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The Shadow of Selma

King at Selma, courtesy of Bob Adelson

King at Selma, courtesy of Bob Adelson

On the 50th anniversary of the historic violence during a civil rights march in Selma, Alabama, President Barack Obama once again disgraced the nation based on individual rights. He did so by minimizing the history of what happened at Selma 50 years ago, when peaceful Americans were physically assaulted and murdered by the government, reducing its importance, distorting its meaning and telling lies about America.

I say this because, while the first intellectual to publicly name Obama as fundamentally both dishonest and anti-American was Leonard Peikoff, I think that if America is to survive Obama’s calamitous presidency, Peikoff must be the first of many more.

Amid distorted visions, lies and coded signals for what he really aims to do, as against what he says he wants to do, Obama talked about the need to “roll back poverty” despite six years of failed economic policies and incessant dismantling of capitalism through massive government controls and takeovers of work, banking, business, finance and industry.

The president’s dishonesty worsened, as he railed against voting laws targeting certain types of people while he enacts voting laws targeting certain types of people. By reducing the historic injustice against blacks to the so-called right to vote, he insidiously persuades the passive listener into forgetting that Selma should be remembered for its unjust actions by the state against the individual, clearing a path for Selma to be revised in history as some vague, faceless collective crusade for some vague, generic, automatic government voting mechanism. Never mind the bloodshed at Selma that ought to be remembered as part of a struggle by the individual against the state. Blank out that the so-called “right to vote” is meaningless without the right to live, think, create, make money and pursue happiness or that the politician for “voting rights” is destroying individual rights by dictate or “executive order”.

Obama’s dishonesty climaxed as the speech went on. Referring to claims of race-baiting, he invoked his own administration’s report exonerating a cop in a local police shooting, which the black attorney general admitted found no evidence of wrongdoing by the white policeman who had been accused of racism, manslaughter and murder. Obama distorted the truth of the Justice department’s report—which, crucially, dispels the notion that the person who’d been shot had his hands up—baiting with some discovered racist e-mail messages to discard and evade the fact that police acted properly. “We don’t need the Ferguson report to know that [charges of race-baiting are] not true,” Obama said, baiting for race and evading the facts. “We just need to open our eyes, and ears, and hearts, to know that this nation’s racial history still casts its long shadow upon us.”

Most Americans should know by now that it is the nation’s current president that casts the shadow of racism. Time and again, whether denouncing a white New England policeman or evading his administration’s exoneration of a white Midwestern policeman, it is Obama, who views his own life as a story based on race, who rushes to judge based on race. It is Obama who prejudges, judges and misjudges based on race. It is Obama who judges, and calls upon Americans to judge, based not on the sum total of a person’s virtues in action—what the Reverend Dr. King, Jr. rightly called the content of one’s character—but based on the color of one’s skin. The shadow of racism, which Ayn Rand rightly called a primitive form of collectivism, is cast by the president of the United States.

In this sense, Obama at Selma, having earlier this year exploited Oprah Winfrey’s mediocre movie Selma, dishonors King at Selma. Barack Obama belongs on the side of Selma’s oppressor, not on the side of Selma’s oppressed.

King in his magnanimously peaceful crusade sought to enlighten, unite and liberate Americans, to obtain for the wrongly deprived their inalienable individual rights. Obama in his unilaterally powerful government action seeks to confuse, divide and control Americans, forcing those he regards as unfairly privileged to serve those he regards as wronged. It should therefore by now be clear that Barack Obama lied when he invoked the great emancipator Abraham Lincoln those nine years ago in Springfield, Illinois. Obama lied yesterday, too, when he told those gathered at Selma:

America is not the project of any one person. Because the single most powerful word in our democracy is the word “We.” We The People. We Shall Overcome. Yes We Can.”

Yes we can…what? On answering this question, contradictory Obama, who is himself the one person who regards America as his project to fix, blanks out.

