Liberal Heroes?

Liberals are a lot of things, but hero is not usually the first thought that comes to mind. Nonetheless, those of us who scribble about the vicissitudes of 21st century politics and culture are often happy to discover that some on the Left sometimes get it right. This is not to say that progressives cannot evolve. Clearly some do. Prominent examples abound.

In the political arena, Ronald Reagan and Margaret Thatcher come to mind. Reagan emerged from the ultra-liberal Hollywood hothouse where tissue paper separates liberal from libertine. The president-to-be was a union man too. Thatcher was also unique; the first and only female British Prime Minister, a feminist model and pragmatic Conservative.  As a rule, Jane Fonda politics are closer to the norm at the feminist end of the political spectrum.

Still, the most influential voices are often those of cultural not political notables. George Orwell is a prominent modern example. Parallel to Winston Churchill, he evolved from the Bloomsberry miasma, the smog of English media and the British Broadcasting Company.

The BBC is as close to Hollywood that you can get with other peoples’ money. Nonetheless, Orwell, after some curb level exposure to tactical Communism in Spain, had the artistic integrity to mock the Soviet Union, then a strategic ally. Orwell’s allegorical exposés of unrestrained social folly are benchmarks of barnyard satire and modern art. The best fiction, or comedy, is truth.

The dangers of communitarian excess were obvious to Orwell long before history saw National Socialism and Communism as different shades of the same coercive fascist ideology. Unfortunately, Orwell came along long after Big Brother had a toehold in the West. Even the fall of the Berlin Wall was anti-climactic. Socialism had already jumped the Wall, leapfrogging Churchill’s Iron Curtain metaphor.

The Cold War coughed up some cultural heroes in America too. Elia Kazan, a Greek immigrant, comes to mind. In art and national politics, Kazan took on the sacred cows of socialism and the Hollywood establishment. He used cinema to expose corrupt unions (On the Waterfront), political racketeering, and anti-Semitism. In the real world Kazan, like Orwell, knew that the Media arts, in the hands of doctrinaire activists, became propaganda. Norman Lear’s preachy oeuvre is testimony to the liberal bunkum and balderdash now a staple in contemporary television.

Probably, there were never any serious barriers between art and propaganda -- or, for that matter, between science and advocacy. The science of surveys (Nielsen ratings) is the most telling. Surveys and polling are in the end retail tools, attempts to monitor then cater to preferences. Such surveys influence media content, advertising (a polite euphemism for retail propaganda), and ultimately, behavior. You could do worse than think of Nielsen, the Internet, and NSA as electronic evolution.

In many ways, behavior surveys beyond Nielsen, Madison Avenue, and Hollywood (Alfred Kinsey’s research is a prominent example) are a lot like environmental “science;” data collected and sifted to suit a personal agenda or a foregone conclusion.

The politics of scientific salesmanship are not much different than the politics of politics. Lines between fact, advocacy, and entertainment are blurred or erased. Objective or ambiguous data is lost to manipulation. The Nielsen Company and its network clients have created a cultural echo chamber, a generation of halfwits who prefer to be told, or entertained, rather than be informed.  “Wasteland” might just be another metaphor for gullible.

Even American public broadcasting has succumbed to the manipulation meme. The CPB now feeds in three troughs: taxpayer dollars, charity handouts, and Madison Avenue largesse. Non-profit, non-commercial TV sold out to the mall and no one noticed! Institutional objectivity was always a tough sell. Like common sense, media integrity is another loss to the marketplace.

With most impartiality abandoned by public and private institutional outlets, Media candor has devolved to individuals, iconoclasts, or comics. Sharyl Attkisson is a case study among journalists. Alas, Ms. Attkisson discovered that journalistic truth at CBS in the Obama era is also a variety of professional suicide.

But Ms. Atkinson is not the only standout in a media industry dominated by liberal politics and associated agendas. Some of the most enterprising examples of individual courage are still to be found in the satire. Profiles in entertainment courage here would include William Maher Jr., Dennis Miller, and Timothy Allen Dick.

