Stephen Miller: demography sans democracy


By ann summers


Stephen “dont call me Space Cowboy Maurice” Miller has shrewdly used his time to feather his own WH nest by controlling immigration policy while his noisier counterpart Steve Bannon was fighting with everybody else.

One can see how Miller’s time working for Sessions has seen the curious direction of US demographic policies back to pre-Civil Rights Era sensibilities that fit the malevolence of Lord Dampnut. Immigrants and by twisted inference, PoC will become enemies of the state,

In matters of allowing racial others entry or existence, Miller knows that it is all about the numbers, and unfortunately, another interwar regime in Europe was also quite circumspect in its being careful about demography rather than democracy.

I asked the officials how Miller, with his limited experience in the executive branch, had become such a formidable bureaucrat so quickly. “Look at who the senior advisers to the President were and are—Bannon, Kushner—Miller’s the only one with prior government experience,” the State Department official told me. “He knows something about government, and it turns out to be useful. He saw how the sausage was made. And he’s smart enough to make his own sausage.” The chaos of the Trump Administration helped. “The White House remains in utter disarray,” the official said. “If you don’t have an established set of procedures in place, it’s very easy to create your own process.”


Stephen Miller (born August 23, 1985) is U.S. President Donald Trump’s senior advisor for policy. He was previously the communications director for then-Alabama senator, Attorney General Jeff Sessions, and served as a press secretary to Republican U.S. Representatives Michele Bachmann and John Shadegg.

One of the White House officials I spoke to described the process as a harbinger of how immigration issues will be handled in the future. “The Domestic Policy Council is going to influence other processes that involve immigration,” the official said. “It’s going to get worse and worse.”[…]

Miller was expanding his influence. “He’s figured out early on that, just being at the D.P.C., he’s not going to be able to make key decisions unless he co-opts the N.S.C.,” the official went on. “He needs the security element attached to it. He’s worked to get himself in traditional N.S.C. decisions so that he can say, ‘This isn’t just me. We ran this by the N.S.C.’ It started with one or two issues. But it’s becoming anything that has to do with refugees, vetting, immigration, or security. Because he’s an assistant to the President, what person is going to say to him, ‘No, you can’t sit in on my meeting.’ The reason Stephen Miller is so dangerous? He’s clearly got a vision. He knows about narrative, about messaging. He’s figuring this out.”

One only has to look at Miller’s progress of bureaucratic demolition, rather than the fancifully misnamed, Bannonist “deconstruction of the administrative state” to see how a RW policy fiefdom has been created from the chaos fomented by Trumpian appointment of toadies and unqualified sycophants.

Rather than providing the critique that a deconstruction could provide, it is the simple resurrection of the same Jim Crow hatred that promoted the construction of Confederate statues in the 1920s, their reactionary reenactors in the 1960s, and our current flock of punchable tiki-torchers.

What Whitman’s book reminds us is that the US anti-miscegenation and citizenship laws were always about white supremacy cloaking itself in the flag and that was as attractive to the national socialists in Germany as they are to today’s neo-nazis.


Contrary to those who have insisted that there was no meaningful connection between American and German racial repression, Whitman demonstrates that the Nazis took a real, sustained, significant, and revealing interest in American race policies.

But while Jim Crow segregation was one aspect of American law that appealed to Nazi radicals, it was not the most consequential one. Rather, both American citizenship and antimiscegenation laws proved directly relevant to the two principal Nuremberg Laws—the Citizenship Law and the Blood Law. Whitman looks at the ultimate, ugly irony that when Nazis rejected American practices, it was sometimes not because they found them too enlightened, but too harsh.…

Bill Moyers: You begin the book with a meeting of Nazi Germany’s leading lawyers on June 5, 1934, which happens, coincidentally, to be the day I was born.

James Whitman: Oh boy, you were born under a dark star.

Moyers: To be sure. Adolf Hitler had been chancellor of the Reich for a year and a half. Nazis were rapidly consolidating their hold over Germany. And this was no gathering of everyday, garden-variety lawyers..

Whitman: No, it wasn’t. It was chaired by Hitler’s minister of justice and attended by the leading figures among Nazi lawyers.

Moyers: Why had they gathered? What was their mission?

Whitman: They were there to begin crafting what would eventually become the notorious Nuremberg Laws, which were promulgated a little bit more than a year later, in September of 1935. Those laws would be the culmination of the first phase of the Nazi program of persecution directed against German Jewry. And they were there to respond to the demands of radical Nazis for the creation of a new kind of race state in Germany.…

Posted in 2016 Election, American History, Anti-Semitism, Celebrity, Civil Rights, DHS, DOJ, Germany, Government, Government Propaganda, History, Holocaust, Immigrants, Immigration, Media, Nazis, Political Science, Politics, Propaganda, Racism, Society, Uncategorized, United States, World War II | Tagged , , , , , , | Leave a comment

ON THIS DAY: October 16, 2017

October 16th is

National Dictionary Day *

National Ether Day *

National Feral Cat Day *

National Liqueur Day

World Food Day *


MORE! Oscar Wilde, Margaret Sanger and Bibliotheca Alexandrina, click

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TCS: Music for All Hallow’s Eve

Good Morning!


