Daily Archives: January 10, 2010
In this podcast, Bruce, Michael and Dale discuss the Crotch bomber security Failures, the Met’s removal of Mohammed images, and the surge in Afghanistan. The direct link to the podcast can be found here.
The intro and outro music is Vena Cava by 50 Foot Wave, and is available for free download here.
As a reminder, if you are an iTunes user, don’t forget to subscribe to the QandO podcast, Observations, through iTunes. For those of you who don’t have iTunes, you can subscribe at Podcast Alley. And, of course, for you newsreader subscriber types, our podcast RSS Feed is here. For podcasts from 2005 to 2009, they can be accessed through the RSS Archive Feed.[ad#Banner]
Call in number: (718) 664-9614
Yes, friends, it is a call-in show, so do call in.
Crotch Bomber – Intel failure? Security failure? Both? And will an “air marshall surge” actually do any good?
Afghanistan – speaking of surges, is the White House really chafing at the pace of the surge it has ordered? Doesn’t it understand why it is taking a while?
The Met – no exhibits on the prophet Mohammed. Smart or exactly what the terrorists want?
One is by making you afraid to do what you might normally do:
Is the Met afraid of Mohammed?
The Metropolitan Museum of Art quietly pulled images of the Prophet Mohammed from its Islamic collection and may not include them in a renovated exhibition area slated to open in 2011, The Post has learned.
The museum said the controversial images — objected to by conservative Muslims who say their religion forbids images of their holy founder — were “under review.”
Critics say the Met has a history of dodging criticism and likely wants to escape the kind of outcry that Danish cartoons of Mohammed caused in 2006.
To answer the question – no, the Met isn’t afraid of Mohammed. It’s afraid of some of his followers. The bomb throwing, murdering group of his followers who take offense at just about anything.
But is self-censorship the answer?
Isn’t the reaction exactly that for which they are hoping?
One of the things those involved in the arts like to tell us is one of the purposes of art is to challenge convention. To jab hard at those that are comfortable. Smack their beliefs and conceptions around a bit. Make ’em think. And when there’s no real risk, they’re all for it aren’t they? “Piss Christ” for example was done knowing no one would show up throwing bombs or threatening to kill those who exhibited the “work of art”.
But when it comes to the likelihood that there’s an actual possibility of violence, suddenly artists and their backers aren’t so keen on “challenging convention”, are they? Suddenly the challenge to convention – that purpose of art – isn’t really that important anymore, is it?
Funny how that works.