REP. TIM WALBERG (R-Mich.) said during a town hall meeting last week that the Israel-Hamas war in Gaza “should be like Nagasaki and Hiroshima,” in reference to the United States using atomic bombs on Japan, which happened at the end of World War II.
Walberg said: “Get it over quick.” According to The Detroit News, Walberg’s office said that his comments about nuclear strikes were a metaphor to “support Israel’s swift elimination of Hamas.”
The town hall took place in Dundee Village Hall on Monday, with video footage from the event posted on YouTube and X, formerly Twitter, as HuffPost points out. Some of his comments can be heard on the social media footage while he is not seen on camera.
Walberg made the remarks after dismissing the idea of delivering more humanitarian aid to Gaza, the Palestinian territory, where half of the population is at “imminent” risk of famine. “We shouldn’t be spending a dime on humanitarian aid,” he said.
His office said he was just responding to the idea that Americans would be helping to build a bridge to deliver humanitarian aid. They seem to think that excuses his grotesque suggestion.
I saw some footage of protesters saying “enjoy Trump, I’m never voting for Biden.” Trum,p has always been interested in using “tactical” nuclear weapons so I’m going to guess there’s an excellent chance that it won’t be privileged white Democrats who’ll really be “enjoying” Trump.
Mark Esper says he won’t vote for Trump and every crazy thing he does make it more likely he’ll vote for Biden:
Donald Trump’s former Secretary of Defense revealed on Friday that he will not be voting for his former boss, who announced he had fired him in a tweet.
“I’m definitely not voting for Trump, but I’m not there yet,” he replied. When Maher pressed him, Esper doubled-down.
“There’s no way I’ll vote for Trump, but every day that Trump does something crazy, the door to voting for Biden opens a little bit more, and that’s where I’m at,” Esper said. Shortly after the 2020 presidential elections, Trump tweeted that Esper had been “terminated,” and would be replaced by Christopher C. Miller.
Esper’s on-air comment came just after Esper had explained his fears about Trump being a “threat to democracy.”
“The first year of a second Trump term will look like the last year of the first Trump term, in other words, with all the craziness,” Esper explained, adding that Trump will be looking to hire people who are loyal above all else.
In June, Esper said that if the allegations that Trump shared classified information were proven true, then he could not be trusted with the nation’s secrets.
I’m not sure what more Trump can do to make Esper vote for Biden but I would think that being a threat to democracy and stealing classified documents is as crazy as it gets. But the campaign is young …
Sadly, it’s been a poor day for the media. On Face the nation today Mike Turner spewed the right’s propaganda that the Biden administration banned religious symbols on the Easter eggs for the White House egg roll, proclaiming that it was denying the religious freedom of the children. In fact:
This came up with McCaul when he was asked if Trump selling Bibles for profit was appropriate and he claimed he hasn’t seen it so he didn’t have anything to say about it. Then he started in on the Easter eggs. Insane.
This one isn’t getting much push back either:
Does this all seem just a little bit desperate to you? I think so. But if the media doesn’t point out that these people are blaming Biden for being sacrilegious when these policies were in place under every administration, including under their God Trump, then a fair number of normie voters will think it’s true. They need to inform people when these Republicans lie. I know that’s a tall order but it’s their job.
A more-than-occasional arrival in the email these days is a question expressed two ways, one with dripping condescension and the other with courtesy:
Why don’t our opinion platforms treat Donald Trump and other politicians exactly the same way. Some phrase it differently, asking why we demean the former president’s supporters in describing his behavior as monstrous, insurrectionist and authoritarian.
I feel for those who write. They believe in Trump and want their local news source to recognize what they see in him.
The angry writers denounce me for ignoring what they call the Biden family crime syndicate and criminality far beyond that of Trump. They quote news sources of no credibility as proof the mainstream media ignores evidence that Biden, not Trump, is the criminal dictator.
The courteous writers don’t go down that road. They politely ask how we can discount the passions and beliefs of the many people who believe in Trump.
