Whoo-hoo - it's the lit now:
Repeat as needed,..
"This is the point: last November, the American people thought they were electing a 'post-partisan,' 'post-racial' President who would work to restore unity and self-confidence to the country. They woke up on November 5, however, to find that they had elected someone who was deeply ambivalent about America, who distrusted its founding principles of limited government, individual liberty, and local responsibility. Like his radical friends — Bill Ayers, Jeremiah Wright, Van Jones, Anita Dunn — Barack Obama wishes to transform the United States according to a model whose basic shape was supplied by the utopian schemes of the 1960s. That’s why Anita Dunn said that Mao was one of the thinkers she most often turned to for wisdom about big-think political problems. It’s not that she admires his penchant for industrial strength homicide: rather, she admires his success at fomenting an egalitarian revolution. It’s not what we bargained for when we elected Barack Obama. But that’s what we’ve got. The question is how much worse will things have to get before the penny drops, before the scales fall from the collective eyes of the electorate? When will voters begin that long countermarch through the institutions in order to take back the country? If not now, when?"

"When I first saw the Obama Joker poster on my block in April I tried to read the website featured in the upper right-hand corner, but it was too pixilated to decipher. Is anonymity part of the artist's message? Possibly. However, if anonymity is not a part of the message, can you blame the artist for wanting to remain anonymous given the irrational and racially-charged criticism the poster has received?-- Patrick Courrielche, speaking to my fellow artists - who have been acting like a bunch of pussies - on what their actual role is, using Reason.I find it hard to believe that the Obama Joker creator is the only serious detractor (assuming that it is a critical commentary) within the art community. And I'm sure the incendiary criticism will keep others from creating similar images. But regardless of political affiliation, the art community must embrace all rational dissenters. Art must not exclusively serve the interests of any presidential administration.
It's time for the art community to return to its historical role in political affairs, which means speaking to power, not on behalf of it. Which leads me to the second case where art enters politics on a mass scale. The power of art, in combination with the suppression of free speech or a free press, has been used as a tool by authoritarian governments to control their citizens. From Hitler, Stalin, and Mao to Saddam Hussein and Kim Jong Il, art has been used to deify leaders while preserving the position of the ruling class. Most artists would not want to be referred to as tools of the state, but in the case of Obama's administration, that's exactly what they've been so far. "
Cult of Mao

“This awakening consciousness of the people is promoting changes in the world, or we might call it turmoil.”-- Chou En-lai, second in command to Chairman Mao, in 1971.

"If ordinary people don't perceive that our grand ideas are working in their lives, then they can't develop the higher level of consciousness - if I can use kind of a touchy-feely word,..."-- Bill Clinton at Davos.