Wednesday, May 22, 2019

No, Abortion Isn't a Constitutional Right


By Ben Shapiro
https://townhall.com/columnists/benshapiro/2019/05/22/no-abortion-isnt-a-constitutional-right-n2546661
May 22, 2019



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In the past several weeks, a bevy of states have passed extensive new restrictions on abortion. Alabama has effectively banned abortion from point of conception. Georgia has banned abortion from the time a heartbeat is detected, as have Ohio, Kentucky and Mississippi. Missouri has banned abortion after eight weeks. Other states are on the move as well.

This has prompted paroxysms of rage from the media and the political left -- the same folks who celebrated when New York passed a law effectively allowing abortion up until point of birth and who defended Virginia Gov. Ralph Northam's perverse statements about late-term abortion. According to these thinkers, conservatives have encroached on a supposed "right to abortion" inherent in the Constitution.

This, of course, is a lie. There is no "right to abortion" in the Constitution. The founders would have been appalled by such a statement. The Supreme Court's decision in Roe v. Wade (1973) is a legal monstrosity by every available metric: As legal scholar John Hart Ely wrote, Roe "is not constitutional law and gives almost no sense of an obligation to try to be." The court's rationale is specious; the court relied on the ridiculous precedent in Griswold v. Connecticut (1965) that a broad "right to privacy" can be crafted from "penumbras, formed by emanations." Then the court extended that right to privacy to include the killing of a third party, an unborn human life -- and overrode state definitions of human life in the process.

How? The court relied on the self-contradictory notion of "substantive due process" -- the belief that a law can be ruled unconstitutional under the Fifth and 14th amendments so long as the court doesn't like the substance of the law. That's asinine, obviously. The due process provision of both amendments was designed to ensure that state and federal government could not remove life, liberty or property without a sufficient legal process,  not to broadly allow courts to strike down state definitions of conduct that justify removal of life, liberty and property. As Justice Clarence Thomas has written, "The Fourteenth Amendment's Due Process Clause is not a 'secret repository of substantive guarantees against "unfairness."'"

Nonetheless, the notion that such a right to abortion is enshrined in America's moral fabric has taken hold among the intelligentsia. Thus, we now experience the odd spectacle of those on the political left declaring that the Constitution enshrines a right to abortion -- yet does not include a right to bear arms, a right to freedom of political speech, a right to retain property free of government seizure or a right to practice religion.

For much of the left, then, the term "constitutional right" has simply come to mean "thing I want." And that is incredibly dangerous, given that the power of the judiciary springs not from legislative capacity but from supposed interpretive power. Judges are not supposed to read things into the Constitution but to properly read the Constitution itself. The use of the judiciary as a club has led to a feeling of radical frustration among Americans; it has radically exacerbated our culture gap.

The legislative moves in Alabama and other states will open a much-needed debate about the role of the states, the role of legislatures and the role of government. All of that is good for the country. Those who insist, however, that the Supreme Court act as a mechanism for their political priorities are of far more danger to the country than that debate.

Ben Shapiro's Latest Book The Right Side of History: How Reason and Moral Purpose Made the West Great is available on Amazon


'Once Upon a Time ... in Hollywood' review - Tarantino's dazzling LA redemption song


By Peter Bradshaw
https://www.theguardian.com/film/2019/may/21/once-upon-a-time-in-hollywood-review-tarantino-dazzling-dicaprio-pitt?fbclid=IwAR02h1ocrn2IwZejK0HyonFwl7MKkeYjudGij-oBW_SP-EEigpMf5YiWJw8
21 May 2019

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Brad Pitt and Leonardo DiCaprio

Quentin Tarantino’s exploitation black-comedy thriller Once Upon a Time … in Hollywood finds a pulp-fictionally redemptive take on the Manson nightmare in late-60s California: a B-movie loser’s state of grace.

It’s shocking, gripping, dazzlingly shot in the celluloid-primary colours of sky blue and sunset gold: colours with the warmth that Mama Cass sang about. The Los Angeles of 1969 is recovered with all Tarantino’s habitual intensity and delirious, hysterical connoisseurship of pop culture detail. But there’s something new here: not just erotic cinephilia, but TV-philia, an intense awareness of the small screen background to everyone’s lives. Opinions are going to divide about this film’s startling and spectacularly provocative ending, which Tarantino is concerned to keep secret and which I have no intention of revealing here. But certainly any ostensible error of taste is nothing like, say, those in the much admired Inglourious Basterds. And maybe worrying about taste is to miss the point of this bizarre Jacobean horror fantasy.

Quite simply, I just defy anyone with red blood in their veins not to respond to the crazy bravura of Tarantino’s film-making, not to be bounced around the auditorium at the moment-by-moment enjoyment that this movie delivers – and conversely, of course, to shudder at the horror and cruelty and its hallucinatory aftermath.


Our first non-hero is Rick Dalton, played by Leonardo DiCaprio, a failing cowboy actor and alcoholic going to seed in the autumn of his career and in moments of bad temper beginning to resemble Jack Black. His best friend – pathetically, his only friend – is Cliff Booth, played by Brad Pitt in his Ocean’s-Eleven mode of easygoing competence and imperturbability. Cliff is Rick’s stunt double and has an awful secret in his life: a grisly event for which he may or may not be guilty. Cliff has to drive Rick everywhere because he has lost his licence, and he is Rick’s best pal, assistant, factotum, and the person who has to straighten Rick when he bursts into boozy tears of self-pity.

