The graphic kind of goes by fast, but here are some of the other "High School Tony Awards" listed in the video above:
Best Old Man Backache
Best Daughter of Director in a Leading Role
Best Sexing Up of a Gypsy Costume by a Popular Girl
Best Faux-Brick Set Design
Best Choreography Involving Obese Performer
Best Jock in a Supporting Role
Achievement in Make-up Dirt Smudge Replacement
RELATED: The real Tonys under NPH's helm fared better than with Jackman:
Neil Patrick Harris may not be a movie star, but the stage and TV actor helped deliver the highest-rated Tony Awards in three years, according to Nielsen preliminary ratings.
The 63rd Annual Tony Awards, hosted by Harris June 7 at Radio City Music Hall, were viewed by 7.45 million people, a 19 percent increase from the previous season.
The ceremony posted "double digit percentage gains in viewers and key demographics over last year," according to a press statement.
Compared to last year's ceremony, which was held June 15, 2008, The Tony Awards were up 11 percent in households, 20 percent in adults 25-54, 18 percent in adults 18-49 and added 1.18 million viewers (from last year's 6.27 million).
He could be crazy, but it's hard not to think that the murderer of Dr. George Tiller was not acting as a lone wolf, especially when he says things like this:
"I know there are many other similar events planned around the country as long as abortion remains legal," Roeder said. When asked by the AP what he meant and if he was referring to another shooting, he refused to elaborate further.
Sounds like he has some inside info, and that this is a conspiracy.
Look, if a group of people have planned to commit violence throughout the country to further their political objectives, that definitionally constitutes a :terrorist cell". Just because it is comprised of rightwing christian extremists instead of islamic extremists doesn't alter anything.
Anyway, if he has some info, shouldn't the rightwingers and Bush apologists be clamoring to torture this guy? I wonder why they're not… oh, riiight. Because he's the "good" kind of terrorist.
Data from the census bureau shows that we have been gradually moving west, as a nation.
The mean centre of US population is “the point at which an imaginary, flat, weightless and rigid map of the US would balance perfectly if weights of identical value were placed on it so that each weight represented the location of one person on the date of the census”, in the definition of the US Census Bureauitself.
That bureau has been holding censuses every decade since 1790; these censuses form the backdrop for this string of mean centres of population in the US. The map shows an ever westward shift of that centre, obviously in parallel with the westward expansion of the US and its citizenry.
Interestingly, the addition of Hawaii and Alaska to the Union (in 1959) didn’t cause as much of a shift as one might expect; it moved the mean centre only two miles south and ten miles west (1960).
The mean centre of population of the US has shifted thusly:
A night at the theater on TV. (My choices below are in yellow)…
8:10 — Things I would have changed about the opening number:
(1) I would have made sure Elton's mike was on.
(2) I would have given mikes to the cast of West Side Story
(3) I would have taken Stockard Channing's mike away
(4) I would have taken Liza's mike away, or at least turned it down a lot
(5) I would have made sure the Billy Eliott kid didn't kill himself flying into the rafters
(6) I would have taught Liza the lyrics to "Let The Sun Shine In", although — really — they're kind of quick to pick up.
Obviously, the opening number was a reflection of Old Broadway (e.g., Pal Joey) vs New Broadway (e.g., Rock of Ages). New Broadway won. Clearly.
8:20 — Neil is very at ease and charming. But that's Neil. I guess someone clocked themselves during the opening number.
Tony Injury Update at 10:27 p.m. An update on Bret Michaels (from Poison): A spokeswoman for the Tonys tells The Associated Press that the singer “missed his mark” during the opening number. (No kidding.) She says he did not break his nose, but the extent of his injuries are not yet known. Here's the video:
First award for Best Performance by a Featured Actor in a Play
John Glover, Waiting for Godot Zach Grenier, 33 Variations Stephen Mangan, The Norman Conquests Paul Ritter, The Norman Conquests Roger Robinson, Joe Turner's Come and Gone
And I'm wrong. It's Robinson. Would have liked to see Glover, but his part wasn't "featured" enough.
8:25 — Shrek number. I guess it's good to get in early and out of the way. Cuz it's a kid's musical and they have bedtime at 9. Plus the performers just got in costume for the opening number, and they want to get out of them and enjoy the rest of the evening.
