HITLERIAN SNOW JOB
Thanks to Knute Berger for another wonderful column ["Conservative Crybabies," April 2]; Mossback is one of the highlights of my week. He echoed perfectly my observations that no matter how much power the conservatives have, they seem to revel in feeling oppressed and under attack. I would add one sentiment to his, however. Beyond finding strength and resolve in their collective insecurity, I have noticed that their beliefs are so dogmatic, there simply isn't room for alternate viewpoints, hence the need to constantly lash out and demonize the enemy and destroy all pockets of resistance, even when they've apparently won.
This entirely un-American, fascistic, evangelical Christian viewpoint is very evident of late, whether it's Trent Lott telling Jim McDermott to come home and shut up (I noticed Berger has received a few letters in a similar vein) or the idea that the war has now started so it's time to stop protesting. From bumper stickers proclaiming, "America: Love It or Leave It," to our "president" stating, "You're either with us or against us," to the Christian propensity of trying to convert the savages to the one true religion, their insecurity seems most evident in how threatened they seem by alternative views and voices. Didn't Hitler do a pretty good job of "snowing" the German people, too?
Well, well, sounds like Knute Berger is whining [Mossback, "Conservative Crybabies," April 2]. So why didn't all the "liberals" go to Iraq to help all the tortured civilians before the war? They do really care for them, right? They should get their asses over there and do something. Obviously the only thing they're good for is protesting about something they really know nothing about.
No one likes war, not even conservatives, so "liberals" should stop whining. If they don't like it in America, they should move. They can go to a Third World country where they won't have any rights and can be raped or tortured at any moment.
War has solved slavery, Nazism, Fascism, and Communism, and without it we would not be where we are. I just hope and pray that the least amount of people need to die in the war, including Iraqis.
Berger should be proud of where he lives and stop being a crybaby.
Well done [Mossback, "Conservative Crybabies," April 2]. The conservatives are a puzzling bunch. It's always been my theory that the reason conservatives think the "liberal media" are aligned against them is simply because when they read what are in fact accurate portrayals of their actions and words, they are forced to see themselves as the total assholes they really are. Unable to accept this cold fact, they create a fantasy conspiracy designed to misrepresent them.
Los Angeles, CA
LIBERALS ARE EVERYWHERE
I pay something like 40 percent of my income in taxes, yet political leaders in both major parties want to add a prescription drug benefit to Medicare. What's so conservative about that [Mossback, "Conservative Crybabies," April 2]? Does Knute Berger think the government's policies with respect to affirmative action, immigration, and abortion are conservative? Does he think Peter Jennings, Dan Rather, George Stephanopoulos, and the editors at The New York Times and Los Angeles Times are conservative? How about the editors at The Seattle Times and Seattle P-I? I don't.
Wow, for someone who has "never heard or read" what he is writing about, Knute Berger sure has a lot to say [Mossback, "Conservative Crybabies," April 2]. Perhaps if he actually knew something about his subject, he wouldn't sound so hysterical. I do take exception to his "undeclared war" comments—the war with Iraq was voted on and approved by our representative government twice; it was L.B. Johnson and Clinton that got us into undeclared wars. Oh, how I love the blubbering of lefty weenies.
NO DEAD BABIES
Just days ago, a retired British soldier, a veteran of decades in tanks (and dodgy arms deals to Iraq), insisted to me that Iraqi soldiers dumped babies out of incubators in Kuwait City ["Iraq War: The Movie," April 2].
It is one of the jobs of journalism to vet such inflammatory accusations. Kudos to Tim Appelo for noting that the incubator story was concocted by PR flacks Hill & Knowlton during Gulf War I.
Knowing the plotline of the first movie helps us understand the sequels.
COVER THE TOLL
Geov Parrish's article describes how the media coverage we Americans see of the war does not convey the human toll ["The Compassionate Outlaw," April 2]. So, how about giving us some coverage describing the human toll? Saying that U.S. actions have already killed 50,000 or more Iraqis a year "through a dozen years of sanctions, and now, as well, the victims of invasion" seems like lazy reporting. How have these 50,000 per year died? In what ways have sanctions caused tens of thousands of deaths? Have tens of thousands of deaths come from the bombings over the no-fly zones? The American people are ill educated on this topic and, while it's great that Parrish is pointing that out, bemoaning the problem while remaining a part of it seems a bit daft. Instead, show us photos and give us real numbers and factual information.
NAILING THE DIRECTOR
Thanks to Tim Appelo for nailing the crux of problems that are all associated with Joel Schumacher in the review of Phone Booth ["Dead Ringer," April 2]. His glitzy direction is vapid at best, with the exception of Tigerland, which defied Schumacher's normal style and result. Appelo's review made me wonder if he had ever watched the DVD of this exceptional movie. But his relentless criticism of this idiot director, who belongs in the same category as Jeremiah Chechik (director of the recent remake of The Avengers), was honest and thorough and necessary. He has my gratitude.
"If you're at all sensitive to purely visual expression . . . " [Brief Encounters, April 2]: News flash, smarty-pants—human beings do not possess telepathy. All movies are purely visual expression, because we can't read the actors' minds. I'm not just aiming this at Seattle Weekly—every movie reviewer out there is guilty of this kind of mentality to some degree or another, and I'm sure I'm being a hypocrite to decry it. Still, it's ridiculous that we consider some movies (especially live-action dramas) to be inherently more "deep" or emotional than others (especially animation and action films) just because the visual statement in one is a little louder than the other.
Cowboy Bebop is, at its core, an extension of the tradition of samurai movies, and in other ways it is a Gen-X Japanese embrace of global culture. I don't relate to the very Japanese emotions of samurai movies, but this movie Westernizes that warrior archetype enough that it can touch a chord with me. The sense of drama and sense of humor in Cowboy Bebop (more in the series than the movie) actually bridge the gulf between East and West, which is unprecedented in anime. The movie does have weaknesses, but being intensely visual does not equate to being shallow and meaningless.
Christopher Scott Shelton
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