Things head south for Rick and Cliff’s careers when Rick’s western TV show Bounty Law is cancelled. His agent Marvin Schwarz (an uproarious cameo for Al Pacino) tries persuading Rick to head out to Italy to reinvent himself in these new “spaghetti westerns” they have out there. But in the interim and on the basis of Rick’s boisterous turn on an episode of FBI, Schwarz gets him a job on a western TV show in America, Lancer, with Sam Wanamaker directing, and Rick has a weird epiphany. Apart from everything else, he is inspired by the fact that he lives next door to Sharon Tate (Margot Robbie) and Roman Polanski (Rafal Zawierucha), of whom he is entirely in awe.
In tandem with the eerie resurgence of Rick’s self-worth, Cliff finds himself giving a lift to a hippie girl out to the Spahn Ranch, that actual movie location which Tarantino imagines to be the place where Cliff and Rick shot films together and which was, of course, the real-life chilling headquarters of the Charles Manson cult. Cliff makes an impassive appearance at this creepy compound and Tarantino audaciously makes this a kind of western-thriller episode, as Cliff makes a social call on the owner, George Spahn (Bruce Dern). Lena Dunham plays one of the acolytes, incidentally, casting which may be a subliminal reminder of the title both of Dunham’s famed TV show Girls, and Emma Cline’s novel about Manson’s followers.

Rick and Cliff are basically nonentities, the only difference being that easy-going Cliff has no ego to bruise, no ambition to nurse. But their marginal status is transformed by Tarantino’s parallel-universe comedy.



The mention of Polanski and Tate raises the stakes in all sorts of ways: Cliff is offered a blowjob by one of the girls and turns it down because she can’t produce evidence that she is 18. Rick finds himself opening his heart to a preternaturally intelligent child actress (Julia Butters) because he feels that he is over the hill. On hearing that she is eight years old, he mutters that in 15 years time she will know how he feels: a nasty ungallantry of which he is immediately ashamed. All this is a gesture of self-consciousness, a deadpan incitement – and there is no doubt that this is a very male movie, although Margot Robbie gives a sympathetic portrayal of Tate, Dakota Fanning is intimidatingly sinister as the Mansonite called Squeaky and Lorenza Izzo has a spirited turn as the mercurial Italian screen star Francesca Cappuccino.

The most outrageous scene – and the funniest – is Cliff getting a stunt-man job on The Green Hornet and getting challenged to a fight by Bruce Lee in his Kato costume. It is an extraordinary punch-up, though I’m not sure I agree with how Tarantino imagines the result; but I carried on laughing for about three minutes after the scene ended.

And then we get the finale, a piece of bloody mayhem which leads to a bizarre denouement which might well have you replaying the entire film in your head. It’s entirely outrageous, disorientating, irresponsible, and also brilliant.
Once Upon a Time … in Hollywood screened at the Cannes film festival, and is due for release on 26 July in the US, 14 August in the UK and 15 August in Australia.

Tuesday, May 21, 2019

'Deadwood' Fans Are Finally Getting a Finale Worth Freaking Out About


By Eric Estrin
May 21, 2019
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When HBO’S Deadwood was unceremoniously canceled 13 years ago, diehard fans pleaded for a reprieve that never came. So when news broke last July that the period western would be resuscitated as a film and receive a proper ending, countless critics who (rightfully) consider it a masterpiece—not to mention legions of fans who frequented the now-defunct site SaveDeadwood.net, 2006’s version of #SaveBrooklyn99—have been awaiting the May 31 arrival of the feature-length finale. The showdown we’ve all been waiting for is here.
Deadwood never pulled in Game of Thrones numbers for HBO, but it was, in the parlance of the day, excellent water-cooler television. Visionary creator and executive producer David Milch crafted a thoroughly researched, multilayered drama of biblical proportions featuring an array of con artists, gunslingers, and whores, many of whom were based on real people from the Dakota Territory of the 1870s. Timothy Olyphant, who plays straight-arrow Sheriff Seth Bullock, and Ian McShane, as corrupt saloon owner Al Swearengen, fronted a first-rate cast that reveled in Milch’s profane and witty dialogue, often spewed in poetic, Elizabethan rhythms. (Imagine Shakespeare slamming his hand in a car door, and you have a rough idea.) As HBO stablemates Six Feet UnderThe Sopranos, and The Wire started to wind down, Deadwood’s deep dive into the birth of a lawless town kept viewers hanging on every shift in the fictionalized political landscape. After a third season, HBO pulled the plug—an unimaginable move in this, the era of Peak TV—leaving a gold mine of plot resolutions woefully unexcavated.
The film picks up ten years after we last saw Swearengen scrubbing fresh blood from his barroom floor, with the denizens of Deadwood—all of them as foul-mouthed as you remember—reuniting on the verge of South Dakota’s impending statehood. “In a weird way, had the series gone on, I’m not sure we’d be at this point now,” says Carolyn Strauss, who was president of HBO Entertainment at the time of the show’s cancellation and served as an executive producer on the series and movie. “There’s something extraordinary about coming back to something 16 years after we began it and allowing the true passage of time to play a role.”
Olyphant’s Bullock is “still the same old guy” struggling with the same old anger-management issues, the actor says. “Everybody for one reason or another comes back to town, and we’re gonna find out if the whole thing explodes.” Olyphant also promises performances as compelling as Milch’s dialogue. “There were times I’d say, ‘The problem with this goddamn show is that everybody knows how to steal the scene,’” he says. “And it’s true. They’re all masters of their craft. They were ten years ago, and now they’re just better.”
Advance knowledge of plot points is hard to come by, but per Robin Weigert, who was plucked from obscurity as a New York theater actress to deliver a bravura performance as Calamity Jane, at least one death is imminent: A hush-hush funeral scene was filmed near the show’s Melody Ranch location in Newhall around the same time as last year’s wildfires. “The air was thick with smoke,” Weigert recalls. “There was something so big about the sense of mourning that day. It’s now part of the tremendous poignancy of that moment in the film.”
The return of Deadwood comes at a crossroads for HBO, which is ramping up production in an attempt to compete with Netflix and other streaming services. Len Amato, president of HBO Films, acknowledges that there’s a lot riding on the Deadwood movie, but only from a creative standpoint. “We know there was disappointment when the show ended,” he says. “We hear about it every year from TV critics. But the pressure on a project like this is that you want to live up to the legacy of the show, and you want to do right by David.” And by an eager fan base that will finally get to watch this series ride off into the sunset.

