Thursday morning at 12:01 a.m. local time, Arizona’s well publicized anti-illegal-immigration law will  finally go into effect.  Or at least parts of it will.  U.S. District Judge Susan Bolton ruled today to block several provisions of the law that some consider controversial (even though these mimic federal law).   However, the judge has allowed the remainder of the law to move forward as planned while the case is being litigated.  This includes allowing the state of Arizona to stop rogue state officials from implementing “sanctuary city” policies, and allowing the state to pursue civil lawsuits over sanctuary cities.  In addition, Arizona will still be permitted to implement the portion of the law that makes it a crime to pick up day laborers, an issue that law enforcement and officials say has become a major problem in the state.

While yesterday’s ruling is being praised by opponents of the law, it won’t stop their protests, it will prolong them.  For years.  In fact, hordes of angry protesters are scheduled to descend upon the state first thing Thursday morning.  And the propaganda machine on the left continues to run at full speed, cranking out intentionally misleading statements, disinformation, and outright lies.  We’ve watched the boycotts.  We’ve watched as the protests have erupted into hate events, directed not from the right against illegal immigrants as the left portrays them, but from the left and illegal immigrants against peaceful people on the right (and many in the center!).

Meanwhile, as the left continues their manufactured barrage of anger at Andrew Breitbart for supposedly taking things out of context in the Shirley Sherrod story, they fabricate their own version of context propaganda on video in examples like this one from the SEIU:

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For quite some time, Noam Chomsky has joined other radical luminaries on the “Editorial Advisory Group” of the ACORN-linked Social Policy magazine.  Published by ACORN founder Wade Rathke, the magazine airs the views of Chomsky, Frances Fox Piven, Gloria Steinem, and Peter Dreier, among others.

This is the same publication that ran an analytical piece on Barack Obama’s 2004 primary campaign for the Democratic nomination for the U.S. Senate, written by a Chicago ACORN leader.

The article contained such gems as: “By the time he ran for U.S. Senate, we were old friends.”  The point is not to bring up President Obama’s apparently forgotten memories, but instead to point out Chomsky is not some nut that is isolated – he runs with the big dogs.

Chomsky recently painted a disturbing picture of America in the Russian news outlet Pravda, when he compared the opposition to President Obama and the Congress’ policies to what happened in Germany just prior to Adolf Hitler’s rise to power.

“It’s very similar to Weimar Germany, the parallels are striking.

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Today, in 1943, was the first uprising of Jews in the Warsaw Ghetto. The uprising would last until May.

There are two things fundamentally wrong with the Obama administration’s efforts to turn the arts into a vehicle for political advocacy.  First, it is an egregious abuse of power both in terms of misappropriation of public resources and a chilling of the free expression of ideas at the core of artistic vitality.  The second problem is that the resulting art as propaganda usually stinks.

You don’t have to be an ancient history professor to know that government controlled (or heavily influenced) art is, on the whole, lousy.  There are still artists alive today who either toiled in or toiled against the socialized artistic regimens of the Soviet Union and Nazi Germany.  Some laudable efforts undertaken by the WPA aside, there is no shortage of examples of art and architecture that glorifies the state and crushes the human spirit.  The funny thing is that the critics who most abhor the impact on art of the Nazis and Soviets and the works they produced are proud liberals who saw how it helped quash the concepts of non-conformity and innovation that are the life blood of artistic progress.

 When Obama’s leftist appointees at the National Endowment for the Humanities came up with the idea that they would recruit fellow-travelers in the arts community to harness their “talent” to promote the One’s political agenda they were hardly charting new territory.  Most every regime in history has done the same thing.  Allegorical painting is the most common example used by popes and princes to glorify their side of the political story.  Chairman Mao’s Red Brigades used drama and opera as tools of the state propaganda machine, and made ruthlessly sure that you didn’t experience any alternative theater on the side.

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