When you first took my hand on a cold Christmas Eve

Fairytale Of New York – The Poges

My tradition is to re-post this song every Christmas.  I actually really like a lot of Christmas music, but to me this is by far the best Christmas song because it’s not really about Christmas at all.  The other competitors for the title (‘Oh Holy Night’ springs to mind) have a certain majesty, an austere and genuine reverence for something beyond. Their beauty derives in no small part from the way they hearken to a different time, when we were driven by a different spirit.

What makes ‘Fairytale of New York’ the best song is the way it encapsulates what it means to be us, and in particular what it means to be now.  In an era of disenchantment, when the magic and mystery often seem to slip through our fingers, we need to hear music that performs this loss – and in doing so struggles against it.

The tension in the song is, of course, whether to believe in the hope that they start out with, or whether to accept the pain of their conclusion.  It would be a lie to pretend that you can simply wish away the bad stuff, but the sheer beauty of the song is the living proof that there must be something more.

It would be a lie to pretend the pain is false, but it would be an even bigger lie to believe that that is a sufficient truth.

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He’s not of this time, he fell out of a hole

Recently, I’ve been pondering the Penn State situation, but in a very circumspect way. Obviously, it’s horrible. But beyond that point I’m not entirely sure what I think, so I’m going to use this space to try and develop my thoughts.

I want to preface all of this by stating clearly that I am absolutely not trying to provide an apology of any sort for any of the actors involved.  I agree that there is no defense for their actions, and I agree that ‘I told my boss’ does not constitute anything like an acceptable response.  And I want to further note that perhaps the biggest lesson here is the extent to which predatory behavior counts on people looking the other way, in the way that it marginalizes the humanity of those who are harmed.

But (and of course there is a but), I’m nevertheless worried about the form in which these concerns are expressed. To some, the facts in this case are so obvious and absolute that anyone expressing any doubt, or attempting to explain the motivations of those who enabled the wrong to continue, is castigated.

My position is: the moral wrong is clear, and good people do right to insist on this in a forthright manner. However, those who desperately WANT there to be some explanation or excuse or loophole are not moral monsters, even if in their desire for something to explain they may appear that way. The students at Penn State angry about the firing of Paterno are wrong, but they are wrong in a way that IS understandable. For them, the specific facts are caught up in a much larger mythos of who they are, what it means to be at Penn State, etc. For people that have idolized Paterno for decades it will be very difficult to pierce through their filters.

The point I want to make is that, while wrong, people who express those kind of feelings are contributing something important to the conversation.

To explain what I mean, let me make a slight digression.

Consider Rick Perry, who as governor of Texas was personally responsible for killing an innocent man – and who later impeded investigations that would have made this very clear. Or consider Thomas Jefferson, who owned slaves. Andrew Jackson orchestrated genocide. FDR rounded up and interned Japanese Americans for no reason whatsoever. Present-day Americans consume massive amounts of energy and produce insane amounts of waste and pollution, which very likely contributes in serious ways to the deaths of countless people elsewhere in the world. We kill millions of sentient animals a day just to eat them, something I think future generations will regard with dismay and disgust. From the perspective of some people, millions of innocent children are killed in their mother’s womb every year. We wage war overseas in the name of democracy. And so on.

My point is not that all of these things are absolute moral evils in the same way that this Sandusky thing is. But maybe it is. Because my point is really that all of these things from at least some perspectives do rise to that threshold. They are more indirect, mostly, but not always. From the vantage point of 2011 it would be illegitimate to paint these things with precisely the same moral brush because they are obviously quite different in important ways. But from some other vantage point they might constitute absolute evils in the same way that we currently think of child rape.

And from that perspective, all the arguments that we would make to justify various behaviors in context would seem just as spurious.

But we are not moral monsters. We are simply ensconced within the morality of our own time and place. And it could not be otherwise.

I want to be clear at this point that I am not making a case for moral relativism, nor am I trying to minimize the legitimate outrage. We have all kinds of cultural, social, economic blinders that make it very easy for us to convince ourselves that the outrageous is merely the normal and that our responsibilities are small and limited. And we very much should strive against those tendencies.

However, and this is the thing that really makes me feel uncomfortable about the reactions, we need to remain empathetic, and not merely for the victims. By empathy I do NOT mean forgiveness, nor do I mean to provide an excuse or a defense. Empathy means attempting to grasp what makes it possible for people to behave in immoral ways. And most importantly, it means recognizing the bits of ourselves that manifest in the same way.

