On Public Health Care

The last time the Democrats controlled all three branches of US government, they tried to push through HillaryCare. At the time, I thought it Fascist. Not in the sense of German Nazism, but in the sense of Mussolini making the trains run on time. I.e. private ownership of the means of production, but state control thereof. (No, I didn't call anyone a Nazi.)

Next time the Democrats got control, we got the Porkulus bill, and the Government/UAW bail out (or should I say buy-out) of GM and Chrysler. And when the American electorate realized that Porkulus would not create any jobs any time soon, Mr. Obama's popularity took a dive. (Note to politicians: if you vote to spend a trillion bucks to create jobs, create jobs. Don't just print road signs about "recovery.")

With Mr. Obama's flagging popularity came some real push-back to ObamaCare. During the August recess many politicians were reminded that some of their subjects are laboring under the impression that they are citizens who elected representatives. How provincial of them.

Like any good PR campaign, the White House had a narrative ready for the state-controlled (soon to be state-owned) channels: The opposition to ObamaCare is mere astroturfing.

Trouble with that. About the same time they were running that con, the White House, we learn, was marshaling the efforts of America's artists. Nobody gives as much money to artists as the National Endowment for the Arts. And the White House really would like some pro-ObamaCare art. Not that anybody offered any provable quid pro quo...

Or maybe that's what the guys at BigGovernment.com have up their sleeves. Look at what happened recently. Every day we got to see ACORN in another city, acting like a racketeer influenced and corrupt organization. And before ACORN could say "spin cycle" the Commerce Department had announced that someone else would work on the census and the Senate & House had separately voted to cut funding. (Not that they won't try to sneak it back in under cover of darkness.) State-controlled (not yet state-owned) media tried to ignore it as Faux news, but at some point even New York Times readers grow curious about what's going on... But I digress.

Suppose that in addition to the NEA conference call tapes that Glenn Beck played on the air a couple weeks back, there is some hidden-video of "payola for propaganda" sitting on Andrew Breitbart's staging server?

Wouldn't that be a nice October Surprise.

Even if not, imagine the PR strategy:
1) claim anti-ObamaCare is just Astroturf
2) fund Soviet-style propaganda that is pro-ObamaCare
3) use it to counter those people you're calling Astroturfers

Is the White House so stupid that they don't realize that pre-printed signage that coheres to a single theme looks like Astroturf whereas hand-painted signage looks like real grassroots? Those guys with hand-printed signs, getting roughed up by purple-shirted SEIU thugs. They were the astroturfers, not the guys with pre-printed signs and t-shirts. Right. Maybe folks wouldn't have made that connection, if you hadn't been talking so much about astroturf.

"The Foreigner" is really about Democrats & Union thugs

My wife scored free tickets to a play downtown, "The Foreigner," and I came within epsilon of walking out. The play is a remarkably bigoted achievement. It teaches that:
1) people with English accents may be neurotics, but they're invariably the smartest people in the room.
2) people with Southern accents may be good or evil, but they are invariably stupid.
3) preachers are venal manipulators altogether willing to destroy anyone who stands between themselves and a donation
4) Christianity is just another word for racist hate-monger

I was about to leave when it struck me that the post-modern method of deconstruction fits quite nicely here. For one thing, the main antagonist sounded exactly like Jimmy Carter. Every time the preacher came out, I thought of killer rabbits and smiled. And then there was his flunky, a big, stupid, superstitious Klansman who threatened violence to get his way. Heh. Just like a union organizer.

So then, if every time they said, "Christian" I mentally substituted "Democrat" and every time they said, "Klan" I mentally substituted "Union." And everything made perfect sense. I relaxed and enjoyed the play.

Now, you may not agree with my politics in which case, please feel free to find your own substitutions.

Good art tells the truth. If you're going to make the preacher the antagonist, his villainy must ring true to the essential nature of preachers. However, if all you're writing is propaganda, your free to set up a cardboard villain and then paste the label of your favorite out-group onto him. Don't like Nazis, Commies or hippies? The antagonist works equally well. Just paste a different label on the cardboard cut-out.

This is the challenge to the artist. Don't write propaganda. Or if you must, simply recycle the other guys' propaganda and switch around the labels as I've demonstrated. If you're selling to a particular market you can pander to their bigotry. But it is better to capture human nature as it is, people are not cardboard antagonists or protagonists. Everyone is a mix of the noble and the venal. That should be depicted so ambiguously that Democrats see the protagonist as one of their own and the antagonist as one of the out-group. And simultaneously Republicans will do the same.

You may be happy that Democrats are in complete control of the government. But when 51% of the people vote Democrat that means there's 49% who didn't. Why do you want to alienate 49% of your market?

If you tell the truth of the essential nature of each of the characters in your play, you needn't paint yellow stars or scarlet letters on people's breasts. The audience will do so according to their own bigotry. But the truth of those characters' goodness or evil will shine through and you'll have done your job as artist.