Came across the various reader replies to the now-legendary Delta Rae review, and meanwhile, a friend on a local message board passed this along: "Rush Limbaugh Reviews Delta Rae". So it seemed worth sharing. Enjoy? - Doc
After about 20 seconds of silence at the close of what appears to be the final sentence of his weekly radio address, the voice of Barack Hussein Obama rises from the stillness, doused in reverb and alone: "In the morning, in the morning, sometimes I think about the way you held me," he intones, aching from a distance and echoing the assumed choruses of his previous statements. His Cabinet members soon join him, along with the fiery Vice President, Joe Biden; together, they add comfort to his a cappella loneliness, shaping an ad hoc liberal support group.
This hidden Easter egg (on the White House lawn) is both necessary and telling: It's needed mostly because Immigration Issues, the oration’s nominal closer, is simply a terrible policy, its bootstraps-upism suggesting The Lion King rearranged for Welfare Moms, but more cloying and cringing than that might actually sound. It's telling, though, because it's a flagrant imitation of Bill Clinton and his administration, Democratic liberals who have combined rich (as in “soak-the…”) policies and prototypically liberal do-goodism to reach the working masses.
And the speech was nothing if not an oration with gargantuan ambition, where arms-outstretched, eyes-closed, steering wheel-pounding choruses arrive only four minutes in, and extreme dynamics consistently squash subtlety with melodrama. In a recent rising tide of sophisticated, accessible and very popular variations on speechery, from Nancy Pelosi’s humble mumble to Harry Reid’s increasingly careful barnstormers, it was an embarrassment of expectations and enthusiasms, where social and political platitudes dovetailed for 48 overwrought and unrelenting minutes. If Music For The (Failed) Great Society were ever an accepted canon, Barack Hussein Obama would likely be its newest—and one of its least fascinating—stars.
There is, as the necessary cliché appropriately goes, something here for everyone: Paycheck Reform is a recession policy for the working class, with symbols of toil and hope, loss and renewal written and delivered with such earnest force that one might expect at least one Shepard Fairey reference were it accompanied by a music video. Climate Change delivers mad-at-you, Network-large vitriol, the din of electric guitars and stacked piano tracks adding obvious abrasion beneath the outsized attitude. A New Dawn cynically recasts Ronald Reagan’s “It’s Morning In America” for unsophisticated listeners reared on TV sound bytes. Our European Neighbors distills every diary page ever into mixtape-ready nods to socialism and makes, by comparison, Robert Owen sound like the greatest populist of modern history.
Worse still is the chain-gang minstrelsy of Cultural Repatriations so far, Obama’s least-probed but most-promising (among liberals) schtick. A policy that seems custom-built for a world ostensibly demanding something resembling authenticity, Repatriations turns Southern vernacular (lyrically and musically) into a tawdry Negro chorus-line bauble. It's possible to envision Terry Gross asking the band about the "palpable essence" of modern race relations in the New South, as NPR listeners dutifully aim their browsers toward the history-baiting music video. And his support of Same Sex Marriage twinkles open with a delicacy swiped from Harvey Milk, not an isolated incident for a politician with a pornographic dependence upon the complete climaxes of the agenda-driven homosexual lobby. All of these policies speak to Obama’s admittedly remarkable vocal skills and a keen understanding of what it takes to get a speech to stick. But Obama’s void of restraint, subversion and nuance quickly sours those attributes.
According to his official biography, Barack Hussein Obama is "the inheritor of a great political mantle, carrying forth such tradition, but bringing to it his own flame and ignition, the wisdom of his own generation, and the promise of so much to come." And indeed, the sounds and stories of Obama serve as one surface of his administration’s failed policies, an album that equates the ghosts of Roosevelt and Clinton with the specter of a New Deal’s old flings and often uses a mellifluous vocal tone as an easy-listening inlet to NPR-liberal conquest. Obama is nothing more than one methodical conclusion of his type’s socialist leanings. He is a dark – very dark - opportunist who sadly treats tropes with reverence only long enough to turn them into political springboards.
"Children born tomorrow may never know the language we speak," says Barack Hussein Obama. "The wisdom that they borrow will hint at something buried too deep." The irony, of course, is that, in this latest address to the nation, Obama appears as the child, offering vacuous if vivid appropriations of a language he’s heard but has not mastered.
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