Basically, it’s all to easy to say ‘I would never have let that happen.’ And it may very well be true. But none of us can really know for sure. We all can get sucked into circumstances, lose track of a grander moral compass, fall off the right path.

The War Criminal Rises and Speaks – Okkervil River

When it comes to moral atrocity, and the sort of response I’m looking for, I can’t help but turn to Okkervil River.

There are three acts to this play:

The first focuses on the suburban reality of America: “The heart takes past Subway, past Stop and Shop, past Beal’s, and calls it ‘coming home.’” All is innocuous, and any violence or pain is far off in the distance, it cannot touch us or infect us. The music is quiet, his voice soft, but ever so slowly the tension builds…

The second part places us in the room with the war criminal as he tells his side: “Does the heart wants to atone? Oh, I believe that it’s so, because if I could climb back through time, I’d restore their lives and then give back my own.” All this time the tension is rising, the music begins to pound on the brain and Sheff’s voice crackles with intensity, it bends and breaks and shatters but still keeps on going. He makes no excuses, he cannot even cry, but it is clear that the mistake of 30 years ago has haunted him for every second of his life since. He does not ask to escape punishment, he only asks that those reading and watching to understand that he is not really any different from them, and for the hope that somehow he can be forgiven for falling into the abyss.

The music falls off the table and the quiet, doe-like Sheff is back in the third part. Here, they return to suburbia and deny any linkage between us and the war criminal: “Your heart’s warm and kind. Your mind is your own. Our blood-spattered criminal is inscrutable; don’t worry, he won’t rise up behind your eyes and take wild control. He’s not of this time, he fell out of a hole.” The message is optimistic but something is slightly different in his voice: there is a weariness, or perhaps a wariness: one can almost sense that he wants to believe this but cannot. Or is it simply a sneer? Sheff mockingly putting words in the mouths of those who fall back into easy condemnation: ‘I could never do something like that.’

The point is that people need to believe this about themselves. And it’s not necessarily a terrible thing. Perhaps society needs this kind of noble lie to keep being told in order to hold everything together.

But I want to believe that we are better than that. That our initial response, to attack the outrageous, is not the limit of our capacity to respond. That we can feel genuine empathy, a sense of the darkness in our own souls, at the edge of our own town. But that we can also have faith in our capacity to resist that darkness. That we must struggle, constantly, to hold back the war criminal within ourselves means that life is more than just an endless suburban landscape. And that seems far more optimistic than to simply condemn.

What does this all mean about Paterno, Penn State, and the like? Well, I think it means that people are absolutely right to make a very big deal of this. But I think that needs to include understanding that many of the villains of this story genuinely thought themselves to be good men put in a hard place, who managed to convince themselves that simply looking the other way was the right thing to do.

And in our rush to judgment, to absolute condemnation, we should be wary of falling into a the same kind of spiral ourselves, where what seems to be right becomes sufficient and definitive. We must indeed judge – I don’t want to deny that – but the distinction between judgment and outrage should not be entirely erased. Our outrage drives us, it manifests our moral character, it gives us life and energy. But it is not the entirety of our moral capacity.

Let this be a lesson in the horrible things that good people can do when faced with peculiar circumstances. And let it remind us that we ourselves may fall into the same trap. Hopefully never on anything remotely like the same scale. But we face tiny iterations of this problem every day.

If we want to say to ourselves ‘I would never have let that happen’ then we must do the hard work to make that statement true. Not just take it for granted that it is.

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I’ll love you on our wedding day

On Marriage – The Six Parts Seven (with Carissa’s Wierd)

Another recusal case in the news.  This one is at the 9th Circuit, where there is a claim being made that Vaughn Walker (who ruled that Prop 8 was unconstitutional) should not have been allowed to hear the case because, you know, he’s gay.

This is offensive and stupid.  First of all, the entire argument against gay marriage is supposed to be that it damages ‘traditional’ marriage.  If there is any truth to that, then straight people (the ones who can currently get married) are the ones being threatened.  Which implies they have just as much of a conflict of interest as gay people, doesn’t it?

But really, the point is just that this notion of what constitutes a conflict of interest is insane.  I’ll defer to Scott Lemieux:

So what if Walker did intend to get married? Are homeowners disqualified from hearing 4th Amendment cases? Are only judges who pledge never to speak or write in public allowed to rule on 1st Amendment cases? Do judges have to pledge never to buy equities before they hear a securities litigation case?