This is a tough column to write, because I don’t want to demean or insult those who write me in good faith. I’ve started it a half dozen times since November but turned to other topics each time because this needle hard to thread. No matter how I present it, I’ll offend some thoughtful, decent people.
The north star here is truth. We tell the truth, even when it offends some of the people who pay us for information.
The truth is that Donald Trump undermined faith in our elections in his false bid to retain the presidency. He sparked an insurrection intended to overthrow our government and keep himself in power. No president in our history has done worse.
This is not subjective. We all saw it. Plenty of leaders today try to convince the masses we did not see what we saw, but our eyes don’t deceive. (If leaders began a yearslong campaign today to convince us that the Baltimore bridge did not collapse Tuesday morning, would you ever believe them?) Trust your eyes. Trump on Jan. 6 launched the most serious threat to our system of government since the Civil War. You know that. You saw it.
The facts involving Trump are crystal clear, and as news people, we cannot pretend otherwise, as unpopular as that might be with a segment of our readers. There aren’t two sides to facts. People who say the earth is flat don’t get space on our platforms. If that offends them, so be it.
As for those who equate Trump and Joe Biden, that’s false equivalency. Biden has done nothing remotely close to the egregious, anti-American acts of Trump. We can debate the success and mindset of our current president, as we have about most presidents in our lifetimes, but Biden was never a threat to our democracy. Trump is. He is unique among all American presidents for his efforts to keep power at any cost.
Personally, I find it hard to understand how Americans who take pride in our system of government support Trump. All those soldiers who died in World War II were fighting against the kind of regime Trump wants to create on our soil. How do they not see it?
The March 25 edition of the New Yorker magazine offers some insight. It includes a detailed review of a new book about Adolf Hitler, focused on the year 1932. It’s called “Takeover: Hitler’s Final Rise to Power” and is by historian Timothy W. Ryback. It explains how German leaders – including some in the media — thought they could use Hitler as a means to get power for themselves and were willing to look past his obvious deficiencies to get where they wanted. In tolerating and using Hitler as a means to an end, they helped create the monstrous dictator responsible for millions of deaths.
How are those German leaders different from people in Congress saying the election was stolen or that Jan. 6 was not an insurrection aimed at destroying our government? They know the truth, but they deny it. They see Trump as a means to an end – power for themselves and their “team” – even if it means repeatedly telling lies.
Sadly, many believe the lies. They trust people in authority, without questioning the obvious discrepancies or relying on their own eyes. These are the people who take offense to the truths we tell about Trump. No one in our newsroom gets up in the morning wanting to make a segment of readers feel bad. No one seeks to demean anyone. We understand what a privilege it is to be welcomed into the lives of the millions of people who visit our platforms each month for news, sports and entertainment. But our duty is to the truth.
Our nation does seem to be slipping down the same slide that Germany did in the 1930s. Maybe the collapse of government in the hands of a madman is inevitable, given how the media landscape has been corrupted by partisans, as it was in 1930s Germany.
I hope not.
In our newsroom, we’ll do our part. Much as it offends some who read us, we will continue to tell the truth about Trump.
I’m at cquinn@cleveland.com
Thanks for reading.
I would like to think that the editors of every paper (or, at least, the most important ones) and the cable news producers agree with this but there isn’t a lot of evidence that they see it this clearly, at least most of the time. In fairness, the press is much better than they used to be but then the Republicans are also much worse than they used to be, and they were bad before.
This is the only truthful, authentic, factual way to see the situation we’re confronting with Donald Trump and the Republicans having become unmoored from reality. There’s not a whole lot we can do beyond voting and supporting politicians who are still living in the real world. But the most important thing we can do is hold on to the truth. And what this man writes is the truth.
Wrapped in the flag and shredding the Constitution
Georgia Gov. Brain Kemp signs into law a 95-plus-page overhaul of Georgia elections Thursday, March 25, 2021 below a painting of a plantation. Photo by governor’s office.