Bill Maher

Bill Maher is an abrasive comic who in the space of a few months has crossed swords with Islam, Hollywood, the University of California, and Ben Affleck.  Maher torched the Islamism debate by comparing Muslims to the Mafia. Left Coast students are now trying to have Maher bounced as commencement speaker at UC Berkeley December graduation.

Maher has a dog in the Islamism fight; he’s half Jewish, half Irish. With that genetic mix, Maher would almost have to be tough, funny, and hyperbolic.

Ben Affleck, in contrast, is a Ted Kennedy Democrat, a rehab success story.  Writer, actor, now director; Affleck has worked his way to the top of the Hollywood pile. Alas, Boston Ben, is also a victim of an all too common Hollywood conceit, confusing celebrity with omniscience. Affleck is yet another egoist who presumes to know what Muslims think -- while ignoring what Muslims say or do. “Experts” like Affleck presume to know the true hearts of the mythical “moderate” Muslim majority.

Affleck’s Hollywood is like the Mohamed/Danish cartoon drama, satire directed at a culture that has little tolerance for truth, reflection -- or humor.

If you witnessed the Affleck/Maher debate, you saw a mercy killing, a petulant actor from Boston out of his depth, humiliated by an acerbic comic from New York who knows the real world, a place where people are literally losing their heads to false prophets.  Affleck confirmed his ignorance and naïveté by trying to defend Muslims with the race card.

“Since when is Islam a race,” quipped Maher. Ouch, Ben!

If Maher’s satire makes it to the UC Berkley podium in December, his remarks might become a holiday classic.

Dennis Miller

Dennis Miller is a Saturday Night Live alumnus who seems to have had a “road to Damascus” moment on the streets of New York. Miller’s bright flash of insight came when passenger airliners were flown into the Trade Center twin towers on September 11, 2001by Saudi Sunni Muslim “criminals.” Although Miller claims to be a libertarian, like Maher, he has no illusions about the Hollywood Left or “moderate” Muslims. Miller’s comedic gifts are unique, a distinct departure from the usual politically correct SNL banalities at NBC.

Dana Carvey and Jon Lovitz should get an honorable mention here as two other SNL vets brave enough to criticize Obama shills and defend Dennis Miller. Even Lady Gaga should get a hat tip for performing in Israel, defying the Boycott, Divestment, and Sanction (BDS) thugs.

If you can follow Miller’s Byzantine digressions, his rhetoric is to comedy what buttermilk is to baking, superfluous in a good way. When Miller has a pompous progressive in the crosshairs, he rarely misses. Of one such he said:

“Michael Moore simultaneously represents everything I detest in a human being and everything I feel obligated to defend in an American. Quite simply, it is every moron's right to be utterly, completely wrong."

Tim Allen

If you aspire to be a comic and your name is Timothy Allen Dick, your first act would be a name change lest you become the joke. Such exigencies gave a rebranded Tim Allen to the world of television.  The rest is history.

In Last Man Standing, Allen plays an outdoor dad trying to survive a stoic wife and a family of daughters midst all the social absurdities of life in the Obama nanny state. With a boy, only one penis is a worry. With daughters, every penis is a menace.

Obama regime domestic and foreign policy follies are God’s gift to Allen’s writers. As he did in Home Improvement, Allen uses one-man advertising cameos to skewer the low hanging fruit on the Left.

The recent Clinton/Obama tag team should have been a mother lode for all comics, but only Tim Allen exploits progressive claptrap on a weekly basis. Unlike Norman Lear’s straw men, the Last Man and its supporting cast are all believable characters.

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Language often fails us when we try to categorize art or artists. Trying to pigeonhole George Orwell is still a cottage industry. Alas, few would deny that Orwell’s satire was instrumental in leading the world through, and out of, two fascist nightmares. Today, the free world is again confronted with another totalitarian specter, this time religious fascism. Coercion, not nationalism, is the practice that defines any fascist.

Few politicians or entertainers, right or left, have had the courage to mock or call out Muslims or their apologists. Some intelligent American comics have been less timid. Their heroics merit a standing ovation. 

