George W. Bush

Garry Trudeau

The most powerful voice for truth and justice in American journalism is the junkyard dog of editorial cartooning -- and the creator of "Doonesbury."

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Garry Trudeau

Much has been made of Ronald Reagan biographer Edmund Morris’ invention of himself as a fictional character in order to plumb the cryptic psyche of our cherished former president, but consider this: In 1987, Garry Trudeau, creator of “Doonesbury,” beat Morris to the punch, only inversely. Battered by the realization that after eight bizarro years Reagan was basically beyond satire, Trudeau couldn’t let go of him. So in one of “Doonesbury’s” more perverse tropes, he created a Reagan alter ego called Ron Headrest, who existed in electronic form only and mischievously popped up at will on people’s TV screens.

Based on the computer-generated, stuttering ’80s TV character “Max Headroom,” Headrest was a shtick-figure Reagan with an unleashed id who could smear the 1988 presidential candidates at will (“So is P-P-Paul Laxalt mobbed up?”) and finally declared himself one. “If elected president I promise to lie, lie!” cracked a leering Headrest from the tube. “I’ll s-s-set up illegal covert operations and lie about them to Congress and the American p-p-people! If detected I promise to falsify documents, shred evidence and preserve plausible de-de-deniability! Then I’ll take the Fifth! But with moist eyes! And selflessly …!”

It was a bit of hysteria on Trudeau’s part, and not the first time he seemed to be playing Ahab to Reagan’s White Whale. On the eve of the Carter-Reagan election in 1980, Trudeau did a series of strips in which his blowhard TV correspondent Roland Hedley Jr. took a tour of Reagan’s brain, pointing out the frayed synapses and dead neurons. It was not subtle. It was as if Trudeau, just days before the election, was using his daily comic strip as a megaphone to yell, “Reagan’s a moron! Don’t vote for him!” Now, while Trudeau may have been technically correct, you can’t really blame the various newspaper editors who refused to run the strips. On the scores of occasions editors have killed Trudeau’s strips over “Doonesbury’s” 29 years, this was probably the only time the news hacks had even a shred of justification.

But Trudeau has never had an entirely comfortable relationship with the editors who buy his strip. In fact, “Doonesbury” is one of the most controversial comic strips of all time. And it’s also one of the greatest, for many of the same reasons. He drives editors crazy, but there’s not really a whole lot they can do about it because they know Trudeau is smarter than they are. He can express ideas more clearly, succinctly and wittily than they can, and he does it through a secret weapon — a combination of images and words that we somewhat mundanely call the comic strip. The great cartoon artist Art Spiegelman may call comics “the hunchbacked, half-witted bastard dwarf stepchild of the graphic arts,” but don’t tell that to Trudeau. Out of about 250 comic strips circulated in English-language newspapers throughout the world, “Doonesbury” is in the top 10, carried in 1,400 papers. That “Garfield,” “Cathy” and “Hagar the Horrible” are carried in even more papers says little beyond elucidating the sorry state of the millennial newspaper comics page. The fact is, Trudeau has won over his millions of readers through the power of his words and ideas, without having to resort to endlessly repeating overweight gags or the foibles of neurotic cat owners.

Ah, you may ask, but isn’t that what the comics page is for? Cute drawings, gags and whimsy? Does the bleary-eyed reader, recently roused from sleep with coffee cup in hand, really need to see the president portrayed as a waffle? Or a menacing, cigarette-wielding guy in sunglasses brandishing a gun and popping pills? Or two men getting married? The numbers powerfully answer yes, but that hasn’t halted debate over whether “Doonesbury” belongs on the comics page. In fact, several papers run the strip on the editorial page, and may well be justified in doing so. Trudeau, mindful that many of his strips constitute editorializing, has said he doesn’t care where newspapers stick “Doonesbury.” In 1975 he won a Pulitzer Prize for editorial cartooning — the first time the award went to a comic strip artist — and he was a finalist for another one in 1989. But the subversive thing about Trudeau is that he gets his message across to all those comics page readers who couldn’t care less about the editorial page.

Wiley Miller, who draws a semi-political comic strip called “Non Sequitur,” calls Trudeau “far and away the most influential editorial cartoonist in the last 25 years.” That’s a bold statement to make in a journalism world populated by opinion page artists like Tom Toles, Pat Oliphant and Herblock. But while acknowledging their genius, Miller says, “They’re not influential.”

Garretson Beekman Trudeau starting drawing “Doonesbury” while he was a student at Yale in the late-’60s. The strip evolved from an earlier comic he drew for the Yale Daily News called “Bull Tales,” which gently but piquantly satirized campus life through the prism of a cast of college characters, primarily a football jock named B.D., who was based on Brian Dowling, the Yale — and later professional — gridiron hero. “Bull Tales” caught the eye of an entrepreneur who wanted to start a comics distribution outfit, and who convinced the 20-year-old Trudeau to sign on, thus launching the Universal Press Syndicate, which continues to handle “Doonesbury” along with strips like the afore-scorned “Garfield” and “Cathy.” Trudeau got the title of his new strip by combining the word “doone” — which today would translate as “dweeb” — with the name of his roommate, Charles Pillsbury. It’s also the name of the strip’s putative central character, Michael Doonesbury, who back then was a nebbish who could never get a girl, and who now is a divorced dad and head of an Internet start-up that has just had an IPO.