Carol Anderson, the Charles Howard Candler professor of African American Studies at Emory University (“One Person, No Vote: How Voter Suppression Is Destroying Our Democracy“) reminds Jason Statler (LOLGOP) that the 2016 election that brought you Donald Trump “was the first presidential election in 50 years without the protection of the Voting Rights Act.”
“REMINDER: The kind of fascism MAGA wants is the kind of fascism we’ve already seen here,” Statler posts.
And so Black voter turnout went down by 7 percent. And to chalk that up to just, “They couldn’t stand Hillary, and not that you had states that were now requiring really strict voter IDs, and the way that they were requiring these voter IDs was to figure out who had what types of IDs and then to write the law to privilege the kinds that whites disproportionately had. It was a way that they shut down early voting sites. It was the way that they shut down early voting days, the times when people could vote early. None of that went into that calculation of what could cause a 7 percent drop. It had to be because Black folks couldn’t stand Hillary and not because you had states that were erecting these obstacles, these barriers, to the ballot box.
There’s more, much more about conservative efforts to keep the “wrong people” from voting and on GOP legislatures ignoring (or thwarting) ballot measures passed to expand the franchise.
President Joe Biden on Friday issued a proclamation recognizing March 31 as Transgender Day of Visibility, just as he has commemorated the day every year since he has been in office.
March 31 does not move around. Easter does. This year the two coincide. Cue the culture warriors who paused from biting the heads off chocolate bunnies to work themselves into another manufactured tantrum.
Oh, the frumious affrontery! Oh, the Antichrist of it! Oh, the persecution of Christians by a Catholic president who attends mass each Sunday!
House leadership voiced their outrage, as did the Trump campaign, demanding an apology from the White House. The White House pushed back, saying that “as a Christian who celebrates Easter with family, President Biden stands for bringing people together and upholding the dignity and freedoms of every American.”
The Transgender Day of Visibility, observed on March 31 each year, was started by advocates 15 years ago as a way to celebrate transgender people and raise awareness of the discrimination they face.
Easter falls on a different date each year that is determined by a calculation related to lunar phases — the overlap between the two this year is coincidental. It is common for there to be multiple proclamations for the same date: Easter Sunday will also be Cesar Chavez day.
Oh, the unbiblical blending of celebrations of one brown-skinned community organizer with another!
In his Friday statement marking the globally celebrated day, Biden affirmed the rights and freedoms of all transgender Americans. Highlighting the rise of extremism against transgender youth in particular, Biden referenced the proliferation of laws that “target and terrify transgender kids and their families,” including bills that ban books with LGBTQ+ content and threaten health workers providing gender-affirming care.
In a statement to POLITICO on Saturday, White House spokesperson Andrew Bates added that, “it’s unsurprising politicians are seeking to divide and weaken our country with cruel, hateful, and dishonest rhetoric. President Biden will never abuse his faith for political purposes or for profit.”
Republican presidential candidate Donald Trump’s campaign released a statement calling on Biden to “issue an apology to the millions of Catholics and Christians across America who believe tomorrow is for one celebration only — the resurrection of Jesus Christ.”
Catholics and Christians? The campaign adviser likely had to explain to Trump (with pictures) that the Feast of the Resurrection and name of a Germanic spring goddess are already an unholy mating of Christian and pagan. All those LGBTQ-flag-like colors and bunnies and eggs unborn chickens.
Don’t count on the traveling Trump Bible salesman to apologize for his “insanely deperate” Holy Week stunt.
Onward, Christian soldiers marching as to culture war
With April Fool’s Day coming up on Monday, I thought it might be fun to take a look at some filmmakers who have made it their mission to yank on our lanyards (does that hurt?). So, in no particular ranking order, here are my selections for the Top 10 Mockumentaries:
Best in Show – Actor-writer-director Christopher Guest has become synonymous with “mockumentary”, for good reason. He and his repertory of actors and co-writers have delivered some of the best over the last few decades (Waiting for Guffman, A Mighty Wind, For Your Consideration, et.al.) This gentle poke at dog lovers represents his own “best in show” so far. Guest “profiles” a number of participants converging to compete at a national dog show.
