January 2013 Archives

Roundup of recent liberal hypocrisy

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With Democrats having routed Republicans since the general election, they're in a strong position to further progressive regulations. That means more rules for you and me--not necessarily them. Since I don't have the time to catalog each example of liberal hypocrisy in a separate article, I'll briefly summarize some rather amazing recent examples.

·         Mayor Michael Bloomberg of New York, on a one-man crusade for gun control since the Sandy Hook massacre, is just fine being surrounded by men with guns. He's just not OK with you having any. Conservative activist Jason Mattera confronted Bloomberg and his security detail  and asked, "In the spirit of gun control, will you disarm your entire security team?" Bloomberg said he'll get back to him. Means no. Apparently it's fine for he and his family to be protected with guns, but not the little people.

·         The Daily Caller reported that liberal hatchet website Media Matters apparently purchased "multiple firearms used to protect the Media Matters founder." That man, David Brock, reportedly gave his blessing to the purchase, and one of his staff "committed numerous felonies in the District of Columbia and around the country by carrying a firearm ." The Daily Caller obtained an internal email exchange that revealed "the gun was purchased with cash in Maryland, likely to diminish the chances such a purchase would appear on the tax-exempt group's books." Brock, who has a history of mental issues, said he feared "right-wing assassins" and rooftop snipers,

·         Speaking of mental health and gun control, in the wake of the Sandy Hook massacre Michael Moore tweeted, "The way to honor these dead children is to demand strict gun control, free mental health care, and an end to violence as public policy." Like Bloomberg, Moore, who directed the anti-gun Bowling for Columbine, just doesn't think gun control should hamper HIS lifestyle. His bodyguard was arrested for carrying an unlicensed weapon in New York.

·         Liberal author Stephen King wrote that he wished NRA leaders "would be required to put on booties and rubber gloves and help clean up the blood, the brains, and the chunks of the intestine still containing the poor wads of half-digested food that were some innocent bystander's last meal." King has made millions through the sale of violent books. One book that didn't sell well had a character that brought a gun to school and shoot his Algebra teacher.

·         David Gregory, host of NBC's Meet the Press, displayed an illegal high-capacity magazine on the show while advocating for stricter gun control. The Metropolitan Police Department even warned the network beforehand that displaying it would violate D.C. law. However, prosecutors declined to pursue charges against Gregory. To summarize, Gregory wants even more gun laws, blatantly violated one that existed, and skated. Liberals don't like it when their draconian laws apply to them.

·         In "an estate-planning move worth of a Jedi Master," liberal filmmaker George Lucas sold Lucasfilm to Disney for $4.05 billion--six weeks before higher taxes took effect that would have cost him hundreds of millions.

·         Al Gore, the face of global warming hysteria, made $100 million in petro-dollars from the sale of his CurrentTV network to Al Jazeera. Al Jazeera is closely associated with the government of Qatar, which makes money almost exclusively from the sale of oil. Gore reportedly tried to sell the network before taxes increased at the beginning of 2013.

·         Democratic Senator Bob Menendez, who got his start in politics as a "corruption-fighting mayor" in New Jersey, is being investigated for allegedly flying on a donor's plan to the Dominican Republic and having sex with underage prostitutes there.

That's enough for now. Hypocrisy isn't limited to just Democrats. Republicans do it too, but generally they are not the ones asking for more laws to be created (at least not the real Republicans, anyway) only to try to get around them.

Common sense is the first casualty in the new battle over guns

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Common sense is the first casualty in the new battle over guns

Since the most recent iteration of the gun control debate stems from the massacre of two dozen schoolchildren at Sandy Hook Elementary in Connecticut, it's an understandably emotional issue. Like all Americans, I was horrified at what happened--maybe more than some as I am the father of two young children. However, it is our responsibility as adults to check our emotions when discussing important issues so that we might hand off a better country to the next generation and resist the cynical attempts by politicians to use the children's deaths to jump start an ideological agenda.

Since the murders were committed with a gun, the knee-jerk reaction of those who take the intellectual path of least resistance is to "do something" like "ban guns" or "increase gun regulations."  Certainly, it's harder for those individuals to connect school shootings to abstract concepts like the breakdown of the family unit.