8:34 — And now Best Performance by a Featured Actress in a Play
Hallie Foote, Dividing the Estate Jessica Hynes, The Norman Conquests Marin Ireland, Reasons to Be Pretty Angela Lansbury, Blithe Spirit Amanda Root, The Norman Conquests
Yup, of course it's her. Classy broad.
8:36 — Why are we watching a Mamma Mia number? Isn't that , like, a decade ago? Ooohhh, the moooovie.
8:45 — Didn't even televise Best Book of a Musical
Billy Elliot, The Musical Lee Hall Next to Normal Brian Yorkey Shrek The Musical David Lindsay-Abaire [Title of Show] Hunter Bell
…but I got it right; it's Lee Hall. Will Farrell (why?) announces Best Original Score (Music and/or Lyrics) Written for the Theatre
Billy Elliot, The Musical Music: Elton John Lyrics: Lee Hall Next to Normal Music: Tom Kitt Lyrics: Brian Yorkey 9 to 5: The Musical Music & Lyrics: Dolly Parton Shrek The Musical Music: Jeanine Tesori Lyrics: David Lindsay-Abaire
Next to Normal. Bit of surprise there…. but I am very happy that the one show that wasn't adapted for the stage from a movie won.
8:50 — West Side Story number. Good dancing. Especially Prince.
9:00 — Ah, the directors. Best Direction of a Play
Phyllida Lloyd, Mary Stuart Bartlett Sher, Joe Turner's Come and Gone Matthew Warchus, God of Carnage Matthew Warchus, The Norman Conquests
I had the right guy, but the wrong play. Glad God of Carnage picked up (at least) one.
Best Direction of a Musical
Stephen Daldry, Billy Elliot, The Musical Michael Greif, Next to Normal Kristin Hanggi, Rock of Ages Diane Paulus, Hair
Nope, it was Stephen Daldry. I should have guessed. He thanked the stage manager. Nice touch.
And now the Rock of Ages number. Wow, I'm kind of impressed. Now "Don't Stop Believin'" is going to be in my head….
9:13 — And now….Best Special Theatrical Event
Liza's at The Palace Producers: John Scher and Metropolitan Talent Presents, LLC; Jubilee Time Productions, LLC Slava's Snowshow Producers: David J. Foster, Jared Geller, Joseph Gordon-Levitt, Judith Marinoff Cohn, John Pinckard Soul of Shaolin Producers: Nederlander Worldwide Productions, LLC; Eastern Shanghai International Culture Film & Television Group; China on Broadway You're Welcome America. A Final Night with George W. Bush Producer: Jeffrey Richards, Jerry Frankel, Steve Traxler, Home Box Office Inc., Gary Sanchez Productions, Bat-Barry Productions, Ken Davenport, Ergo Entertainment, Ronald Frankel, Jon B. Platt, James D. Stern, The Weinstein Company, Tara Smith/b. Swibel, Dede Harris/Sharon Karmazin, Arny Granat
And Liza won of course. Let's see how badly she embarasses herself.
Yup, pretty badly. She does a really good Liza impersonation though. Notice how she thanks "my" orchestra rather than "the" orchestra. Thanks mommy and daddy too. Whoever they were.
9:28 — They pushed these guys off to not-ready-for-prime-time:
Best Choreography
Karole Armitage, Hair Andy Blankenbuehler, 9 to 5: The Musical Peter Darling, Billy Elliot, The Musical Randy Skinner, Irving Berlin's White Christmas
Best Orchestrations
Larry Blank, Irving Berlin's White Christmas Martin Koch, Billy Elliot, The Musical Michael Starobin and Tom Kitt, Next to Normal Danny Troob and John Clancy, Shrek The Musical
I got them right, except Martin Koch tied Best Orchestrations with the Next To Normal folks.
9:30 — Why is that the old Broadway revival shows have sucky mike problems? I love "Sit Down You're Rockin The Boat".
Ah, a good category. Best Performance by a Featured Actor in a Musical
David Bologna, Billy Elliot, The Musical Gregory Jbara, Billy Elliot, The Musical Marc Kudisch, 9 to 5: The Musical Christopher Sieber, Shrek The Musical Will Swenson, Hair
Gregory Jbara. Looks like a Billy Elliot blowout, as expected. And now…Best Performance by a Featured Actress in a Musical
Jennifer Damiano, Next to Normal Haydn Gwynne, Billy Elliot, The Musical Karen Olivo, West Side Story Martha Plimpton, Pal Joey Carole Shelley, Billy Elliot, The Musical
Karen Olivo won. Yeah, I heard she was good. She was awesome in Into The Heights. Nice dress, too.