'Tolkien' review: Nicholas Hoult stars in sympathetic and sensitive portrait of the Lord of the Rings novelist


By Geoffrey Macnab
https://www.independent.co.uk/arts-entertainment/films/reviews/tolkien-review-nicholas-hoult-lily-collins-lord-of-the-rings-hobbit-a8895876.html
2 May 2019

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Nicholas Hoult and Lily Collins
AA Milne wouldn’t have created Winnie the Pooh, George Mallory wouldn’t have attempted to climb Mount Everest, and JRR Tolkien wouldn’t have written The Hobbit if it hadn’t been for the “Great War”. The evocative new biopic Tolkien follows on from such films and books as Goodbye Christopher Robin and Wade Davis’s Into The Silence in foregrounding the effect that trench warfare had on the imaginations and aspirations of British writers, artists and explorers.
Tolkien (Nicholas Hoult) is seen early on during the Battle of the Somme. He is shell-shocked and in a very frail condition but tells his colleagues he is going “up the line” to find a friend. The friend in question is the poet, Geoffrey Bache Smith, who had been at King Edward’s School in Birmingham with him. Both were members of the Tea Club, Barrovian Society (the TCBS), the tiny society they formed together with two other friends, Robert Gilson and Christopher Wiseman.
As Tolkien and another soldier wander through the trenches, the flashbacks to his youth begin. He is shown as a boy, play fighting with his brother and their friends in the woods. His childhood in rural England after a period in South Africa appears to have been idyllic in the extreme.
“Lock this all in your heart… lock it tight and it will be there forever,” Tolkien’s ailing mother tells him as the family’s “impecunious circumstances” force them to move away from his beloved countryside to Birmingham. Thanks to the intervention of a kindly priest, Father Francis Morgan (Colm Meaney), the two brothers are able to attend King Edward’s School.
Finnish director Dome Karukoski recreates early 20th century England in an extraordinarily lavish way. Whether it’s the satanic mills and factories of industrial Birmingham, the grounds of Tolkien’s public school, the spires of Oxford or even the tea rooms where he and his friends liked to meet, everything is depicted in loving and fetishistic detail. Hoult plays Tolkien as a high spirited and idealistic figure with an obvious genius for language.
At first, Tolkien and his posh and precocious new pals seem very smug. They all want to be poets or artists or musicians. There is an excruciating scene in which one of them proposes to a waitress, seemingly unaware that he is humiliating her. However, one of the benefits of having an outsider like Karukoski telling this story is that he isn’t as obsessed with class as a British director might have been. The film develops into a period version of a rites of passage story about youngsters on the verge of adulthood – a sort of Edwardian American Graffiti.
Tolkien and his friends form such a close-knit group that it’s a small miracle he has spare time to spend with Edith Bratt (Lily Collins), the beautiful, Wagner-loving young piano teacher who lives in the same boarding house. The screenplay (by David Gleeson and Stephen Beresford) makes it very clear that Edith’s passion for Wagner’s Ring cycle rubbed off on Tolkien and helped inspire the mythology found in his own novels. Her free-spirited approach to life also influenced him.
The Lord of the Rings author’s family have already disowned the film but it’s hard to see quite why. If it has taken liberties with its subject’s life, it has done so in order to make the film richer. Tolkien’s main dilemma is whether to concentrate on his studies at Oxford or to marry Edith. Father Francis refuses to allow him to do both. On its own, this wouldn’t make much of a story but the flashback structure and the continual shots of him during the Battle of the Somme add an extra layer of drama and pathos.
Wagner fires his imagination in one way. The horror he witnesses in the trenches traumatises him in one way but (it is implied) inspires him in another. He hallucinates that he sees white horses and monsters on the battlefield. The combination of his academic brilliance, his romantic obsession with Edith and his wartime suffering, pave the way for his fantasy novels.
Peter Jackson, director of the Lord of the Rings films, exchanged Middle Earth for the First World War with his recent documentary, They Shall Not Grow Old. This biopic shows the same journey in reverse. Whether or not the film satisfies the fans of Jackson’s movies or Tolkien’s books, or keeps his family happy, this is still a sympathetic and sensitive portrait of the novelist as a young man, evolving his creative vision. If you want to know where Bilbo Baggins came from, this is a good place to start.

Monday, May 20, 2019

HOW I WAS WRONG ABOUT THE MOVIE “TOLKIEN”


By 
https://theimaginativeconservative.org/2019/05/tolkien-movie-apology-joseph-pearce.html?fbclid=IwAR1luVOEqznD85ldy6owzT_c34f-0LRQp1Ce09hft6QGYWdg3gG7dzBYWkM
May 18, 2019

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Nicholas Hoult as J.R.R. Tolkien

I have a confession to make. Indeed, I need to make an apology. A few weeks ago, I wrote an essay entitled “Wormtongue’s Revenge”, in which I expressed my fears and misgivings about the new film, Tolkien, which focuses on the writer’s youth. I was concerned that the film would convey a homosexual and anti-Catholic agenda, weaving a fabric of lies of which Wormtongue himself would be proud. I cited the track record of the two screenwriters, David Gleeson and Stephen Beresford, and predicted the worst. “I might be wrong,” I wrote, “and will happily apologize to Messieurs Gleeson and Beresford should this be the case.” I should have added that I hoped to be proven wrong. I am, therefore, very happy to make the apology.
My fears about the film were assuaged by a couple of good and trusted friends who wrote to me after they had seen it.

