Brian Bolduc in NRO:

Hanging in Andrew Breitbart’s living room is an eight-foot-tall portrait of Abraham Lincoln. The president’s visage — an expressionistic swirl of broad brushstrokes and bright colors — earns the admiration of everyone who sees it, Breitbart notes on the back cover of Ronald Reagan and the American Ideal, a book of paintings by the portrait’s artist, Steve Penley. Yet the muckraker saves his highest compliment for the painter himself. “Penley is one of those patriots who is heeding his country’s call,” Breitbart writes — the call to defend American exceptionalism.

It’s a weighty charge for the 47-year-old artist from Carrollton, Ga. A husband and father of three children, Penley hasn’t always painted with such purpose. These days, however, he produces hundreds of portraits of his favorite historical figures, such as Ronald Reagan and the Founders, to inspire patriotism in his fellow countrymen. “I just love my country,” he tells National Review Online.

Penley started doodling cowboys and Indians while growing up in Macon, Ga., and he continued his artistic diversions through high school. When he enrolled at the University of Georgia, however, he soon realized he “had no other marketable skills,” so he majored in art.

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It’s impossible to work in the theatre industry and not have colleagues, business partners and life-long friends who are gay. I have always viewed this fact as one of the most wonderful and enriching dynamics of the theatre community.  It’s so invigorating being part of a show (which very soon takes on the characteristics of a family) and have people from every walk of life represented, often by “Type A” personalities who bring joy and variety to the daily routine of presenting a show.

After collaborating with gay associates for almost thirty years, I’ve reached the conclusion that most gay men hold a fundamentally center/right view on most economic and national security issues.  The over-riding feeling expressed to me from my gay friends is the deeply held desire to be left alone.  And after watching GOProud Chairman Christopher Barron take this obnoxious attack from non-entity Cenk Uyger for having the temerity to identify himself as a conservative, I’ve reached the greater conclusion that the conservative movement needs articulate and courageous voices like this as part of our team.

As Mr. Barron puts it: “I have an easier time being openly gay with conservatives than I do being a conservative with other gay people.”  So, if CPAC and the Republican Party can be accepting of gay conservatives who don’t hold exactly to every single position espoused by the party, why can’t Broadway do the same?
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On September 5, 1949, a largely unknown forty-year-old writer named James Agee had an essay published in Life magazine. Titled “Comedy’s Greatest Era,” it was a paean to the silent screen comedians of yesteryear, and to the fine art of physical humor developed by their collective genius into an art form. The coming of sound to Hollywood in the late 1920s was a mass extinction event that swept a generation’s worth of talent from the cultural stage. Now, at the dawn of the 1950s, these pioneers and their herky-jerky films were all but forgotten. In a world before VCRs, late-night cable, Netflix, or the Internet, it was all but impossible to see them even if you wanted to.

Agee, afire with a sense of purpose and mission, sought to arrest that forgetfulness with his essay. An early film critic and soon-to-be screenwriter (his work in Hollywood would later include the scripts for The African Queen and The Night of the Hunter), he was, in the words of a friend, “a big, untidy man who frequently looked like a tramp and who cared not a bit for material things. . . Agee was extremely fastidious about many things — about people, about humanity, about music, movies and, above all, about writing. In his years as a critic, he anguished over books and films that less patient critics would write off as trash: somewhere, Agee felt, there had to be something worth praising.”

A thrice-married, hard-drinking insomniac with the tender heart of a poet, Agee began his now-classic treatise with a description of the type and quality of laughter that America had lost with the death of silent movies:

In the language of screen comedians four of the main grades of laugh are the titter, the yowl, the bellylaugh and the boffo. The titter is just a titter. The yowl is a runaway titter. Anyone who has ever had the pleasure knows all about a bellylaugh. The boffo is the laugh that kills. An ideally good gag, perfectly constructed and played, would bring the victim up this ladder of laughs by cruelly controlled degrees to the top rung, and would then proceed to wobble, shake, wave and brandish the ladder until he groaned for mercy. . .

The reader can get a fair enough idea of the current state of screen comedy by asking himself how long it has been since he has had that treatment. . . The laughs today are pitifully few, far between, shallow, quiet and short. They almost never build, as they used to, into something combining the jabbering frequency of a machine gun with the delirious momentum of a roller coaster.

In Agee’s view, those meticulously crafted and constructed laugh fests of yore — inspiring in audiences what he described as the “laughter of unrespectable people having a hell of a fine time, laughter as violent and steady and deafening as standing under a waterfall” — had given way to cheap isolated one-liners strung together with little thought to momentum, timing, and nuance. As a reminder of what he was describing, he profiled a rich selection of the era’s shining lights, from Charlie Chaplin, Harold Lloyd and Harry Langdon to Mack Sennett and his Keystone Cops. (more…)

Is America only for white people? The question stuck in my mind following yet another e-mail exchange with a friend of mine, regarding my conservatism. For this particular gentleman, being black in America is at odds with conservatism. As he put it:

“…Particularly as African-Americans, I feel we are in no real position to idealize the American experience and get too choked up about institutions and symbols that were not created with us in mind. Certainly, we cannot cast our lot with those who are actively seeking to destroy those gains we have made.”