Next to Normal show number. Wow. Wow. Good number.
9:45 And the big ones now…Best Performance by a Leading Actor in a Play
Jeff Daniels, God of Carnage Raúl Esparza, Speed-the-Plow James Gandolfini, God of Carnage Geoffrey Rush, Exit the King Thomas Sadoski, Reasons to Be Pretty
Geoffrey got it. Funny speech.
In Memorium. Always makes me want to shoot myself. I guess that's why they shot this segment so that you couldn't actually tell who died. Big ones though, including Natasha Richardson, Gerald Schoenfeld, Harold Pinter, Horton Foote, Eartha Kitt, Bea Arthur and Paul Newman. I've always liked Robert Protsky, too.
Best Performance by a Leading Actress in a Play
Hope Davis, God of Carnage Jane Fonda, 33 Variations Marcia Gay Harden, God of Carnage Janet McTeer, Mary Stuart Harriet Walter, Mary Stuart
Got it right. She deserved it, too.
10:00 I really wish they would show longer scenes from the plays.
Anyway, they told us who won these awards. They are calling them the "Creative Awards" because apparently, writing, acting and directing aren't creative. Seriously, what a crock. Give these guys their due by announcing their awards live, and letting them speak.
Best Scenic Design of a Play
Dale Ferguson, Exit the King Rob Howell, The Norman Conquests Derek McLane, 33 Variations Michael Yeargan, Joe Turner's Come and Gone
Derek won.
Best Scenic Design of a Musical
Robert Brill, Guys and Dolls Ian MacNeil, Billy Elliot, The Musical Scott Pask, Pal Joey Mark Wendland, Next to Normal
Ian won.
Best Costume Design of a Play
Dale Ferguson, Exit the King Jane Greenwood, Waiting for Godot Martin Pakledinaz, Blithe Spirit Anthony Ward, Mary Stuart
Anthony won.
Best Costume Design of a Musical
Gregory Gale, Rock of Ages Nicky Gillibrand, Billy Elliot, The Musical Tim Hatley, ShrekThe Musical Michael McDonald, Hair
Got it right. Tim won. (Sorry, Michael).
Best Lighting Design of a Play
David Hersey, Equus David Lander, 33 Variations Brian MacDevitt, Joe Turner's Come and Gone Hugh Vanstone, Mary Stuart
Got it right.
Best Lighting Design of a Musical
Kevin Adams, Hair Kevin Adams, Next to Normal Howell Binkley, West Side Story Rick Fisher, Billy Elliot, The Musical
Rick won.
Best Sound Design of a Play
Paul Arditti, Mary Stuart Gregory Clarke, Equus Russell Goldsmith, Exit the King Scott Lehrer and Leon Rothenberg, Joe Turner's Come and Gone
Got it right.
Best Sound Design of a Musical
Acme Sound Partners, Hair Paul Arditti, Billy Elliot, The Musical Peter Hylenski, Rock of Ages Brian Ronan, Next to Normal
Got it right.
10:12 Not sure how I feel about the Billy Eliott number. I'm sure in the context of the show, it is a showstopper. But taken out of context, it looks like a kid good running around, smashing into moving flats and going "Augh!" a lot. Would be funnier if he went "D'oh!" each time instead.
Glad he didn't flip the bird, though.
10:14 "Highest grossest season on Broadway"? Maybe due to ticket prices rather than audience attendance?
Yes, I know we have to show Legally Blonde in order to get non-theatre people to go to the theatre, but do we have to? With respect to this showcasing of already popular musicals, I think the NY Times liveblog said it best:
C.I. Really seems inappropriate and unnecessary to me. “Mamma Mia” does not need the exposure. But obviously the Tonys telecast is now becoming more a big advertisement than a chance to honor artists’ work.
D.I. It does seem a somewhat circular argument. “We need the show to focus on productions that home viewers wouldn’t otherwise see. So let’s emphasize the shows that everyone has already heard of.”
