Category Archives: History

More reality-bashing by Bush

I recently wrote about how the Bush administration is losing the war on Terrorable diseases (to borrow a John Stewart line) undermining scientific progress in order to replace it with pure faith (in lobbyists).

I just noticed two more topics where the Bush administration is trying to undermine science and expert advice in the same manner; by saying things are too generic or ineffective to be believed and thus should be replaced with belief in an autocratic/theocratic decision (for sale to the highest bidder). The more policy areas that fall under this fog (science=uncertain, faith=certain), the further backwards in time America will go. Here‘s the first topic:

They “are increasingly trying to portray contraceptives as ineffective and trying to redefine some of the most popular and effective methods as abortion — such as birth control pills and emergency contraception,” said Cynthia Dailard, senior public policy analyst for the Alan Guttmacher Institute, which advocates family planning.

If these Christianists were genuinely interested in curbing abortions, they’d support the use of contraceptives. But their goal is to turn back the clock, to bring back the days when women had no control over reproduction. Like right-wing Muslims, they rage against modernity itself.

And here is the second topic:

The most embarrassing moment came when Bush loyalists argued that the United States could not follow the Geneva Conventions because Common Article Three, which has governed the treatment of wartime prisoners for more than half a century, was too vague. Which part of “civilized peoples,� “judicial guarantees� or “humiliating and degrading treatment� do they find confusing?

[…]

Jane Mayer provided a close look at this effort to undermine the constitutional separation of powers in a chilling article in the July 3 issue of The New Yorker. She showed how it grew out of Vice President Dick Cheney’s long and deeply held conviction that the real lesson of Watergate and the later Iran-contra debacle was that the president needed more power and that Congress and the courts should get out of the way.

To a disturbing degree, the horror of 9/11 became an excuse to take up this cause behind the shield of Americans’ deep insecurity. The results have been devastating. Americans’ civil liberties have been trampled. The nation’s image as a champion of human rights has been gravely harmed. Prisoners have been abused, tortured and even killed at the prisons we know about, while other prisons operate in secret. American agents “disappear� people, some entirely innocent, and send them off to torture chambers in distant lands. Hundreds of innocent men have been jailed at Guantánamo Bay without charges or rudimentary rights. And Congress has shirked its duty to correct this out of fear of being painted as pro-terrorist at election time.

Perhaps Monty Python said it best:

Nobody expects the Spanish Inquisition! Our chief weapon is surprise…surprise and fear…fear and surprise…. our two weapons are fear and surprise…and ruthless efficiency…. Our three weapons are fear, surprise, and ruthless efficiency…and an almost fanatical devotion to the Pope…. Our four…no… amongst our weapons…. amongst our weaponry…are such elements as fear, surprise…. I’ll come in again. […] Nobody expects the Spanish Inquisition! Amongst our weaponry are such diverse elements as fear, surprise, ruthless efficiency, and an almost fanatical devotion to the Pope, and nice red uniforms – oh damn!

Spanish Bombs

by The Clash

Spanish songs in Andalucia
The shooting sites in the days of ’39
Oh, please, leave the vendanna open
Federico Lorca is dead and gone

Bullet holes in the cemetery wall
The black cars of the Guardia Civil
Spanish bombs on the Costa Rica
I’m flying in on a DC 10 tonight

Spanish bombs, yo te quiero y finito
Yo te querda, oh mi corazon
Spanish bombs, yo te quiero y finito
Yo te querda, oh mi corazon

Spanish weeks in my disco casino
The freedom fighters died upon the hill
They sang the red flag, they wore the black one
After they died it was Mockingbird Hill

Back home the buses went up in flashes
The Irish tomb was drenched in blood
Spanish bombs shatter the hotel
My senorita’s rose was nipped in the bud

Spanish bombs, yo te quiero y finito
Yo te querda, oh mi corazon
Spanish bombs, yo te quiero y finito
Yo te querda, oh mi corazon

The hillsides ring with “Free the people”
Or can I hear the echo from the days of ’39?
Trenches full of poets, the ragged army
Fixing bayonets to fight the other line

Spanish bombs rock the province
I’m hearing music from another time
Spanish bombs on Costa Brava
I’m flying in on a DC 10 tonight

Spanish bombs, yo te quiero y finito
Yo te querda, oh mi corazon
Spanish bombs, yo te quiero y finito
Yo te querda, oh mi corazon

