Charlotte Brontë’s Governessy Effusion

Joan Fontaine as Jane Eyre

Joan Fontaine as Jane Eyre

Charlotte Brontë’s Governessy Effusion

Duke Maskell contemplates class and circumlocution

Good English is a class language, and that is its fatal defect. The English writer is a gentleman first and a writer second. (Raymond Chandler)

Or, if he is a writer first, what he only too often writes is a literary English, that is, language with no conceivable use outside a book. (Anon.)

Is it possible that a novel so long thought a classic as Jane Eyre should just be – tosh? A superior sort of tosh but tosh all the same? Could it possibly be true that Charlotte Brontë … can’t write? Continue reading

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Pilgrimage to Poland, part 2

Black Madonna of Czestochowa

Black Madonna of Czestochowa

Pilgrimage to Poland, part 2

Mark Wegierski returns to his roots

Twelve years ago, I had been invited to the celebration of a 60th wedding anniversary in Czestochowa, which was the first time that I saw the city, and its world-famous shrine of the Virgin Mary, with its Black Madonna icon.

Indeed, on Saturday, July 10, 2004, during my three-month-long visit to Poland, I took a long trip by car with my female relative from Ciechocinek to Czestochowa, to reach the celebration of her grandparents’ 60th Wedding Anniversary. Ciechocinek is a spa and resort town about 200 kilometers northwest of Warsaw. Continue reading

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Der Ring des Nibelungen

Das Rheingold

Das Rheingold

Der Ring des Nibelungen

Der Ring des Nibelungen: Richard Wagner, Staatsoper Berlin (Schiller Theatre), June 2016. Director Guy Cassiers, Staatskapelle Berlin conducted by Daniel Barenboim. Reviewed by Tony Cooper 

The scale of The Ring (the scenario mainly sourced from Norse sagas and The Nibelungenlied) is firmly established with the haunting opening bars of Das Rheingold comprising a low rumbling E-flat note lasting just over 130 bars building towards an elaborate figuration of the chord of E-flat major. It never fails to thrill me and vividly creates in my mind a broad and atmospheric canvas of the Rhine. Wagner, by the way, termed Rheingold a ‘vorabend’ (preliminary evening) while coining the three main works of the cycle a ‘Bühnenfestspiel’ (a stage festival play).

A great introduction lasting a mere four minutes but on this occasion it was rudely interrupted by a rogue mobile phone cutting in. The curse of the Ring, no doubt! But the intrusion was of the theatre’s own making as front-of-house staff mistimed their recorded announcement telling audience members to turn off their mobiles. It drew a barrage of protest from a very unsettled auditorium. However, Maestro Barenboim, cool, calm and collected as always, held the performance and when the dust had settled duly returned to the score.

The production – which has lost none of its shine or momentum since I saw it last three years ago – had a tremendous and striking visual impact. It was well cast, too, and all of the singers delivered strong and confident performances especially the team of Valkyries in Walküre who brought so much to the scene in which they plead with Wotan for Brünnhilde’s safety.

Without doubt, the opening of Rheingold fuels the imagination beyond belief and unleashes an amazing adventure which begins with the Rhinemaidens – the true guardians of the hoard of gold that the Rhine harbours – tantalising the lustful and bitter Nibelung dwarf, Alberich (sung without a hitch by Jochen Schmeckenbecher), about his unwelcome amorous advances.

He was equally matched by Wolfgang Ablinger-Sperrhacke as his half-brother, Mime, who really got in the skin of his character giving a brilliant reading of this cunning but frustrated and bullied person while his tête-à-tête with Siegfried in the long first act of Siegfried proved triumphant.

Schmeckenbecher, however, played his role to the full, excelling in the moment when he forgoes love to grab the gold and, screaming in delight, leaves the famed trio – Woglinde (Evelin Novak), Wellgunde (Anna Danik) and Flosshilde (Anna Lapkovskaja) – screaming in agony. And what a trio they proved to be. Attired in long-flowing haute couture-designed dresses in a trio of colours, black, blue and silver, beautifully created by Tim Van Steenbergen, they not only looked the part but sung and acted it equally as well.

The roles of Fricka and Frei were admirably sung, too, by Ekaterina Gubanova and Anna Samuil respectively with Fricka’s angry encounter with Wotan in Rheingold producing a brilliantly enacted scene on a par with the intimate scene in Die Walküre (act II) when Wotan pours out his heart to Brünnhilde explaining the powers of the ring.

Die Walküre

Die Walküre

Simon O’Neill (who also took on the role of Froh) and Anja Kampe stamped their authority on the demanding roles of Siegmund and Sieglinde in Walküre with Sieglinde’s deep sadness matching her brother’s fate while Wagner super-star, Iréne Theorin and Austrian-born tenor, Andreas Schager – who, incidentally, has been feted for his prowess in undertaking the heldentenor repertoire – performed brilliantly as Brünnhilde and Siegfried. What a great pair they made. And those two junior roles of Donner (Roman Trekel) and Froh were tremendously pleasing.

Top marks must go to Iain Paterson who took over the role of Wotan from Michael Volle with only a couple of weeks’ notice. He has a wide-ranging voice delivered in a smooth-flowing manner. I was impressed by his portrayal of Kurwenal in Tristan und Isolde at Bayreuth last year. And I’m glad to say that he’s back at Bayreuth this year singing Wotan in the final year of Frank Castorf’s controversial bicentennial Ring production which, I predict, will take its place in Bayreuth’s history as a ‘classic’.

Stephan Rügamer as Loge was sprightly, philosophical and prickly, adorned with a punk hairstyle and prancing about the stage in a youthful and carefree manner that befits his waspish and colourful character. It’s a gift of a part, though!

Overall, there was a great deal of thought put into this production. The sets and lighting by Enrico Bagnoli (Mr Cassiers assisted in the set design) were straightforward and imaginative enough and neatly fitted the angle and mood of each scene. But it was the digital-video work of Arjen Klerkx and Kurt D’Haeseleer that impressed me the most and, of course, reduced the need for cumbersome stage props. Nibelheim, for example, was awash in a blood-coloured red, the earth, leaf green, while gold-coloured images occasionally flashed the stage in Götterdämmerung.

But saying that, in Walküre (act II), an impressive and brilliantly-sculpted team of charging horses dominated the rear stage while a large digitalised image of Grane (Brünnhilde’s champion white stallion) was equally impressive offering a strong visual impact to the big scene opening the last act of Walküre featuring The Ride of the Valkyries, where Brünnhilde and her girls charge the battlefield gathering the Fallen Heroes for transportation to Valhalla. Apart from the song of the Rhinemaidens, The Ride’s the only ensemble piece in the whole of the cycle.

The entrance of the Gods into Valhalla was, to all intents and purposes, a rather low-key affair. No rainbow bridge but the staging was buffed up by a detailed panoramic image of a Rubens-inspired painting defining the beauty and vision of paradise. But when stripped down to its raw state one was faced with a bas-relief sculpture relating to the Fallen Heroes who were represented by a series of vertical red lines (the dead-line!) running the full depth of the stage.

Large silhouette images were used to good effect. For instance, when Hunding (Falk Struckmann, who also took on the roles of Fafner and Hagen) appeared from his forest hut, his silhouette offered a menacing and cold appearance to his approach while the neatly black-suited giants, Fafner and Fasolt (Matti Salminen) – Gilbert & George lookalikes – also received the same technical wizardry which well complemented their aggressive and brutal behaviour on stage.

Interestingly, in Bayreuth’s current production, Nibelheim is represented by a silver-plated Air Stream mobile trailer: in Cassiers’ it’s represented by a well-constructed square metal-based platform which arrives on the scene lowered from the gridiron while the primeval earth goddess, Erda (handsomely sung by Anna Larsson who has a lovely deep rich-textured contralto voice) arrives from a trapdoor looking radiant, tall and adorned with long-flowing black hair warning Wotan of the impending doom that awaits the holder of the ring. But he’s too arrogant to listen.

