Is this Obama's "Read my Lips" Moment?

Way back in the last Century, in 1988, 22 years ago (Gasp! Am I really that old?), George H. W. Bush convinced the voters of America to elect him President, defeating Democrat Michael Dukakis in an electoral college landslide, 426 to 111. Central to Bush's campaign, however, was a single memorable promise that made him a hero with conservatives coast to coast: that he would never, ever, ever raise taxes.

Bush immortalized this pledge in his acceptance speech to that year's Republican Convention in New Orleans, uttering his most-ever-cited statement, as follows: "Read my lips! No New taxes!" -- taken from the Clint Eastwood tough-guy movie "Dirty Harry." Here's the video in case you've never seen it. It's a beauty: Click here.

The irony, of course, is that in 1990, just two years later, Bush broke that pledge. Facing soaring deficits and a sinking economy, Bush decided to compromise with Democrats and sign a deal cutting Washington government deficits by $500 billion over ten years. Though it contained many spending cuts painful to Democrats, it also raised many key taxes, including the Federal gas tax.


The photo above shows Bush as President siging the 1990 deal. Not much of a smile on his face.

Not surprisingly, conservatives erupted in anger. "Read my lips. I Lied!" headlined the New York Post. The Cato Institute called it the "Crime of the Century," and the Heritage Foundation quickly tagged it a failure. Most Republicans in Congress voted no (or Hell No!!) on the package; Bush had to rely on Democratic votes. Then, in 1992, when Bush stood for re-election, the pigeons came home to roost. Despite his widely-admired leadership during the 1991 Persian Gulf War that sent his popularity soaring to near 90 %, Bush's budget deal and a worsening recession soured his prospects. Television pundit and former Nixon speech-writer Pat Buchanan managed to embarrass him by winning 40% of the vote in the New Hampshire Primary, running largely on Bush's violation of his tax pledge. In the general election, Democrat Bill Clinton cited it too, and won a comfortable victory in a three-way contest that also included businessman Ross Perot. (click here for 1992 election results.) By the next January, George H.W. Bush was out of a job.

All of which brings us to today's president, Barack Obama, and his decision this week to join in a deal with Congressional Republicans to extend the large, due-to-expire, Bush Junior-era tax cuts for the wealthiest Americans. The deal contains other things, but none more important. As with Bush Senior in 1990, this too violated a position central to Obama's candidacy and presidency. Obama has made his opposition to continuing the Bush tax cuts for Americans with incomes above $250,000 per year a matter of basic principle, one widely shared with his supporters. Already, many Democrats are calling it a betrayal or worse.

Will this be the beginning of the end of the Obama presidency, just as the 1990 budget deal marked the beginning of the end for George H.W. Bush? Obviously, it is way too soon to say. Obama still has time to win back his critics, and perhaps even win on the tax-cuts-for-the-wealthy issue itself when it comes up again in two years. Still, the parallel is hard to ignore. Stay tuned. This will be very good drama.

Racist Cartoons

This week's now-notorious New York Post "monkey" cartoon -- the one showing two policemen standing over a dead monkey they've just shot and saying "They'll have to find someone else to write the next stimulus bill" -- has raised storms of protest. Whether the artist intended the monkey as Obama or not, the implication is hard to miss.


The controvercy raises a deeper fact. Political cartoons in America have a long history of treading into racism, zenophobia, and bigotry. And some of the worst have come from our most celebrated, main stream journals.



Thomas Nast (above right), for instance, is celebrated as the brilliant young 1870s artist for Harper's Weekly whose ridicule destroyed the regime of New York City's Boss William M. Tweed -- easily the era's most corrupt pol. Nast became the most famous, widely-read, and politically influential graphic artist of the Nineteenth Century, able to sway elections and make or break Senators. But his cartoons seethed with bigotry, against Catholics, against Irish, against immigrants, against Democrats.



Before closing the book on the current controversy, here are a few samples. The point is not to make excuses for the New York Post. Rather, to me, it's the opposite. These examples show how dangerously easy it is for artists and journalists to let passions over today's hot spot issues get in the way of good sense. Editors have a duty to to work hard, not to censor talented artists, but to make sure they express themselves clearly -- and not to allow what might have started as a simple satire against the Stimulus Bill (obvious fair game) cross the line into ugliness.


As for Thomas Nast:
He enjoyeed portraying Catholic clergy is vile creatures, in this case as crocodiles.




















He consistently drew Irishmen as semi-human gorillas, never far from a whiskey bottle and shackled to political mahcines. (The fellow with the whip is Peter B. Sweeny, famed chieftain of New York's Tamman Hall from the Boss Tweed era.)



























And for political enemies like Tweed, he considered capitol punushment just fine: