News

Flashy debate exchange isn't the same as governing

Steven Thomma
Audience members and candidates listen as YouTube viewers pose questions to the candidates during the CNN/YouTube debate in Charleston, South Carolina, Monday, July 23, 2007. (Gerry Melendez/The State/MCT)
McClatchy Newspapers (MCT)

WASHINGTON -- As political debates go, it was fine drama when Barack Obama said last week that he'd meet with dictators without preconditions. Hillary Clinton pounced quickly to say that she'd never give some thug like Fidel Castro an open-ended opportunity to score points at the expense of the U.S. president.

The immediate score: a gaffe for Obama and a win for Clinton.

It was another sign of how Clinton is a better debater than her younger rival. She's quicker on her feet, more agile, readier with a sound bite that fits a long-range political strategy.

It also was another example of how she has her eyes as much on a general-election audience as on the Democratic base. In an earlier debate, for example, Obama said he'd respond to a terrorist attack by making sure that the Federal Emergency Management Agency could handle the carnage. She said she'd retaliate militarily.

Through four debates, it's clear she's better at this test than Obama is.

But that doesn't necessarily mean she'd be the better president. In fact, the debates don't really signal how either one would make decisions in the Oval Office.

Presidents rarely, if ever, have to act alone or in 30-second sound bites, as they do on the debate stage. Even in wartime, presidents get more time and much more opportunity to think through their decisions.

"If there were a nuclear attack, that would be one thing," said presidential historian Robert Dallek, the author of books on Franklin D. Roosevelt, John F. Kennedy, Lyndon B. Johnson, Richard Nixon and Ronald Reagan. "But that doesn't happen. When there is any military action, it's invariably the consequence of many hours of deliberation."

Consider the most dangerous confrontation of modern times, when Kennedy risked nuclear war in a 1962 showdown to get the Soviet Union to withdraw missiles from Cuba.

The relatively inexperienced Kennedy spent hours and hours working through the crisis with his military and diplomatic advisers, challenging a Pentagon recommendation of airstrikes before settling on the idea of a naval blockade of Cuba. "They spent 13 days struggling with that," Dallek said.

It was a shining example of presidential leadership and executive management, and none of it came quickly, easily or in a sound bite.

Or consider the decision on how and when to retaliate for the terrorist attacks of Sept. 11, 2001. President Bush took his time before ordering the attack on the Taliban in Afghanistan the next month.

To look at it another way, recall the 2000 debates, when then-candidate Bush denounced the use of the U.S. military for what he called nation-building. He said he'd be much more cautious than the reckless Clinton-Gore administration.

Yet when he was in the Oval Office, he committed the country to open-ended "nation-building" in Iraq that's cost more than 3,000 American lives with no prospect for a successfully built nation anytime soon.

This isn't to say that debates are worthless. But history suggests that once in the Oval Office, judgment counts more than the speed and rhetorical agility of debates.

On that score, voters might be better served to look at how these two candidates reacted when given time to debate and decide whether the United States should invade Iraq.

Obama was just an Illinois state senator at the time, but considering a run for higher office. Though privy only to what he could read in the newspapers, he opposed the invasion. So did the senior Democrat from his home state, Sen. Dick Durbin, and 22 other Senate Democrats.

Clinton was in the Senate. She didn't read the National Intelligence Estimate that raised questions about the threat posed by Iraq, but said she was briefed not only by the Bush administration but also by experts from her husband's administration. She voted for the war.

Those are the kinds of decisions that people make in private after asking questions, weighing options and choosing courses. They're rarely foreseen in debates or sound bites. But that's how people govern.

___

What they said in last week's Democratic debate:

QUESTION: In 1982, Anwar Sadat traveled to Israel, a trip that resulted in a peace agreement that has lasted ever since. In the spirit of that type of bold leadership, would you be willing to meet separately, without precondition, during the first year of your administration, in Washington or anywhere else, with the leaders of Iran, Syria, Venezuela, Cuba and North Korea, in order to bridge the gap that divides our countries?

OBAMA: I would. And the reason is this, that the notion that somehow not talking to countries is punishment to them, which has been the guiding diplomatic principle of this administration -- is ridiculous.

Now, Ronald Reagan and Democratic presidents like JFK constantly spoke to the Soviet Union at a time when Ronald Reagan called them an evil empire. And the reason is because they understood that we may not trust them and they may pose an extraordinary danger to this country, but we had the obligation to find areas where we can potentially move forward.