And Brünnhilde’s rock was well constructed, too, looking like a military-style installation more than anything else with its rust-coloured brutalistic square-shaped design formulated on a variety of different levels. In fact, it wouldn’t look out of place in the Turbine Hall of London’s Tate Modern. But it gave Siegfried and Brünnhilde a grand and impressive dais in which to declare their love for each other in the gentle and moving Awakening Scene where Brünnhilde lovingly greets the sun and the light accompanied by some sensuous luminous string playing and wonderful harp runs.

As a pledge of fidelity, Siegfried gives Brünnhilde the ring of power that he took from Fafner’s hoard and rides away as the orchestral interlude – Siegfried’s Rhine Journey – lifted this act to a higher plane with Barenboim and his players on brilliant form.

This scene is one of the most poignant and telling moments in the whole of the cycle and was superbly sung by Ms Theorin who also excelled in Brünnhilde’s big moment in the Immolation Scene in Götterdämmerung when she sees that lust, greed and corruption that encapsulates the curse of the ring is inextricably tied to it and to cleanse mankind she has first to cleanse the ring by burning not only the ring itself but the last living holder of it.

To this end Brünnhilde orders the waters of the Rhine to sweep over the fire to wash away the vestiges of the curse and, wearing the ring, she throws herself into the flaming Rhine while Valhalla burns and the ring is returned to the Rhinemaidens. This is the beginning and end of the Gods and their beloved Valhalla.

A great act which offers an exciting and exhilarating scene not just for the singers but for the audience as well and, once again, Ms Theorin showed her stuff as a true Wagnerian whilst stamping her authority on this most demanding of roles.

And that wonderful and moving scene in Götterdämmerung where Waltraute comes to warn Brünnhilde to return the Ring to the Rhinemaidens to end the dreaded curse was brilliantly executed and passionately sung by Ekaterina Gubanova (who was highly rewarded for her performance at curtain-call) while Roman Trekel and Ann Petersen clicked together as Gunther and Gutrune feeling the heat, intimidation and brute-force of Hagen who chilled the air just by his presence with the role so effortlessly sung by Falk Struckmann.

Some of the staging was a bit off-putting, though, especially in Rhinegold, where a team of dancers representing some of the characters’ alter-egos were consistently on stage. It proved a bit too intrusive at times and distracted one’s attention from the main stage action. They fared better in Siegfried and in the famous dragon scene the fiery creature was portrayed by a large square of flimsy transparent cloth operated by a team of four dancers controlling the dragon’s movements and actions while The Woodbird, sung so elegantly by Christina Gansch off stage, was represented on stage by a dancer clothed in a long white-flowing dress. But, I’m afraid, that didn’t work for me at all.

Siegfried

Siegfried

Another seemingly tricky setting was a flooded stage representing the Rhine, compartmentalised to allow the dancers to move in and out of water at whim which they did with professional ease but for the singers they had to navigate some rather tight stage territory which slightly restricted the flow of their movement.

But taking everything into account, Flemish-born director, Guy Cassiers, delivered a production that was gripping, imaginative and thought-provoking throughout while his creative team played a big and integral part of its overall success.

However, the man in the pit, Daniel Barenboim, has to be credited as the main architect of this production. A wizard with the baton he struck the right balance between the pit and the stage and got from his charges a great dramatic reading of Wagner’s thrilling and exciting score especially in the big production numbers such as the Gods’ entrance into Valhalla, Siegfried’s momentous Rhine journey and the Funeral March from Götterdämmerung. At curtain call the Staatskapelle Berlin was showered with heaps of praise but when Maestro Barenboim, whom I rate as the world’s greatest musician, took his bow the audience erupted with elongated and rapturous applause.

Götterdämmerung

Götterdämmerung

TONY COOPER is QR’s opera critic

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The Benighted Remains of the Day

john-bull_sub_500

 

The Benighted Remains of the Day

Ilana Mercer notes that it takes brains to understand liberty

During the Bretton Woods Conference, in 1944, Lord Halifax is said to have “whispered to Lord Keynes: ‘It’s true: they have the money bags but we have all the brains.’” By “they,” Halifax meant the Americans.