Harvey announces Best Revival of a Play
Joe Turner's Come and Gone Producers: Lincoln Center Theater, Andre Bishop, Bernard Gersten Mary Stuart New Version: Peter Oswald Producers: Arielle Tepper Madover, Debra Black, Neal Street Productions/Matthew Byam Shaw, Scott Delman, Barbara Whitman, Jean Doumanian/Ruth Hendel, David Binder/CarlWend Productions/Spring Sirkin, Daryl Roth/James L. Nederlander/Chase Mishkin, The Donmar Warehouse The NormanConquests Producers: Sonia Friedman Productions, Steven Baruch, Marc Routh, Richard Frankel, Tom Viertel, Dede Harris, Tulchin/Bartner/Lauren Doll, Jamie deRoy, Eric Falkenstein, Harriet Newman Leve, Probo Productions, Douglas G. Smith, Michael Filerman/Jennifer Manocherian, Richard Winkler, Dan Frishwasser, Pam Laudenslager/Remmel T. Dickinson, Jane Dubin/True Love Productions, Barbara Manocherian/Jennifer Isaacson, The Old Vic Theatre Company Waiting for Godot Producers: Roundabout Theatre Company, Todd Haimes, Harold Wolpert, Julia C. Levy, Elizabeth Ireland McCann
Not a surprise there. Got it right.
Hmmmm. They usually do this later, don't they? Best Play
Dividing the Estate Author: Horton Foote Producers: Lincoln Center Theater, Bernard Gersten, Andre Bishop, Primary Stages God of Carnage Author: Yasmina Reza Producers: Robert Fox, David Pugh & Dafydd Rogers, Stuart Thompson, Scott Rudin, Jon B. Platt, The Weinstein Company, The Shubert Organization Reasons toBe Pretty Author: Neil LaBute Producers: Jeffrey Richards, Jerry Frankel, MCC Theater, Gary Goddard Entertainment, Ted Snowdon, Doug Nevin/Erica Lynn Schwartz, Ronald Frankel/Bat-Barry Productions, Kathleen Seidel, Kelpie Arts, LLC, Jam Theatricals, Rachel Helson/Heather Provost 33 Variations Author: Moises Kaufman Producers: David Binder, Ruth Hendel, Goldberg/Mills, Latitude Link, Arielle Tepper Madover, Bill Resnick, Eric Schnall, Jayne Baron Sherman, Wills/True Love Productions, Tectonic Theater Project, Greg Reiner, Dominick Balletta, Jeffrey
Yup. Got it right. Wow, I'm doing good tonight.
10:25 Tribute to Jerry Herman. Zzzzzz.
10:35 The Hair showcase. Nice. A little tired of this show, but it looks like a good production. And they're keeping their clothes on.
10:40 Kristen Chenowith steals my "keeping clothes on" joke. And announced the winner for Best Revival of a Musical
Guys and Dolls Producers: Howard Panter and Ambassador Theatre Group, Tulchin/Bartner, Bill Kenwright, Northwater Entertainment, Darren Bagert, Tom Gregory, Nederlander Presentations, Inc., David Mirvish, Michael Jenkins/Dallas Summer Musicals, Independent Presenters Network, Olympus Theatricals, Sonia Friedman Productions Hair Producers: The Public Theater, Oskar Eustis, Andrew D. Hamingson, Jeffrey Richards, Jerry Frankel, Gary Goddard Entertainment, Kathleen K. Johnson, Nederlander Productions, Inc., Fran Kirmser Productions/Jed Bernstein, Marc Frankel, Broadway Across America, Barbara Manocherian/Wencarlar Productions, JK Productions/Terry Schnuck, Andy Sandberg, Jam Theatricals, The Weinstein Company/Norton Herrick, Jujamcyn Theaters, Joey Parnes, Elizabeth Ireland McCann Pal Joey Producers: Roundabout Theatre Company, Todd Haimes, Harold Wolpert, Julia C. Levy, Marc Platt West Side Story Producers: Kevin McCollum, James L. Nederlander, Jeffrey Seller, Terry Allen Kramer, Sander Jacobs, Roy Furman/Jill Furman Willis, Freddy DeMann, Robyn Goodman/Walt Grossman, Hal Luftig, Roy Miller, The Weinstein Company, Broadway Across America
As I predicted, Hair wins…. and the Hippies go wild. Excuse me, the "Tribe".
Nice not-so-subtle shout-out to gay marriage.
10:46 Cute intro of David Hyde Pierce by NPH ("coming out for the second time this month")… and David does Best Performance by a Leading Actress in a Musical
Stockard Channing, Pal Joey Sutton Foster, Shrek The Musical Allison Janney, 9 to 5: The Musical Alice Ripley, Next to Normal Josefina Scaglione, West Side Story
Alice Ripley gives a passionate but waaaay-too-dramatic speech. I get her point, but DOES SHE HAVE TO YELL? Who the fuck is she MAD at?