Welcome to The Coffee Shop, just for you early risers on Monday mornings. This is an Open Thread forum, so if you have an off-topic opinion burning a hole in your brainpan, feel free to add a comment.

“Where’s your will to be weird?” ― Jim Morrison

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Comparing the incomparable

By ann summers

Comparisons were always the way art historians developed arguments for analyzing by comparing formal qualities but also useful cultural resemblances that could make identifying the authenticity of a legitimate (collectible) artwork. Comparing films in the same way can be dicey if only because authorship might not be reducible to the vision of the auteur or even the will of the audience, but to the product’s distribution and that elusive accounting category, the box-office.

With respect to these contradictions in characterizations, it’s important to remember that in The Great Dictator, Charlie Chaplin plays both leading roles: a ruthless fascist dictator and a persecuted Jewish barber. Something to remind oneself when considering the biography of Agent Orange and his Art of the Deal.

So Woody Allen and Ai Weiwei comment on the human condition, in one case the alienation of the individual artist and in the other, the global refugee crisis, Ultimately the cinematic / media apparatus and its distributional mechanisms determine the artistic success rather than a calculus of demand and supply.

Human Flow is director and artist, Ai Weiwei’s detailed and heartbreaking exploration into the global refugee crisis. 

YouTube Video

No less reviled by institutions is Woody Allen but for anti-social crimes of a different sort in a liberal democracy.


On Saturday, Woody Allen’s already buzzed about new movie “Wonder Wheel” will have its world premiere as the closing night selection of the 55th New York Film Festival…



While I used to like Woody Allen films, I also recognized how they were historically indulgent and often stylized versions of other genre films. This occurred particularly with those cinematic works that began to be reflective of his personal history (Zelig could be viewed as a critique of Warren Beatty’s Reds and perhaps the loss of Diane Keaton), even as he denied in interviews the connection between his life and his scripts.


40. Anything Else (2003)
In August 2009, Anything Else was cited by Quentin Tarantino as one of his favorite 20 films since 1992, when his career as a filmmaker began.[3]

The kids-killing-kids classic Battle Royale was number-one on the list, but it’s the number-two film Tarantino revealed that’s the real shocker.

That’d be the Woody Allen film Anything Else, or, as Tarantino helpfully puts it, “the Jason Biggs one.”

Allen has yet to submit a film entitled “Will This Do?”, but Anything Else comes closest, both in its title and for recycling old tropes about thwarted creativity and being stuck with a pesky, permanently difficult long-term girlfriend (Christina Ricci) who wants to move her mother in. Jason Biggs’s character is meant to be an aspiring comedy writer, but Allen’s script gives him not one funny line. All of these go to his aging intellectual mentor, a veritable fount of park-bench philosophical witticisms, played by guess who. Go on, have a guess.

David Dobel:

I promised students of my class I’m gonna take them to the Caravaggio exhibit at the Metropolitan Museum. You know, I try to give them a little culture now and then so they don’t beat each other to death with bicycle chains all the time.

Aside from Annie Hall and Manhattan, this film below is my Allen favorite even as so many dislike it… especially with the inserting of The Lovin’ Spoonful. Then again I actually like his short story The Whore of Mensa.

On paper, it’s a hoot: a Japanese spy movie called International Secret Police: Key of Keys (1965), which Allen overdubbed in English to feel something like an Austin Powers spoof. Weird moments connect: “That’s Shepard Wong’s gambling ship!” remarks one female character. “Oh, I hate him so very much. He’s one of the seven worst people in the world.” But there’s something smirky, superior and naggingly problematic about the movie, like a giggling class joker making fun of the Asian kids.

Allen himself disowned it as “stupid and juvenile” after producers wrested it away and inserted concert performances by The Lovin’ Spoonful.


Jeff Koons also used traditional craftsmen to create the sculptures in glass and marble, such as the iconic Bourgeois Bust, which appeared in his 1991 exhibition Made in Heaven. (Jeff Koons and Ilona Staller (also known as the adult films star La Cicciolina and for a while Koons’s wife),

Artists have that combination of the need to reaffirm what some would call an undeveloped ego especially as it relates to creative capital: the objects themselves and intangible assets like the creator’s reputation.

The same elements remain… the need to establish patronage and/or an audience, and then there’s all that careerism and its codependent parasite, celebrity. The artworld, for all its political involvements still are about its institutional asymmetries of race, class, and gender.

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ON THIS DAY: October 15, 2017

October 15th is

I Love Lucy Day *

National Grouch Day *

World Maths Day *

World Students Day *

International Day of Rural Women *


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ON THIS DATE: October 14, 2017

October 14th is

Be Bald and Free Day

National Dessert Day

Peace Corps Day *

International Top Spinning Day *


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ON THIS DAY: October 13, 2017

October 13th is

Navy Day *

National M&M Day

Yorkshire Pudding Day

U.N. International Day for Disaster Reduction *


MORE!  Paul Simon, Rachel De Thame and Naguib Mahfouz, click

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