Dinesh D’Souza, the filmmaker behind 2016: Obama’s America and America: Imagine a World Without Her, has produced a new film about Hillary Clinton and the organized plunder perpetrated by the Democratic Party. Afterburner’s Bill Whittle Interviews the perp, followed by ‘Hillary’s America‘ Trailer.
Source: PJ Media
Michael Brenden Dougherty writes: “Mitt wants to run. He never stopped wanting to run,” an anonymous senior adviser of Mitt Romney’s 2012 presidential campaign recently told New York magazine. Other members of Romneyworld have denied the former governor is interested in another campaign. But at this stage in the 2016 race, Mitt Romney should start preparing to get back in the arena.
Romney should be ready to enter the field to save his party from an awful reckoning between its leadership and its base, a reckoning that has been brought on by Donald Trump’s campaign. Trump has proven that the “strongest GOP primary field in 30 years” is no such thing, creating an opening for the winner of the last primary. If Romney should win the primary, it would be an incredible political comeback. It would also be a gift to his party, forcing on the GOP the reality of a new and stable settlement between its factions.
Romney, if he can secure the nomination, has a much better shot in 2016 than he did in 2012. He would be running against Obama’s third term, with the torch passed to a much less talented and more scandal-plagued Hillary Clinton. Read the rest of this entry »
Christian Schneider writes: When Mark Twain gave one of his fantastical lectures, he was keenly aware that many in the audience didn’t believe his wild stories. He bragged that his long speeches contained many facts, but that he “expected everybody to discount those facts 95%.” Nonetheless, he maintained, “all through my life, my facts have had a substratum of truth.”
The year 2014 was a year in which the truth lay beneath the surface, not in facts, but in “narrative.” It was a year in which political activists frequently relied on the Italian maxim, “se non e’ vero, e’ ben trovato” — while it may not be true, it is well-founded.
Perhaps the most prevalent narrative of the year was found in a mere gesture. Following the August death of African-American teenager Michael Brown at the hands of a white Ferguson, Mo., police officer, protesters adopted the “hands up, don’t shoot” gesture, adopting the narrative that Brown was attempting to surrender when he was shot. Yet the evidence overwhelmingly demonstrated that Brown attacked officer Darren Wilson in his squad car, then charged at Wilson in a second altercation before Wilson shot Brown to death.
Nonetheless, narrative trumped facts, and looters set Ferguson ablaze on the night the grand jury announced its decision to not charge Wilson with Brown’s murder. Even after all the forensics and testimony were made available, the “hands up, don’t shoot” gesture lived on in protests around the country. In essence, “hands up, don’t shoot” became a stand-in for African-American distrust of police departments around the country; distrust intensified by the officer-instigated deaths of Eric Garner in New York, Tamir Rice in Cleveland and Dontre Hamilton in Milwaukee.
Yet poor areas weren’t the only place where the wish became the father of the facts. On college campuses, feminists pushed the “rape culture” narrative, trying to convince Americans that sexual assault on elite campuses was more prevalent than in violent Third World nations. Read the rest of this entry »
George Will writes: Intellectually undemanding progressives, excited by the likes of Senator Elizabeth Warren (D., Mass.) — advocate of the downtrodden and the Export-Import Bank — have at last noticed something obvious: Big government, which has become gargantuan in response to progressives’ promptings, serves the strong. It is responsive to factions sufficiently sophisticated and moneyed to understand and manipulate its complexity.
Hence Democrats, the principal creators of this complexity, receive more than 70 percent of lawyers’ political contributions. Yet progressives, refusing to see this defect — big government captured by big interests — as systemic, want to make government an ever-more-muscular engine of regulation and redistribution. Were progressives serious about what used to preoccupy America’s Left — entrenched elites, crony capitalism, and other impediments to upward mobility — they would study “The New Class Conflict“, by Joel Kotkin, a lifelong Democrat.
The American majority that believes life will be worse for the next few decades — more than double the number who believe things will be better — senses that 95 percent of income gains from 2009 to 2012 went to the wealthiest 1 percent.