Best Performance by a Leading Actor in a Musical
David Alvarez, Trent Kowalik, and Kiril Kulish ‚ Billy Elliot, The Musical Gavin Creel, Hair Brian d'Arcy James, Shrek The Musical Constantine Maroulis, Rock of Ages J. Robert Spencer, Next to Normal
Oh, man, it's the Billy Elliot kids. So here's the question…. which one of the three was the best? Or were they all three better than each of the other nominees? What a cheap gimmick.
And you would think they would have prepared a speech.
Okay, that was funny and cute, even if it was a gimmick.
Jersey Boys. Again, why? I'm enjoying it though.
10:59 And with one minute left, Liza hurriedly gives the award for Best Musical
Billy Elliot,The Musical Producers: Universal Pictures Stage Productions, Working Title Films, Old Vic Productions, Weinstein Live Entertainment Next to Normal Producers: David Stone, James L. Nederlander, Barbara Whitman, Patrick Catullo, Second Stage Theatre, Carole Rothman, Ellen Richard Rock of Ages Producers: Matthew Weaver, Carl Levin, Jeff Davis, Barry Habib, Scott Prisand, Relativity Media, Corner Store Fund, Janet Billig Rich, Hillary Weaver, Toni Habib, Paula Davis, Simon and Stefany Bergson/Jennifer Maloney, Charles Rolecek, Susanne Brook, Israel Wolfson, Sara Katz/Jayson Raitt, Max Gottlieb/John Butler, David Kaufman/Jay Franks, Mike Wittlin, Prospect Pictures, Laura Smith/Bill Bodnar, Happy Walters, Michele Caro, The Araca Group Shrek The Musical Producers: Dreamworks Theatricals, Neal Street Productions
And it's Billy Elliot of course.
That's 15 right by my count.
NPH is doing a cute closing number. Very funny. In fact, the best part of the entire ceremony.
Tonight, tonight The Tonys were tonight And Elton's Billy was all the rage What class, what drive Now Angela won five And she hooked up with Poison backstage
With heels as sore as poor Achilles Three tutu-wearing Billys Were such a winning sight
Tonight, all three Won Tony plus they hit puberty
[to "Luck be a Lady Tonight"]
And Geoffrey won a Tony tonight Karen won a Tony tonight Liza at the Palace Mr. Ripley's daughter Alice They all won a Tony tonight
Credits! That's not going to stop me!
[to "Tonight"]
Chris Sieber – please! Performing on your knees? Dude, that only works To win Golden Globes
I hope, tonight, When they're high as a kite To be there when the Hair cast disrobes
This show Could not be any gayer If Liza was named mayor And Elton John took flight
The curtain falls I'm off to hit some big Tony balls Goodnight
The plaintiff: A class action brought by Janine Sugawara, on behalf of all buyers and eaters of "Cap'n Crunch With Crunchberries"
The defendant: Pepsico, the owner, marketer, and distributor of "Cap'n Crunch With Crunchberries"
The allegations: Pepsico engaged in fraud, breach of warrenty, false advertising, as well as unfair and deceptive trade practices, by making and selling cereal with "crunchberries" that aren't berries at all. This misleads the consumer into thinking (incorrectly) that the cereal contains fruit and is therefore healthy and nutricious.
The court opinion (pdf): The plaintiff loses because the plaintiff is an idiot. (Actually, the court uses a "reasonable consumer" standard. And it found that a "reasonable consumer" would know that the crunchberries aren't actually fruit. Prior courts held the same when similar lawsuits were brought against "Fruit Loops").
Favorite part of the opinion:
In this case . . . while the challenged packaging contains the word "berries" it does so only in conjunction with the descriptive term "crunch." This Court is not aware of, nor has Plaintiff alleged the existence of, any actual fruit referred to as a "crunchberry." Furthermore, the "Crunchberries" depicted on the [box] are round, crunchy, brightly-colored cereal balls, and the [box] clearly states both that the Product contains "sweetened corn & oat cereal" and that the cereal is "enlarged to show texture." Thus, a reasonable consumer would not be deceived into believing that the Product in the instant case contained a fruit that does not exist. . . . So far as this Court has been made aware, there is no such fruit growing in the wild or occurring naturally in any part of the world.