And I think that it is a disgrace that we have not spoken to them. We've been talking about Iraq -- one of the first things that I would do in terms of moving a diplomatic effort in the region forward is to send a signal that we need to talk to Iran and Syria because they're going to have responsibilities if Iraq collapses.

They have been acting irresponsibly up until this point. But if we tell them that we are not going to be a permanent occupying force, we are in a position to say that they are going to have to carry some weight, in terms of stabilizing the region.

CLINTON: Well, I will not promise to meet with the leaders of these countries during my first year. I will promise a very vigorous diplomatic effort because I think it is not that you promise a meeting at that high a level before you know what the intentions are.

I don't want to be used for propaganda purposes. I don't want to make a situation even worse. But I certainly agree that we need to get back to diplomacy, which has been turned into a bad word by this administration.

And I will pursue very vigorous diplomacy.

And I will use a lot of high-level presidential envoys to test the waters, to feel the way. But certainly, we're not going to just have our president meet with Fidel Castro and Hugo Chavez and, you know, the president of North Korea, Iran and Syria until we know better what the way forward would be.

Obama's 2002 speech on Iraq

For Clinton's

___

(Steven Thomma is chief political correspondent for the McClatchy Washington bureau.)

From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.


60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

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Music

The Best Dance Tracks of 2017

Photo: Murielle Victorine Scherre (Courtesy of Big Beat Press)

From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

In June of 2016, prolific producer Diplo lambasted the world of DJ's in an interview with Billboard, stating that EDM was dying. Coincidentally enough, the article's contents went viral and made their way into Vice Media's electronic music and culture channel Thump, which closed its doors after four years this summer amid company-wide layoffs. Months earlier, electronic music giant SFX Entertainment filed bankruptcy and reemerged as Lifestyle, Inc., shunning the term "EDM".

So here we are at the end of 2017, and the internet is still a flurry with articles declaring that Electronic Dance Music is rotting from the inside out and DJ culture is dying on the vine, devoured by corporate greed. That might all well be the case, but electronic music isn't disappearing into the night without a fight as witnessed by the endless parade of emerging artists on the scene, the rise of North America's first Electro Parade in Montréal, and the inaugural Electronic Music Awards in Los Angeles this past September.

For every insipid, automaton disc jockey-producer, there are innovative minds like Anna Lunoe, Four Tet, and the Black Madonna, whose eclectic, infectious sets display impeccable taste, a wealth of knowledge, and boundless creativity. Over the past few years, many underground artists have been thrust into the mainstream spotlight and lost the je ne sais quoi that made them unique. Regardless, there will always be new musicians, producers, singers, and visionaries to replace them, those who bring something novel to the table or tip a hat to their predecessors in a way that steps beyond homage and exhilarates as it did decades before.

As electronic music continues to evolve and its endless sub-genres continue to expand, so do fickle tastes, and preferences become more and more subjective with a seemingly endless list of artists to sift through. With so much music to digest, its no wonder that many artists remain under the radar. This list hopes to remedy that injustice and celebrate tracks both indie and mainstream. From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

10. Moullinex - “Work It Out (feat. Fritz Helder)”

Taken from Portuguese producer, DJ, and multi-instrumentalist Luis Clara Gomes' third album Hypersex, "Work It Out" like all of its surrounding companions is a self-proclaimed, "collective love letter to club culture, and a celebration of love, inclusion and difference." Dance music has always seemingly been a safe haven for "misfits" standing on the edge of the mainstream, and while EDM manufactured sheen might have taken the piss out of the scene, Hypersex still revels in that defiant, yet warm and inviting attitude.

Like a cheeky homage to Rick James and the late, great High Priest of Pop, Prince, this delectably filthy, sexually charged track with its nasty, funk-drenched bass line, couldn't have found a more flawless messenger than former Azari & III member Fritz Helder. As the radiant, gender-fluid artist sings, "you better work your shit out", this album highlight becomes an anthem for all those who refuse to bow down to BS. Without any accompanying visuals, the track is electro-funk perfection, but the video, with its ruby-red, penile glitter canon, kicks the whole thing up a notch.