The Star is to be commended for opening a discussion on causes of violence instead of simply focusing on tools used to commit violence. Unfortunately, even though the original work cites some pretty good arguments from two local gun dealers, three of the best arguments against further gun regulations are missing, which are:

1. It's in the Constitution

The best argument for guns is the least persuasive to progressives and the low-information voter. The 2nd Amendment guarantees the right to bear arms, and the Supreme Court affirmed it as an individual right. The purpose of the guarantee is not to hunt or for sport, but to give the citizen a last line of defense against a tyrannical government. Our Founding Fathers had just thrown off an oppressor, and they feared the government they created would grow to oppress future generations. By arming the public, they tipped the scales of power into the individual's hands. Every attempt to erode it since has put each of us at the mercy of an all-powerful government. A cursory knowledge of history reveals what happens when citizens are disarmed, knowledge the low-information does not possess. To the progressive ideologue, the Constitution is not something to be consulted, it's something to be sidestepped. And so, the best argument for guns will go unheeded.

2. Gun laws only serve to disarm those who obey the law

Here's where common sense plays a role in the gun debate. As common sense isn't common, Criminals do not obey laws, by definition. By definition, law abiding people do. Therefore, laws regulating guns will disarm those that obey laws and put them at the mercy of those who do not. In other words, power shifts away from good people and ends up in the hands of bad people. Ironically, people that decry strict drug laws as advocate for strict gun laws, despite the failure of both.

Perhaps if the manufacture of all guns is prohibited, not even criminals can find guns. Two seconds of thought reveal that laws passed in the United States only affect the United States, so any other country could fill the criminal demand for guns on the black market--just as they do for drugs, which are available just about everywhere.

Finally, there are already laws against many types of guns used in crimes. It is against the law to murder, against the law to steal guns, against the law for certain people on probation to handle guns, and so forth. Yet violence occurs every day.  If laws against murder are ignored, why would any clear-thinking person think the solution lies with more laws?

3. Guns provide for self-defense

As good as our local police departments are, they are primarily a reactive force. Their job is to show up after a crime has occurred to draw chalk outlines around the victims. No response time is good enough to protect a family whose house is broken into in a home-invasion robbery. Citizens must be afforded a right to use deadly force to protect themselves. That means rifles, handguns, and shotguns. Even limitations on magazine capacities can put people's lives in danger. Criminals seem to have no problem getting banana clips for their AK's , but I can't have more than 10 shots in my gun? What if 3 or 4 people break into my house and I miss a couples times? I'm dead.

Conclusion

Progressives and low-information voters seem to both believe that power is best left in the hands of experts, the elite, and authorities. Low information-voters want to defer the hard choices to someone else, and progressive ideologues want to be that someone.

An underpinning of both their belief systems is that centralized power can be used not just to minimize violence--but to prevent it.  In that futile pursuit to change what cannot be changed--human nature--half the country is willing to cede power to an increasingly scary government. 

Movie review: Django Unchained

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Considering Quentin Tarantino is my favorite director and the ultimate Spaghetti Western--The Good, The Bad, and The Ugly is my favorite movie, chances were good I was going to like Django Unchained, Tarantino's take on the Spaghetti Western. It did not disappoint. However, there was an element in it that was disturbing in a way that goes beyond the violence usually associated with Tarantino's films, which normally I don't find offensive. He uses it to portray gritty reality, as in Pulp Fiction, or as cartoonish nods to 1970s Kung Fu movies or similarly grueling Japanese anime. The violence in Django Unchained, however, seemed more like an attempt to be inspirational rather that imitative of reality or a movie Tarantino wanted to recreate.

I'm not one that finds it easy to criticize Tarantino's movies. I own most of them and have seen them enough to recite most of the lines. I didn't need to read Django's credits to spot stunt actress Zoe Belle from Death Proof as a silent, masked, Boba Fett-like slave tracker in the thirty seconds she was on the screen. I recognized Michael Parks as the pimp in Kill Bill 2 and as the same sheriff character in Kill Bill 1 and From Dusk Till Dawn; I'm not a stranger in the Tarantinoverse. Furthermore, as a fan of Spaghetti Westerns, I'm delighted to see scenes in Kill Bill and Inglourious Basterds that could have been taken right out of The Good, The Bad, and The Ugly.

Like many others, I became a fan of Tarantino's after watching Pulp Fiction in 1994, and I circled back to watch Reservoir Dogs, then saw Jackie Brown when it opened on Christmas Day in 1997. The Kill Bill movies were a departure from the realistic, Neo-Noir, original storyline style he helped mainstream--indeed they were the complete opposite of his earlier films, being more comic book than crime drama, while preserving his films' dialogue-driven style. He remade movies that he saw growing up in his own unique style--Jackie Brown was his Blaxploitation movie, Kill Bill was his Kung Fu movie, Deathproof was his slasher movie, Inglourious Basterds was his Dirty Dozen-inspired war movie, and Django is his Western.