“I had long shared your fears that a Tolkien biopic might make Fr Morgan into an ogre,” wrote the first friend, “but this one did not.” On the contrary, my friend continued, the priest who was the orphaned Tolkien’s legal guardian, “comes across, especially towards the end, as a father figure to Tolkien, which is definitely accurate”. My friend praised the acting of Nicholas Hoult as Tolkien, who had Tolkien’s “eccentricity and his mumbling speech pattern down to an art form”, concluding that he had enjoyed the movie much more than he had expected and expressing his hope that I would go and see it.
The other friend wrote to say that he and his wife had gone to see the film with my scathing prophecies in mind “and were mostly pleasantly surprised at the lack (as far as we could tell) of any homosexual agenda”. Far from such an agenda being evident, my friend reassured me that “the main emphasis of the movie was, in fact, the love story with Edith”. He continued to praise other aspects of the film:
The Somme scenes brought attention to the loss of wartime poets and a composer, which I thought might please you. Also, Tolkien was delirious on the battlefield at one point, and he saw visions of demons rising out the flames of bombs, and then a vision of Christ on the cross, as a kind of antidote, which pleasantly surprised us. The priest who raised him was portrayed as manly and firm, acting in his best interest to delay the marriage and who then blessed the marriage and praised Edith, when Tolkien had come of age, showing it had been the right thing to wait and the priest’s motives pure.
My friend concluded by stating that “the biggest sins of the film, were of omission”. He baulked at the suggestion, implicit in the film, that the central message of The Lord of the Rings was “fellowship,” without any suggestion that such fellowship had any deeper Christian meaning beyond male camaraderie. “I would say,” my friend concluded, “that it is not a film you should be afraid to see due to obvious problems”, adding that “it would be wonderful to read your review, if you do care to write one”.
With such endorsements from trusted friends, I rushed off to see the film.
The theatre was largely empty, which would have pleased me had my predictions proved correct, but which now saddened me as I began to warm to this warm-hearted dramatization of Tolkien’s early life, wishing that more people could see it.
The depiction of the idyllic life in the Shire-like Warwickshire countryside, with scenes of the young Tolkien and his friends playing in the woods, was juxtaposed to great effect with the family’s moving to the industrial slums of Birmingham, where the belching fumes and filth of the city’s factory chimneys reminds the viewer insistently and allusively of the scarred landscape and polluting stench of Mordor and Isengard. Tolkien’s mother is portrayed well, as is Tolkien’s closeness to her, but it is the characterization of Fr. Francis Morgan which surprised me most. There’s none of the anti-Catholic bigotry that one has come to expect in the characterization of priests in contemporary cinema. He shines forth as a compassionate father-figure, which is how Tolkien described him in his letters, who has Tolkien’s best interests in mind at all times, even and especially at those times when he appears most harsh, such as his decision to forbid Tolkien from seeing Edith.
As for Edith, the fellow orphan with whom the teenage Tolkien falls in love, she is shown to be feisty and highly cultured, which works in terms of the love story being told on the screen but lacks consistency with the real Edith whom Tolkien married, who was uncomfortable in the intellectual and academic circles in which her husband moved. The on-screen Edith is reminiscent of the characterization of C. S. Lewis’s wife, Joy Davidman, in the Hollywood version of Shadowlands, in which Debra Winger plays her as a feminist who is much smarter than Lewis’s male academic companions. In much the same vein, Lily Collins’s portrayal of Edith shows her as being much smarter than Tolkien’s male friends, and smarter than Tolkien himself. She is not only his Muse, which corresponds with the real Edith’s serving as the inspiration for the elven princess Lúthien Tinúviel, but is also his mentor, teaching him how to use his imagination fruitfully. Such tampering with the facts is within the realm of poetic license, however, and does not prevent the willing suspension of disbelief which is necessary if the film is to be enjoyed as a good story. It is, therefore, important to see it as a story based loosely upon historical facts and not as a documentary purporting to be objectively accurate in all respects. In short and in sum, this is a good yarn but a bad biography; indeed, it is a good yarn because it is a bad biography!
The homosexual agenda is inserted incognito in the characterization of Tolkien’s friend, Geoffrey Bache Smith, but in such a subtle manner that only the cognoscenti will notice it. Needless to say, there is no evidence that the real Geoffrey Bache Smith had such inclinations. Equally subtle and much more edifying are the allusions to Tolkien’s later life, especially his friendship with C. S. Lewis, in shots of Magdalen College, at which Lewis, Tolkien and their fellow Inklings met each week, and of Addison’s Walk, the footpath along the river on which Tolkien convinced Lewis of the truths of Christianity, laying the foundations for the latter’s conversion. There’s also a reference to the Eagle and Child, affectionately known by Tolkien and Lewis as the Bird and Baby, the pub in which they met with friends each week to wax lyrical and convivial on all matters pertaining to culture. Also refreshing was the relatively cerebral nature of the story, in which the importance of Tolkien’s academic work in the field of philology is treated with the necessary gravitas, and in which the role of the Church and its liturgy in comforting the afflicted is addressed with dignity.
On a less edifying note, it is true, as a reviewer in the Catholic Herald complained, that Tolkien’s Catholic faith is largely airbrushed out. The impression is given that Fr. Morgan’s presence is a consequence of the faith of Tolkien’s mother, whereas there’s no suggestion that Tolkien was himself a believer. On the contrary, the odd raised eyebrow at something that the priest has said gives the impression that the young Tolkien did not share his mother’s faith. There is, furthermore, no suggestion that Tolkien served Fr. Morgan’s Mass daily, nor that he would remain a lifelong practicing Catholic, still less is there any indication that The Lord of the Rings is, as Tolkien insisted, a “fundamentally religious and Catholic work”. And yet, laying these quibbles aside, there is no doubt that this is a good film with an adroitly crafted storyline, bereft, thankfully, of the poisonous wormtongued agenda that I feared it would have. It seems, therefore, as Treebeard might say, that I have been too hasty in my judgment. For this faux pas I offer my most heartfelt apology, adding that I have seldom been more pleased to be wrong.

