Whereas Leni Riefenstahl symbolizes the naïve actress and director who is induced to deal with devils, Hillary Clinton is actor, director and--many would argue--devil, rolled into one willful, corrupt, vengeful, despotic, paranoic package.
And so we have today... here in America... in America!... Hillary Clinton and her media apparatchiks conducting a campaign of censorship-by-terror that is without precedent; without precedent even if we include in the calculus the despotic Clinton years.
The precipitating agent and object of that censorship: a revealing new biography, "The Truth About Hillary: What She Knew, When She Knew It and How Far She'll Go to Become President." Its author is Edward Klein, veteran journalist with all the proper leftist bona fides, including editor of the New York Times Magazine and top editorships at Newsweek and Vanity Fair... which is precisely the problem for Missus Clinton. Klein's leftist credentials translate into credibility with Clinton's voters, both her base and the mushy middle.
Hillary Clinton has, thus, lodged a two-prong attack: blackball the author and destroy his--and his book's--credibility.
All the top-rated TV shows with the exception of "Hannity and Colmes" have complied dutifully with Clinton's censorship demands. "Extra," MSNBC's "Hardball with Chris Matthews" and CNN's "Paula Zahn" cancelled Klein, and ABC's "Good Morning America," NBC's "Today" show, and CNN's "Aaron Brown" suddenly lost interest in booking him.
"Trash for cash," (a modus operandi not unfamiliar to Missus Clinton), has become the Clinton battle cry.
If this book is a work of fiction as Clinton and her minions claim, why then is the Clinton machine working overtime to censor it?
The message is plain--Hillary Clinton does not want you to read this book.
Hillary Clinton does not want you to read this book because Edward Klein has captured her essence. He dissects the character of Hillary Clinton by examining what she does, not what she says. (Words--especially a Clinton's words--are cheap.)
Clinton spin notwithstanding, the author argues that the absolute disqualifier for Mrs. Clinton isn't about politics or sex. It's about character. Mrs. Clinton's complete lack of it. It's about Mrs. Clinton's ruthlessness and corruption, of which abuse of women is a recurring manifestation. (It is well documented that Hillary Clinton aided and abetted her husband's career in predation, and did it for power and treasure.)
For background, read "Did he rape that woman, Juanita Broaddrick?" (The Wall Street Journal) and watch the Juanita Broddrick interview. (Dateline NBC, Lisa Myers)
After the war, Riefenstahl excused her effort as pure documentary -- watch for the Clintons and their apparatchiks to do the same one day -- yet she compiled one segment, Hitler's motorcade to Munich, from different events and shot the closeups of Nazi leaders in a staged studio sequence.
Riefenstahl insisted that the finished quality of Triumph of Will came from her editing, not from any imposition of "posed shots" or choreography on her part. With her innovative editing techniques, Riefenstahl deliberately and selectively aestheticized Hitler and the Congress' proceedings. By editing out a shot of Hitler wiping his nose and including instead "more interesting expressions," by eliminating the human, Riefenstahl eliminated the inhuman.
The only difference today, in this era of ubiquitous cameras, continuous news and the shameless auteur-tyrant, is that the Washington Press Corps, spun by and on the Hollywood-Arkansas-New York Axis, edits out the Clintons' inhumanity in real time. . .
FOOL ME ONCE, SHAME ON YOU! FOOL ME TWICE, SHAME ON ME!
COPYRIGHT MIA T 2005 |
COPYRIGHT MIA T 2005 |