The noble vow that “We shall overcome” refers to rising above the actions of an unjust government. America’s founders made reference to “We the people” …in order to form a more perfect union based on man’s rights. Obama’s Yes We Can serves only to negate and destroy: Yes We Can nationalize the medical profession. Yes We Can indiscriminately spy on Americans. Yes We Can destroy capitalism. Yes We Can refuse to wage war on states that sponsor Islamic terrorism. Yes We Can dictate what you eat, whether you travel, whether you use and what you say on the Internet. Yes We Can means No You Can’t do anything without the permission of the U.S. government.

“Two hundred and thirty-nine years after this nation’s founding, our union is not yet perfect,” Barack Obama said yesterday at Selma. This in practice means that Obama’s damage is not yet done; Obama the destroyer is bent on total destruction of the United States of America, its founding ideals and its highest laws. At its core, his Yes We Can means that Obama’s unthinking worshippers (“We”) can destroy America. With ObamaCare, the NSA, TSA and a gauntlet of government controls, and an unnamed Islamic enemy unchallenged across the world and appeased and encouraged to make catastrophic weapons, America’s end is closer than ever.

Obama closed his speech at Selma with another lie—a false profession of faith—that all Americans “believe in the power of an awesome God.” As usual, the president of the United States is 100 percent wrong. All Americans do not believe in God, let alone in “the power of an awesome God”, though Obama acts as if he wants Americans to believe that he possesses the power of an awesome God.

America is not a collective. America consists of Americans who are individuals. Some are believers. Some are atheists. All are considered to be infidels by America’s enemies, which is why all Americans should hold individual rights—including the right to not believe in a supernatural being—above all. While America’s Islamic enemies unite around what Benjamin Netanyahu rightly calls death, tyranny and the pursuit of jihad, Americans must reject Obama’s conflation of the injustice of the past with a future of total government control and instead unite around the truth that life, liberty and the pursuit of happiness are protected by individual rights.

To do so, Americans must step out of the shadow of America’s dark past and away from the shadow of this dishonest, dishonorable American president and into a new, reunified enlightenment marching as a nation of united individuals toward achieving the promise of the future the man on the mountaintop once so bravely described.

Reference Link

Read Obama’s speech

RIP, Leonard Nimoy

Leonard Nimoy, who died today in Los Angeles, was the godfather of geek subculture. As the rational Mr. Spock on NBC’s science fiction dramatic series Star Trek, he was a voice of reason at a time in American history when audiences desperately needed to hear one. His character was both a contrast to William Shatner’s heroic Captain James T. Kirk and DeForest Kelley’s emotional Dr. McCoy and Spock emerged as a central figure on Gene Roddenberry’s show. Nimoy, a Jewish poet, actor and director (Three Men and a Baby) should be remembered for his distinguished career in show business, too, not merely for his role in the Star Trek franchise, including early performances for dramatic television that predate Star Trek.

NimoyBut it is for his embrace of the genre and spirit that defines the Spock character that sets Nimoy apart and for reasons that transcend the iconic series. First, the 1966-1969 series, which heralded the “voyages of the starship Enterprise” and sought to “boldly go where no man has gone before” was a radical departure from traditional TV programming in many respects. Second, it was a commercial and critical failure, being cancelled for low ratings and largely dismissed or ridiculed by critics and dominant intellectuals. Third, the part of Spock, who was an alien though also part human, was so distinctive that Nimoy became indelibly associated with it once the cancelled series earned new fans through 1970s syndication (which, incidentally, is where I discovered it with my brother). Nimoy’s first book, I Am Not Spock (1975), was published at what was thought to be the peak of the cult success of the Desilu/Paramount produced series. It would be years before Star Trek: The Motion Picture (1979) would be released and it hardly took Hollywood by storm.