Like George Bush Sr., who also attended Yale and whom Trudeau has savaged with special relish, the cartoonist is well-pedigreed, with ancestors who landed in the colonies in the 17th century. His father is a doctor, as was his grandfather and great-grandfather. Other relatives include former Canadian Prime Minister Pierre Elliott Trudeau, a treasurer of the United States under Lincoln and the financier after whom New York’s Beekman Place was named. Garry grew up wealthy in the upstate New York town of Saranac Lake, attended St. Paul’s boarding school, then Yale. In 1980, while he was still living in New Haven, Conn., he married TV personality Jane Pauley, and they’re now raising three teenagers on Manhattan’s Central Park West. The family is serious about privacy — Trudeau has submitted to only two major print interviews in the past 20 years, although he delivers an occasional speech.

“Doonesbury” premiered on Oct. 26, 1970, united around a group of misfits, including B.D., Michael and Zonker, who attended fictional Walden College and lived together in a commune, making wry observations about their personal lives and world events. Trudeau thus became a member of an elite tradition of humorists who have constructed well-defined communities from which to aim their satire. His primary influences are two late comic-strip legends: Walt Kelly, whose brilliantly drawn Okefenokee Swamp critters in “Pogo” waxed on about the vagaries of life while occasionally being visited by real-life politicians in animal guise, and Al Capp, who relished deflating the rich and powerful from hillbilly Dogpatch in “Li’l Abner.” Also in this place-based camp are radio’s Garrison Keillor, who lampoons society from Lake Wobegon on “A Prairie Home Companion,” and perhaps Trudeau’s greatest progeny — Matt Groening, whose “The Simpsons” and its cast of characters did for TV what “Doonesbury” did for the comics page.

But while “Doonesbury” has unquestionably earned its way into the canon of great comic strips, it’s through no thanks to Trudeau’s drawing skills. He’s the first person to denigrate his own draftsmanship, and indeed, his characters are simply drawn, distinguished from one another by hair, nose and head shape variation alone. If Trudeau had come along in the golden age of strips when people like Elzie Segar (“Popeye”), George Herriman (“Krazy Kat”) and Winsor McCay (“Little Nemo in Slumberland”) ruled the comics pages, he would have been laughed out of the newsroom. Al Capp once said of Trudeau, “Anybody who can draw bad pictures of the White House four times in a row and succeed knows something I don’t. His style defies all measurement.”

Drawing strips consisting of four panels of the same static object, whether it be the White House or somebody watching TV, is a trick Trudeau learned from Jules Feiffer, another political cartoonist with lots to say, and it’s effective. As the words tell the story, the artwork sets the scene, and a slight modification in the last panel’s image, say, a change in facial expression, serves as a rim shot to the punch line — badda-boom! But the static-image formula is only one option available to Trudeau, and the way he alternates it with strips featuring more varied panels gives rise to a kind of meta-rhythm for “Doonesbury” over the weeks and months.

But Trudeau’s major contribution to the genre is of the content kind. He was the first — and is still one of the only — strip artists to pick real people and real current events as the targets of his humor. This was nothing new to editorial cartoonists, of course, but they didn’t have the luxury of being storytellers. Trudeau could creep up on his targets and then destroy them like a great stand-up comic. Ah, but if only Lenny Bruce had had an audience of millions every day.

Trudeau is dangerous — arguably the most powerful voice for truth and justice in American journalism — and he’s hilarious. Steve Benson, widely syndicated editorial cartoonist for the Arizona Republic and president of the Association of Editorial Cartoonists, calls Trudeau a “demigod.” “He takes on all comers. He’s like a junkyard dog — he just doesn’t let go. But he mixes up his punches. Sometimes he can work like a skilled surgeon. Sometimes he can be like a chainsaw. And I think he’s at the top of his game.”

Trudeau had the luck to introduce “Doonesbury” in a defining moment of postwar America, when a youth counterculture preaching equality, fraternity and love was hitting the streets and trying to take back a country deemed hijacked by war-making white men driven by greed and indifference to human life — Richard Nixon, of course, being the epitome. But if all Trudeau had to offer was anti-war propaganda, “Doonesbury” never would have succeeded. He was as apt to make fun of his campus radical exemplar, Mark Slackmeyer, as to give him a platform, and the same could be said for all his characters. With the possible exception of B.D. and his bimbo wife, Boopsie, who are reactionary comic foils, each member of the “Doonesbury” crew is as multidimensional and fully realized as humans can be in a comic strip. They’ve earned their characterizations over 29 years. And each has evolved, in synch with Trudeau’s finely tuned radar for the themes that have defined the American landscape.

Lovable Mike, the Pinocchio-nosed schlemiel who seems to have finally made good, is the “Doonesbury” figure who most captures the tenor of the times. Starting out as the most adrift of the Walden commune members, he entered the ’80s as a classic Reagan Democrat, later to turn Republican. Trudeau, cynically but tenderly, led Mike further and further down the sellout trail, until he went to work for an ad agency and created the enduring Mr. Butts character for the tobacco industry. (His ex-wife, J.J., sold out, too, making art for Donald Trump, who, now that he’s seeking the presidency on the Reform Party ticket — real-life here, folks! — is already beginning to suffer some fresh barbs from Trudeau’s pen.)

Mike, relocated to Seattle with his computer-genius daughter, Alex, has borne the brunt of Trudeau’s Internet Age satire. As a non-computer-savvy baby boomer, Mike found himself in a bewildering culture of e-mail chat groups, programming geeks, corporate downsizing, Microsoft domination, venture capital and initial public offerings. In one of “Doonesbury’s” current story lines, Mike has launched on IPO on the struggling Internet start-up he runs with his new Gen-X bride, the Vietnamese Kim. Trudeau takes this opportunity to bash an industry that seems bent on rewarding money losers, and along the way he gets in some scathing shots at Nike, which employs one of Kim’s relatives in a Vietnamese sweatshop.