9. Touch Sensitive - “Veronica”

The neon-streaked days of roller rinks and turtlenecks, leg warmers and popped polo collars have come and gone, but you wouldn't think so listening to Michael "Touch Sensitive" Di Francesco's dazzling debut Visions. The Sydney-based DJ/producer's long-awaited LP and its lead single "Lay Down", which shot to the top of the Hype Machine charts, are as retro-gazing as they are distinctly modern, with nods to everything from nu disco to slo-mo house.

Featuring a sample lifted from 90s DJ and producer Paul Johnson's "So Much (So Much Mix)," the New Jack-kissed "Veronica" owns the dance floor. While the conversational interplay between the sexed-up couple is anything but profound, there is no denying its charms, however laughably awkward. While not everything on Visions is as instantly arresting, it is a testament to Di Francesco's talents that everything old sounds so damn fresh again.

8. Gourmet - “Delicious”

Neither Gourmet's defiantly eccentric, nine-track debut Cashmere, nor its subsequent singles, "There You Go" or "Yellow" gave any indication that the South African purveyor of "spaghetti pop" would drop one of the year's sassiest club tracks, but there you have it. The Cape Town-based artist, part of oil-slick, independent label 1991's diminutive roster, flagrantly disregards expectation on his latest outing, channeling the Scissor Sisters at their most gloriously bitchy best, Ratchet-era Shamir, and the shimmering dance-pop of UK singer-producer Joe Flory, aka Amateur Best.

With an amusingly detached delivery that rivals Ben Stein's droning roll call in Ferris Bueller's Day Off , he sings "I just want to dance, and fuck, and fly, and try, and fail, and try again…hold up," against a squelchy bass line and stabbing synths. When the percussive noise of what sounds like a triangle dinner bell appears within the mix, one can't help but think that Gourmet is simply winking at his audience, as if to say, "dinner is served."

7. Pouvoir Magique - “Chalawan”

Like a psychoactive ayahuasca brew, the intoxicating "shamanic techno" of Parisian duo Pouvoir Magique's LP Disparition, is an exhilarating trip into unfamiliar territory. Formed in November of 2011, "Magic Power" is the musical project of Clément Vincent and Bertrand Cerruti, who over the years, have cleverly merged several millennia of songs from around the world with 21st-century beats and widescreen electro textures. Lest ye be worried, this is anything but Deep Forest.

In the spring of 2013, Pouvoir Magique co-founded the "Mawimbi" collective, a project designed to unite African musical heritage with contemporary soundscapes, and released two EPs. Within days of launching their label Musiques de Sphères, the duo's studio was burglarized and a hard drive with six years of painstakingly curated material had vanished. After tracking down demos they shared with friends before their final stages of completion, Clément and Bertrand reconstructed an album of 12 tracks.

Unfinished though they might be, each song is a marvelous thing to behold. Their stunning 2016 single "Eclipse," with its cinematic video, might have been one of the most immediate songs on the record, but it's the pulsing "Chalawan," with its guttural howls, fluttering flute-like passages, and driving, hypnotic beats that truly mesmerizes.

6. Purple Disco Machine - “Body Funk” & “Devil In Me” (TIE)

Whenever a bevy of guest artists appears on a debut record, it's often best to approach the project with caution. 85% of the time, the collaborative partners either overshadow the proceedings or detract from the vision of the musician whose name is emblazoned across the top of the LP. There are, however, pleasant exceptions to the rule and Tino Piontek's Soulmatic is one of the year's most delightfully cohesive offerings. The Dresden-born Deep Funk innovator, aka Purple Disco Machine, has risen to international status since 2009, releasing one spectacular track and remix after another. It should go without saying that this long-awaited collection, featuring everyone from Kool Keith to Faithless and Boris D'lugosch, is ripe with memorable highlights.

The saucy, soaring "Mistress" shines a spotlight on the stellar pipes of "UK soul hurricane" Hannah Williams. While it might be a crowning moment within the set, its the strutting discofied "Body Funk", and the album's first single, "Devil In Me", that linger long after the record has stopped spinning. The former track with its camptastic fusion of '80s Sylvester gone 1940s military march, and the latter anthem, a soulful stunner that samples the 1968 Stax hit "Private Number", and features the vocal talents of Duane Harden and Joe Killington, feels like an unearthed classic. Without a doubt, the German DJ's debut is one of the best dance records of the year.

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