Tarantino isn't just a copycat robbing other movies. The originality he inserts into them makes them good enough to stand on their own. He writes amazing dialogue, so that characters sitting around a table chatting about seemingly nothing--whether it be the crime crew in Reservoir Dogs, Jules and Vincent in Pulp Fiction, The Bride and Hattori Hanzo in Kill Bill, or Hans Landa and a French dairy farmer in Inglorious Basterds)--not only keep you interested but have you quoting them long after the movie.

Django Unchained seems to be a Frankenstein of all of his influences--it's part Spaghetti Western, part Blaxploitation, part Kung Fu, and part slasher; all rolled into one.

It definitely has the weakest of Tarantino movie openings--there is no witty dialogue around a breakfast table as in Reservoir Dogs, no "what the heck just happened" (again at a breakfast table) in Pulp Fiction, not even Jackie Brown standing on a people mover for five minutes. It's just slaves walking in the desert to the theme from Django, a 1960s Spaghetti Western that is lesser known than Sergio Leone's Man With No Name trilogy.

Like Leone's movies, Django was a low-budget, Italian/Spanish Western centered around a strong silent type that never missed with his revolver. Except it didn't have Clint Eastwood and it wasn't scored by Ennio Moriccone, so it failed to be the overseas successes that For a Fistful of Dollars, For a Few Dollars More, and The Good, the Bad, and the Ugly were.

In addition to Leone's visual style and Moriccone's weird-but-effective music, the plots are rather intricate for corny overdubbed movies. They involve uneasy alliances, where clever characters with competing interests have to team together for a short while.

In The Good, The Bad, and The Ugly, which Django Unchained undoubtedly draws some influence, a bounty hunter (Eastwood) forms a partnership with the notorious criminal Tuco, wherein the pair will travel to various towns, Eastwood will hand Tuco over to the authorities for reward money, then spring him from jail. They split the reward and repeat the trick wherever Tuco has a bounty on his head (which keeps rising as he becomes even more notorious).

The unlikely duo betray each other but come across a dying man who knows the location of a buried treasure. He tells Tuco the cemetery and Eastwood the name on the grave. Each armed with only a piece of the puzzle, the shaky alliance reforms as they set out to recover the treasure before a third rival gets there first, all set against the backdrop of the Civil War. The three arrive at the same time and the matter is settled with the three-way Mexican Standoff, which has become of a fixture of Tarantino's movies.

In the first ten minutes of Django Unchained, we also meet a pair of bounty hunters who form an alliance, the German immigrant Dr. King Shultz--played by Christoph Walz, who basically reprises his role as the charming-but-evil Hans Landa in Inglourious Basterds (except now he's a good guy who hunts criminals instead of Jews)--and Django, a runaway slave.

But rather than the alliance being fragile, uneasy, and tense, which is at the core of each of Leone's great Westerns, there is no such drama in Django and Shultz's partnership. They become friends and Shultz takes Django under his wing and promises to help him find his wife who was sold into slavery. There is no betrayal, no paranoia of who-is-on-whose side that we feel in Reservoir Dogs. Tarantino passes up a chance to tempt Shultz into betraying Django over the reward money his head is sure to command after their string of killings. Without the tension, Django lowers itself to be just a revenge movie with Kill Bill style violence and Tarantino's snappy dialogue.

Not that there's anything wrong with revenge movies. We cheer when Mel Gibson wipes out a company of English soldiers in Braveheart, and when he does again in The Patriot. We love it when Denzel Washington in Man on Fire takes out anyone in a cartel who was associated with a little girl's kidnapping. Every father roots for Liam Neeson when he dismantles a crime organization to save his daughter in Taken. We get all vigilante with Charles Bronson in Death Wish. We just plain love it when someone gives the bad guys what they deserve--see Eastwood in Dirty Harry, Unforgiven, and Gran Torino (which is a more mature version of Unforgiven).
In those movies we hate the oppressive British overlords, the Redcoats, evil cartels, kidnappers, rapists, murderers, and gang members.

Tarantino's Django Unchained continues that tradition, and makes slaveowners the target in the way Nazis were in Inglourious Basterds, which culminated in a Jewish soldier emptying a MP42 in Hitler's face. It was violent and vengeful to be sure, and it was directed toward a specific, evil group of people.

Basterds didn't make us hate all Germans. Braveheart and The Patriot didn't make us hate all Englishmen, Gran Torino didn't make us hate the Hmong, and Taken didn't make us hate Rumanians.

Can the same be said for Django Unchained? We are repulsed by the slaveowners just as we are of the Nazis in Basterds. Does it stop with that odious group or does it bleed into something else?

We start to see clues as to Tarantino's intentions when Django catches up with the white slave overseers that whipped his wife. He turns the tables on them and in front of the other slaves, whips and kills them. Iconically and in slow motion, the other slaves lift their heads to see their tormentors' blood splatter the cotton fields. 