Neither has the rest of the “Doonesbury” crew sat still. Mark became a left-wing radio host, came out of the closet and married a conservative businessman. “I can’t imagine what you have in common with my son,” Mark’s appalled father, Phil — a former Reagan official who served time for insider trading and who’s now a tobacco lobbyist — says to Chase in one strip. “Well, it’s physical, of course,” chimes in Mark.

Eternal hippie and ever-unemployed Zonker achieved glory as a competitive tanner, served as nanny to the children of Mike and J.J. and B.D. and Boopsie, won $20 million in the lottery, purchased a British peerage title and squandered all the dough. Feminist icon Joanie Caucus got a law degree and went to work first for liberal Republican Rep. Lacy Davenport — who later developed Alzheimer’s disease and bequeathed her fortune to a homeless woman — then President Clinton. And Zonker’s drug-addled, gun-crazed Uncle Duke, modeled on gonzo journalist Hunter S. Thompson, has been involved in adventures ranging from being ambassador to China to turning up as the 53rd Iran hostage to cocaine smuggling to working for David Duke, Oliver North and Donald Trump to running an orphanage to becoming a zombie who gets sold into slavery in Haiti. “He could use the discipline,” one of his friends says.

Then there’s the politics — the ruthless savaging of politicians, public figures and attending sycophants that drives so many newspaper editors crazy. Trudeau’s treatment of his first presidential victim, Nixon, was almost tender, such an easy target was he. President Ford had to veto a bill Congress passed to lay him off; the Carter administration was dominated by his Secretary of Symbols, who really flourished on the Jerry Brown campaign; Reagan was so baffling that even his own handlers couldn’t fathom him, much less the press corps; Bush was the invisible man, unable to take a position on anything, who when campaigning had his manhood placed in a blind trust; Quayle was and continues to be depicted as a feather; Newt Gingrich was a bomb that Trudeau took great pleasure in finally exploding; Clinton is a waffle who seduces not only woman but all the reporters covering him.

And that’s just the presidents. Trudeau has delivered indelibly sly, vicious portraits of Yasser Arafat, Fidel Castro, Pat Buchanan, Eldridge Cleaver, Alfonse D’Amato, Ed Meese, Jesse Jackson, Michael Huffington and on and on and on.

Trudeau has rendered an account of our times so rich in detail it makes you gasp. And if he has proven one thing in the nearly 10,000 strips he’s drawn, it’s that there’s nothing new under the sun. Think George W. Bush’s “compassionate conservatism” slogan is an original concept? Zap back to a “Doonesbury” from 1981, when Walter Mondale describes his philosophy as “neo-nice.” Was it not clear that the Desert Storm invasion of Iraq was for the benefit of big oil? Well, Zonker learned something like that in 1980 when, while registering for the military as per President Carter’s request, he was asked, “If called upon by your country, would you be willing to give your life to protect the interests of U.S. oil companies?” (When Zonker screeches “OIL COMPANIES!?” the clerk responds, “It’s only hypothetical. We’re just trying to get a head count.”) Was it funny to you when Sonny Bono was elected mayor of Palm Springs, Calif., in 1988 and later to Congress? At a benefit concert he was about to play in 1976, rock star Jimmy Thudpucker says, “Awe-inspiring isn’t it? One vibrant kinetic mass of 30,000 sun-bleached Santa Monica rock junkies. You know, it’s a good thing that vote can’t be harnessed, or our next governor would be Sonny Bono.” Remember Dana Carvey, doing his spot-on impression of George Bush at the debate with Clinton on “Saturday Night Live,” waving his arms around and pleading, “Please, oh please, don’t let me be a one-term president!”? Wonder if Carvey had in the back of his mind the 1980 “Doonesbury” in which Bush, then ambassador to the United Nations and a presidential candidate, is summing up his storied career to a group of prep school kids. When one asks him how long he’d like to be president, Bush replies, “The big four. I’m an optimist. I think I can go the distance.”

A steady stream of news items, editorials and letters to the editor about “Doonesbury” has served as a kind of chorus to Trudeau’s influence. Newspapers have taken reader polls asking if “Doonesbury” should stay or be banished. Editors pondering killing certain strips or moving them to the editorial pages question Trudeau’s fairness. In a 1990 interview with Newsweek, Trudeau said fairness isn’t the issue: “Criticizing a political satirist for being unfair,” he said, “is like criticizing a nose guard for being physical.” Trudeau said he’s propelled “by a sense of moral indignation, which you hope doesn’t slip into malice when you’re executing. The critical difference is that you’re not only against something, you’re for something. It springs out of a sense of hope. The day I start writing from a scorched-earth viewpoint is the day I don’t think I can justify my presence in the business.”

And it’s true, nobody thinks of Trudeau as a curmudgeon. “Doonesbury,” harsh as it can be, has a warm, fuzzy quality that celebrates the inherent absurdity of Homo sapiens. And he rarely takes himself seriously. One color Sunday “Doonesbury” from ’93 had Zonker picking up the White House while explaining to readers that it’s just a scale model. Then he tosses it, with a little Clinton voice yelling, “Aiee!” and says, “Of course, what really counts are the regular characters.” In another strip, an especially sexily drawn, bikini-clad Boopsie, getting photographed for Sports Illustrated’s annual swimsuit issue, wonders if there’s a sweeps week on the comics page.