His frustration with the American mind—often prosaic and anti-intellectual—during the critical Bretton-Woods negotiations seems as valid today. As odious as Britain’s elites are, boy, are they cleverer than ours. Take the impromptu interview, on June 28, which Richard Quest, CNN’s imported British broadcast journalist, conducted with Nigel Farage, leader of the UK Independence Party.

Farage had emerged exhilarated from the coven that is the European Parliament, where he had shared some home truths with the ponces leeching off Britain.

Other than to mouth formulaically about “small government, big military, balanced budgets and the penny plan”—America’s chattering class and ruling elites seem incapable of expressing the principles undergirding freedom. And members of this political Idiocracy dissolve into a puddle if their cue cards disappear.

Farage, however, spoke to some difficult ideas with ease, and without notes.

The act of secession, the quests for sovereignty, decentralization and regional autonomy from a second tier of tyrants—the first being the national, British government—involve comprehending complicated ideas.

About this, Milton Friedman forewarned in the introduction to F.A. Hayek’s “The Road to Serfdom.” Whereas “the argument for collectivism is simple if false; it is an immediate emotional argument.” “The argument for individualism” and freedom, on the other hand, “is subtle and sophisticated; it is an indirect rational argument.”

Put differently: it’s difficult for dummies to understand liberty, let alone defend it, a problem the scintillating, cerebral Mr. Farage doesn’t have.

“You as a political project are in denial,” he told the grumbling laggards in the EU chamber. The EU had, “by stealth by deception, and without ever telling the truth to the British and European people, imposed political union upon them.”

Heckling Eurocrats were reminded by Farage that when, in 2005, the people of the Netherlands and France said adieu to an enforced political union—the Eurocrats had “ignored them and brought in the Lisbon Treaty through the backdoor.”

Indeed, the last refuge of a Brussels scoundrel is the bureaucracy. When voters scuttled the EU Constitution in that referenda, the rogues being upbraided by Farage simply dissolved one illegitimate political structure and constituted another.

“What the little people did,” continued Farage; “what the ordinary people did, what the people who’ve been oppressed have done is to reject the multinationals, reject the merchant banks, reject Big Politics, and demand their country back, their fishing waters back, their borders back. We want to be an independent self-governing nation.”

A series of similar watersheds would follow, predicted Farage.

Fleetingly, at least, Farage’s fluency with the ideas of freedom took effect. The blank faces flanking UKIP’s leader looked somewhat animated. Fewer jeered; some even clapped and cheered as Farage went on to submit that no stalling would be tolerated. The will of the British people would be heeded forthwith. Called for was “a grown-up and sensible attitude” toward executing popular—in this case, naturally licit—wishes.

Mr. Farage was not done, going on to impress upon EU parliamentarians—none of whom had “held a proper job” in their lives, “or worked in business or worked in trade, or indeed ever created a job in [their] lives”—that unlike a coerced political union, trade in goods was mutually beneficial and voluntary and would continue.

Here the booing resumed.

If, in sensing an opportunity to exert unauthorized political power, this unelected mob intended to reject trade between Europe and England, reinstate tariffs and quotas—Mr. Farage was pleased to inform them the consequences to Europe would be worse.

No doubt: as statist and regulated as the once great merchant and maritime nation of Britain has become—Europe under the Brussels machinery is practically paralyzed.

Few in the US media appreciate that language that effectively conveys clear ideas has got to be strong. Weasel words won’t do. Thus Ashley Banfield was flabbergasted by Farage’s verbal whips. CNN’s verbose host was appalled, you guessed, at the “tone” taken by Farage in his pointed remarks to the EU.

Days prior, two lunatic American women, dressed in matching Mao-like tunics, had stormed a stage together, where they had a petit mal fit over Donald Trump. Yet the two—Hillary Clinton and “Pocahontas,” aka Senator Elizabeth Warren of Massachusetts—made reporters like Banfield giddy with Girl Power.

