Mar 5, 2012 21 Comments ›› Pat Dollard
The Vetting, Part I: Barack’s Love Song To Alinsky
By Andrew Breitbart
Prior to his passing, Andrew Breitbart said that the mission of the Breitbart empire was to exemplify the free and fearless press that our Constitution protects–but which, increasingly, the mainstream media denies us.
“Quis custodiet ipsos custodes?” – “Who guards the guardians?” Andrew saw himself in that role—as a guardian protecting Americans from the left’s “objective” loyal scribes.
Andrew wanted to do what the mainstream media would not. First and foremost: Andrew pledged to vet President Barack H. Obama.
Andrew did not want to re-litigate the 2008 election. Nor did he want to let Republicans off the hook. Instead, he wanted to show that the media had failed in its most basic duty: to uncover the truth, and hold those in power accountable, regardless of party.
From today through Election Day, November 6, 2012, we will vet this president–and his rivals.
We begin with a column Andrew wrote last week in preparation for today’s Big relaunch–a story that should swing the first hammer against the glass wall the mainstream media has built around Barack Obama.
In The Audacity of Hope, Barack Obama claims that he worried after 9/11 that his name, so similar to that of Osama bin Laden, might harm his political career.
But Obama was not always so worried about misspellings and radical resemblances. He may even have cultivated them as he cast himself as Chicago’s radical champion.
In 1998, a small Chicago theater company staged a play titled The Love Song of Saul Alinsky, dedicated to the life and politics of the radical community organizer whose methods Obama had practiced and taught on Chicago’s South Side.
Obama was not only in the audience, but also took the stage after one performance, participating in a panel discussion that was advertised in the poster for the play.
Recently, veteran Chicago journalist Michael Miner mocked emerging conservative curiosity about the play, along with enduring suspicions about the links between Alinsky and Obama. Writing in the Chicago Reader, Miner described the poster:
Let’s take a look at this poster.
It’s red—and that right there, like the darkening water that swirls down Janet Leigh’s drain [in Psycho’s famous shower scene], is plenty suggestive. It touts a play called The Love Song of Saul Alinsky, Alinsky being the notorious community organizer from Chicago who wrote books with titles like Reveille for Radicals and Rules for Radicals. On it, fists are raised—meaning insurrection is in the air.
And down at the very bottom, crawling across the poster in small print, it mentions the panel discussions that will follow the Sunday performances. The panelists are that era’s usual “progressive” suspects: Leon Despres, Monsignor Jack Egan, Studs Terkel . . .
And state senator Barack Obama.
Miner obscured the truth. His article only reveals only a small portion of the poster. Here’s the whole poster:
And here’s the press release:
So, what’s in the play? It truly is a love song to Alinsky. In the first few minutes of the play, Alinsky plays Moses – yes, the Biblical Moses – talking to God. The play glorifies Alinsky stealing food from restaurants and organizing others to do the same, explaining, “I saw it as a practical use of social ecology: you had members of the intellectual community, the hope of the future, eating regularly for six months, staying alive till they could make their contributions to society.”
In an introspective moment, Alinsky rips America: “My country … ‘tis of whatthehell / And justice up a tree … How much can you sell / What’s in it for me.” He grins about manipulating the Christian community to back his programs. He talks in glowing terms about engaging in Chicago politics with former Mayor Kelly. He rips the McCarthy committee, mocking, “Everyone was there, when you think back – Cotton Mather, Hester Prynn, Anne Hutchinson, Tom Paine, Tom Jefferson … Brandeis, Holmes … Gene Debs and the socialists … Huey Long … Imperial Wizards of all stripes … Father Coughlin and his money machine … Daffy Duck, Elmer Fudd … and a kicking chorus of sterilized reactionaries singing O Come, All Ye Faithful …”