In the intervening years, Nimoy carried on and memorably so in the 1978 remake of the nonconformist science fiction picture Invasion of the Body Snatchers as a psychiatrist. He later played in an adaptation of Aldous Huxley’s Brave New World, hosted the syndicated series In Search of… (1976-1982), played in the Marco Polo telefilm and portrayed Israeli Prime Minister Golda Meir’s husband opposite Ingrid Bergman in A Woman Called Golda for which he was nominated for an Emmy Award and of course he played Spock many more times after the Star Trek movies started to gain a wider audience. Nimoy appeared in the mediocre reboot in 2009.

Leonard Nimoy had helped bridge the gap between the wasteland of the late 1960s and the emergence and legitimization of geek culture in the 1980s. By the time the technology revolution launched in the 1990s, Star Trek was an established, respected brand in movies and television. Such acceptance may have fueled and ignited many an imagination for what huge and exciting industrial advancements were to come and Star Trek, with Spock, Kirk and McCoy in particular, led the way in cultivating an American, pro-Western, pro-industrial, pro-reason sense of life. In the words of Mr. Spock, and the late Leonard Nimoy had a hand in this, too: “Live long and prosper.”

These days, with the White House refusing to name an Islamic worldwide barbarian invasion as Islamic, it is all too rare to encounter such a blatantly pro-Western civilization, pro-capitalist, secular-rational-selfish formulation and his remarkable career on and off screen is as uniquely subversive and unusual as the roles he chose to portray (and he apparently did choose to portray Spock). May his Mr. Spock and what this iconic character means—the lone voice of reason defined by volition, not by blood, tradition or religion, acting on his own judgment, often against the collective and refusing to just follow orders—inspire future generations to be bold and radical in the spirit of uncompromising enterprise and may Leonard Nimoy rest in peace.

87th Oscars

220px-Oscar_statuetteThe 87th annual Oscars were another freakish mixture of preachy politics, vulgar humor and fading if lustrous glamour. It rained at Hollywood and Highland and the Academy Awards ceremony reflected the dreary fact with a master of ceremonies who made jokes at winners’ expense, including jokes about a filmmaker whose award for a crisis hotline movie was dedicated to her late suicidal son and a documentary about Edward Snowden, whom the host implied is guilty of “treason”. The host, deadpanning Neil Patrick Harris, also made several racist jokes, though these were told with an apparently deliberate attempt to induce guilt among white people, so it was expected to be acceptable.

The unearned guilt trip came on strong, too, in the Best Song category, which featured a rap song from the lackluster Selma by rapper Common and John Legend, who made political speeches when they won after a performance that all but repeated their routine at the Grammys. This after the white host chose an Academy Award-winning black actress, Octavia Spencer (Snowpiercer, Black or White) for a subservient role during the entire show, played for laughs, and mispronounced the name of the lead actor from last year’s Best Picture, 12 Years a Slave. But the race-based humor and mistakes are all supposed to be forgiven and forgotten because the snide, pandering host kept admonishing the Academy for not nominating the mediocre Selma more often. Harris also mocked the Best Picture winner Birdman by coming out in his underpants in a new low, even for the Oscars.

Harris had started off the show with a good song and dance number honoring moving pictures, which was well performed with help from Jack Black, Anna Kendrick (Into the Woods) and visual effects that set the right tone with clever shadows that evoked Hollywood’s Golden Age. But left-wing politics quickly intruded once again as Best Supporting Actress winner Patricia Arquette told the audience of the world’s richest women, including powerful billionaire movie producer Oprah Winfrey (The Hundred-Foot Journey) that women aren’t paid enough and don’t have “equal rights”. The way these wealthy show business people preached, one would think that blacks and women don’t have rights in America.

Those who defend rights, soldiers and war veterans, went unmentioned on stage, though American Sniper producer and Best Actor nominee Bradley Cooper recognized them on the red carpet to his credit and so did a few others. Some Hollywood women were simply ignored like the war vets. Among those forgotten in the Academy Awards ceremony were comedienne and red carpet fashion commentator Joan Rivers, despite the inclusion of a film critic few remember and other questionable choices. Joan Rivers was not the only Republican left out of Oscar’s memorial segment; film noir actress Lizabeth Scott, who starred in 22 films, was also dismissed. While Ida won Best Foreign Movie, Whiplash won a few times and what I think is 2014’s best picture, American Sniper, won an Oscar, some of last year’s best movies were not nominated, including St. Vincent, Black or White and A Long Way Down.

