But Democrats can fight back with catchy nicknames of their own: Such as: “Deadbeat Donald,” “Nazi Boy,” “Devious Donald” or “Der Fuehrer.”
So far, only one opponent has managed to verbally stand up to Trump: Massachusetts U.S. Senator Elizabeth Warren.
A May 12 story on CNN–“Elizabeth Warren Gives Trump a Dose of His Own Medicine on Twitter”–notes:
“In the past week, the Massachusetts Democrat has refined an aggressive anti-Trump message through a series of so-called tweetstorms.”
Elizabeth Warren
On the May 27 edition of the PBS Newshour, syndicated columnist Mark Shields noted Warren’s ability to rattle Trump:
“Elizabeth Warren gets under Donald Trump’s skin. And I think she’s been the most effective adversary. I think she’s done more to unite the Democratic party than either Hillary Clinton or Bernie Sanders.”
David Brooks added: “And so the tactics…is either you do what Elizabeth Warren has done, like bull-bore negativity, that kind of [get] under the skin, or try to ridicule him and use humor. Humor is not Hillary Clinton’s strongest point.”
Yet that need not remain the situation.
The Democratic convention could have used ridicule to strike a deadly blow against the Presidential ambitions of Donald Trump.
Everyone expected this convention—like all political conventions—to be filled with boring, self-serving speeches.
And its purpose—to nominate Hillary Clinton for President—was a foregone conclusion.
But the message of this convention—the necessity for defeating Trump—didn’t need to be forgotten. And it wouldn’t have been—if convention planners had been willing to do something truly daring and memorable.
In 1988, Mel Brooks did exactly this with his now-classic comedy, “The Producers.”
Brooks used this as a vehicle for lampooning the criminality of the Third Reich—and especially that of its Fuehrer, Adolf Hitler. Especially memorable: Its production number, “Springtime for Hitler.”
The press had had a field day with Melania Trump’s plagiarizing of Michelle Obama’s speech before the 2008 Democratic convention.
Facebook and Twitter had been filled with ridicule—such as a “Rocky and Bullwinkle” cartoon image of Boris Badinov’s femme fatale Natasha Fatale saying: “I write. But Moose and Squirrel say I copy.”
So it’s easy to imagine how a staged musical number like “Springtime for Trumpland”–complete with Nazi uniforms–could have raged through the Internet.
Even more importantly, it would have made a great TV commercial.
(To be sung to the tune, “Springtime for Hitler”)
America was having trouble
To restore its former glory.
Springtime for Trumpland and bigotry–
Trumpland is happy and gay.
Our Leader’s put on a Nazi face–
Look out, here comes the Whiter race.
Springtime for Trump goons and bigotry–
Winter for Reason and Light.
Springtime for Trump goons and infamy–
Come on, Trumpsters, let’s go pick a fight.
Springtime for Trump goons and infamy—
Killing is thrilling again.
A-bombs are saving us from toil
Soon we’ll have all the world’s black oil.
Springtime for Trumpland and infamy—
Prisons are filling once more.
Springtime for Trumpland and infamy—
Means that soon things will be swell.
You pray they will be swell
You know we’ll be going to HELL.
The question remained: Would a political party noted for its cowardly Political Correctness be willing to take the comedy plunge?
As always with the timid souls who inhabit the Democratic party, the answer turned out to be: No.
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HUMOR AS A (NEGLECTED) WEAPON
In Bureaucracy, History, Humor, Politics, Social commentary on July 27, 2018 at 12:14 amDonald Trump has attached nicknames to his many political opponents.
“Little Marco” – Florida U.S. Senator Marco Rubio
“Goofy” – Massachusetts U.S. Senator Elizabeth Warren
“Lyin’ Ted” – Texas U.S. Senator Rafael Eduardo “Ted” Cruz
“Crooked Hillary” – Hillary Clinton, former First Lady, U.S. Senator from New York and Secretary of State, now the all-but-confirmed Democratic nominee for President.
Donald Trump
Nicknames and ridicule can be powerful weapons.
David Brooks, a conservative columnist for the New York Times, assessed Trump’s ability to effectively use both. He did so on the May 27 edition of the PBS Newshour.
Said Brooks:
“Trump, for all his moral flaws, is a marketing genius. And you look at what he does. He just picks a word and he attaches it to a person. Little Marco [Rubio], Lyin’ Ted [Cruz], Crooked Hillary [Clinton].
“And that’s a word. And that’s how marketing works. It’s a simple, blunt message, but it gets under. It sticks, and it diminishes.
“And so it has been super effective for him because he knows how to do that. And she [Hillary Clinton[ just comes on with, ‘Oh, he’s divisive.’
“These are words that are not exciting people. And her campaign style has gotten, if anything…a little more stagnant and more flat.”
David Brooks and Mark Shields
But Democrats can fight back with catchy nicknames of their own: Such as: “Deadbeat Donald,” “Nazi Boy,” “Devious Donald” or “Der Fuehrer.”
So far, only one opponent has managed to verbally stand up to Trump: Massachusetts U.S. Senator Elizabeth Warren.
A May 12 story on CNN–“Elizabeth Warren Gives Trump a Dose of His Own Medicine on Twitter”–notes:
“In the past week, the Massachusetts Democrat has refined an aggressive anti-Trump message through a series of so-called tweetstorms.”
Elizabeth Warren
On the May 27 edition of the PBS Newshour, syndicated columnist Mark Shields noted Warren’s ability to rattle Trump:
“Elizabeth Warren gets under Donald Trump’s skin. And I think she’s been the most effective adversary. I think she’s done more to unite the Democratic party than either Hillary Clinton or Bernie Sanders.”
David Brooks added: “And so the tactics…is either you do what Elizabeth Warren has done, like bull-bore negativity, that kind of [get] under the skin, or try to ridicule him and use humor. Humor is not Hillary Clinton’s strongest point.”
Yet that need not remain the situation.
The Democratic convention could have used ridicule to strike a deadly blow against the Presidential ambitions of Donald Trump.
Everyone expected this convention—like all political conventions—to be filled with boring, self-serving speeches.
And its purpose—to nominate Hillary Clinton for President—was a foregone conclusion.
But the message of this convention—the necessity for defeating Trump—didn’t need to be forgotten. And it wouldn’t have been—if convention planners had been willing to do something truly daring and memorable.
In 1988, Mel Brooks did exactly this with his now-classic comedy, “The Producers.”
Brooks used this as a vehicle for lampooning the criminality of the Third Reich—and especially that of its Fuehrer, Adolf Hitler. Especially memorable: Its production number, “Springtime for Hitler.”
The press had had a field day with Melania Trump’s plagiarizing of Michelle Obama’s speech before the 2008 Democratic convention.
Facebook and Twitter had been filled with ridicule—such as a “Rocky and Bullwinkle” cartoon image of Boris Badinov’s femme fatale Natasha Fatale saying: “I write. But Moose and Squirrel say I copy.”
So it’s easy to imagine how a staged musical number like “Springtime for Trumpland”–complete with Nazi uniforms–could have raged through the Internet.
Even more importantly, it would have made a great TV commercial.
The question remained: Would a political party noted for its cowardly Political Correctness be willing to take the comedy plunge?
As always with the timid souls who inhabit the Democratic party, the answer turned out to be: No.
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