Oh mi corazon
Oh mi corazon

Spanish songs in Andalucia, mandolina
Oh mi corazon
Spanish songs in Granada
Oh mi corazon
Oh mi corazon
Oh mi corazon
Oh mi corazon

~~~

Felt like I should review again and then post these lyrics after I finished my prior log entry.

Pequeno vals vienes (Little Viennese Waltz)

by Federico García Lorca
(June 5, 1898 — August 19, 1936)

Rough translation by Leonard Cohen (in 1998 for a song he called Take This Waltz on the album I’m Your Man)

En Viena hay diez muchachas,
un hombro donde solloza la muerte
y un bosque de palomas disecadas.
Hay un fragmento de la mañana
en el museo de la escarcha.
Hay un salón con mil ventanas.
         ¡Ay, ay, ay, ay!
Toma este vals con la boca cerrada.

Este vals, este vals, este vals,
de sí, de muerte y de coñac
que moja su cola en el mar.

Te quiero, te quiero, te quiero,
con la butaca y el libro muerto,
por el melancólico pasillo,
en el oscuro desván del lirio,
en nuestra cama de la luna
y en la danza que sueña la tortuga.
         ¡Ay, ay, ay, ay!
Toma este vals de quebrada cintura.

En Viena hay cuatro espejos
donde juegan tu boca y los ecos.
Hay una muerte para piano
que pinta de azul a los muchachos.
Hay mendigos por los tejados,
hay frescas guirnaldas de llanto.
         ¡Ay, ay, ay, ay!
Toma este vals que se muere en mis brazos.

Porque te quiero, te quiero, amor mío,
en el desván donde juegan los niños,
soñando viejas luces de Hungría
por los rumores de la tarde tibia,
viendo ovejas y lirios de nieve
por el silencio oscuro de tu frente.
         ¡Ay, ay, ay, ay!
Toma este vals del "Te quiero siempre".

En Viena bailaré contigo
con un disfraz que tenga
cabeza de río.
¡Mira qué orillas tengo de jacintos!
Dejaré mi boca entre tus piernas,
mi alma en fotografías y azucenas,
y en las ondas oscuras de tu andar
quiero, amor mío, amor mío, dejar,
violín y sepulcro, las cintas del vals.
Now in Vienna there's ten pretty women
There's a shoulder where death comes to cry.
There's a lobby with nine hundred windows.
There's a tree where the doves go to die.
There's a piece that was torn from the morning,
and it hangs in the Gallery of Frost --
        Ay, ay, ay, ay
Take this waltz, take this waltz,
take this waltz with the clamp on its jaws.

I want you, I want you, I want you
on a chair with a dead magazine.

In the cave at the tip of the lily,
in some hallway where love's never been.
On a bed where the moon has been sweating,
in a cry filled with footsteps and sand --
        Ay, ay, ay, ay
Take this waltz, take this waltz,
take its broken waist in your hand.

This waltz, this waltz, this waltz, this waltz
with its very own breath
of brandy and death,
dragging its tail in the sea.

There's a concert hall in Vienna
where your mouth had a thousand reviews.
There's a bar where the boys have stopped talking,
they've been sentenced to death by the blues.
Ah, but who is it climbs to your picture
with a garland of freshly cut tears?
        Ay, ay, ay, ay
Take this waltz, take this waltz,
take this waltz, it's been dying for years.

There's an attic where children are playing,
where I've got to lie down with you soon,
in a dream of Hungarian lanterns,
in the mist of some sweet afternoon.
And I'll see what you've chained to your sorrow,
all your sheep and your lilies of snow --
        Ay, ay, ay, ay
Take this waltz, take this waltz,
with its "I'll never forget you, you know!"

And I'll dance with you in Vienna,
I'll be wearing a river's disguise.
The hyacinth wild on my shoulder,
my mouth on the dew of your thighs.
And I'll bury my soul in a scrapbook,
with the photographs there, and the moss.
And I'll yield to the flood of your beauty,
my cheap violin and my cross.
And you'll carry me down on your dancing
to the pools that you lift on your wrist --
O my love, O my love
Take this waltz, take this waltz,
it's yours now. It's all that there is.


Are there popular bands today that would write a song like Spanish Bombs and mention a poet who was tortured and then murdered by a right-wing militia for his support of modernity in poetry, politics and morals? His only crime was to be outspoken about values that were not shared by a conservative and heavily armed group fighting for control of his country.

I remember mulling over Clash lyrics while in grad school with some folks who were working for Paul Preston. How places of great tragedy have turned into lazy drinking at a “disco casino” for British tourists.

The lyrics led me to Lorca’s poems and thus to a deeper understanding of life and civil war in 1930s Spain. It still gives me chills to listen and read about this period in time in Europe, not just because of social consciousness about incredible brutality against civilians but because of the sad similarity to world events unfolding even today. The Wikipedia explains the fundamental rift that left hundreds of thousands of civilians dead and that devastated the Spanish economy for decades:

During and in the wake of the war, the Nationalists carried out a program of mass killing of opponents where house searches were carried out, and unwanted individuals were often jailed or killed. Trade-unionists, known republican sympathisers and critics of Franco’s regime were among the first to be targeted. The Nationalists also carried out aerial bombings of civilian areas with the help of the German and Italian air forces.

[…]

Republican sympathizers proclaimed it as a struggle between “tyranny and democracy”, or “fascism and liberty”, and many young, committed reformers and revolutionaries joined the International Brigades, which thought saving the Spanish Republic was the front line of the war against fascism. Franco’s supporters, however, especially the younger members of the officer corps, viewed it as a battle between the red hordes of communism and anarchism on the one hand and “Christian civilization” on the other.

Poland cracks down on ex-Soviet spies

The BBC reports:

The Polish parliament has approved a bill designed to remove people who collaborated with the communist secret services from public life.

The bill could lead to the dismissal of hundreds of thousands of people working in business, the media and government.

Wouldn’t it be ironic if they were removed and then came back under a fake ID, or would they give up the fake one and come back with their real ID…?

FWIW, I originally posted this on Schneier’s blog.