Never was Warren depicted as angry or out-of-control. Instead, she was a “towering” liberal Democrat, who delivered not ad hominem but “energy, folksy appeal and a populist roar …”

By contrast, Quest, Banfield’s British-born colleague, was able to settle down to a blind panic by the time he conducted his exhilarating interview with Mr. Farage.

No longer in a post-Brexit frothy, Quest even accepted Farage’s forceful instruction to “stop this nonsense about the markets. The pound has been in a bear market since July 2014. Fact!” Jittery markets had begun to self-correct, the Dow was bouncing back.

Unlike their hysterical colleagues in the US, British liberal journalists have even begun to pull back slightly in embarrassment. Were they really going to persist in lamenting losses suffered by global puppet-master George Soros and the financial sector, all just to take aim at the Little People? In so doing, was not the Left showing it loved the lumpenproletariat only as long as they got with The Left’s program?

Moreover, Quest’s professional counterparts in Britain (indubitably the smarter cohort) seem to have backed off of accusing 17.5 million “Leave” voters of being old, uneducated, racist, and generally obsolete right-wing extremists. In other words, Trump voters. The liberal brain trust stateside has yet to grant this courtesy to Tea Party pioneers, much less to Trump voters.

For his part, Quest showed the same intellectual agility as his opponent: “So, how on earth do you have the effrontery to criticize Wall Street, the banks, you criticize a big business when you were part of those markets?”

Imagine a American politician attempting to respond to such a question with a First-Principles answer!

Farage did. He stumped Quest by explaining that markets aren’t the creatures of big business. “Good markets have small and medium size competitors trading in them too.” He then pivoted to the crony actions of the free-market flouting Goldman Sachs. “In cahoots with this European commission,” such bad-faith actors did much mischief: usher “Greece into the Euro,” for example.

Ordinary people are slowly coming to realize that adding a second tier of tyrants—EU, NAFTA, UN, NATO, WTO—to their own tyrannical national governments has benefited them as a second hangman enhances the health of a condemned man.

So when Quest resumed his nervy narrative about the “terrible message” being sent “about what’s happening in Britain,” their representative shot back:

Taking back our country, our laws, our courts, our borders, our pride and self-respect is a great message. Our political class has let us down like a cheap pair of braces and what we did last week in that referendum was say, ‘Get thee gone.’

Nigel Farage’s repartee is in a class of its own. Observing its brilliance accentuates the absence of a similar facility among our own mainstream clodhopper commentariat. The verbal swordplay initiated by Farage, leader of the UKIP, often gets lost in translation stateside.

The dumbed-down transcript, provided by CNN, had turned Farage’s “get thee gone” into “get the gun.”

ILANA Mercer is the author of “The Trump Revolution: The Donald’s Creative Destruction Deconstructed” (June, 2016), and “Into The Cannibal’s Pot: Lessons for America From Post-Apartheid South Africa” (2011). She has been writing a popular, weekly, paleolibertarian column—begun in Canada—since 1999. Ilana’s online homes are www.IlanaMercer.com & www.BarelyABlog.com. Follow her on https://twitter.com/IlanaMercer

Follow these links to Ilana’s new book “The Trump Revolution: The Donald’s Creative Destruction Deconstructed”
http://amzn.to/29JdYAH
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Brexit – now!

white_cliffs_of_dover_cover_1

Brexit – now!

Stuart Millson urges our dithering political leaders to detach Britain immediately from the EU

A British army of disenchanted voters, from the unregarded towns of the old industrial North and Midlands, to the fishing villages of Cornwall and Kent, made history on the 23rd June by voting for their country to leave the European Union. As the broadcasters (David Dimbleby for the BBC, Robert Peston for ITV) turned pale in their referendum studios as the Brexit majority edged toward the 16 million-plus finishing line, it became clear that 40 years of Common Market/EEC/EU membership was approaching its end. Continue reading

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Il Trovatore

Caruso

Caruso

Il Trovatore

Il Trovatore by Giuseppe Verdi, Orchestra of the Royal Opera House conducted by Gianandrea Noseda, Saturday 2nd of July, 2016, reviewed by Leslie Jones

Il Trovatore, as Ilana Walder-Biesanz has observed, is a leading candidate for the most implausible plot of all time. And although Verdi asked his librettist Salvadore Cammarano to avoid the usual “cavatinas, duets, trios, choruses, finales etc”, all of these elements duly featured in the finished product.