Reminding everyone in the audience at Hollywood Boulevard’s Dolby Theatre, a block from Oscar’s first venue, The Roosevelt Hotel, and the billion people watching around the world what really matters fell to the evening’s oddest couple and most elegant, talented and glamorous pair: Julie Andrews and Lady Gaga, honoring a truly great, serious and musical motion picture, The Sound of Music (1965). This is a movie about ideas, family and uniting against evil by bonding based on what one loves.

In paying tribute to its 50th anniversary, Lady Gaga erased the previous segment’s unearned guilt and captivated the audience with a breathtaking display of ability with a beautiful medley of songs from the film. She commanded the hall in her superior voice singing tunes by Richard Rodgers and Oscar Hammerstein for a magnificent movie about escaping from total government control of one’s life, work and music. She was followed by a clearly moved Julie Andrews, who spoke with eloquence and reverence for Oscar’s winner for 1965’s Best Picture. Lady Gaga and Julie Andrews delivered a momentary glimpse of ability and glamour, which lasted no longer than a few minutes. Yet it offered an unforgettable contrast in what it means to achieve in one voice true movie musical glory.

New Media and You

nightly_newsJournalism suffered a few blows this week and not for the reasons you might think.

First, NBC Nightly News anchorman Brian Williams was suspended and had his pay slashed in half after he apologized for conflating a story in which his war correspondence was at issue. I’ve written that I’m giving Williams (if not NBC News) the benefit of the doubt, which he’s given me no prior reason not to grant, though I think it’s clear that he is an example of journalism driven by having fans, not gathering, having and reporting facts. Still, I think NBC News is more responsible for whatever wrong has been done, given what is currently known. That the nation’s top anchorman was caught conflating (there is no evidence of lying) the truth, which he acknowledged and for which he apologized, who was, in turn, vilified by the press and the public without a proper and thorough inquiry and then suspended without half his pay before either exoneration or proof of wrongdoing strikes me as a disincentive for others to step up when they make a mistake. That NBC News, which is totally infected with subjectivism, is not at all transparent about what is known by its investigators compounds the problem. No one should expect NBC, which is controlled by a crony cable utility, to be objective about Brian Williams, his replacement or the news. What happened to Williams is, as I wrote when the story broke, a black mark on today’s journalism and not only because of Brian Williams. The blame also lies with those who watch.

This was my point a few years ago when I wrote about comedian Jon Stewart, who announced this week that he’s quitting his Comedy Central program. It’s the audience that ultimately propels today’s media and the vicious cycle of mistaking satirical, cynical, absurdist humor mixed with facts for news is that it leads to more reasons to feel like sneering at the world and its corollary that the whole world deserves it. So what’s left is a landscape of shockmeisters such as Howard Stern, Greg Gutfeld, Bill Maher, and other crude, sniveling types where once the public tuned in newsmen such as Harry Reasoner, Walter Cronkite and Mike Wallace. In between, even hosts and publishers such as Johnny Carson, Hugh Hefner and Tom Snyder were serious and intellectual compared with today’s often vacuous and self-centered TV personalities such as Oprah, Barbara Walters and Bill O’Reilly.

