, was covered by a blue drape. A press conference to discuss launching an unprecedented war of aggression could not be held in front of one of the twentieth century’s most moving anti-war statements. The symbolism of literally throwing a blanket over this representation of truth is unmistakable.
But Beck is not demystifying art, he is attacking it. He is assigning false intentions to the artists and their work. He is denigrating these long-respected icons of free expression and celebrations of American prosperity and spirit. And worst of all, Beck is virtually inviting his disciples to do harm to these works, or any others in which they imagine horrors lurking. He is no better than the Taliban mullahs who destroyed the Buddhas of Bamyan, giant statues in Afghanistan that were over 1,500 years old.
If Mullah Omar had a show on the Taliban Fox Network he would have been making the same sort of claims about the Buddhas that Beck is making about this art. Hopefully Americans are more tolerant than the Afghans that allowed Omar to blow up the Buddhas. And hopefully they are smarter than Beck and his congregation of glassy-eyed followers who wouldn’t know art if it was right in front of them everyday – like the over 100 works commissioned for Rockefeller Center.
With the passing of Farrah Fawcett, there will be endless references to her beauty, to her smile and hair and the figure so famously captured in a poster. But there is much more to this woman than the surface assets that fueled her celebrity.
After her star-making role in Charlie’s Angels, Farrah was cast as a victim of domestic abuse in the television drama, “The Burning Bed.” It was a role that required her to challenge the critics who, at the time, dismissed her as eye candy. It was a role that called for her to set aside her most bankable qualities and portray a character that was often grotesquely beaten and painful to look at. And it was a role that was controversial in its day, not just for addressing a subject about which few people spoke, but for the assertive, defiant, and aggressive response of the character she played.
The Burning Bed was directed by Robert Greenwald who now runs Brave New Films, a progressive production company and Internet enterprise. The TV movie was nominated for eight Emmys, including Outstanding Directing and Outstanding Lead Actress. Amongst Greenwald’s more recent projects is the brilliant “Outfoxed.”
While Greenwald has gone on to be a profound spokesman for progressive causes, Farrah became a featured guest at conservative events. Yet they never lost their affection or respect for one another. The Huffington Post has just published Greenwald’s account of his last meeting with Farrah a month ago. He recalled their working together:
“I was directing her for the first time and her fearless commitment to going to the darkest places emotionally never wavered. She never hesitated when I took her to battered women’s shelters. To interview women with painful stories.
And she never flinched when I described how we needed to take away her wonderful beauty and life force to make the film and role authentic.”
In her final months, Farrah demonstrated her unique courage by being uncommonly public about the dire state of her health. She appeared in a gut wrenching documentary, “Farrah’s Story,” that chronicled her search for a cure. The ultimate result of her generous accessibility will be to empower others to face and fight the misfortunes in life that most of us will encounter at some point. The same is true for her contribution to the fate and strength of women in destructive relationships that she brought to the forefront of the national dialogue more than twenty years ago.
In an epic battle of good vs. evil, the archetypal superhero, Captain America, has come out 
The blockbuster, mega-million dollar, groundbreaking, techo-marvel, spectacle, Avatar is opening tonight. Thank goodness it hasn’t been over-hyped. Nevertheless, there is still a fair amount of anticipation for this cinematic tale of a person of color from another country…er…world.
