The Moral of the Mueller Inquisition
by Ilana Mercer
One among many, former CIA head honcho John Brennan had famously asserted that President Trump was “treasonous” and “in the pocket of Putin.” It was “beyond a shadow of a doubt [that Trump] sought to…collude with the Russian government…to undermine and influence our elections,” seconded wonder boy Beto O’Rourke.
And that’s just a humdrum smattering of the folly force-fed to Americans for the two years of the Mueller Inquisition, from “respectable” TV megaphones, including legions of Never Trump Republicans. The same characters, in their many interchangeable iterations, will remind you that the omniscient Mueller had equivocated over the matter of obstruction of justice. Over this, the second part of his eponymous report, Mueller declined to prosecute Trump. The first part of Robert Mueller’s report “cleared Donald Trump of having conspired with Russia.”
Let us unpack the obstruction-of-justice aspect of the ongoing farce: in the course of defending his reputation against silly, but gravely serious, smears—that he was a “Russian asset,” in the words of former acting FBI Director Andrew McCabe—the president forcefully and publicly berated the Mueller proceedings and his turncoat attorney, Michael Cohen (who, though a hostile witness, testified that there was no collusion). Continue reading
Great War memorial at Jeparit – close up of the sculpured figure of a woman
ENDNOTES, April 2019
by Stuart Millson
In this edition: musical meditations on death and national decline
From Chandos records, come two less-frequently-performed masterpieces by the doyen of English music, Sir Edward Elgar: The Music Makers (written in 1912) and The Spirit of England, a choral-orchestral heroic lament from the First World War. Both pieces exhibit all of the qualities of a composer still at the height of his power – and yet the music, for all its glories, transmits a sense of unease, valediction and of greatness, slowly ebbing away. The Music Makers sets the words of a 19th-century poet, Arthur O’ Shaughnessy:
“We are the music makers,
And we are the dreamers of dreams,
Wand’ring by lone sea-breakers,
And sitting by desolate streams;
World-losers and world forsakers…”
After a brief orchestral introduction which establishes an immediate mood of stately melancholy – yet underpinned by a tide of turbulence – the choir (on this recording, the BBC Symphony Chorus) sings O’Shaughnessy’s lonely testament of all poets and artists: “…Yet we are the movers and shakers/Of the world forever, it seems…” In this work, Elgar followed a motif which surfaced time and again through his composing career: a desire to escape the life of an artist, as much as to create – and the idea that his works were sometimes failures; that he had failed to find that celestial high-note, that “God was against art”. The Music Makers unfolds as a memory-album of Elgar’s past triumphs: famous themes from works that made his name – the First Symphony, the Enigma Variations, Sea Pictures arise from the mournful depths, and it seems that we are listening to an Elgar requiem. Continue reading
A New York City fireman calls for 10 more rescue workers to make their way into the rubble of the World Trade Center. U.S. Navy Photo by Journalist 1st Class Preston Keres.
Fake Intel runs through it
by Ilana Mercer
No, the moral of the Mueller inquisition is not that the Left is incorrigibly corrupt and morally and intellectually bankrupt, although this is certainly true. And, no. It’s not that the Republicans are meek, more eager for swamp-creature tenure than to save the country. However much state power flaccid Republicans capture, they quickly come to heel when Democrats crack the whip.
The moral of the Mueller inquisition, at least one of them, concerns the alphabet soup of acronyms that stands for the Permanent Security State—FBI, DOJ, DIA, DHS, CIA, NSA, on and on. That this intractable apparatus’ impetus is liberal is hardly new. What is counterintuitive to many is that the Permanent Security State’s modus operandi comports perfectly well with both Republican and Democratic administrations, alike.
When it comes to subverting an “America First,” sovereignty-centered, populist platform—the duopoly acts as one. Have not fans of Mr. Mueller kept reminding us that the man is a loyal Republican? And he is—Mueller’s a Republican stalwart of the managerial class. (By the way, Mueller fans can find “Mr. Mueller-face earrings and Mueller devotional candles on Etsy, the e-commerce equivalent of a hippie grandmother’s attic.”)