Are white people not allowed to hear cases about affirmative action? Are men not allowed to hear cases about gender violence? Are capitalists not allowed to hear cases about unionization?

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Kagan and the health care case

Eric Segall, Con Law professor at Georgia State, writes for Slate that Elena Kagan ought to recuse herself from the upcoming health care case.

One piece of evidence that he marshals is an email Kagan sent to Laurence Tribe expressing joy at the passage of the law.  He asks: “Would these two constitutional law giants celebrate the passing of a law they believed violated the Constitution?”

To me, this just speaks to the silliness that comes from the pretense that the Court is composed of apolitical entities who merely judge the Constitutional merits of law with no other consideration.

Of course Kagan doesn’t think the law violates the Constitution.  Why are we searching through tea leaves to make these judgments about bias?  No one anywhere on Planet Earth thinks that Kagan would judge this law to be unconstitutional.  In fact, Segall’s whole article assumes this premise.

And the reason WHY she thinks it’s Constitutional has absolutely nothing to do with the fact that she was the Solicitor General for Obama.  Or, it’s correlated but only in the opposite direction.  She got the job, and the appointment, because her judicial philosophy aligns with Obama’s.

The key paragraph is this:

Can Justice Kagan review the ACA without regard for the personal and professional past and the future of President Obama as well as her prior work in the administration? Can she look at the ambiguous and open-ended Commerce Clause precedents of the court and reach a legal answer with no awareness of the political implications for the president who so recently employed and appointed her? If the answer is yes, she is more robot than judge. If the answer is no, she should recuse herself.

This just misses the boat, in my opinion.  It conflates two very different issues.  No, she could not possibly “reach a legal answer with no awareness of the political implications” because NO judge can do that.  But her working for Obama just has nothing to do with it.  She could have lived on Jupiter for the three years prior to getting the nomination, been given a copy of the law there, and she would have been just as likely to consider it Constitutional.

Frankly, it does more harm to the legitimacy of the institution to pretend, contra all facts, that the Court is only operating correctly when it is offering pure, unbiased legal judgment.  I think the public (insofar as it cares at all) is smart enough to understand that these are political actors tasked with legal responsibilities.

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The dirty twinkle in your eye

Crazy Races – The Dirty Diamonds

We’re getting close to the point where I’m going to have to start taking this Gingrich thing seriously.  But we are not there yet.

I know what the polls say, but can we all have a reality check for a moment?  Other than the fact that the Iowa Caucus is less than a month away is there any reason to take this much more seriously than we took Bachman and Cain and Trump when they were leading?  We’re talking about Newt Gingrich here.  The guy is toxic.

I’ve been trying to come up with an analogy to clarify just how insane they would have to be to nominate him.  One would be if in 1992 the Democrats had decided they really wanted to go with Walter Mondale.  Or if this year there was a strong primary challenge to Obama coming from, say, John Kerry.

Newt was drummed out of his job as Speaker in the 90s for being generally incompetent.  And while he was on his way out, he decided to impeach Clinton, which ended catastrophically for him.  He has made millions lobbying for industries that everyone hates.  He has notoriously big problems with marital fidelity.  He has a record of supporting all kinds of things that supposedly will sink Romney (cap and trade, the individual mandate, etc.)  And he’s just a freaking lunatic.

I’ll defer to the always-excellent Jonathan Bernstein on this point, pointing out that all the theorists of the Newt-surge need to remember that many other candidates have gone through this same process.

I don’t doubt that Romney is worried about this, and has some work to do to clamp down on the voters.  But I still find it VERY hard to believe that when people actually show up to vote they’re still going to be on the Newt-train.

And speaking as a Democrat, I really hope they aren’t just that crazy.  I think running against Gingrich would be a dream for the Obama team, but this is an instance where my commitment to the broader structures of our system overwhelms my strategic interest.  It would a) be an unmitigated catastrophe if this crazy man stumbled into the White House and b) would drag us ever closer to the final death knell of American democracy if one of the two major parties decided at this moment in time to let him anywhere near the nomination.  For the sake of all of us, I really hope they just nominate Romney, even if that means a higher risk of Obama losing.