Cammarano wrote the libretto for Donizetti’s drama tragique, Lucia di Lammermoor (1835), and there are distinct echoes of this work throughout Il Trovatore. However, Verdi vetoed Cammarano’s proposal that the gypsy Azucena go mad in the final act.

Continue reading

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Précis of Political Donations & Safeguards Code

My Country 5, Aboriginal Art

My Country 5, Aboriginal Art

Précis of Political Donations & Safeguards Code

By Neil Freestone

Most Australians cannot participate in their democracy under the current political donations laws. The ‘Political Donations & Safeguards Code’ has been developed to provide a pathway towards addressing this problem.

Polls indicate:-

“The current proportion who believe that it makes a difference who is in power, at 43 per cent, is at an all-time low.” (Source: ANU-SRC Poll: Changing views of governance: Results from the ANU poll, 2008 and 2014, Professor Ian McAllister, ANU College of Arts and Social Sciences, Report No. 17, August 2014 at page 8:   politicsir.cass.anu.edu.au); and

“ . . . there was no real difference between the two major parties.”

(Source: http://www.abc.net.au/news/2014-08-11/poll-data-reveals-waning-interest-in-politics/5662568 – 11 August 2014)

Interpreting the results from the ANU-SRC poll, in the seven years to 2014, there has been a drop of 25% in the proportion of Australians believing it makes a difference who is in power. As noted above, in 2014, this proportion had dropped to 43%. Continue reading

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St Bride’s Spa Hotel

St Bride's exterior, evening

St Bride’s exterior, evening

St Bride’s Spa Hotel, Saundersfoot

Reviewed by Em Marshall-Luck

St Bride’s Hotel is situated atop a cliff above the Pembrokeshire town of Saundersfoot, near Tenby, looking out over the beach, harbour and town, to the surrounding rolling hills. The hotel itself is an eighteenth century building with modern accretions in a colour scheme of white, cream, grey and pine. Our reception was very friendly and professional, and we were shown up to our room Continue reading

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ENDNOTES, July 2016

Battle of the Somme

Battle of the Somme

ENDNOTES, July 2016

In this edition: the sixty-ninth Aldeburgh Festival of Music and the Arts, reviewed by Stuart Millson

The pre-eminent English composer, Benjamin Britten, founded his music festival on the Suffolk coast in 1948. Rather than British musicians attending opera and concerts abroad, why don’t we – asked Britten’s artistic collaborator, the tenor Peter Pears – make our own festival here in England? At first, Britten’s concerts took place in churches and small halls, but by the end of the 1960’s work had begun on converting an old maltings building by the Alde Bridge at Snape into a world-class concert hall. Continue reading

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Gun-Safety Loophole is a Government Loophole

Glock

Glock

Gun-Safety Loophole is a Government Loophole

Or, let the Gun Market Close Government Loopholes

By ILANA MERCER

It’s award time at the Department of Homeland Security. So fleeting has been the focus on the systemic, intractable failures of the DHS apparatus—that failed functionaries feel sufficiently at ease to move on to the business of backslapping and promotion.

But first, the latest outrage to emerge from Barack Hussein Obama’s Islamophilic Federal Bureau of Investigation is this: it transpires that a friend of Orlando mass murderer Omar Saddiqui Mateen had done his duty and reported Mateen to the FBI.

Mohammed A. Malik had also worshiped at the Islamic Center of Fort Pierce and had become alarmed when Mateen openly professed to an infatuation with the videos of Yemeni Jihadi Anwar al-Awlaki. Not only did the FBI discount Malik’s report, but when Malik softened his assessment of the danger his friend posed to others—a natural human tendency—the FBI acted post haste on that assessment. In mitigation of the FBI’s decision to back-off Mateen, Director James Comey even cited Malik’s good reference.