Sunday, May 19, 2019

Smuggling Conrad Black over the border was always my Plan B


By Mark Steyn
https://nationalpost.com/opinion/mark-steyn-smuggling-conrad-black-over-the-border-was-always-my-plan-b?video_autoplay=true
May 17, 2019

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Former press magnate Conrad Black leaves federal court in Chicago in June 2011 after being re-sentenced to three and a half years in prison.(Brian Kersey/Getty Images)

The last time I saw my old boss Conrad Black was a week ago. It was a very Conradian occasion: We ended up keeping a visiting prince (not from the House of Windsor, as it happens) waiting in the lobby, and by the time we parted on the doorstep the conversation had worked its way round to Doris Day, then still among us. When Miss Day died a few days later, almost all the broadcast tributes played a snippet of:
Que Sera Sera
Whatever will be will be
The future’s not ours to see…
That’s a little fatalistic for my tastes. Nevertheless, in just a very few areas of life the future is ours to see, with piercing clarity: For example, if you attract the attention of America’s federal justice system, you’re going down, no question. You have the “right to a fair trial,” but U.S. prosecutors win 99 per cent of the cases that go to court — a success rate that would embarrass Kim Jong Un and Saddam Hussein. Indeed, the feds win 97 per cent without ever going near court. In 2007, on the first day of Conrad Black’s trial on the 12th floor of the Mies van der Rohe skyscraper that houses Chicago’s dozens of federal courtrooms, I went looking for somewhere to make a discreet call on my cellphone. There were people everywhere — reporters, lawyers, spouses, curious deputy attorneys dropping in from neighbouring offices, a fan of mine wanting me to autograph my Broadway book to his pal John Mahoney from “Frasier”… Eventually, I pushed open a door and found myself in an empty courtroom. So I phoned from there in complete privacy. When others attending the trial discovered the room, I went to the empty courtroom further down the corridor. And, when in turn that grew popular as a handsomely paneled telephone booth, I went to the empty courtroom upstairs, or downstairs.
So many courtrooms, and no trials. Because, when the odds of not losing are one in 100, who goes to court?
Americans who know anything about the country’s evil and depraved “justice” system grasp that central fact. It’s only rubes who say “let the process play out” or “if you haven’t done anything wrong, you’ve got nothing to fear.” For a start, by the time the process “plays out,” you’ll be broke and scavenging from dumpsters (as Trump’s fallen National Security honcho Michael Flynn learned, shortly before copping a plea). Second, from a prosecutorial point of view, “if you haven’t done anything wrong” they can still get you on misremembering to the FBI in a matter for which there’s no underlying crime (as Martha Stewart discovered), or, alternatively, on Robert Mueller’s second-favourite process crime of hanging out with too many foreigners in alleged breach of the “Foreign Agents Registration Act,” which Trump aide George Papadopoulos told me recently Mueller had threatened him with. (I met most Aussie cabinet ministers of the John Howard years, so I’m undoubtedly guilty on that front, even before you factor in dinner with Jason Kenney and a bit of chit-chat with Maxime Bernier).
It’s a corrupt system heavily reliant on blackmail. But its crude thuggish simplicity concentrates the mind, and thus everyone gets it. Which is why, when the dismantling of Conrad Black’s business empire began 16 years ago, the rich and powerful were the first to abandon him: whatever will be will be, but one thing’s for certain — Conrad’s screwed, he’s over, cut him loose now. The U.S. government threatened to send the “independent” directors of Hollinger “Wells Notices” — that’s to say, a public warning that you may be on the hook for violating securities laws. The way to avoid getting a Wells Notice was to testify against Lord Black at trial. So former Illinois governor Jim Thompson, former ambassador Richard Burt and former vice-chair of the Royal Commission on Canada’s National Passenger Transportation Marie-Josée Kravis meekly trooped up to the witness stand to explain that, although their names appeared on all the same documents Conrad’s did, they had no idea, as mere simpleton governors, ambassadors and royal commissioners, what they were signing, and had simply “skimmed” the paperwork — “skimmed” being the agreed formulation. InMaclean’s I described them as America’s synchronized skimming team.
On the day of Jim Thompson’s testimony, a staffer approached me and said the governor wondered if I were free for lunch. I replied that I’d rather eat dog feces than dine with a dead husk of a nothing of a shell of a non-man who’d lay down his friend for his life.
And yet, although not a synchronized skimmer myself, I too fell prey to their fatalism. As I disclosed after the trial, I’d advised Lord Black to climb into the back of my pick-up, I’d throw a tarp over him and drive him across the minimally guarded Pittsburg, N.H./La Patrie, Que. border post and east to Fortune, N.L., where he could take the ferry to St. Pierre et Miquelon and a waiting twin-prop….
Nonsense, thundered Conrad. He was an innocent man, and he would be vindicated by the justice system of this great republic.
I suppressed a titter and the urge to tell him that would support an insanity plea.
And so the battle consumed vast amounts of money — and even more if you add in the cash the feds simply stole from him, like the proceeds they confiscated from the sale of his New York apartment. It cost him also lifelong friendships, as prosecutors bought up his closest business partner, David Radler, and his secretary and anyone else who helped them get closer to the big fish, and threatened those in Toronto and London willing to testify on his behalf what would happen should they choose to set foot in the U.S. to appear at his trial.
It is a sad fact that many Canadians revile Conrad Black: They loathe him for his politics and his peerage and his publications (including this one). But even so they ought to give him credit for the sheer strength of will required to push back against the onslaught of the last decade and a half. His ordeal ended with a Trump pardon I confess I had minimal hopes of, because, as the president was doubtless advised, there’s nothing in it for him.
For the record, here’s the final score:
The Government of the United States initially brought 17 charges. Everyone seems to oooh and aaaah over that, but to bring multiple charges over a single crime is, in itself, malodorous. Even with the Boston Marathon bomber, it wasn’t enough that the guy loaded up his backpack, detonated it and killed and maimed a bunch of people; it was also necessary to charge the surviving Tsarnaev brother with “unlawful interference in interstate commerce” because he used a stolen credit card to withdraw US$800 from an ATM. There’s no question the bomber is guilty of bombing, and, if I had my way, he’d have been dangling from a gibbet six weeks after, but this kind of wanker sophistry degrades the very concept of law.
So why do it? Well, it’s a way to force you to forego justice: You’re facing 47 felonies adding up to 397 years in jail. So you agree to a plea “bargain.” Because otherwise you risk a jury that wants to show how Solomonic it is by acquitting you on 44 counts but convicting on three — enough to destroy your life. The U.S. Attorney operates on the same principle as the IRA, who, after the Brighton bombing, taunted Mrs. Thatcher that they only had to be lucky once; she had to be lucky every time. Patrick Fitzgerald had to be lucky once; Conrad Black had to be lucky every time. He came close.
Of those 17 counts, four, including perjury and money laundering, were abandoned before trial, and the US$400 million he was accused of “looting” was reduced to US$60 million.
Of the 13 remaining counts, Conrad was acquitted on nine, including racketeering and tax evasion, and found guilty of stealing US$2.9 million.
The surviving four counts were appealed to the Seventh Circuit. Unfortunately, Black had the misfortune to appear before a quasi-celebrity judge smitten by his own genius. Come the big day, alas, Richard Posner was just another lazy hack who all too obviously didn’t know the case and hadn’t read the briefs and was blustering his way through with windy generalities about “pretty naked fraud,” even though “pretty naked” is not really a legal term, never mind an appellate argument.
Conrad pressed on, to the highest tribunal in the land. If you followed the Kavanaugh hearings, you’ll know that America’s hideously politicized Supreme Court has four lefties and four righties and a designated swinger who’s the Supreme Judicial Arbiter of 300 million people. Yet, on June 24th 2010, the Supremes ruled unanimously in Conrad’s favour. That’s right: The left, the right and the swinger all voted as one with Madam Justice Ginsburg’s withering opinion about Posner’s “anomalous” “judicial invention.” His judgment was vacated, Conrad was released from prison, and the four counts kicked back down to the Seventh Circuit for “further proceedings consistent with this opinion.”
Of those four counts, two were overturned through gritted teeth by the Seventh Circuit, but the deeply insecure Posner could not bring himself to quash the two remaining counts, and in turn kicked them back down to the trial judge, Amy St. Eve, for “re-sentencing.” Judge Amy, just as insecure if not quite such a narcissist, decided to send Conrad back to prison for seven months on the grounds that incarceration seemed to be doing him good. She also revised down the financial penalty to US$150,000 — or (if my rough math is correct) point-oh-oh-oh-three-seven-five of what he’d originally been accused of “looting.”
Those two surviving counts were one of mail fraud and one of obstruction of justice, in which, as with Martha Stewart, there was no underlying crime left to “obstruct” other than that sole lousy count of “mail fraud,” one of those stupid catch-all non-crimes designed to provide a pretext for federal jurisdiction over almost anything that tickles their fancy. For that reason, none of those Canadians who feasted on Conrad Black’s comeuppance could actually explain, in the midst of their conga lines, what crime it is he actually committed. Because it isn’t a crime in Canada, or England, or Australia or Belize or Mauritius, Singapore, St Lucia, Tuvalu or anywhere else in the common-law world.
Recently, Conrad Black was kind enough to testify on my behalf in one of my own more modest legal proceedings down south, against a sociopathic billionaire who won’t stop suing me. We worried about how much credibility an ex-con might have before an American jurist, so we figured we might as well own it in the briefs, and described the witness thus:
“The Lord Black of Crossharbour is an eminent Canadian historian, a member of the House of Lords, a papal knight, the former Honorary Colonel of the Governor General’s Foot Guards, and in America a convicted felon.”
We took the position that, in a system run by the likes of Patrick Fitzgerald and Robert Mueller, that last distinction, like the foregoing, is just another badge of honour. It shames only a wretched and ugly system that no American should support.
The Incredible Shrinking Crime Spree of Conrad Black, after shriveling from 17 to 13 to nine to four to two counts and from 400 million to 92 million to 60 million to 2.9 million to 285,000 to 150,000 dollars, has now vanished entirely. Throughout an ordeal that consumed over a fifth of his life and more of his wealth, he staggered on, refusing to cut the deals that his pathetic deputy and his wretched worthless board did. That requires an amazing resilience few of us could muster.
There is one bit of unfinished business. In a pitiful spasm of belated Canadian me-tooism, the then governor general and the then prime minister decided, on account of those two surviving convictions, to have Conrad Black removed from the Queen’s Privy Council and the Order of Canada. A man who endured what he did can surely survive having his post-nominals cut off. Nevertheless, it was a craven and gutless move. It would be appropriate, I think, for the successor regimes on Sussex Drive to reverse those actions.
On the other hand, I’m not sure Conrad would take those baubles back. He lost almost everything, but in the end, on what mattered, he won. Last year, after CRTV/Blaze TV sued me for ten million, lost the case and were ordered to pay me four million, Conrad declared on stage that my victory was “the greatest act of accidental justice produced by the American legal system in decades.” I would return the compliment, but, in the case of Conrad Black, there was nothing “accidental” about it. He fought back against a disgusting system of unlimited resources and overwhelming power, and inch by painstaking inch he prevailed. I was wrong to offer him a ride to Miquelon under my tarpaulin. His way was better.