“The fortunes of those Kotkin calls ‘the new Oligarchs’ are based ‘primarily on the sale of essentially ephemeral goods: media, advertising and entertainment.'”
This, Kotkin believes, reflects the “growing alliance between the ultra-wealthy and the instruments of state power.” In 2012, Barack Obama carried eight of America’s ten wealthiest counties.
“In 2013…Houston had more housing starts than all of California.”
In the 1880s, Kotkin says, Cornelius Vanderbilt’s railroad revenues were larger than the federal government’s revenues. That was the old economy. This is the new: In 2013, the combined ad revenues of all American newspapers were smaller than Google’s; so were magazines’ revenues. In 2013, Google’s market capitalization was six times GM’s, but Google had one-fifth as many employees. The fortunes of those Kotkin calls “the new Oligarchs” are based “primarily on the sale of essentially ephemeral goods: media, advertising and entertainment.”
“Since 1945, government employment has grown more than twice as fast as America’s population. The Founders worried about government being captured by factions; they did not foresee government becoming society’s most rapacious and overbearing faction.”
He calls another ascendant group the Clerisy, which is based in academia (where there are now many more administrators and staffers than full-time instructors), media, the nonprofit sector, and, especially, government: Since 1945, government employment has grown more than twice as fast as America’s population. The Founders worried about government being captured by factions; they did not foresee government becoming society’s most rapacious and overbearing faction. Read the rest of this entry »
Here’s the new trailer, first unveiled on The Kelly File: Having made the second-highest-grossing political documentary of all time, the team behind 2016: Obama’s America is now, as promised, following up with America. Sending up some fireworks of his own to rival the ones 2016 generated, producer-writer and kind-of host Dinesh D’Souza says of his new docu, “We answer the central moral challenge of America’s critics, which is that America’s greatness is based on theft, plunder and oppression.” Listen for other red-button phrases from interviewees describing the USA as “the new evil empire” and a “predatory colonial power” as well as referring to Mount Rushmore as “a symbol of oppression and genocide to our people.” Director John Sullivan’s film comes out two years after its predecessors — hitting theaters on the Fourth of July…(read more) Deadline.com
Conservative filmmaker Dinesh D’Souza said that after the success of 2016 Obama’s America, he didn’t want to just make a sequel, another film about politics, or another biography, he wanted a “bigger idea”. If you’ve seen the trailer America, it’s nothing if not ambitious. Watching his appearance on The Kelly File last night, I was struck by his artful command of the medium, using his time well to convey his message and promote the film. (though producer Gerald Molen didn’t get much air time) Dinesh D’Souza immigrated to the U.S. in 1978. He says,
“…[I] chose America because it’s a place where I can be the architect of my own life.”
“Today we have kids who can’t find America on a map,” Molen said. “We have kids who probably can’t even spell America, and I think that we have, you know, left them out, we have done them a great disservice by not [… ] showing our patriotism a little more.”
D’Souza is natural successor to controversial media wizards like Andrew Breitbart, but with academic flair and debate skills reminiscent of the late Christopher Hitchens. As an ascending public intellectual, he’s a man to watch.
Here’s the introduction text from Fox News Insider:
D’Souza, who immigrated to the United States, says he “chose America because it’s a place where I can be the architect of my own life.” He said the film is about what makes America lovely.
Bestselling author, academic, and filmmaker Dinesh D’Souza joined Breitbart News Saturday’s live broadcast from CPAC on Sirius XM Patriot channel 125 and explained the difference between him and President Obama is,
“I am a third world guy who has embraced America, and, as I see it, he is an American-born guy who has adopted a third world ideology.”
D’Souza shared his thoughts with Breitbart News Executive Chairman Steve Bannon and Editor-in-Chief Alex Marlow. Marlow asked what D’Souza thought about Obama’s new My Brother’s Keeper initiative. The filmmaker had a story to tell that shed light on just how the President treated his real brother, George Obama. D’Souza recounted that he had interviewed George for his movie 2016: Obama’s America, which he shot in Kenya prior to the 2012 presidential election.
“So it ends up I’m funding George Obama’s family medical treatments, and his brother is the President… It’s bizarre.”