Better that FBI agents watch reruns of CBS’s Criminal Minds, than follow FBI Standard Operating Procedure, dictated by the Obama administration. Taxpayers would be safer.

The mad farrago got more maddening when Attorney General Loretta Lynch (confirmed by Republican lickspittles) stepped up to assure the public that federal authorities were scouring their contacts with Mateen, and those around him, to ferret out whether they’d missed anything. When grilled about Mateen’s wife, a key figure in the investigation and a possible co-conspirator, Lynch replied that Noor Salman was … missing.

Missing, too, from the doctored transcripts of Mateen’s June 12, 911 call, released by the FBI and the Department of Justice, were the words “Allah,” “Abu Bakr al-Baghdadi” and “Islamic State,” to which Mateen alluded during the call.

Still worse: since the focus is no longer on the “investigation” into two other tender, tormented souls, the Farooks, it’s time to bestow special commendation on those who botched, even thwarted, the probe into the butchers of San Bernardino.

Up for an award for her failings is Irene Martin. Reports the British Daily Mail: “An immigration official who stopped Homeland Security agents from arresting the alleged gun supplier of the San Bernardino terrorists the day after the attack, and then lied about it to department investigators, is to receive an award for her work.”

The agency that rewarded Martin had booted true hero Philip Haney. The soft-spoken, demure, forcibly retired employee of DHS has divulged that the Administration “nixed the probe into the Southern California jihadists,” and eliminated a program he, Haney, developed. That database would’ve helped connect certain networks, Tablighi Jamaat and the larger Deobandi movement, to domestic terrorism rising. Haney’s files were expunged and he subjected to an internal investigation for doing his duty to protect Americans.

Political correctness run amok is how pundits on Fox News have euphemized the FBI’s SOP under BHO.

Treason seems more like it.

Consider: You hire a private company to protect you, only to discover that, as part of the scheme to “protect” you, your guards undergo sensitivity training that desensitizes them to potential evildoers, thus giving the latter easy access to you and yours. Given that this strategy, if it can be so called, would undermine your life, and considering this company would be in violation of its contractual obligation to defend you—you’d first fire the firm. Next, if the negligence came at a cost; you’d sue.

You’d put this “business” and its “business plan” out of business.

One wonders when honors will be conferred on those who refused to dignify warnings about the Tsarnaev Brothers of Boston Marathon infamy. Russian state security twice pleaded with the FBI and the CIA, in 2011, to place Tamerlan Tsarnaev on counterterrorism watch lists. Russian credibility was mocked because, well, “The Russians don’t like the Chechens.” American elites have always sided with the Chechen cause as against the Russians, and have encouraged the former to carve out an independent, Chechen Islamic republic from the Russian Federation. Again, there’s nothing unusual about the mindset or misconduct of these agencies.

By extension, policemen in charge of investigating the pre-marathon murder of three young Jews, likely by Tamerlan Tsarnaev, are long overdue for commendation. The throats of these three youngsters, who happened to be friendly with Tamerlan, were slit on the 10th anniversary of 9/11. The mother of one of the slain men “told the New York Times she was taken aback by the lack of intensity in the police investigation into the slayings.”

The military has its own Jihadi protection program. It kicked-in, most memorably, to cover for “Major Nidal,” as he was fondly known. Maj. Nidal Malik Hasan of the Army Medical Corps committed fratricide at Fort Hood in 2009, where he was permitted to openly proselytize for his faith. Coupled with a substandard professional performance, preaching Islam to the traumatized U.S. veterans in his care did nothing to hinder Hasan’s rise through the ranks. He continued to enjoy a high employment status, a six-figure income, and secret security clearance. Hasan even breezed about the base in a Jihadi jumpsuit. About Holy Hasan, the wise monkeys of the military saw no evil, heard no evil, and most certainly spoke no evil. To his higher-ups, Hasan was merely a Muslim driven by devotion to a peaceful Islam.