I have a number of issues with the above statement, not the least of which is that the principles that inspired the American founding were always viewed as universal principles, which applied to all of mankind. Curiously, it wasn’t until the introduction of Historicist and Darwinian philosophy (which gave birth to Progressivism) that some Americans began to argue otherwise. And of course, I disagree that conservatives are actively seeking to destroy all of the gains black America has made.

It is important to note that the sentiments that my friend expresses are similar to the political attitudes which continue to permeate much of the black community. These same attitudes are also particularly present in the thinking of the black leftists, who have long held the conviction that the existence of slavery at our nation’s founding renders our Constitution a hollow document; the institutions and symbols that sprang from the founding were bereft of moral authority; the founders were hypocrites and liars, and the American dream is little more than a cruel myth. (more…)

Pixar’s Finding Nemo is easily the darkest of the films.

Marlin, a clownfish, starts off promising his wife, Coral, the whole ocean:

Marlin: So, Coral, when you said you wanted an ocean view, you didn’t think you were going to get the whole ocean, did you? Huh?
Marlin: Oh, yeah. A fish can breathe out here. Did your man deliver, or did he deliver?
Coral: My man delivered.
Marlin: And it wasn’t so easy.
Coral: Because a lot of other clownfish had their eyes on this place.

Like many couples in love, they name their future children, without considering that life sometimes has other plans. Pixar treats these middle class dreams seriously, though, and that’s what makes the next scene all the more tragic. The very dream of giving his future children the gift of an inexhaustible horizon cuts short Coral’s life and that of most of his children when a barracuda eats them. (more…)

Please enjoy this excerpt from the first and second chapters of “The First Assassin.”

CHAPTER ONE

Saturday, February 23, 1861

When Lorenzo Smith heard the chugging of the train, he felt for the revolver at his side. His fingers met its smooth handle, hidden beneath his black coat. Then he found the short barrel and the trigger below. Smith had reached for it a dozen times in the last hour, but he wanted to be certain that the gun was still there. It will make me a hero, he thought. It will change history.

Listening for the rumble of the train had been difficult. A loud mass of people waited for its arrival at Calvert Street Station. Smith did not know how many were there, but they must have numbered in the thousands. The noisy throng spilled from the open-ended depot onto Calvert and Franklin Streets. Inside the station, where Smith stood, shouts bounced off the walls and ceiling. This place of tearful departures and happy reunions had become a hotbed of agitation.

The train’s steam whistle pierced the din of the crowd. The engine would pull into Baltimore on schedule, at half past noon. Heads bobbed for a view. Smith struggled to keep his position near the track. He had picked it two hours earlier, when the flood of people was just a trickle. He was not sure precisely where the train would stop, but he thought he had made a good guess about where the last car might come to a halt. He wanted to be within striking distance. (more…)

You’ve heard it said before: “The book is better than the movie.” But the movies helped me write my new book, The First Assassin.

The First Assassin is a historical thriller set primarily in Washington, D.C., at the start of the Civil War. Bestselling author Vince Flynn blurbs it on the front cover: “An excellent book–it’s like The Day of the Jackal set in 1861 Washington.”

The Day of the Jackal is a twofer: Both the book (by Frederick Forsyth) and the movie (the 1973 version) are excellent. But the book is still better. It’s super excellent.

Anyway, I started working on The First Assassin in 1996–more than 13 years ago. Yeah, that’s a long time. It was the project I kept setting aside when something more pressing came along, such as the birth of a child or a writing deadline that came with a guaranteed paycheck. (more…)

I’m one of the last liberal believers in American Exceptionalism, and as I look around the political and media landscapes around me, I’m damn lonely. Not just liberals, but conservatives – like Andrew Bacevitch – seem to be shedding any idea that America is more than just another country with bigger shopping malls than most.

I don’t agree, and I think it matters that I be right and they be wrong.

It matters because in a world where the power of images and ideas is becoming stronger every day – where people defend themselves against men with guns by using cellphone cameras – we seem to be fresh out of ideas.

There’s a physical war going on out in the world with us on one side – and on the other a group allied in large part by their rejection of our beliefs as much as their rejection of our power. They are fighting us with bullets and bombs – and with YouTube videos, discussion forums, and impassioned manifestos. They believe, alright. If you ask them, they will clearly tell you that they do and tell you in what. (more…)

The mystery of Abraham Lincoln was in his ability to unite opposing fractions of society while maintaining a divisive position. This ability to transcend opposites made him a subject of claim from diametrically opposed entities and worldviews.

Lincoln became an inspiration for Republicans and Democrats, evangelical conservatives and liberal-progressives alike. Even the ever dull Communists and ever angry radical socialists scraped a spark of inspiration from the mounting figure of Lincoln. But after every group had shaped its own statue of Lincoln according to its own manual, we’ve lost the real Lincoln. Lincoln has been turned into a concept and every concept began to be manipulated to fit ideologies and socio-political insecurities. And, as in the case of everything under the sun, the most insecure and the most unrelated ideologies manipulated Lincoln the most and claimed him the strongest.

In reality, there was and there is only one Lincoln. Many politicians have compared and continue comparing themselves to Lincoln without understanding that what transformed that poor tall Midwestern fellow into Abraham Lincoln was not his external attributes or his immediate surrounding. (more…)

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