I still think there is, at best, a 5-10% chance of this happening.  And I would frankly give better odds on Perry emerging as the nominee still.  And I still think that if Pawlenty hadn’t dropped out, he might well have won.  But that’s how predictions go…

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You laughed, enchanted by my intellect

The World Has Turned And Left Me Here – Weezer

So health care reform is going to the Supreme Court this term. What is the likely result?

To some extent, speculation about this is a fool’s game. I think it’s obvious that Ginsberg, Sotomayor, Kagan, and Breyer will vote to uphold it. That is clearly what the existing precedent demands and it aligns with their political desires. Thomas and Scalia and Alito are clearly going to vote against it. So we’re really just talking about two individual people. And there’s zero chance that Roberts votes to uphold unless Kennedy has already voted that way. That is: Roberts is never going to be the deciding vote to uphold it, but he might be the 6th vote if it’s going to win anyways. On top of that, Kennedy is notoriously impossible to predict.  There is some political science work that attempts to predict this stuff, but at this stage the margin of error is quite high.

So maybe that’s the only useful thing to say.

It’s extremely difficult to make a reasonable argument that the mandate exceeds the power of Congress, given the standing precedent of things like Wickard. And the brief federalism revolution was basically shut down by Raich a few years back, so it wouldn’t just mean reversing a boatload of old precedent, it would also mean flip-flopping AGAIN on the basic question. Maybe I’m just projecting, but I have a hard time seeing Kennedy being willing to go out on that ledge.

Why am I so sure that Scalia and Alito will vote against it? After all, Scalia wrote a concurrence in Raich on the side of the national government. Well, I’m persuaded by Scott Lemieux’s point that Scalia doesn’t care about the civil remedy for domestic abuse, but is perfectly happy to let the state beat up some drug-soaked hippies. Never mind that his attempt to distinguish Raich was based on the Necessary and Proper Clause, which seems FAR more relevant here than in that case. He’ll find a way.

As for Alito, I’ve never seen much reason to think he’s got any scruples about this sort of thing. That people still insist on discussing him as if he were any kind of centrist is very confusing to me. Is there any evidence for it on anything even remotely high profile?  The article I linked to above ends with a prediction of 7-2 to uphold with Alito as the potential #7.  I will be shocked if that turns out right.

Final thought: when I posted about this two years ago, as health care was still in the run-up to passing, I dismissed the idea of the Court striking down the law as plainly absurd on its face. I still believe this to be the case…and yet here we are. So perhaps my prognostication skills are not to be trusted on this issue at all.

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There’s no coming home with a name like mine

Ghost Towns – Radical Face
Always Gold – Radical Face

For all that I adore some of their songs, Radical Face (or really, Ben Cooper, since it’s more or less his solo project) are exceptionally frustrating. The thing that drives me crazy is the constant insistence on delivering only 85%. I say insistence, because it’s quite clear that he’s got an extremely strong sense of composition and construction. The interludes, the meanderings, the restraint – it’s all being done to a purpose. And sure, you can respect someone with such an ear for mood. But sometimes you just want him to let everything free.  this is exceeding clear on his new album The Family Tree: The Roots.

Listen to the bit around 2:10 on “A Pound of Flesh” – the wordless chorus that rises like a jet taking flight. It’s a glorious moment of awakening and joy. And sure, the loud/soft counterpoint provided by the final minute of the song is lovely in one sense. But I can’t help but feel like it also clips the wings of something that could have been truly majestic.

And then you consider the tracks that bookend it. Both are very nice, but they are almost aggressively downtrodden. Again, you can respect the way that it constructs a story. And I do mean story, because this record is imagined as just the first part of a grand three album narrative of a colonial family. And, true to life, he makes every effort to balance the joyous with the mundane, the fire with the ice.

But, but… I can appreciate the scope of the effort, I can understand the way that it produces a monumental payoff when you get to “Always Gold” near the end, when that song’s internal climax is really the climax of an entire movement. But, “Always Gold” is just so good on its own terms that it doesn’t really need that context to get the job done. In fact, yet again my complaint about this song is that it’s got four minutes of a true classic stretched out to fill six minutes. The intro is beautiful, but could certainly be thirty seconds shorter. And once things kick into gear, the acoustic plucking is perfection – especially when paired with an immaculately timed movement between tones. Until you get the bridge around three minutes, which again drags just a bit too long. Given the energy imparted by the rest of the song, having a minute lull in the middle is just a bit of a drag.