And you gotta love a guy who wants to better himself. In the winter of ’83 he began a 21-month sabbatical from the strip to try his satirical hand at play writing, collaborating with musician Elizabeth Swados first on the Broadway version of “Doonesbury,” which ran for about five months, and then on a musical revue called “Rap Master Ronnie,” which traveled around the country for several years. He returned to the strip with a bigger-is-better approach, enlarging his characters literally and philosophically, and using his clout to demand that editors run “Doonesbury” at least 7.33 inches wide, which was a former standard that cost-conscious editors had been steadily eroding. Other comic strips ended up running larger as well, thanks to Trudeau’s influence.

Later in the decade he demonstrated his writing chops for a brilliant HBO film series (available on video) called “Tanner ’88.” Directed by Robert Altman, it introduced a fictional neoliberal presidential candidate into the ’88 campaign, pitting him against the real contenders. Like “Doonesbury,” only live-action, it blended fact and fiction to mordantly skewer political institutions and the press that attends them.

But Trudeau has insisted that pumping out “Doonesbury” is his primary gig, one he’ll continue unto old age. At this point, it’s hard to imagine living without it. It almost makes you happy that George W. Bush could be elected our next president. On the other hand, that might just drive Trudeau crazy.

David Rubien is a writer in San Francisco.

Using Bush’s playbook

"Karl Rove politics" aren't quite dead: Obama's strategy in 2012 will mirror W's in 2004

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Using Bush's playbookGeorge W. Bush and Barack Obama (Credit: Reuters/Larry Downing)

Barack Obama’s presidency was born from nothing so much as his repudiation of George W. Bush’s administration — its policies and politics, its style and tone. One of Obama’s most effective 2008 stump speech refrains was his promise to end the era of “Scooter Libby justice, ‘Brownie’ incompetence and Karl Rove politics.”

But the political dynamics for winning a second presidential term often differ markedly from winning the first. So don’t be surprised by many eerie parallels between Obama’s 2012 reelection bid and Bush’s 2004 campaign. The president may not rely upon “Karl Rove politics” in the strictest sense, and nobody would confuse David Axelrod with Rove. But Obama’s reelection route and rhetoric may bear more than a few Rovian hallmarks.

Now that Mitt Romney has won the Republican nomination, two key features prevail over the 2012 campaign — and both were also plainly evident in 2004. First, the incumbent president’s reelection fortunes are far from certain; and, second, the incumbent faces a decent but nevertheless weak challenger who is further hampered by internal problems within his party’s coalition.

Because incumbents can’t run for reelection promising “change,” and because “hope” during a lingering recession was also off the menu, the Obama campaign’s 2012 theme of  “forward” — a word that often follows “plow,” mind you — was the best available alternative. That said, and substituting the economy for terrorism, Obama is implicitly if not explicitly advancing the same theme Bush did in 2004: America suffered a tough blow, but the situation could have been worse and, more to the point, under my stewardship the nation is steadily regaining its footing.

This counterfactual campaign theme — vote for me not because of what happened, but what might have but didn’t — is a common thread for Bush and Obama. It’s not an uplifting message, but it sufficed in 2004 and Obama is counting on it working again in 2012.

Politics 101 further dictates that when an incumbent’s reelection is in doubt, he must go negative against the challenger. Obama political operatives in the White House and at the Democratic National Committee long ago made it abundantly clear they were willing to do just that. Team Obama may not go negative against Romney to the degree the Bush camp did against John Kerry in 2004. (By mid-summer 2004, 75 percent of Bush’s TV ads were negative attacks on Kerry.) But don’t be surprised if attacks on Romney’s record and even character are plentiful, harsh and relentless. In 2008, America saw candidate Obama’s toothy grin; four years later, expect to see President Obama’s fangs.

Expect the Obama camp to emphasize two major critiques of Romney: that he is a flip-flopper willing to say anything or reverse any position to win; and that he is an economic royalist whose personal and public life suggest a person incapable of understanding the lives and struggles of average Americans. Again — note the unusual parallels with 2004.

Although Romney is a Republican former governor and Kerry was at the time his state’s Democratic junior U.S. senator, the two Massachusetts pols make for similar targets. Each man is an extraordinarily rich preppie and Ivy Leaguer. Each represents the liberal wing of his respective party. Each has shown a propensity for ruining an otherwise valid point with sloppy, backfiring language. And each has a reputation for lacking political spine.

The flip-flop frame is candidate character assassination of the first order. Like the lone negative number in a string of multiplied positives, the critique that nobody can trust any statement or claim made by a politician has the potential to negate every accomplishment or promise. If it sticks, it can be fatal, as Kerry learned in 2004.

Obama and the Democratic National Committee know their electoral history and, sure enough, last November — a year before the election and two full months before a single Iowan had caucused — the DNC released a four-minute “Mitt vs. Mitt” ad and its accompanying website with the damning tag line, “the story of two men trapped in one body.” The site is a brilliant homage to the Bush campaign’s 2004 windsurfer attack ad and the devastating, 11-minute ad the Republican National Committee produced chronicling Kerry’s “evolution” on Iraq.

And then there is what might be called “the Willard factor”: Romney as Richy Rich, the Monopoly Guy with the Bain Capital background and the Swiss bank account. His bio would be political gold to Romney’s opponent any election cycle, but it’s gold-plated platinum in the first full presidential campaign following the biggest economic crisis since the Great Depression, the rise of the Occupy Wall Street movement, and the long overdue national debate over income inequality.

Again, the wealth-personified line of attack mirrors the out-of-touch, Martha’s Vineyard yoke the Bush team put around Kerry’s neck in 2004. Right on cue, in the first public event of his reelection campaign, last week Obama attacked Romney by name and invoked the economic disconnect card with relish. “He sincerely believes that if CEOs and wealthy investors like him make money the rest of us will automatically prosper as well,” said Obama of Romney, adding that “corporations aren’t people – -people are people.” (For the record, Kerry is actually wealthier than Romney, who would become one of the richest men ever to occupy the White House, should he win.)