Right before the 2012 election was to occur, D’Souza received a phone call from Kenya.
“I get a call, and I look at my phone, and it is from Kenya. Like, who’s calling me in Kenya? It’s George!”
Michael Patrick Leahy writes: Conservative author Dinesh D’Souza, the director and co-writer of the highly successful documentary 2016: Obama’s America, told the Conservative Political Action Conference on Friday that “after we did 2016, President Obama was very upset… If he was upset about that film, wait ’til he sees the new one.”
“I was seventeen years old when I first set eyes on America… Even then I knew I could be the architect of my own destiny.”
D’Souza’s new movie, America, produced by Oscar winner Gerald Molen and John Sullivan, will debut in July.
“We are living in the American era, an era that began at the end of World War II, but this moment is very fragile…”
D’Souza was indicted for violating federal election laws in January by the Department of Justice. Many saw the move as pure political payback against an outspoken critic of President Obama. On Tuesday, D’Souza appeared in court with his attorney in New York City, who signaled his client was prepared to go to trial.
His latest topic of concern: Dinesh D’Souza. Mr. Dershowitz thinks the federal campaign fraud charges against the conservative filmmaker and author are an example of “selective prosecution.”
Weighing in on the case Friday in an interview with Law Blog, Mr. Dershowitz was withering in his opinion of the Manhattan U.S. attorney office’s prosecution of Mr. D’Souza, who pleaded not guilty last week to making illegal campaign contributions to a Republican U.S. Senate candidate in 2012.
“The idea of charging him with a felony for this doesn’t sound like a proper exercise of prosecutorial discretion,” Mr. Dershowitz said. “I can’t help but think that [D’Souza’s] politics have something to do with it. . . . It smacks of selective prosecution.” Read the rest of this entry »
Paul Bond writes: The filmmakers behind Dinesh D’Souza‘s upcoming doc have vowed to press on while their star defends himself after his indictment on federal charges that he violated campaign finance laws in 2012. On Sunday, they released a trailer for the movie, America, that is set for release on July 4.
“I want to take this progressive, leftist critique head on”
America is the follow-up to the surprise hit 2016: Obama’s America, which earned $33 million in 2012 and became the second most popular political documentary in history, behind Michael Moore’s Fahrenheit 9/11, which earned $119 million in 2004.
In America, D’Souza — who wrote and produced the film — makes the claim that 1960s radical leftism is more or less indistinguishable from current mainstream liberalism, a doctrine that he says preaches the United States is the product of “stealing and plunder” from Native Americans, Mexicans and African-American slaves.
“I want to take this progressive, leftist critique head on,” D’Souza says in the trailer. The movie will include re-creations of some of the major events in American history.
America is directed by John Sullivan and co-produced by Gray Frederickson, who won an Oscar for producing The Godfather Part II, and Gerald Molen, who won an Oscar for Schindler’s List. D’Souza and Sullivan co-directed 2016: Obama’s America.
Jason Howerton writes: On Friday, conservative scholar Dinesh D’Souza pleaded not guilty to charges that he violated campaign finance laws. The filmmaker behind the anti-Obama documentary “2016: Obama’s America” was released on $500,000 bond, which some — even in the legal community — argue was excessive.
We looked into these claims and uncovered a number of violent and disturbing offenses that resulted in bail amounts less than D’Souza was required to put up. While it’s not a comprehensive list by any means, here are nine cases where violent suspects had to put up less for bail than D’Souza:
A former convict accused of robbing 4 people and raping one of them
In 2007, a Chicago judge set bail for former convict Darnell Richmond at $400,000 on charges that he robbed or attempted to rob four people, raping one of them, just three months after he was released from prison, the Chicago Tribune reports.
That was after Richmond’s bail was increased from $150,000, when he was accused of only two counts of attempted robbery. He was later indicted for additional attempted robbery charges and sexual assault.
A man accused of trying to kill a police officer
Ace of Spades notes:
Secret investigations targeted coincidently at most prominent conservative groups in WI who can only now legally talk about their harassment. If you want to see what American fascism would look like, well this is it…