Everything you know about the Gospel of Paul is likely wrong


By David Bentley Hart
January 8, 2018
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Basilica of St. Paul Outside the Walls, Rome
This past year, I burdened the English-speaking world with my very own translation of the New Testament – a project that I undertook at the behest of my editor at Yale University Press, but that I agreed to almost in the instant that it was proposed. I had long contemplated attempting a ‘subversively literal’ rendering of the text. Over the years, I had become disenchanted with almost all the standard translations available, and especially with modern versions produced by large committees of scholars, many of whom (it seems to me) have been predisposed by inherited theological habits to see things in the text that are not really there, and to fail to notice other things that most definitely are. Committees are bland affairs, and tend to reinforce our expectations; but the world of late antiquity is so remote from our own that it is almost never what we expect. 
Ask, for instance, the average American Christian – say, some genial Presbyterian who attends church regularly and owns a New International Version of the Bible – what gospel the Apostle Paul preached. The reply will fall along predictable lines: human beings, bearing the guilt of original sin and destined for eternal hell, cannot save themselves through good deeds, or make themselves acceptable to God; yet God, in his mercy, sent the eternal Son to offer himself up for our sins, and the righteousness of Christ has been graciously imputed or imparted to all who have faith.
Some details might vary, but not the basic story. And, admittedly, much of the tale’s language is reminiscent of terms used by Paul, at least as filtered through certain conventional translations; but it is a fantasy. It presumes elements of later Christian belief absent from Paul’s own writings. Some of these (like the idea that humans are born damnably guilty in God’s eyes, or that good deeds are not required for salvation) arise from a history of misleading translations. Others (like the concept of an eternal hell of conscious torment) are entirely imagined, attributed to Paul on the basis of some mistaken picture of what the New Testament as a whole teaches.
Paul’s actual teachings, however, as taken directly from the Greek of his letters, emphasise neither original guilt nor imputed righteousness (he believed in neither), but rather the overthrow of bad angels. A certain long history of misreadings – especially of the Letter to the Romans – has created an impression of Paul’s theological concerns so entirely alien to his conceptual world that the real Paul occupies scarcely any place at all in Christian memory. It is true that he addresses issues of ‘righteousness’ or ‘justice’, and asserts that this is available to us only through the virtue of pistis – ‘faith’ or ‘trust’ or even ‘fidelity’. But for Paul, pistis largely consists in works of obedience to God and love of others. The only erga, ‘works’, which he is anxious to claim make no contribution to personal sanctity, are certain ‘ritual observances’ of the Law of Moses, such as circumcision or kosher dietary laws. This, though, means that the separation between Jews and gentiles has been annulled in Christ, opening salvation to all peoples; it does not mean (as Paul fears some might imagine) that God has abandoned his covenant with Israel.
Questions of law and righteousness, however, are secondary concerns. The essence of Paul’s theology is something far stranger, and unfolds on a far vaster scale. For Paul, the present world-age is rapidly passing, while another world-age differing from the former in every dimension – heavenly or terrestrial, spiritual or physical – is already dawning. The story of salvation concerns the entire cosmos; and it is a story of invasion, conquest, spoliation and triumph. For Paul, the cosmos has been enslaved to death, both by our sin and by the malign governance of those ‘angelic’ or ‘daemonian’ agencies who reign over the earth from the heavens, and who hold spirits in thrall below the earth. These angelic beings, these Archons, whom Paul calls Thrones and Powers and Dominations and Spiritual Forces of Evil in the High Places, are the gods of the nations. In the Letter to the Galatians, he even hints that the angel of the Lord who rules over Israel might be one of their number. Whether fallen, or mutinous, or merely incompetent, these beings stand intractably between us and God. But Christ has conquered them all.
In descending to Hades and ascending again through the heavens, Christ has vanquished all the Powers below and above that separate us from the love of God, taking them captive in a kind of triumphal procession. All that now remains is the final consummation of the present age, when Christ will appear in his full glory as cosmic conqueror, having ‘subordinated’ (hypetaxen) all the cosmic powers to himself – literally, having properly ‘ordered’ them ‘under’ himself – and will then return this whole reclaimed empire to his Father. God himself, rather than wicked or inept spiritual intermediaries, will rule the cosmos directly. Sometimes, Paul speaks as if some human beings will perish along with the present age, and sometimes as if all human beings will finally be saved. He never speaks of some hell for the torment of unregenerate souls.
The new age, moreover – when creation will be glorified and transformed into God’s kingdom – will be an age of ‘spirit’ rather than ‘flesh’. For Paul, these are two antithetical principles of creaturely existence, though most translations misrepresent the antithesis as a mere contrast between God’s ‘spirit’ and human perversity. But Paul is quite explicit: ‘Flesh and blood cannot inherit the Kingdom.’ Neither can psychÄ“, ‘soul’, the life-principle or anima that gives life to perishable flesh. In the age to come, the ‘psychical body’, the ‘ensouled’ or ‘animal’ way of life, will be replaced by a ‘spiritual body’, beyond the reach of death – though, again, conventional translations usually obscure this by speaking of the former, vaguely, as a ‘natural body’.
Paul’s voice, I hasten to add, is hardly an eccentric one. John’s Gospel too, for instance, tells of the divine saviour who comes ‘from above’, descending from God’s realm into this cosmos, overthrowing its reigning Archon, bringing God’s light into the darkness of our captivity, and ‘dragging’ everyone to himself. And, in varying registers, so do most of the texts of the New Testament. As I say, it is a conceptual world very remote from our own.
And yet it would be foolish to try to judge the gospel’s spiritual claims by how plausible we find the cosmology that accompanies them. For one thing, the ancient picture of reality might be in many significant respects more accurate than ours. And it would surely be a category error to assume that the story of Christ’s overthrow of death and sin cannot express a truth that transcends the historical and cultural conditions in which it was first told. But, before we decide anything at all about that story, we must first recover it from the very different stories that we so frequently tell in its place.


David Bentley Hart
is an Eastern Orthodox scholar of religion, and a philosopher, writer and cultural commentator. He is an associate at the Notre Dame Institute for Advanced Study, and his latest book is The New Testament: A Translation (2017). He lives in South Bend, Indiana.

Saturday, May 18, 2019

Today's Tune: Front and Center Presents: Southside Johnny and the Asbury Jukes - Talk to Me

‘It was just perfect’: Southside Johnny on his glory days with Springsteen and Miami Steve in Asbury Park


By Dan DeLuca
https://www.philly.com/entertainment/music/southside-johnny-asbury-jukes-parx-tour-philadelphia-20190509.html
May 9, 2019

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When New Jersey’s Asbury Park music scene rose up in the 1970s, there were three bright lights on its rock-and-soul triangle.