Erwin Schrott as Méphistophélès, photograph by Tristram Kenton
Hell has no Limits
Faust, opera in five acts, music by Charles-François Gounod, libretto by Jules Barbier and Michel Carré, conducted by Dan Ettinger, director David McVicar, 5th revival of the 2004 production, Royal Opera, Thursday 11th April 2019, reviewed by Leslie Jones
When Charles-François Gounod died in 1893, Faust had already been performed a thousand times. It is not hard to see why. Exquisitely orchestrated, with echoes of his protégé George Bizet’s Symphony in C (composed when the latter was only seventeen), there are compelling and beautiful arias, such as Salut! Demeure chaste et pure (Hail! Chaste and fair abode). Moreover, Faust addresses universal themes. “Who”, as one critic sagely remarked, “doesn’t long to be young again?” (lyricopera.org). Faust, a world-weary scholar, depicted by the American tenor Michael Fabiano as a doddering old man, feels that he has learnt nothing and has needlessly forgone opportunities for love. “Maudit soit le bonheur, maudites la science, la priere et la foi”, he exclaims (Cursed be happiness, science, prayer and faith). He damns everything that ties people to life – sex, youth, the beauty of nature and the thirst for knowledge. Continue reading
Two Poems by Velaj
The Hymn of Madness
The old women witch river banks
Wetting white sheets of snow
And wrapping dead mouse in them
God forgive them
They do not know what they are doing
The sheets belonged to a virgin girl
They killed the mouse in a dark hole at night
(Girls and mouse are their sacrifice)
God forgive them
They know no other light
They begin to sing such a luring melody
Under the rhythm of steps that has lost the way home
Without knowing that the river has no memory at all
It knows only how to flow and flow, only this much…
My God, I shall not speak any more
From today on the muteness of the ocean will be my language
Van Gogh, Round of the Prisoners
Detention Deficit Disorder
by Bill Hartley
In 2016, I wrote an article about detention centres. This was prompted by Operation Seabrook, Durham Constabulary’s investigation into allegations of abuse at Medomsley, the former detention centre in County Durham which closed in 1988. Seabrook grew to be the country’s largest investigation into sexual abuse. The story began back in 2003 when a man called Neville Husband who once ran the kitchen at Medomsley was convicted of serious sexual assaults of teenage detainees. It is claimed that some staff at Medomsley were aware of his activities but failed to report this believing that he enjoyed the support of senior management. He might have been stopped sooner; a former detainee tried to complain to Durham police but was sent packing. Husband received a long prison sentence and has since died. Seabrook illustrates how the police moved from a point where the authorities ignored allegations of abuse to a situation where any such complaint is assumed to be true and they are dealing with a ‘victim’.
Detention centres were tough places, dedicated to the ‘short sharp shock’ approach. Politicians were active in encouraging this. The theory was that a brisk activity based regime would deter young people from crime, since they wouldn’t wish to come back for a second helping. To run this kind of regime required strong and visible leadership to make sure that firmness didn’t spill over into what we now describe as abuse. Unfortunately DCs, to use the Prison Service term, were something of a backwater, often a place to post individuals who were close to retirement. Ambitious governors didn’t want to go to such places. Medomsley appears to have been a good example of an institution which didn’t get the leadership it deserved. Given its size (holding around 70 detainees), a reasonably energetic person could easily see every detainee and member of staff in the course of a typical week. Many governors of larger institutions used this high visibility approach, since in those days there were fewer demands on their time. Suffice to say for the present that the Medomsley regime at times went beyond robust. This is always the danger; the bully will prosper when there is little risk of getting caught. Continue reading
Chris Mullin, Credit Total Politics
Mulling it Over
Review of Hinterland by Chris Mullin, Profile Books, 2017,
ISBN 978 1 78125 606 0, reviewed by Monty Skew
Some political memoirs are dull. Not so A View from the Foothills, a frank and self-deprecating diary (the first of three) of Chris Mullin’s time in Parliament. Mullin is unusual: a leftwing party loyalist but a fiercely independent MP who worked hard for his constituents. His latest book could have been called From the Sunny Uplands but it is sensibly entitled Hinterland. Continuing in the same vein as the aforementioned diary, he charts his disillusion with the left and with politics generally, content to leave it all behind. This is probably his final set of memoirs and is told with searing honesty and realism.