Obama will also try to shift the national debate toward areas of strength, as Bush did. Historically, this meant the same strategy, but with inverse implications for each party: The so-called mommy party Democrats would encourage voters to focus on more favorable kitchen-table economy issues — healthcare, jobs, education — and away from less favorable “daddy party” Republican issues surrounding foreign wars abroad and culture wars. Because Obama is net-positive in foreign policy approval and net-negative on the economy, rather than mirroring by inversion, Obama will try to duplicate Bush’s shift-in-emphasis in 2004. GOP complaints that Obama is politicizing the killing of Osama bin Laden reveal Republican fears that Obama is going to play the terrorism card in 2012 just like Bush did eight years ago.

The 2004 parallels extend beyond message. Obama will be amply resourced and enjoy a field technology by virtue of his campaign’s state-of-the-art Web, donor, volunteer and social media innovations. Remember the Bush reelection campaign’s vaunted “72-hour” voter turnout model? That seems like an Edsel compared to the Ferrari the Obama team will be sporting this summer and fall. Among the perquisites modern presidential incumbents enjoy is the option to test-drive the best mobilization machines before anyone else.

Finally, what most connects Obama 2012 to Bush 2004 is the stability of the electoral map itself. Only three states — two net to Bush — flipped from one party to the other between 2000 and 2004; only nine states flipped between 2004 and 2008. Split the difference and a good, back-of-the-napkin over-under for number of states likely to flip between 2008 and 2012 is six. And thus, like the lead sailboat during a windless race, Obama doesn’t need or want conditions to change much from 2008: He merely has to replicate the map that swept him into office, with the burden of figuring out how to shake up the Electoral College falling to Romney, just as it did for Kerry against Bush. Even Karl Rove’s mapping of the 2012 election concedes this reality.

The 2008 election was memorable; to borrow the title of one best-selling chronicle, it was a “game changer.” But 2012 will not be. In many respects, it will be a game repeater, with Obama playing Bush to Romney’s Kerry of 2004. The president may be asking Americans to look “forward” in 2012, but the best preview of his reelection campaign can be found by looking backward eight years.

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The Bushies are back

Missed the neocons? Don't worry: Mitt Romney's getting the band together again

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The Bushies are back (Credit: Reuters/Win McNamee)

There was good reason for Republicans to cry foul over the Obama campaign’s advertisement highlighting the president’s killing of Osama bin Laden; the GOP has lost its decades-long edge on national security. According to a Washington Post poll, “By a margin of more than 2 to 1, Americans say the president’s handling of terrorism is a major reason to support rather than oppose his bid for reelection.”

Republicans lost their popularity on security issues for one reason: George W. Bush’s foreign policy was a disaster. And yet, the party’s nominee, Mitt Romney, has assembled a foreign-policy team composed almost exclusively of individuals with the same war-always mentality and ideology that served Bush — and the United States — so poorly. In some cases, the exact same men responsible for Bush’s catastrophic national security policies are advising Romney. The former Massachusetts governor could have included some of the pragmatists and realists from the George H.W. Bush administration. Instead, a Romney presidency seems like it would be Bush 43 all over again.

Richard Grenell, who served as United Nations spokesman under Bush, may be gone from the Romney campaign after an uproar over his sexuality, but there are plenty more former Bushies. First off, there are Romney’s “special advisors.” There’s Michael Chertoff, W.’s Homeland Security director. Chertoff oversaw DHS’s failures during Hurricane Katrina, and amassed unprecedented powers of secrecy. Next up is Eliot Cohen, counselor to the State Department for Bush’s last two years and on the Defense Policy Advisory Board for the president’s entire term. Cohen was an adamant supporter of the Iraq War and advised Bush directly on the issue. Or take Cofer Black, the man who infamously said to Bush in September 2011 about al-Qaida that “When we’re through with them they will have flies walking across their eyeballs.” Black went on to become chairman of Blackwater, where he resigned after the company illegally bribed Iraqi officials.

Then there are the 13 “working groups” composed of equally worrisome individuals. The Middle East and North Africa Working Group is co-chaired by Bush’s Assistant Secretary of Defense Mary Beth Long, and Meghan O’Sullivan, Bush’s special assistant and deputy national security advisor for Iraq and Afghanistan. The remaining co-chair is Walid Phares, who never worked for Bush but advised Lebanese warlords in the 1980s. Romney has reportedly promised Phares a top job in his administration, despite his virulently anti-Islamic views.

All told, Romney lists 37 holdovers from the George W. Bush administration — the very same administration he and all other Republican candidates barely referenced during their many debates because it was so discredited and toxic, even to the Republican base.

It didn’t have to be this way. There are, in fact, people in Republican circles who are sensible on international affairs. The Cato Institute, in particular, has experts that could dramatically change the direction of American foreign policy. Men like Justin Logan and Christopher Preble were prescient on Iraq and a host of other issues. Similarly, the Center for the National Interest (formerly the Nixon Center) has a host of solid scholars, including ones like Dimitri Simes and Geoffrey Kemp, who have valuable government experience in the Nixon and Reagan administrations, respectively, and a history of perceptive analysis. Richard Haass, president of the Council on Foreign Relations, would have been another good pick.

So why aren’t guys like this being tapped? Why is the GOP sticking with a discredited foreign-policy approach rather that looking to its own past for wiser counsel? “Most of the realists and pragmatists have simply been driven out of the Republican Party,” says Stephen Walt, who writes a blog at Foreign Policy and teaches at Harvard. “The neoconservatives have been driving the agenda since Bush was elected and they remain well-entrenched.”