American media has been in a steep decline for decades, since Woodward and Bernstein made headlines out of relatively trivial matters and, perhaps through no intention of theirs, became bigger than the stories they covered. This made personality-oriented print and broadcast journalism all but a necessity in the age of new journalism. The fabricating began in earnest and it never let up, from Janet Cooke at the Washington Post to Jayson Blair at the New York Times. But the padding and airheaded advancement of stories not based on facts and truth emanated from the highest levels and the most vaunted institutions, not working class blokes like yours truly and other less anointed bloggers, freelancers and scrappy, self-made journalists. The list of those caught lying or concealing is not only long; it includes today’s biggest names: Mike Barnicle, Fareed Zakaria, Stephen Ambrose, Doris Kearns Goodwin, and Joe Klein, to say nothing of the newspaper scandals in auditing circulation and the Los Angeles Times‘ Staples Center fiasco.

If you’re reading fake news, why not watch fake news that admits it’s fake?


Enter Jon Stewart and his cohort the ascendant Stephen Colbert, owing to the godfather of fake news, the Weekend Update segment on NBC’s Saturday Night Live. Could Borat, stunts by Breitbart and Michael Moore’s Sicko among other fabricated stories be far behind? Now, Stewart, coddled by and nuzzling up to his intellectual cousin O’Reilly, formerly of the torrid A Current Affair, moves up into a presumably higher status. The circus goes on while the public knows less and seeks only to laugh through the sneer. So, the cycle continues: subjectivism spreads. Laughing with, or even at, the irrational as an evasion of being rational becomes a heavy burden that gets heavier with each major development. The Simpsons, once a segment on a Fox variety show, has been on the air for decades. Stewart has been on The Daily Show (note its antithesis to the nightly news) for 15 years. Deterioration of cultural discourse parallels the rise of the absurd and the asinine.

Last night, news came that punctuates the point. CBS News correspondent Bob Simon, who traveled the world, took risks and was captured by an Arab dictatorship and held for 40 days, died in a car accident at the age of 73. Police said Simon was not wearing a seat belt and there may be more to the story.

But the fawning, personality-driven, subjectivist media wanted very little or nothing to do with facts. Fox News hostess Megyn Kelly mentioned Simon’s death briefly and then moved on. The Los Angeles Times did not find it necessary to bother addressing, let alone reporting, the circumstances of the car accident. CNN invited its leading newsman Anderson Cooper, who had his own syndicated daily talk show, as a guest to talk about working with Bob Simon. But, rather than discuss the facts of Simon’s death, Cooper kept saying that Simon’s death is “incomprehensible”. The fact is that dying in a car accident is not incomprehensible, especially if one is not wearing a seat belt.

The media’s herd mentality on Bob Simon’s death is that it is ironic because Simon lived in such a risk-oriented manner but died in a preumably random car accident. As the LA Times reported: “60 Minutes boss, executive producer Jeff Fager, noted the irony: Simon “had escaped more difficult situations than almost any journalist in modern times” but lost his life as a passenger in a hired car that smashed into a Mercedes Benz at a stoplight.” As usual, the Times reported only partial truth and they reported it as the definitive and final account. Strictly speaking, the Times report is false. Simon’s life was not lost in the manner the newspaper describes; Newsday reported that Bob Simon wasn’t wearing his seat belt and “died from blunt force head trauma as well as other injuries in a Manhattan car wreck” and that “a law enforcement source said his driver had nine past license suspensions and two outstanding traffic summonses.” Simon’s death is not ironic. On the contrary, if Newsday‘s report is true, Simon died as he’d lived: knowingly risking his life.

This aversion to reporting facts in favor of framing the story, in this case the Times‘ compulsion to impose an irony theme on the story regardless or in absence of the facts, is subjectivism. It starts with the public accepting, following and buying fake news and demanding more of it to consume and laugh at, lulling them into the plausible denial that the world is collapsing. Subjectivism ends, and objectivism in news begins, with thinking for oneself and demanding facts even if it means making an effort to gather, grasp and analyze facts. This means tuning out fake news and tuning in (or learning how to look for) real news. To use a noble phrase which is more likely to be satirized, being objective means seeking the truth, the whole truth and nothing but the truth about reality.