I don't have any sympathy for the slaveowners--they are enemies of freedom. However, is the violence against white slaveowners portrayed in the film specific enough so that the audience doesn't think the film is meant to be a violent fantasy directed at white people in general?

With today's racial tensions and increasingly different worldviews separating blacks and whites, it's dangerous and irresponsible to make a "let's have all the black people kill all the white people" movie.

Unfortunately, on deciding to become a bounty hunter, Django has the attitude of "Getting paid to kill white people--what's not to like?" He then goes on a rampage and kills just about every white person in the movie.

Then to promote the movie on Saturday Night Live, Jamie Foxx joked that he thinks it's "great" he kills all of the white people in the movie. Not just the despicable slaveowners--all the white people.

It seems Tarantino allowed this to become about black people versus white people, instead of slaves versus slaveowners. Yes, slaves were black and slaveowners were white, but not all white people were slaveowners. Tarantino dangerously lumps them all together. Not only do the slaveowners die, but their families as well.

But perhaps more disturbing, white people aren't Django's biggest enemy. A black person is--the house slave played by Samuel L. Jackson. The "Uncle Tom." Truly, he's a despicable character, worthy of the audience's hate. Nobody cries over his fate.

To the extent that people extrapolate Django Unchained into contemporary social commentary, then guess who they will identify with Jackson's character? That's right, the group liberals hate the most--black conservatives.

After all, that's what the Larry Elders, Allen Wests, Condoleezza Rices, and Thomas Sowell's of the world get called every day of their lives.  

Ironically, those brave souls are the true Djangos. They are the figures that should be the real sources of inspiration for black people. They rebelled against the velvet, hidden slavery of free handouts to strike it out on their own and escape the dependency of the government overseers, where blacks are taught from birth that they can't compete without help from paternalistic liberals. Like Jackson's character who can't stand to see a black man ride a horse, today's black "leaders" are the first to attack Elder, West, Rice, and Sowell who preach independence and dignity.

Tarantino made yet another solid movie with Django Unchained, a good entry into the "revenge movie" genre. But if he, or anyone in his audience, attempts to make it into a social message that extends beyond the characters in the film, they irresponsibly exacerbate existing racial tensions.

Tax Policy Center is a big winner in 'Fiscal Cliff' saga

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While reading coverage of the drama surrounding the so-called Fiscal Cliff, I kept coming across references to the Tax Policy Center as an impartial expert--further obscuring the real purpose of the center, which is to advance left-wing economic policies, while enhancing its credibility.

·         Bloomberg: "The budget deal passed by the U.S. Senate today would raise taxes on 77.1 percent of U.S. households, mostly because of the expiration of a payroll tax cut, according to preliminary estimates from the nonpartisan Tax Policy Center in Washington."

·         Washington Post: The nonpartisan Tax Policy Center has just completed a new analysis of John Boehner's "plan B" fiscal proposal, which would raise taxes only on income over $1 million. The analysis makes it pretty clear just how ludicrous it is for House Republicans to be expecting Obama to agree to it."

·         FactCheck.org:  "The scheduled tax increases, if allowed to take effect, would net an additional $536 billion in fiscal year 2013, according to the nonpartisan Tax Policy Center, raising more than $5 trillion in 10 years."

It's pretty funny that a fact check group that is itself biased uses as an official source that is also biased. It gets even better when the liberal mainstream media quotes the liberal fact-check group that cites the liberal think tank, while each group fiercely claims to be nonpartisan. It's liberal lying on an Inception scale.

Lying is too strong of a word, though. Technically, the Tax Policy Center is nonpartisan--but only in the sense that they support an ideology instead of party. They are progressives and not necessarily Democrats. All their "research" supports left-wing economics, even when they criticize today's elimination of the payroll tax cut. They oppose that only because it's a regressive tax.

Without going through all of their publications independently, I'll just stop at this. If a conservative think tank like the Heritage Foundation subdivided into the "Tax Policy Group", you can bet the media wouldn't label it "nonpartisan." So when the liberal Brookings Institute and the liberal Urban Institute form the Tax Policy Center, I'd expect the same treatment, if I didn't know any better.

IngeMusings
Topic
This blog attempts to add perspective and context to local and national politics, through a variety of disciplines, such as history, economics, and philosophy--all tempered with common sense. About the author

Eric Ingemunson's commentary has been featured on Hannity, CNN, NBC, Inside Edition, and KFI's The John and Ken Show. Eric was born and raised in Ventura County and currently resides in Moorpark. He earned a master's degree in Public Policy and Administration from California Lutheran University. As a conservative, Eric supports smaller government, less taxation, more individual freedom, the rule of law, and a strict adherence to the Constitution.
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