G. Murphy Donovan writes about the politics of national security

Liberals are a lot of things, but hero is not usually the first thought that comes to mind. Nonetheless, those of us who scribble about the vicissitudes of 21st century politics and culture are often happy to discover that some on the Left sometimes get it right. This is not to say that progressives cannot evolve. Clearly some do. Prominent examples abound.

In the political arena, Ronald Reagan and Margaret Thatcher come to mind. Reagan emerged from the ultra-liberal Hollywood hothouse where tissue paper separates liberal from libertine. The president-to-be was a union man too. Thatcher was also unique; the first and only female British Prime Minister, a feminist model and pragmatic Conservative.  As a rule, Jane Fonda politics are closer to the norm at the feminist end of the political spectrum.

Still, the most influential voices are often those of cultural not political notables. George Orwell is a prominent modern example. Parallel to Winston Churchill, he evolved from the Bloomsberry miasma, the smog of English media and the British Broadcasting Company.

The BBC is as close to Hollywood that you can get with other peoples’ money. Nonetheless, Orwell, after some curb level exposure to tactical Communism in Spain, had the artistic integrity to mock the Soviet Union, then a strategic ally. Orwell’s allegorical exposés of unrestrained social folly are benchmarks of barnyard satire and modern art. The best fiction, or comedy, is truth.

The dangers of communitarian excess were obvious to Orwell long before history saw National Socialism and Communism as different shades of the same coercive fascist ideology. Unfortunately, Orwell came along long after Big Brother had a toehold in the West. Even the fall of the Berlin Wall was anti-climactic. Socialism had already jumped the Wall, leapfrogging Churchill’s Iron Curtain metaphor.

The Cold War coughed up some cultural heroes in America too. Elia Kazan, a Greek immigrant, comes to mind. In art and national politics, Kazan took on the sacred cows of socialism and the Hollywood establishment. He used cinema to expose corrupt unions (On the Waterfront), political racketeering, and anti-Semitism. In the real world Kazan, like Orwell, knew that the Media arts, in the hands of doctrinaire activists, became propaganda. Norman Lear’s preachy oeuvre is testimony to the liberal bunkum and balderdash now a staple in contemporary television.

Probably, there were never any serious barriers between art and propaganda -- or, for that matter, between science and advocacy. The science of surveys (Nielsen ratings) is the most telling. Surveys and polling are in the end retail tools, attempts to monitor then cater to preferences. Such surveys influence media content, advertising (a polite euphemism for retail propaganda), and ultimately, behavior. You could do worse than think of Nielsen, the Internet, and NSA as electronic evolution.

In many ways, behavior surveys beyond Nielsen, Madison Avenue, and Hollywood (Alfred Kinsey’s research is a prominent example) are a lot like environmental “science;” data collected and sifted to suit a personal agenda or a foregone conclusion.

The politics of scientific salesmanship are not much different than the politics of politics. Lines between fact, advocacy, and entertainment are blurred or erased. Objective or ambiguous data is lost to manipulation. The Nielsen Company and its network clients have created a cultural echo chamber, a generation of halfwits who prefer to be told, or entertained, rather than be informed.  “Wasteland” might just be another metaphor for gullible.

Even American public broadcasting has succumbed to the manipulation meme. The CPB now feeds in three troughs: taxpayer dollars, charity handouts, and Madison Avenue largesse. Non-profit, non-commercial TV sold out to the mall and no one noticed! Institutional objectivity was always a tough sell. Like common sense, media integrity is another loss to the marketplace.

With most impartiality abandoned by public and private institutional outlets, Media candor has devolved to individuals, iconoclasts, or comics. Sharyl Attkisson is a case study among journalists. Alas, Ms. Attkisson discovered that journalistic truth at CBS in the Obama era is also a variety of professional suicide.

But Ms. Atkinson is not the only standout in a media industry dominated by liberal politics and associated agendas. Some of the most enterprising examples of individual courage are still to be found in the satire. Profiles in entertainment courage here would include William Maher Jr., Dennis Miller, and Timothy Allen Dick.