Look, the conservative-minded love “the military.” But the military as an institution should not be conflated with the men and women who man it. The military is government: it works like government; is financed like government, and sports the same inherent malignancies and perverse incentives as government, down to the racial- spoils system.

Well known is The Navy Affirmative Action Plan (NAAP), matched by the Department of the Army Affirmative Action Plan, which practically demand preferential treatment for recruits like Hasan.

When Aaron Alexis, a former Navy reservist with a checkered past, gunned down 12 military contractors in the capital, in 2013, liberals demanded to know, “Why was Alexis able to buy guns?”

Again, ask the government.

Gun sellers must use the FBI-run National Instant Criminal Background Check System for background checks on customers. Sharpshooters Small Arms Range, from which Alexis bought the Remington 870 shotgun used in the crime, was in compliance. The shop checked Alexis out with the Feds. The Feds gave them the go-ahead.

Democrats have just wrapped up a sit-in on the floor of the lower chamber, demanding their way or no way on gun legislation. The so-called greatest deliberative body in the world has joined the anti-Trump, my-speech-or-no-speech, rioters, the Black Lives Matter (Only) mobs, and the Occupy Wall Street encampments.

Down with this Third World impetus was Hillary Clinton, who tweeted out: “This is what leadership looks like.” In agreement too was “moderate” Republican Senator Susan Collins.

Collins, at the time of the Washington Navy Yard shooting, had questioned “the kind of vetting contractors do.” All roads lead to Rome, Representative Collins. Not contractors and not gun-store owners conduct background checks; government does. “The government maintains the final approval authority,” explained Rear Adm. John Kirby to CNN‘s Wolf Blitzer.

And for government officials, no infraction committed by the characters aforementioned was too egregious to ignore.

Mateen may have been a latent homosexual, but he was out of the closet about his Jihadi orientation. While he failed to flag anyone, Mateen made earnest attempts to be noticed by the FBI. Witnesses and friends reported that Mateen celebrated 9/11, boasted of family ties to Bin Laden, swore fealty to al-Awlaki, to al-Baghdadi, to al Qaeda (or any other Jihad org that would have him), took fieldtrips to Saudi Arabia, cursed out infidels, threatening to visit violence upon some in his circle, and hobnobbed some with suicide bomber-to-be Moner Abu-Salha.

Gun shops are not the problem; government is. Agents like Haney are punished if they dare zero-in on or rationally profile the logical target population. If anything, gun-store proprietors are the solution. A gun-shop owner contacted the nation’s spooks when Mateen sought to purchase military grade body armor at his establishment. (It should be obvious by now that Lotus Gunworks’ warning was ignored.)

In fact, gun stores would be perfect to the task of stopping the Mateens of the world. Private enterprise has far stronger an incentive to avoid becoming known as the business that armed a mass murderer. To be branded as the business that weaponized such a man is bad for business.

Conversely, who took the fall for Attorney General Eric Holder’s gun-running, “Operation Fast and Furious”? Nobody took the fall for that, other than Agent Brian Terry and the many Mexicans who died at the hands of criminals armed with weapons supplied by the Bureau of Alcohol, Tobacco, Firearms and Explosives.

The gun-safety loophole is a government loophole.

Privatize background checks. Let America’s stunningly fecund business men and women conduct background checks, tailored to the perceived threat. Gun owners (check) would gladly shoulder the initial costs if it means lives saved. As is the case with market capitalism, a proliferation of the service will introduce competition among providers, all of which will bring down costs. Benefits in costs and security will redound to consumers.

ILANA MERCER is the author of “The Trump Revolution: The Donald’s Creative Destruction Deconstructed” (June, 2016) and “Into The Cannibal’s Pot: Lessons for America From Post-Apartheid South Africa” (2011) She has been writing a popular, weekly, paleolibertarian column—begun in Canada—since 1999. Ilana’s online homes are www.IlanaMercer.com & www.BarelyABlog.com Follow her on https://twitter.com/IlanaMercer

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