Another factor is that the Republican Party’s base remains strongly militaristic and reluctant to recognize limits on American power. Jon Huntsman’s failed presidential campaign illustrated that problem. The good news is that nobody seems to be calling for nation-building and occupying foreign countries in the mold of Iraq and Afghanistan. But that’s the only lesson that seems to have been learned from the last decade of foreign-policy debacles.

Finally, it may just be that the United States has too much power to change course. While the Unites States has undoubtedly made disastrous decisions in the last decades, it is so powerful that it is largely insulated from the consequences of them. If Romney’s foreign-policy advisor list is anything to go by, a Romney administration would have to teach the U.S. all over again about the problems with trying to police the world. Prepare for Bush redux.

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Jordan Michael Smith writes about U.S. foreign policy for Salon. He has written for the New York Times, Boston Globe and Washington Post.

Bush aide blasts torture

Philip Zelikow tried to warn Bush on interrogations. Now he's penned an authoritative article on how he was ignored

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Bush aide blasts torture (Credit: Reuters/Jim Young)

The Bush administration hasn’t heard the last from Philip Zelikow. After the rediscovery last week of his long lost 2006 anti-torture memo, Zelikow, a former State Department official, has written arguably the most damning article yet about U.S. government’s interrogation policies from 2001 to 2009. The article, called “Codes of Conduct for a Twilight War,” will be released in a forthcoming issue of the Houston Law Journal, and was obtained exclusively by Salon. Says Zelikow in an email: “I’m not aware of other accounts that combine historical, policy and legal approaches to” the subject of the Bush administration’s interrogation methods.

Based on published histories and his firsthand observations, and adapted from a lecture delivered in November, the article calls the administration’s rationale for its use of torture — which he nonetheless insists only on calling “extreme interrogation” and “coercive methods” — “radical,” “an amazing contention,” “untenable and extreme,” “unsustainable,” “an unprecedented program of coolly calculated dehumanizing abuse and physical torment,” and, finally, simply a “mistake.” He concludes: “This was a collective failure of American public leadership, in which a number of officials and members of Congress (and staffers) of both parties played a part, endorsing a CIA program of physical coercion without any precedent in U.S. history.”  In fact, “The only defense against criminal prosecution would be that officials acted in good faith reliance on the advice of their government lawyers.”

Part of what makes Zelikow’s analysis so damning and definitive is its judiciousness. The article is deeply empathetic of the uniquely fearful situation under which the Bush administration was initially operating. Zelikow calls the Sept. 11 attacks a “collective trauma” and a “shoc[k] to mass beliefs.” He notes that Bush and others spent time in burn units, morgues and with survivors of the attacks. One traumatic experienced often overlooked — overlooked because it appeared in Stephen Hayes’ stenographic biography of Dick Cheney — was that the vice-president’s daughter was (falsely, it turns out) told that her house with her children in it had tested positive for anthrax. Similarly, Cheney and National Security Advisor Condoleezza Rice were told that they and others had been exposed to an extremely lethal toxin in a particular area of the White House — and might soon die as a result. “The alarms did not stop and they too were not abstract … The pressure on Bush and his senior advisers was so direct because so much of the response had to be invented and improvised,” the article reads.

An additional factor in the power of the article is Zelikow’s credibility and history. Before entering government, he was a civil rights lawyer in Texas battling the Ku Klux Klan and then a highly esteemed Harvard historian specializing in U.S. foreign policy — he co-authored one book with Rice. He then served on the National Security Council under President George H.W. Bush and directed the 9/11 Commission before becoming counselor to Rice at the State Department from 2005 to 2007. He currently volunteers part-time on the President’s Intelligence Advisory Board under President Obama.

Such bipartisan, establishment credentials render the breakdown and conclusion of this article all the more damning. He believes that what should have been a political and moral question — should the United States torture captives? — became strictly a legal matter left up to government lawyers, few of whom had any experience with these issues, and who had to take the necessity of extreme measures as a given. “These lawyers then became secular priests, granting absolution to the supplicant policymakers,” Zelikow writes.

The problems began when the Office of the Vice President and the CIA took central roles in policymaking. Cheney felt himself above the rest of the National Security Council, bypassing Rice and other traditional channels of national security policymaking. Ad-hoc decision-making and improvisation became “a habit of thought,” which seemed initially to pay off in the security of the nation, as well as in Bush’s political standing and self-confidence.

With Cheney and CIA head George Tenet “the key entrepreneurs in setting codes of conduct for the War on Terror,” it was essentially left to their obsequious lawyers to decide, in secret, on the interrogation methods America should employ. Bush even told the Senate’s Intelligence Committee chairman that “the vice president should be your point of contact … [He] has the portfolio for intelligence activities.” Decisions were made to jettison international treaties. By December 2001, the CIA was already interested in reverse-engineering methods “heretofore used only to treat Americans to resist enemy torture.” When a senior al-Qaida member was captured in March 2002, the prototype for the administration’s torture policies was already developed. “So, for the first time in American history, leaders of the U.S. government carefully devised ways and means to torment enemy captives.”

Zelikow notes that “None of the policy or moral issues connected with these choices appear to have been analyzed in any noticeable way.” Perhaps worst of all, no serious consideration was given to weighing the costs of benefits of the torture program, with reference to relevant historical precedents and/or examinations of the respective French, British and Israeli experiences in dealing with captured terrorists. “Bush and Rice should have insisted on this,” Zelikow writes.

