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ONCE AGAIN - REPUBLICANS NEVER WIN WITH MINORITY VOTES


The Hispanic vote is a new version of an old Republican illusion. In 1952 and 1956, with Dwight D. Eisenhower at the top of the ticket, Republicans crushed the Democrats in the presidential race. As often happens, once the election was already won by a huge majority, a lot of minorities joined the winning side. Ike got over 40% of the black vote.

Even in 1952, with Ike at the head of the ticket, Republicans did not get those black votes in congressional races where it would have counted. They only got black votes in elections that were already won.

So for a half a century, Republicans lost election after election trying to get that "Negro vote" that Ike got. Liberals loved it, because the code words "appealing to the minority vote" merely mean going liberal.

Now the illusion is the Hispanic vote. In Texas, when he had the election won by a landslide, Bush picked up over 40% of the Texas Hispanic vote. Once again, he got the minority vote in an election he had already won.

When they say "the Hispanic vote," what Bush and the liberals mean is the LIBERAL Hispanic vote. When Republicans backed the Cubans in Miami over Elian Gonzalez, the media agreed that THAT appeal to the Hispanic vote was pointless. They said that Republicans already have the votes of anti-Castro Cubans. Reagan got many Hispanic votes in California.

But the Hispanic population of California has tripled since Reagan got so many of their votes in 1984. The new population is single-mindedly dedicated to the interests of the Republic of Mexico and to the liberal agenda. That's the vote that liberals and Bush mean when they say "the Hispanic vote."

Bush won't get the Hispanic vote in an election where the competition with the Democrats is fierce. But he will turn off a lot of potential voters who are concerned about the immigration issue by courting Hispanics by offering open borders.

After half a century even the dumbest Republicans don't really believe they will ever get that "Negro" vote. So now the liberals are telling them to go after the Hispanic vote.

Are Republicans that gullible?

Do you remember that Mexican Convention Bush held?

 

 

HATING SOUTHERNERS IS POLITICALLY CORRECT


Lately there have been a number of TV commercials where someone shoves his face into the camera and shouts at the viewer. You may be wondering why anybody thinks this would sell anything.

It is the result of New York City provincialism.

Some years ago on a late night talk show, I remember a Jewish comedian from New York making fun of the very idea of "Alabama Jews." He pronounced Hebrew words with a wildly exaggerated Southern accent. This was allowed because, 1) he himself was a Jew of the Only True, or New York, variety, and 2) all Southerners -- even including Jewish Southerners -- are fair game.

You can say almost anything and be Politically Correct if you can throw in an insult to Southerners.

Most of us old guys remember the comic strip "Lil Abner." It was a national comic strip written by a self-described "liberal New York Jew" which ridiculed Ozark hillbillies without stint.

A little question: What would have been the fate of a self-described "Ozark hillbilly" who tried to start a national comic strip ridiculing New York Jews?

Don Rickles, "the insulting comedian," is an outstanding example of New York Jewish humor. He had rich New York City backers who laughed themselves sick over his getting in people's faces and insulting them as a form of humor. It's called "In Your Face" humor, and it has people in New York and Miami rolling on the floor laughing while the rest of the country is changing channels.

Commercials reflecting this sort of New York taste appear from time to time. One recently was for a computer services outfit. In this commercial the chairman calls on someone in the board room. As soon as the man tries to talk a young guy jumps up on the conference table with a megaphone and begins to shout.

Why would anybody think that loud rudeness would sell anything?

Let me explain the New York thinking here: computers are for Young People, you see, and this guy is what truly provincial New Yorkers think of as America's Youth. It is a cross between Jewish humor and Gangsta Rap.

Another such in-your-face commercial is for Diversity. It shows a black man in a spacesuit. The black man in the suit informs us that we are "shocked" by seeing a black man in an astronaut outfit. He then shoves his face into the camera and yells at us to "get over it." New York Brotherhood in action!

Actually, no one is surprised to see a black man posing as an astronaut. It is required in every science fiction movie. We would be shocked if he were a fully qualified astronaut who got into the space program without any reference whatsoever to affirmative action.

But this guy isn't.

I think we are all aware that one of the main rewards for people attacking the tobacco industry is the fact that it gives them a chance to attack the region where the tobacco companies are found. When Dick Van Dyke made his anti-smoking movie "Cold Turkey," the first scene representing a tobacco company was a close-up of a Confederate flag. In the same spirit of the Love Generation, today's anti-smoking ads are "in-your-face" and seething with hatred.

The tobacco settlement gave anti-smoking groups huge amounts of money to put on "anti-smoking" ads. The ads I have seen spend most of their time attacking tobacco COMPANIES rather than giving any education on smoking itself. Not long ago, one of these ads had someone riding down the streets of a suburb in a tobacco company area at night waking people up with a megaphone. They don't do that in liquor or beer-making areas.

But everybody knows what section of the country that megaphone was being used against..

That, after all, is what most of the people in these groups are in on this movement for. As Joe Sobran pointed out, the reason the left finds it so easy to label everything on the right "Hate" is precisely because that is their motivation and they assume it is ours.

 

 

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Issue: Oct. 14, 2000
Editor: Virgil H. Huston, Jr.
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