- The Washington Times - Thursday, October 17, 2002

Unhip hit
"The modestly budgeted comedy 'Barbershop' is one of the most likable movies of the year, sort of a black 'My Big Fat Greek Wedding.'
"The conservative moral and social messages and unhip style of 'Barbershop' have left ill at ease many white critics the kind whose highest term of praise is 'subversive.'
"Rapper Ice Cube stars as a Chicagoan who reluctantly took over his father's venerable barbershop.
"A lot of white reviewers seem disconcerted by seeing the legendary Mr. Cube, whose 'Straight Outta Compton' album was the soundtrack for the 1992 L.A. riots, play a character roughly modeled on Jimmy Stewart's 'It's a Wonderful Life.' At least since Norman Mailer's heyday in the 1950s, white culturati bored with bourgeois self-discipline have proven a sizable market for black entertainers acting out their fantasies of rebellion against society."
Steve Sailer, writing on "Reparations for Cadillac Dealers," in the Oct. 21 issue of the American Conservative

Losing game
"This summer, two black incumbents Georgia's [Rep.] Cynthia McKinney and Alabama's [Rep.] Earl Hilliard lost to black primary challengers. Hilliard and McKinney had been erratic, ineffective representatives for years, but like other underperforming black politicians, they had played the race card to discredit potential opponents.
"This year, however, it didn't work. McKinney tried to portray her opponent, Denise Majette, as a tool of whites and Jews. But Majette took enough of the black vote, particularly in middle-class precincts, to win easily. Similarly, in Alabama, Hilliard all but called his opponent, former prosecutor Artur Davis, an Uncle Tom. 'The only thing he's done for black people,' Hilliard scoffed, 'is put them in jail.' But Davis focused on Hilliard's failure to secure better services for the impoverished district and won a majority of the black, as well as white, vote. Commented Richard Arrington, a former Birmingham mayor and longtime civil rights activist, 'It may also be a commentary on how secure blacks are in our society today. They don't feel they need to maintain that herd instinct.'"
Peter Beinart, writing on "Colorless," in the Oct. 21 issue of the New Republic

Left idiocy
"At the close of an uninspired review of an uninspired film the [critic for the Times Literary Supplement] graces us with this final reflection:
"'Still, if 'Road to Perdition' ultimately fails as entertainment, it offers rich material for allegory. Maybe it was because I attended a screening on September 11, but I couldn't help seeing [Tom] Hanks as an American everyman, a pure-hearted killer who will commit no end of mayhem to ensure a better life for his children.'
"But of course! What a brilliant point he's making in the course of preening his anti-Americanism. What does September 11 remind him of? The way Americans are killers. Doesn't everybody think that way? (Everybody in his little circle, I imagine). September 11 reminds them that Americans are first and foremost murderers, so let's not spend a moment acknowledging that little matter of September 11 being a day on which 3,000 Americans were murdered by the 'pure-hearted killers' of al Qaeda. Who, when not committing mass murder, stone women as punishment, torture gays, crush free thought by executing dissidents. No, they get a pass (and the 3,000 become non-persons). Because they hate America, they must be for liberation, and so we can't blame them; we must accuse ourselves of being killers.
"That one paragraph is a useful compression of the entire post-9/11 idiocy of one wing of the Left. That's what September 11 has come to mean to much of the Left: a wake-up call for American self-hatred."
Ron Rosenbaum, writing on "Goodbye, All That," in the Oct. 10 issue of the New York Observer

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