The Grammys (2015)

Grammy logo

The 57th annual Grammy Awards were another showcase of mostly mediocre music and an unabashed advertisement for the host television network, CBS. There were no major breakthroughs, surprises or flubs. The main reason I watched was the enormously popular work by Sam Smith, whom I wanted to see perform, speak and, hopefully, win (which he did—four times).

Smith, who paired for a warm and inviting duet with Mary J. Blige of his introspective hit song about the one-night stand, “Stay with Me”, spoke with humor and rationality. He spoke of the man with whom he fell in love that broke his heart and led to his writing the tune. He also spoke of choosing to stop living for others and instead being true to himself as the turning point in achieving his goal. What he said is especially insightful for one so young and I have every reason to believe he’ll have a great career in music. Read my review of his brave album, In the Lonely Hour, which has sometimes been damned with faint praise for lyrics that are too plain—the more I listen, the more I think his simple, rhyming words are among his top talents—here.

Other Grammy highlights included a spontaneous Paul McCartney grooving to the music, Usher exuding confidence while singing a Stevie Wonder song while accompanied by a harpist, Maroon 5’s Adam Levine singing with a slouching, lackluster Gwen Stefani and carrying the song by himself very nicely and good performances by Beck, Ed Sheeran and Electric Light Orchestra’s founder Jeff Lynne. I wanted to like what Lady Gaga and Tony Bennett were doing while singing about dancing to “Cheek to Cheek” though I thought it was a missed opportunity. I thought Annie Lennox, formerly of Eurythmics, expelled a lot of energy during her performance.

The problem with the show is that it feels overly staged and forced, with these highly pre-ordained and publicized duets and “mash-ups” or mixtures of songs, artists and styles. There’s an excess of publicity pummeling viewers with promotional Tweets and posts and then an excess of performances that rarely live up to the hype. The announcer kept overselling each number during the telecast, forecasting that everyone would be talking about this or that part of the show. The effect is distracting and depleting. I wish they’d just put on a show and let it be, handing out awards here and there. Good music usually comes with some degree of spontaneity.

There wasn’t much that felt unrehearsed tonight, from the see-through dresses to the pedantic, preachy appearance by the president about creating “a society where violence isn’t tolerated” even as he addressed an audience with prominently violent ex-convicts and as he urges compromise with an Islamic dictatorship that subjugates women, homosexuals and freethinkers. The heavy-handed rap song from the movie Selma, prefaced by a religious song by Beyonce, felt preachy, too, with rapper and actor Common ending with a display of his fist to the audience after lecturing them in a rap infused with the idea that the collective matters more than the individual.

Rapper Kanye West appeared in sweat pants, looked down and rapped to an apparent electronic manipulation of his voice. Madonna—introduced as “my bitch” by Miley Cyrus and Nicki Minaj—did her typical routine, emasculating the faceless male dancers, who were once again denigrated and objectified, which appears to be Madonna’s only artistic statement. She dressed as a matador—surrounded by men dressed as bulls—and, after taking the bulls by the horns, ended up being gored to death by them. This came with Obama’s message urging pop stars to lead by example about violence against women.

The only Grammys theme, if any, to emerge, was faith. “I’m at your service, Lord,” Grammy winner Pharrell Williams announced to no one in particular after doing a gothic or death-themed version of his song “Happy”. Beyonce thanked God and so did many others and there were so many choir singers that it felt at times like watching the Christian Broadcasting Network. I half expected Mike Huckabee or some big-haired evangelist to come out and start slapping and singing right along. Indeed, the infidel was relegated to representation by AC/DC’s performance of “Highway to Hell”. Even an Imagine Dragons song during an ad for Target confessed contrition. No one dared to say Je Suis Charlie.

On the other hand, when Mary J. Blige reached out to Sam Smith as they sang the aching, gospel-tinged “Stay with Me”, they finished the song together, ending in an embrace after the performance. Affirming a common bond, they achieved through music a real sense of amity. This is the 57th annual Grammy awards’ telecast’s most genuine moment. There were others, but this is the music and moment which will stay with me.