Bruce Springsteen was the breakout star. Steve Van Zandt was the songwriter-producer and Springsteen sidekick and consigliere who would go on to The Sopranos and Underground Garage satellite radio notoriety. And Southside Johnny Lyon was the blues and R&B vocalist and bandleader who could outsing both of them.

Starting with I Don’t Want to Go Home in 1976, Southside Johnny & the Asbury Jukes released three classic Van Zandt-produced albums that epitomized the Jersey Shore sound. He’s carried on as a hardworking road warrior for decades since, recording with an ever-evolving Jukes lineup, most recently on the 2015 return to form, Soultime!

Lyon is a key figure in Asbury Park: Riot, Redemption, Rock ‘N Roll, director Tom Jones‘ documentary about the rise, fall, and revival of the central Jersey boardwalk town showing in theaters May 22 and 29.

This week, the 70-year-old singer spoke on the phone from his hometown of Ocean Grove, N.J. He’ll be in Philadelphia with the Jukes at SugarHouse Casino on Saturday

The Jukes were house band at the Stone Pony in the 1970s. But there’s a lot in the Asbury Park movie about the Upstage Club, the after-hours venue that opened in 1968. Why was that place important?

That was our college. It was open from 8 till 5 o’clock in the morning. There was no alcohol, so teenagers could get in. It was two floors above a Thom McAn shoe store.

That’s where I met Bruce and Steve. I already knew Garry Tallent and Vini Lopez. … If they needed a singer — and this was in the guitar-hero era, two verses and then 20 minutes of a guitar solo — I became the singer. So I had to learn all these songs. It was a great education for all of us.

How’d you become a singer?

My parents loved music. Real music … Louis Armstrong and the Hot Fives, the Hot Sevens. T-Bone Walker, Big Joe Turner. This was not the kind of music that other people listened to, but I didn’t know that. I thought this is what people do.

They come home from work, have a couple of beers, and put on [Wynonie Harris’] “Don’t Roll Those Bloodshot Eyes at Me.”

Ocean Grove was a very quiet place. Mostly retired people. Sundays there were no cars allowed on the street. I would hear songs like Louis Armstrong “Struttin’ With Some Barbecue” and it felt like there was life somewhere. We were young and we wanted adventure and there was this music that promised that.

I detested school. My mother worked, and would say it was OK to stay home as long as I cleaned the house. So I would vacuum and make the beds and play their records and sing along with them.

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Southside Johnny with Little Steven in Amsterdam (SouthsideJohnny.com)


Shore towns can be cultural wastelands. Why was Asbury different?

The Beatles and the Stones and the Animals — those kind of successful garage bands — it gave us the impetus to try it. To dream a dream of making music. And then there were girls that would look at us, for once.

We never made any money. We were all scuffling. You somehow scrounged your way through and if you weren’t starving to death you got to play on Friday and Saturday night.

Was it a legitimately special place and time?

I think we knew it at the time. I’m not a nostalgist. I don’t look back that much, but when I do I think: How lucky can anybody be?

Bruce, we all thought was really going to be something, though we didn’t expect him to get as huge as he got. But he started to have success after his third album, and we all got the chance to put our foot in the door too. And we were tenacious about it. I wasn’t going back to working at the post office.

So it was a confluence of things. The Upstage Club. The fact that young people were starting to make their own music and there was audience for that. And we were lucky to find each other.

With the African American community on the west side of town, there was a strong black music influence on the scene.

That’s right. I remember going over to the Orchid Lounge and listening to B.B. King play his guitar through the cracked window. And Garry wound up playing with Little Melvin & the Invaders. That was an all-black band that had Clarence Clemons, and there’s this little skinny white kid Garry Tallent playing bass.

There was a place called Piner’s Lounge and Steven and I would go there and Bruce would come and we’d watch Garry play. We weren’t old enough to drink, but because we knew Garry we could get in. We’d eat fried chicken and listen to the band.

You had the great good fortune of Bruce and Steve writing songs like “Hearts of Stone” and “The Fever” and “This Time It’s for Real” for you.

They were’t really written for me. “I Don’t Want to Go Home” might have been. That was really a Drifters thing. I lived with Steven and two other guys, and we would listen to each other’s records. It was such a great time. ... We reinforced our belief in ourselves. We swapped musical educations. We honed our crafts. It was just perfect.

How many people have been in the Jukes?

Right now, it’s over 130.

That’s crazy.

That’s the nature of this kind of long-lived horn band. I had to replace the horn section when they went out with Diana Ross. One of my sax players went with David Bowie. ... I was always of the mind-set of if you get a better offer for more money, take it.

How do you take care of your voice?

I’ve been very lucky. I have a real iron throat. When people ask me for advice, I say, “Get some rest, drink lots of water, don’t party all night, and certainly don’t do cocaine.”

You learned that through experience? Including the cocaine?

Very much so. I wasn’t a big cocaine person, though. I did it once and went on stage and my voice dried out. It’s the stupidest drug. ... I remember a hair band opening for us, and I looked in the dressing room and there was a big mirror with all this cocaine. That’s got to be $1,000 worth of cocaine and you’re only making $500 a night? Economics is not your strong suit.

Who named you Southside?

That’s in dispute. Bruce Springsteen had visited his parents in California. When he came back to N.J., he was broke and needed to put together a band. That was Dr. Zoom & the Sonic Boom. We had a Monopoly game on stage. We had cheerleaders. Baton twirlers. It was crazy. And every musician had to have a nickname. Steve was Miami Steve, and I became Southside Johnny because of my love of Chicago blues.

Not because you were from Ocean Grove, south of Asbury Park?

The great blues mecca of Ocean Grove, New Jersey? No.