The 52-page article observes the successes of Obama’s counterterrorism policies after repudiating the use of torture. On the basis of the empirical evidence then, “[t]here is no evident correlations between intelligence success and the available of extreme interrogation methods,” no matter what Bush and Cheney claim. Finally, “The program’s costs — which include the high-level effort expended in order to establish, maintain, and defense the program — appear on the evidence so far to have well outweighed any unique value the program might have had as a method of counterterrorism intelligence collection.” This is apart from the damage to America’s international standing and corrosion of its traditional values.

Zelikow concludes his analysis by arguing that, although the Obama administration has the right to wage war and use extralegal methods to defeat al-Qaida, its claim of that authority to defeat “associated forces” is unwarranted. “The U.S. government should publish and explain any overarching policy and legal documents that guide and confine the conduct of deadly operation against its foreign enemies … the executive branch of the U.S. government has a duty to articulate the scope of its warfare to the Congress and the public.” The Bush administration’s unprecedented elevation of torture to national policy may be history, but the job to get U.S. foreign policy in line with its constitutional and moral obligations is far from over.

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Jordan Michael Smith writes about U.S. foreign policy for Salon. He has written for the New York Times, Boston Globe and Washington Post.

Thomas Kinkade, the George W. Bush of art

The rise and fall of Thomas Kinkade, the Painter of Light™ in a decade of bad faith

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Thomas Kinkade, the George W. Bush of art

News of Thomas Kinkade’s death arrived on the same day I received in the mail a vintage teacup on which I had spent a ridiculous amount of money. It has a cottage painted on it. Kinkade, whose work has long exerted a morbid fascination for me (to the concern of all my friends), specialized in cottages. So some part of me understands the appeal, I guess, but, damn: Those paintings make my corneas hurt. And yet, I could barely stop looking at them.

Kinkade was only 54, and his family told the media that he died of “natural causes.” This comes after years of reports of drunken public misbehavior: cursing at people who tried to save him from falling off bar stools, heckling Siegfried & Roy, grabbing a woman’s breasts at a publicity event and, most memorably, urinating on a Winnie the Pooh statue at the Disneyland Hotel while proclaiming, “This one’s for you, Walt!” There were DUI arrests. Also, his manufacturing company declared bankruptcy two years ago, and former franchisees of the once-ubiquitous Thomas Kinkade Signature Galleries won settlements against him for fraud.

That’s quite a fall for a man who frequently spoke of his Christian faith and family values when asked to comment on the mammoth success of his brand in the early 2000s. “When I got saved, God became my art agent,” Kinkade explained in a 2004 video. He went from a childhood in Placerville, Calif. (invariably characterized as “hard-scrabble”) to an apprenticeship selling his work in supermarket parking lots to his apotheosis as the nation’s “most profitable” artist, the Painter of Light™, and multimillionaire. He was profiled in the New Yorker by Susan Orlean.

I first learned about the dark side of the Painter of Light™ — sorry, couldn’t resist that one — when I reviewed “his” novel, “Cape Light,” in 2002. The novel, first in a series, was produced much as his paintings are: by a semi-industrial process in which low-level apprentices embellish a prefab base provided by Kinkade. He wasn’t the only artist to work in this way; he wasn’t even the only novelist. To the best of my knowledge, his novels — heartwarming, fuzzily pious tales of small-town life — have been coming out ever since, one more facet of a lifestyle brand that, at its most ambitious, included an entire Thomas Kinkade-themed housing development.

My review was just a goof intended to amuse Salon’s readers, but after it appeared, I began to receive emails from people who had sunk their life savings in Thomas Kinkade Signature Galleries (essentially, mall and shopping-district outlets for his prints) and been fleeced. I didn’t really understand how the financial architecture of Kinkade’s gallery empire worked, and I sure didn’t share their taste in wall art, but these people struck me as decent and sincere. They’d believed in Thomas Kinkade — not just in the man or the company, but in the ethos supposedly represented by his work, one in which (to quote Kinkade’s introduction to “Cape Light”) “people have the time to savor life’s simple pleasures” and lead “deep, satisfying lives.”

My conversations with these victims made me uneasy. Was there some relationship between the franchisees’ naivete, perhaps even their willful self-delusion, and their terrible taste? Was it hopelessly snobby to wonder that? What about Kinkade himself? He seemed to be at best a hypocrite and at worst a crook. Was there a meaningful connection between his bad conscience and his bad art? German thinkers of the 1930s would have said so, and they had plenty of opportunity to observe bad fascist art up close. Hermann Broch maintained that someone who chooses to make kitsch is “ethically depraved, a criminal willing radical evil.” The novelist Milan Kundera believes kitsch to be the natural expression of totalitarianism. That’s a lot of moral weight to place on a bunch of garish cottage paintings, but Kinkade was always the first to present his work as a form of ideology.

I felt compassion for the ripped-off gallery operators, and at the same time I was aware that quite a few of them had probably also fallen for the similarly sanctimonious, bogus folksiness of George W. Bush, thereby subjecting our nation to one of the worst presidents in its history. Kinkade and Bush struck me as of a piece, probably because they had both borrowed from Ronald Reagan in promising that we could get back to a better way of life that never existed in the first place. In nearly every encounter with the press, Kinkade delivered a diatribe against the art-world “establishment” that had shut him out. They were “elites” touting unfathomable, downer junk to hardworking people who needed uplift instead. Art snobs were the aesthetic counterparts of the so-called liberal elites, a group that surely included me.

At the same time, I must admit that I, too, like a cottage. Granted, I like the stylized, art-deco kind painted on bone china, rather than the insanely detailed and phosphorescently lit specimens in Kinkade’s pictures. And I’m in little danger of equating my new teacup with a Brancusi just because it’s cheerier. Nevertheless, I suspect that my idea of what’s pleasing about a cottage isn’t too different from that of Kinkade’s fans: an aura of harmless coziness, of modest domestic beauty and comfort not too cut off from the past. It’s as if we’re speaking the same word, but in different languages.