This is also the song that best demonstrates his unexpected vocal talents. In absolute terms, it’s nothing special. But when combined with lyrics evoking honest resignation, the plaintiveness is exactly what’s necessary.

I mean, what a way to start a song:

We were tight knit boys, brothers in more than name
You would kill for me, and knew that I’d do the same
And it cut me sharp, hearing you’d gone away
But everything goes away, yeah everything goes away

And for all my adulation, I haven’t even brought up the best song on the record: “Ghost Towns.” If my central concern is that the album feels contrived, manufactured by a self-aware author, this is the one song that completely breaks the mold. The impulse for restraint gives way and he simply lets thing be precisely what they demand. It’s just a wonderful piece of writing and comes to life in a way very few songs can.

But then, true to form, it’s followed by the hopelessly dull “Kin” which almost aggressively refuses to find a tune. It’s like hanging the sculpted darkness of a Caravaggio and hanging it in between the blueprints for your local 7-11. Sure, it may communicate something, but visitors are entitled to wonder if maybe the juxtaposition is really worth it.

For all that I can’t entirely endorse this record, it remains one of my favorites of the year. And I’m going to reserve final judgment until I hear the remaining two records. My basic complaint is that the atmospheric benefits provided by the dull material doesn’t provide enough of a benefit to overwhelm the lost power of the finest moments. But it’s all good enough that maybe he deserves to have the whole project be heard together. If the concept continues to develop, perhaps the gestalt really will be more than the sum of its parts. Anyways, I’m anxiously awaiting the next installment.

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Would you send me out a signal from your broken satellite

A Satellite, Stars and an Ocean Behind You – The Submarines
Fire – The Submarines

My one line review of the new Submarines record, Love Notes/Letter Bombs: when faced with the slogan ‘change vs. more of the same’ The Submarines are clearly a ‘more of the same’ sort of band. And that’s just fine!

My slightly longer unpacking: The Submarines’ debut album was an absolute breath of fresh air: the breakup-and-get-back-together record that was both autobiographical and performative. It was one of my favorite albums of the last decade. 2008’s Honeysuckle Weeks treaded very much on the same ground. And while the air was no longer quite so fresh, the charm and melodies were very much there.

This time around, it’s become absolutely clear that they are in for the long haul. They’ve got a style and a key, and they stick to it. And you know what, in many ways, I really respect that. I think bands are far too often committed to switching things for no reason other than a desire to prove that they’ve got something deeper going on. I don’t think there’s any shame in playing to your strengths, which in this case means dealing out ten more delicious slices of indie pop.

To the extent that there are changes, they mostly involve tapping into the New New Wave movement. But really, with a few exceptions, adding some synths doesn’t change the essentially acoustic charm. Those exceptions: their introduction about 35 seconds into the absolutely captivating “A Satellite, Stars and an Ocean Behind You” announces the genuine possibility of a different path for the band to walk on future records. And, on the other side, the stilted “Where You Are” is just a dud. There’s no two ways around that one.

Other complaints? Well, it’s not that I have any problem with Blake-driven songs – she has a wonderful voice and I can see why they have increasingly highlighted it – but I do miss having John front and center a bit more. His tracks on Declare a New State felt a tad more weighty, which provided a nice counterpoint to the tendency of her songs to drift into wispy-cloud territory. That loss means things can get just a tiny bit tedious in the middle of the record. There are lots of nice songs, but apart from the very fun “Tigers” there’s not a whole lot to distinguish things. The only real burners are at the very beginning or end.

Still, those good tracks more than make up for a slightly tepid middle. The previously mentioned “A Satellite, Stars and an Ocean Behind You” is right up there with their best tracks, as pretty as anything they’ve done, and with the same sort of energy that made “You, Me, and the Bourgeoisie” such a blast. The final track “Anymore” takes some time to find its feet, but about a minute and a half in it all starts to click. Then, when they reprise the tone of the opening minute it all makes so much more sense – like a magic eye clicking into place. And “Fire” is probably the most straightforward pop they’ve produced so far, but with the delicate touch you’d expect from them.

It’s quite possible that these two will never produce an album to match Declare a New State, but if they can churn out a fun record like this every couple years I won’t be doing any lamenting.