The New Hampshire legislature approved revisions to a same-sex marriage bill on Wednesday, and Gov. John Lynch promptly signed the legislation, making the state the sixth to let gay couples wed.
The bill had been through several permutations to satisfy Mr. Lynch and certain legislators that it would not force religious organizations that oppose same-sex marriage to participate in ceremonies celebrating it. Some groups had feared they could be sued for refusing to allow same-sex weddings on their property.
Mr. Lynch, who previously supported civil unions but not marriage for same-sex couples, said in a statement that he had heard "compelling arguments that a separate system is not an equal system."
"Today," he said, "we are standing up for the liberties of same-sex couples by making clear that they will receive the same rights, responsibilities — and respect — under New Hampshire law."
Remarkably, the news barely made a ripple. I almost missed it myself. There's a certain routine quality to the news surrounding the New Hampshire law, which is as it should be.
New England has six states, and same-sex marriage is now legal in five (Vermont, Massachusetts, Connecticut, Maine, and New Hampshire). The pressure is clearly on Rhode Island now.
(1) The median number of tweets over the course of a lifetime is…. ready for this?… one. This translates to over half of Twitter users tweeting less than once every 74 days. Yup. In fact, 25% of all Twitter uses don't tweet at all (they just follow).
(2) 90% of all tweets come from only the top 10% most prolific users. Whcih means 90% of all Twitter users account for only 10% of all tweets.
(3) Men comprise 45% of all Twitter users; women are 55%. But both men and women tweet the same amount (no significant difference).
(4) Men and women roughly follow the same number of twitterers; but men get followed more often than women. In fact, men have 15% more followers then women, even though there are less men on Twitter (see #3).
It should be noted that the data for the study came from May 2009. There's been a Twitter explosion since then. I'm not sure how much the underlying numbers have changd — I suspect that #1 and #2 will be different now.
Have you heard that the United States is headed toward socialism? Jonah Goldberg says it is. Alabama Senator Richard Shelby says it is. Phyllis Schlafly says it is. Richard Viguerie says it is. The Republican National Committee says it is. We must be getting pretty close.
How close? This is what socialism looks like:
The hot-pink portion of this pie chart is the percentage of listed American business assets that have recently been nationalized by the American government (ie, General Motors). Obama's version of socialism is so sneaky you can hardly see it!
And let's not forget that Obama has said repeatedly that the government is taking an ownership stake (meaning owning stock, not controlling the companies) only for the time being. He wants AIG and GM to eventually go private again.
Furthermore, if Obama was really a socialist he would be seizing entire industries, not reluctantly getting involved in specific companies which requested the government involvement in the first place.
Government having an ownership stake in companies is nothing new anyway. The First National Bank established in 1791 was owned partially by the government. As was the Tennesee Valley Authority and, in present times, Amtrak.
Still, some conservative critics have responded to Clarke's chart negatively, saying that it doesn't reflect government spending as a percentage of GOP. To which, Clarke responds:
But I wasn't interested in the government spending as a percentage of GDP! The socialism charge that I've been hearing for the past week hasn't had much to do with the size of the federal government. The charge has been that the government now thinks it can run private industry — GM, AIG, whatever — better than, well, private industry.
[That said]….
I don't have a whole lot to say about this, except (1) I agree that it's "not pretty" and (2) If you're going to equate an increase in the deficit or in federal spending as a percentage of GDP with socialism, then every modern American president (with the partial exception of Bill Clinton!) is a socialist. In which case I'm not sure Barack Obama has a lot to worry about.
I’ve been getting into tracing my heritage and, with a few hours to kill last night (that could have been put to better use, but what the hell), I built up on some basic research I had started about a year ago.
I decided to climb up my family tree, and go out on the branch marked “Mother”.This was all done through ancestry.com, which is cool.I thought I would share my roots – well, the interesting parts.Well, the parts that are interesting to me, with a veiled attempt to make it interesting to anyone outside my family who is reading this.
I've decided to "tell my story" on a seprate page of this blog, apart from the regular posts. I hope to update it periodically. It's here.
The right tends to blame the left for the Supreme Court’s expanded ambit, and not unjustly. The modern Court’s most enduringly controversial power grabs — with Roe v. Wade leading the way — were usually the work of liberal justices, and even the more modest liberal theories of jurisprudence tend to depict the Justices as soldiers in the progressive cause, constrained primarily by what the political climate allows them to get away with.