I suspect this is why Kinkade’s paintings have exerted their weird, hypnotic effect on me. They are so preposterous (especially the stream-side ones; he really needed to sit down with an architect and go over the basics of drainage), so awful. And yet I can still detect — beneath that cacophony of hollyhocks and cobblestones and snapdragons — the whisper of something intelligible. I’m pretty sure I know why the hordes of Kinkade collectors love his work, even if I don’t like it myself. Kinkade’s paintings are irredeemably false, like all kitsch, but through them you can just barely glimpse the honest desires they seek to exploit, sinking under the dreck.

Kundera defined kitsch as “the absolute denial of shit,” meaning it offers an airbrushed, sterilized, sentimentalized view of the world. From that, it doesn’t necessarily follow that art wallows in shit, but art doesn’t exist for the primary purpose of denying it, either. Kitsch is, first and foremost, a lie; its very existence is founded on bad faith.

Kinkade, like Bush, peddled a falsely simplified image of the world — one without mildew or flooded basements, for one thing — which, no surprise, turned out to be plastered over a whole lot of stinky stuff. The true believers, the ones who bought into these men the most during the 2000s, ended up paying some of the highest prices, from the Kinkade acolytes who invested in his gallery Ponzi scheme to the working-class red-staters who sent off their kids to die in a pointless war. Bad taste, harmless as it may seem, can end up costing you a lot.

Further reading

Los Angeles Times obituary for Thomas Kinkade

Susan Orlean’s 2001 profile of Thomas Kinkade for the New Yorker

A 2006 Los Angeles Times story documenting Kinkade’s business problems

Salon’s Janelle Brown visits Hiddenbrooke, a Kinkade-theme housing development in Northern California

Laura Miller reviews “Cape Light,” a novel by Thomas Kinkade and Katherine Spencer

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Laura Miller

Laura Miller is a senior writer for Salon. She is the author of "The Magician's Book: A Skeptic's Adventures in Narnia" and has a Web site, magiciansbook.com.

The memo Bush tried to destroy

A document advising the Bush administration against torture has resurfaced, despite his best efforts to hide it

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The memo Bush tried to destroyGeorge W. Bush in 2006 (Credit: AP/Ron Edmonds)

In February of 2006, Philip Zelikow, counselor to Secretary of State Condoleezza Rice, authored a memo opposing the Bush administration’s torture practices (though he employed the infamous obfuscation of “enhanced interrogation techniques”). The White House tried to collect and destroy all copies of the memo, but one survived in the State Department’s bowels and was declassified yesterday in response to a Freedom of Information Act request by the National Security Archive.

The memo argues that the Convention Against Torture, and the Constitution’s prohibitions against cruel and unusual punishment, do indeed apply to the CIA’s use of “waterboard[ing], walling, dousing, stress positions, and cramped confinement.” Zelikow further wrote in the memo that “we are unaware of any precedent in World War II, the Korean War, the Vietnam War, or any subsequent conflict for authorized, systematic interrogation practices similar to those in question here, even when the prisoners were presumed to be unlawful combatants.” According to the memo, the techniques are legally prohibited, even if there is a compelling state interest to justify them, since they should be considered cruel and unusual punishment and “shock the conscience.”

Chillingly, the memo notes that “corrective techniques, such as slaps,” may be legally sustained, as might be “[C]ontrol conditions, such as nudity, sleep deprivation, and liquid diets…depending on the circumstances and details of how these techniques are used.” However much distress Zelikow’s memo caused the White House, it was not an ACLU briefing paper.

“I’m pleased the memo is now part of the historical record and available for study,” Zelikow wrote Salon in an email. The White House had determined that the memo — which was not binding since Zelikow’s was a bureaucratic position without legal authority — was too dangerous to exist. “I later heard the memo was not considered appropriate for further discussion and that copies of my memo should be collected and destroyed,” he said in a May 2009 congressional hearing.

At that hearing, before the Senate Committee on the Judiciary, Subcommittee on Administrative Oversight and the Courts, Zelikow said he had “no view on whether former officials should be prosecuted,” a decision he thinks should be left to “institutions.” However, he did call for a thorough inquiry and a public report examining how the U.S. came to employ torture.

Of course, no such inquiry was ever launched. The Obama administration declined to revisit the U.S. employment of torture, with the president saying he didn’t want to “look back.” Zelikow believes this was a mistake. “I still believe an inquiry would be useful, though less so as time passes and more information becomes available, especially after the 9/11 trials conclude, hopefully this year,” he says in an email.

During his congressional testimony, Zelikow declined to say whether Department of Justice lawyers acted improperly or immorally, conceding only that their opinions were “unsound, even unreasonable.” But in a 2007 lecture in Houston, he had no problem saying “the cool, carefully considered, methodical, prolonged, and repeated subjection of captives to physical torment, and the accompanying psychological terror, is immoral.”

The importance of the memo lies in its revelation that there was real, serious debate inside the Bush administration about how to interrogate captured terrorist suspects. The members of the White House declined to enter that debate — indeed, they did their best to squash it. The destruction of Zelikow’s carefully reasoned memo suggests the White House did not want any record of alternative views even existing, lest they be considered reasonable or people get the idea that the torture policies were thought controversial even by members of the administration.

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Jordan Michael Smith writes about U.S. foreign policy for Salon. He has written for the New York Times, Boston Globe and Washington Post.

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