With such a tight comic ensemble, it’s tough to single out performances, but Fred Willard is a highlight as a witless TV commentator and Parker Posey and Michael Hitchcock chew major scenery as an obnoxious yuppie couple. Also with Catherine O’Hara, Michael McKean, John Michael Higgins, Jane Lynch, Jennifer Coolidge, Larry Miller and Eugene Levy (who co-scripted).
The Blair Witch Project – Love it or hate it, there is no denying the impact of this cleverly marketed horror flick. In the event that you spent 1999 in a coma, this is the one where a crew of amateur actors were turned loose in dark and scary woods, armed with camping gear, video cameras and a plot point or two provided by filmmakers Daniel Myrick and Eduardo Sanchez, who then proceeded to play creepy, “gotcha” mind games with their young troupe.
The result was surprisingly effective; after all, it’s the perception that “something” in the woods is out to get you that fuels nightmares-not a stunt man in a rubber monster suit lurching about in front of the camera. Arguably, you could cite The LastBroadcast (1998) or relatively more obscure 1980 cult flick Cannibal Holocaust as the progenitors of the “found footage” genre, but The Blair Witch Project took it to a an entirely new level.
Computer Chess-In his off-kilter 2013 “80s retro” mockumentary, Andrew Bujalski achieves verisimilitude via a vintage B&W video camera (which makes it appear you’re watching events unfold on closed-circuit TV), and “documents” a weekend-long tournament where nerdy computer chess programmers from all over North America assemble once a year to match algorithmic prowess.
Not unlike a Christopher Guest satire, Bujalski throws a bevy of idiosyncratic characters together, shakes the jar, and then steps back to watch what happens. However, just when you think you’ve got the film sussed as a gentle satirical jab at computer geek culture, things start to get weird…then weirder. The most original sci-fi movie I’ve seen in a while. (Full review).
Drop Dead Gorgeous– Mocking beauty contests is like shooting fish in a barrel, but Michael Patrick Jann’s faux backstage documentary from 1999 about a Minnesota pageant gone sideways is a winner.
Star Kirsten Dunst plays it straight, flanked by a hammy Ellen Barkin (a riot as her trailer-trash mom) and Kirstie Alley as the Stage Mother From Hell. Denise Richards shows a real flair for comedy with a show-stopping performance number dedicated to the “special fella in her life”, a Mr. J. Christ. Also with Alison Janey, Brittany Murphy and Amy Adams. The film is reminiscent of Michael Ritchie’s much more low-key 1975 pageant spoof Smile (recommended).
F for Fake – “This is a promise,” Orson Welles intones, looking directly into the camera, “For the next hour, everything you hear from us is really true and based on solid fact.” Ay, but here’s the rub: This playful ‘documentary’ about Elmyr de Hory (“the world’s greatest art forger”) and his biographer Clifford Irving (infamous for his own fakery) runs for 85 minutes. Ever feel like someone’s having you on?
That’s the subject of Welles’ 1974 rumination on the meaning of art, and the art of the con. A musical score from the great Michel Legrand is a nice bonus. Not for all tastes; some may find it too scattershot, but there is a method to the madness, and attentive viewers will be rewarded. Even toward the end of a checkered career, with his prowess as a filmmaker arguably on the wane, any completed project by the great Welles demands your attention.
Hard Core Logo – Frequently compared with This is Spinal Tap, this film from iconoclastic Canadian director Bruce McDonald does Reiner’s film one better-it’s got some real substance. Now, obviously I love Spinal Tap (otherwise it wouldn’t have been included on this “Top 10” list), but McDonald’s film mixes humor with genuine drama and poignancy, particularly in its portrayal of the complex, mercurial relationship between the two main characters, Joe Dick (Hugh Dillon) and Billy Tallent (Callum Keith Rennie.)