Can someone explain to me how Roe v Wade, which limited state government's control over what a liberated woman could do with her body, constitutes a "power grab" by liberals? That case may be a lot of things, but it certainly didn't expand liberals' hold on power.
And while we're at it, can someone explain to me how someone can write about "power grabs" by the Supreme Court without mentioning the power-grabbiest Supreme Court case of all time: Bush v. Gore?
If abortion opposers believe that (a) abortion is murder; and (b) "justified murder" is morally acceptable (as is in the case of Dr. Tiller), then aren't they tacitly conceding that some abortions could — at least in theory — be "justified" and therefore morally acceptable?
In the Atlantic, Megan McArdle asserts her pro-choice cred, but then writes:
Imagine a future in which the moral consensus has changed, and our grandchildren regard abortion the way we regard slavery. Who will the hero of history be: Tiller, or his murderer? At the very least, they'll be conflicted, the way we are about John Brown.
I do not say such an outcome is particularly likely, although the more we know about fetal development, the more support for abortion seems to drop. But I don't think that it's particularly novel to note that our "instinctive" reaction to these things is partly, even largely, socially conditioned, not the product of deep rational thought.
We accept that when the law is powerless, people are entitled to kill in order to prevent other murders–had Tiller whipped out a gun at an elementary school, we would now be applauding his murderer's actions. In this case, the law was powerless because the law supported late-term abortions. Moreover, that law had been ruled outside the normal political process by the Supreme Court. If you think that someone is committing hundreds of gruesome murders a year, and that the law cannot touch him, what is the moral action? To shrug? Is that what you think of ordinary Germans who ignored Nazi crimes? Is it really much of an excuse to say that, well, most of your neighbors didn't seem to mind, so you concluded it must be all right? We are not morally required to obey an unjust law. In fact, when the death of innocents is involved, we are required to defy it.
This, to me, is a rational argument and bears a rational response.
Sure, one can equate the murderer of Dr. Tiller with John Brown. John Brown led an anti-slavery revolt, killed some people, and hung for it. History showed John Brown to be ahead of his time, and, in the end, on the right side of history.
But does that make John Brown a hero? Hardly.
The problem with McArdle's reasoning is that it can be applied to anything, not just the issues of slavery and abortion. I could, for example, believe the First Amendment to be "immoral" and start bombing newspaper offices. Maybe history will prove me correct someday; maybe not. The problem is that if everybody were allowed to do this, we slip into utter lawlessness. Law itself has no meaning.
I will agree that "we are not morally required to obey an unjust law". But of course, unjust laws have a funny way of falling by the wayside — our history shows that. So to defy certain laws by breaking other laws (the sanction against killing other people, for example) is not the way to go bring about true change. John Brown did not contribute to ending slavery; the country was on a collision course with the Civil War (and the 14th Amendment) anyway. The same can be said for Dr. Tiller's murderer. For those who wish to make abortion illegal, it doesn't bring this country closer to that goal.
In the end, despite what Megan says, the law is not "powerless". There are legal and political ways to overturn abortion, despite the holding of Roe v. Wade. Nothing about our laws are set in stone; it's just that sometimes the political burden is high. And if you want an example of that, you only need to look to Prop 8 in California.
The problem for anti-abortion people is simply that they cannot accept that this nation made a commitment to the rights of women not to undergo forced childbirth. Now, I can understand how that might be extremely difficult to swallow, especially if you are inclined to believe that life begins at conception, and that abortion is the equivalent of killing actual living human beings.
But to those concerns I say, welcome to the club. I was (and am) opposed to the Iraq War, and that too results in killing actual living human beings. However, convinced as I am about the "righteousness" of my belief, and powerless as I am to change our Iraq War policy, it does not give me the "moral right" to, say, kill American soldiers, politicians or others who carry out the commitment to that policy.
Therefore, turning to Megan's question — "If you think that someone is committing hundreds of gruesome murders a year, and that the law cannot touch him, what is the moral action? To shrug?" — the answer seems to be either (1) live with the fact that there is no moral consensus on the issue or (2) work to create a moral consensus so that democratic change comes about through legal and democratic means. Because, as I say, the law is never static. And if enough people want to end a practice or policy, it will eventually end only through the democratic process. Again, look to history.
John Brown was morally right, tactically wrong. Gandhi was morally right AND tactically right.