Bill Maher

Bill Maher is an abrasive comic who in the space of a few months has crossed swords with Islam, Hollywood, the University of California, and Ben Affleck.  Maher torched the Islamism debate by comparing Muslims to the Mafia. Left Coast students are now trying to have Maher bounced as commencement speaker at UC Berkeley December graduation.

Maher has a dog in the Islamism fight; he’s half Jewish, half Irish. With that genetic mix, Maher would almost have to be tough, funny, and hyperbolic.

Ben Affleck, in contrast, is a Ted Kennedy Democrat, a rehab success story.  Writer, actor, now director; Affleck has worked his way to the top of the Hollywood pile. Alas, Boston Ben, is also a victim of an all too common Hollywood conceit, confusing celebrity with omniscience. Affleck is yet another egoist who presumes to know what Muslims think -- while ignoring what Muslims say or do. “Experts” like Affleck presume to know the true hearts of the mythical “moderate” Muslim majority.

Affleck’s Hollywood is like the Mohamed/Danish cartoon drama, satire directed at a culture that has little tolerance for truth, reflection -- or humor.

If you witnessed the Affleck/Maher debate, you saw a mercy killing, a petulant actor from Boston out of his depth, humiliated by an acerbic comic from New York who knows the real world, a place where people are literally losing their heads to false prophets.  Affleck confirmed his ignorance and naïveté by trying to defend Muslims with the race card.

“Since when is Islam a race,” quipped Maher. Ouch, Ben!

If Maher’s satire makes it to the UC Berkley podium in December, his remarks might become a holiday classic.

Dennis Miller

Dennis Miller is a Saturday Night Live alumnus who seems to have had a “road to Damascus” moment on the streets of New York. Miller’s bright flash of insight came when passenger airliners were flown into the Trade Center twin towers on September 11, 2001by Saudi Sunni Muslim “criminals.” Although Miller claims to be a libertarian, like Maher, he has no illusions about the Hollywood Left or “moderate” Muslims. Miller’s comedic gifts are unique, a distinct departure from the usual politically correct SNL banalities at NBC.

Dana Carvey and Jon Lovitz should get an honorable mention here as two other SNL vets brave enough to criticize Obama shills and defend Dennis Miller. Even Lady Gaga should get a hat tip for performing in Israel, defying the Boycott, Divestment, and Sanction (BDS) thugs.

If you can follow Miller’s Byzantine digressions, his rhetoric is to comedy what buttermilk is to baking, superfluous in a good way. When Miller has a pompous progressive in the crosshairs, he rarely misses. Of one such he said:

“Michael Moore simultaneously represents everything I detest in a human being and everything I feel obligated to defend in an American. Quite simply, it is every moron's right to be utterly, completely wrong."

Tim Allen

If you aspire to be a comic and your name is Timothy Allen Dick, your first act would be a name change lest you become the joke. Such exigencies gave a rebranded Tim Allen to the world of television.  The rest is history.

In Last Man Standing, Allen plays an outdoor dad trying to survive a stoic wife and a family of daughters midst all the social absurdities of life in the Obama nanny state. With a boy, only one penis is a worry. With daughters, every penis is a menace.

Obama regime domestic and foreign policy follies are God’s gift to Allen’s writers. As he did in Home Improvement, Allen uses one-man advertising cameos to skewer the low hanging fruit on the Left.

The recent Clinton/Obama tag team should have been a mother lode for all comics, but only Tim Allen exploits progressive claptrap on a weekly basis. Unlike Norman Lear’s straw men, the Last Man and its supporting cast are all believable characters.

                                             -------------------------------

Language often fails us when we try to categorize art or artists. Trying to pigeonhole George Orwell is still a cottage industry. Alas, few would deny that Orwell’s satire was instrumental in leading the world through, and out of, two fascist nightmares. Today, the free world is again confronted with another totalitarian specter, this time religious fascism. Coercion, not nationalism, is the practice that defines any fascist.

Few politicians or entertainers, right or left, have had the courage to mock or call out Muslims or their apologists. Some intelligent American comics have been less timid. Their heroics merit a standing ovation. 

G. Murphy Donovan writes about the politics of national security