Mullin describes his childhood and his early years in left wing politics. Vauxhall was once a plum Labour seat. George Strauss ran it like a personal fiefdom. He personally owned the Labour party building and paid the secretary himself. He also restricted the local membership. The shameful role of John Silkin, another lawyer, who controlled a rotten borough in Deptford, is also well told. Silkin spent much of his time fighting the Left. Like many Labour MPs of the time, Strauss and Silkin could have belonged to any party. These were the rotten boroughs dominated by right-wing Labourites and trade unions, often in a corrupt embrace.
This fact was identified by left-wingers who targeted such seats. Reg Prentice in Newham North East was the first to be deselected and he defected to the Conservatives after being staunchly defended by Labour leaders. He then announced that he had always been a Conservative! Both before and during his parliamentary stint, Mullin helped to democratise the Labour party and install reselection of MPs as a positive process. He knew something about this for as soon as he became MP, there were organised attempts to unseat him. Continue reading
Presbyterians, Preparing for Battle
Jeffrey S. McDonald, John Gerstner and the Renewal of Presbyterian and Reformed Evangelicalism in Modern America, Pickwick, 2017, Pp. 263, reviewed by Darrell Sutton
John Knox (1514-1572), one of the founding fathers of Protestantism, did not eschew controversy. Preaching with a Bible in one hand and a sword in the other, he campaigned as if the soul’s stake in heaven depended on his efforts. Some commentators consider him the founder of Presbyterianism. His theological precepts persisted in the creeds of his followers.
Down through the ages, clergymen lamented any dilution of the founders’ convictions. The sword of the Spirit became their weapon of choice. Preach the Bible! – the clergy iterated. For laymen, surely, could not impede the renunciation of faith. Skepticism divorced people from their once firmly held belief in biblical texts.
The majority of adherents to Calvinistic views can no longer can read Luther, Calvin or other non-English writers in their original languages. The Enlightenment helped critical scholarship, but the flow of new information did not lead parishioners back to the textual sources of their faith. The Church drifted into the arms of secularists. One thing is certain though, in these days when the use of secondary literature prevails even in synods where Lutheran and Calvinian beliefs have been staunchly maintained, New Reformers were/are needed. Continue reading
Photo by Benjamin Applebaum, Credit Wikipedia
TV Tarts: Cringe Factor
By Ilana Mercer
It takes a foreign correspondent planted amid our White House Press Corps to highlight the latter’s dysfunction. During a presser with “Trump of the Tropics”—Brazil’s visiting prime minister, Jair Bolsonaro—a Brazilian lass distinguished herself by focusing exclusively on … hefty matters. When this foreign correspondent asked President Trump about the “OECD,” the furrows on the sloping brows who make up the American press scrum deepened.
To these presstitutes, it mattered not whether America was going to put in a good word for Brazil at the Organization for Economic Cooperation and Development, when there was one overriding, life-or-death matter to tackle:
Trump’s irredeemable, unrelenting, absolute awfulness, which not even an exoneration by the sainted Mr. Mueller has ameliorated.
Yes, Grand Inquisitor Robert Mueller found no evidence that the Trump campaign conspired with Russia in the 2016 election. This has altered not one bit the hyperventilating done by the harridans on the ubiquitous television panels.
Let me be clear. When I allude to the women of TV, I include those with the Y Chromosome. Continue reading
Alessandro – Jacquelin Stucker;
Photo: © ROH Photographer: CLIVE BARDA
Review of Handel’s Berenice
Linbury Theatre, Covent Garden, 27th March 2019, co-production by Royal Opera and London Handel Festival, directed by Adele Thomas, London Handel Orchestra conducted by Laurence Cummings, libretto translated by Selma Dimitrijevic, reviewed by Leslie Jones
Bragging rights matter. Spur’s new stadium reportedly has the longest bar in Europe, the aptly named “touchline”. But the Linbury Theatre, an intimate space, evidently has the longest sofa. It was the only prop in Royal Opera’s paired down new production of Handel’s Berenice. Commissioned in 1736 and premiered at Covent Garden in the following year, it tanked after only three performances.
Richard Morrison, in an otherwise positive review in the Times, notes “how little of the text is adequately enunciated”, even though the libretto is sung in English. Or to put it in plain English, the words aren’t clear. He was not the only critic to bemoan the absence of surtitles. But ultimately it is the interaction between the libretto and the music that matters in Handel, not the meaning of the words. Wagner’s total art work and opera verismo were yet to come. Continue reading