Joe and Billy front a “legendary” punk band called Hard Core Logo, who hit the road for a belated reunion tour. McDonald plays himself, a director who is documenting what could turn out to be the band’s final hurrah. The film is full of great throwaway lines (“I can’t come to the phone right now. I’m eating corn chips and masturbating. Please leave a message.”). There are also obscure references in Noel S. Baker’s screenplay that rock geeks (guilty) will delight in. This is part of a trilogy (of sorts) by McDonald that includes Roadkill and Highway 61.
Real Life – This underrated 1979 gem from writer-director Albert Brooks presaged Christopher Guest & company’s mockumentary franchise by at least a decade. There is a direct tie-in; the screenplay was co-written by future Guest collaborator Harry Shearer (along with Brooks’ long-time collaborator, Monica McGowan Johnson).
Real Life is a brilliant take-off on the 1973 PBS series, An American Family (which can now be tagged as the original “reality TV” show). Brooks basically plays himself: a neurotic, narcissistic comedian who decides to do a documentary depicting the daily life of a “perfect” American family. After vetting several candidates (represented via a montage of hilarious “tests” conducted at a behavioral studies institute), he decides on the Yeager family of Phoenix, Arizona (headed by ever-wry Charles Grodin, who was born for this role).
The film gets exponentially funnier as it becomes more about the self-absorbed filmmaker himself (and his ego) rather than his subjects. Brooks takes jabs at Hollywood, and at studio execs in particular. If you’ve never seen this one, you’re in for a real treat.
Take the Money and Run – This is one of Woody Allen’s “earlier, funny films”. It’s also one of the seminal mockumentaries, and riotously funny from start to finish. Woody casts himself as bumbling career criminal Virgil Starkwell, who is the subject of this faux biopic.
Narrated with tongue-in-cheek gravitas by veteran voice-over maestro Jackson Beck, the film traces Starkwell’s trajectory from his early days as a petty criminal (knocking over gumball machines) to his career apex as a “notorious” bank robber.
In one of the most hilarious gags Allen has ever conceived, Virgil blows a heist by arguing with a bank manager over his penmanship on a scribbled stickup note that he has handed to a teller, who is very confused by the sentence that appears to read; “I have a gub.”
A comedy classic, not to be missed. BTW-if you ever plan to break out of jail by wielding a fake revolver carved from a bar of soap…always be sure to check the weather report first.
This is Spinal Tap – Director Rob Reiner co-wrote this 1984 gem with his three stars-Christopher Guest, Harry Shearer and Michael McKean, who play Spinal Tap founders Nigel Tufnel, Derek Smalls and David St. Hubbins, respectively.
Reiner is “rockumentary” filmmaker Marti Dibergi, who accompanies the hard rocking British band on a tour of the states. By the time the film’s 84 minutes have expired, no one (and I mean, no one) involved in the business of rock ’n’ roll has been spared the knife-the musicians, roadies, girlfriends, groupies, fans, band managers, rock journalists, concert promoters, record company execs, A & R reps, record store clerks…all get bagged and tagged.
A lot of the gags are of an “inside” nature; I’ve noticed people who dismiss the film tend to not be rock fans (or perhaps more tellingly, have never played in a band).
True Stories– Musician/raconteur David Byrne enters the Lone Star state of mind with this subtly satirical Texas travelogue from 1986. It’s not easy to pigeonhole; part road movie, part social satire, part long-form music video, part mockumentary. Episodic; basically a series of quirky vignettes about the generally likable inhabitants of sleepy Virgil, Texas. Among the town’s residents: John Goodman, “Pops” Staples, Swoosie Kurtz and the late Spalding Gray.
Once you acclimate to “tour-guide” Byrne’s bemused anthropological detachment, you’ll be hooked. Byrne directed and co-wrote with actor Stephen Tobolowsky and actress/playwright Beth Henley (Crimes of the Heart, Miss Firecracker). The outstanding cinematography is by Edward Lachman. Byrne’s fellow Talking Heads have cameos performing “Wild Wild Life”, and several other songs by the band are featured in the soundtrack.
This monologue is funny as hell, but terrifyingly true!
“I know some people don’t care about January 6, but let me remind you about something real quick — He was also a terrible f*cking President before that!!!” 📢 @Lesdoggg