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Telling me you love me in all my glory

Love Love – Amy Macdonald
Don’t Tell Me That It’s Over – Amy Macdonald

One of my favorite records of this year isn’t even from this year. Somehow I totally missed Amy Macdonald’s most recent record, A Curious Thing, which actually came out way back in March of 2010. Macdonald is actually quite popular over in Europe, but doesn’t seem to have taken off in nearly the same way on this side of the pond.  So despite the fact that I loved her debut, I just failed to notice this one getting released.

Her style is almost aggressively straightforward. These are simple songs about love and longing, clean guitar lines, verse/chorus/verse, etc. The big themes are love, wistful reminiscence, and wry concern for the inauthenticity of fame. None of which really pushes any boundaries. She does have a lovely voice, with a thick Celtic accent, which adds some nice flavor but doesn’t fundamentally alter things. The thing is, she just does the basic stuff so well that you can’t be bothered to worry about any lack of sophistication.

Things pick right up where they left off in 2007’s This Is the Life. “Don’t Tell Me That It’s Over” is a galloping guitar-driven love song, which is sold almost entirely by her vocal performance. “No Roots” is smoky and insistent – though the quiet intro drags on just a little bit. And “An Ordinary Life” takes what could be a very trite message (the decline of authenticity that seems inevitably accompany fame) and makes it seem significant. It’s not that she offers a radically new perspective or anything – more that she seems to call attention to all those elements of life that appear universal from the outside, but which are invariably experienced in their particularity from within.

My favorite example is “Love Love,” which to my ear is almost post-ironic. See, for example, lines like: “At night I sit and cry it seems / Wondering why love is not like my dreams / Wondering why I am still here all alone.” Taken literally, it’s almost too precious to handle. And yet, she plays it straight. Or rather, she plays it like someone who desperately WANTS to still believe in the dream. The sense of melancholy reaches its apotheosis as she sighs: “And at night I wish that you were there / Touching my face and stroking my hair / Telling me things, telling me stories / Telling me you love me in all my glory.” The snob will write it off, but would be absolutely wrong. It’s a very genuine moment because, rather than in spite, of its pomposity.

Don’t get me wrong. I don’t mean to jump completely into the breach in defense of this record. It’s simplicity is a major part of its charm, but it’s also a modest step back from Macdonald’s first record. That one combined this sense of passion and earnestness with a more tempered form of judgment. There’s nothing on this record that hits the pitch-perfect sense of awe you heard in “Barrowland Ballroom,” or anything that is so pure as her cover of “Caledonia.” And where the themes do match, there is something a bit more weighty about the older “Footballer’s Wife” which just doesn’t quite emerge from this record’s “An Ordinary Life.”

All that said, it’s still a mighty fine record. If it suffers marginally compared to her first one, it certainly is not a sophomore slump.

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Oops

Awaiting Elemental Meltdown – The Six Parts Seven

So, Rick Perry has the debate meltdown to end all meltdowns. I still don’t think he’s down and out, but it does seem to suggest that the Mitt train is rolling along with ever-increasingly inevitability. I mean, for all the Republican primary voters seem to demand ideological conformity, it’s exceptionally hard to believe they want to stick this guy (or, god forbid, Herman Cain) up on a stage with Obama next fall.

The real thing I wanted to talk about here is the series of modest Perry defenses. Everyone has had brain freezes, after all. And it’s not like being president has anything in particular to do with the ability to memorize talking points. But while I totally recognize those points, I want to push back on the pushback.

Here’s the thing. If Perry had genuine opinions about the means for forming governmental bureaucracy, he would presumably have access to some basic set of arguments in defense of those principles. But he doesn’t. Because he has no actual opinions; he only has the window-dressing. He wants to close three departments because it sounds like the ‘take no nonsense’ sort of approach he thinks he’s supposed to embody. Sissies try to reform systems; eggheads have complicated programs; Rick Perry just cuts right through it.

But why three? Well, it would be beyond insane to just shut down every department. And only closing one is far too mainstream. Closing the Dept of Education has been a Republican bugbear for years. So you have to go beyond that. And, let’s face it, three is a pretty solid number. We love threes in American political culture. So let’s make it three.

It was incredibly obvious watching him sputter that he had just memorized the phrase “Education, Commerce, Energy” – and had no engagement with the content of what he was saying. That’s the real crime, that when the memorization broke down he had no actual content underneath that he could resort to. All he could do was stand there, grin, and say ‘oops.’

Let’s also not forget that the essence of his ‘economic plan’ is supposedly his focus on energy. That’s what he’s supposed to be a specialist in.

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