Commentary Magazine


Posts For: January 22, 2007

From COMMENTARY: Health Care in Three Acts

As President Bush prepares to address the issue of health care in his State of the Union address, COMMENTARY is fortunate to have a trenchant analysis of the wider problem, “Health Care in Three Acts,” by Eric Cohen and Yuval Levin, coming out in the February issue. Here is an advance look.

Americans say they are very worried about health care: on generic lists of voter concerns, health issues regularly rank just behind terrorism and the Iraq war. And politicians are eager to do something about it. To empower consumers, the White House has advanced the idea of Health Savings Accounts; to help the uninsured, it has explored using Medicaid more creatively. Senator Edward Kennedy of Massachusetts, the Democrats’ leader on this issue, has backed “Medicare for all.” The American Medical Association has called for tax credits to put private coverage within reach of more Americans. A number of recent books have proposed solutions to our health-care problems ranging from socialized medicine on the Left to laissez-faire schemes of cost containment on the Right. In Washington and in the state capitals, pressure is building for serious reforms.

But what exactly are Americans worried about? Untangling that question is harder than it looks. In a 2006 poll, the Kaiser Family Foundation found that while a majority proclaimed themselves dissatisfied with both the quality and the cost of health care in general, fully 89 percent said they were satisfied with the quality of care they themselves receive. Eighty-eight percent of those with health insurance rated their coverage good or excellent—the highest approval rating since the survey began 15 years ago. A modest majority, 57 percent, were satisfied even with its cost.

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Hillary’s “In”

So, after sixteen years on the national stage, Hillary Rodham Clinton has finally declared that she is a candidate for President of the United States. After years of denying this transparent ambition, it must be a relief to get it out there in the open.

No such relief was evident in the announcement video on her website, where she looked uncomfortable and sounded as stilted as ever. “I’m in, and I’m in to win” is a line that takes some panache to deliver—even a grin. But Hillary’s repertoire of dramatic tones is limited, ranging from prim high-mindedness (verging on the self-righteous) to faux regular-gal camaraderie. So when she talks about opening a “national conversation” and says, “let’s chat,” there is nothing authentic or inviting about it. It is, of course, an attempt to sound casual and open. But Hillary isn’t casual or open, so the effort falls flat.

Despite her iron discipline about refusing to indulge in self-revelation, her conviction that she is meant to wield power, and to edify the rest of us, nonetheless shines through. Though a feminist by belief and training, she owes most of her political success to her husband’s skills and successes. That particular opportunism galls in 2007, when plenty of women hold high office by their own efforts.

Hillary has behaved ruthlessly toward anyone who stood in her way, and in her campaigns she has trimmed endlessly on policy matters to hide her leftist views. Still, one might ask what those views mean given her willingness to trade them for power. In the Senate, her votes have been calibrated to give her cover as a responsible centrist. Now, especially on Iraq, she can say that she has had enough—and thus get the votes she needs from her party’s anti-war base.

Like many students of Hillary, I veer between thinking that this is as far as she can go politically and fearing that she will be our next President almost by default. The weak field of candidates for 2008, Democrat and Republican alike, offers little reassurance that she won’t be.

It should be an interesting race.

The Jewish Al Sharpton?

After a long absence from respectable circles, Jew-baiting is back.

When Patrick J. Buchanan denounced the 1991 U.S. military action to liberate Kuwait from Saddam Hussein, saying it had been cooked up by “Israel and its amen corner,” he largely sealed the doom of his political career. His remark, blaming the Jews for steering U.S. policy to actions that he alleged were in their own interest but not in America’s, made use of the classic anti-Semitic formula. Anti-Semitism, however, had been taboo in America for a generation or more, partly as a response to the Holocaust and partly due to the wider revulsion against bigotry occasioned by the civil-rights revolution. Commentators unloaded on Buchanan from many directions, led by the New York Times columnist A.M. Rosenthal.

Fifteen years later, however, anti-Semitism is becoming, more and more, an accepted part of national discourse. First, Harvard University published the fulminations of scholars John Mearsheimer and Stephen Walt (dissected in the pages of COMMENTARY by Gabriel Schoenfeld) accusing the “amen corner,” or in their term “the Israel Lobby,” of distorting U.S. policy to serve Israel rather than America. Then came former President Jimmy Carter’s book, blaming the Arab-Israel conflict entirely on the Jews, and claiming that this information had been kept from the American people by the pervasive and intimidating influence of certain “religious groups,” i.e., the Jews. (See my piece about Carter in the February issue of COMMENTARY.) Next came Democratic presidential aspirant, Wesley Clark, who commented recently that pressure for U.S. action against Iran’s nuclear weapons program was coming primarily from “New York money people.” Can you guess which religious/ethnic group he might be referring to?

Enter the New York Times, a paper famously Jewish-owned and long edited by A.M. Rosenthal, and therefore the target of many anti-Semitic conspiracy theories of the kind once propounded by cranks (and now routinely put forth by the likes of Carter, Walt, and Mearsheimer).

The Times‘s Sunday magazine of January 14 carried James Traub’s astounding hatchet job on Abe Foxman. Foxman is head of the Anti-Defamation League, which in Traub’s view, should long ago “have moved away from its original mission [of combating anti-Semitism] in favor of either promoting tolerance and diversity or leading the nonsectarian fight against extremism.” Instead, Foxman, a “hectoring” man of “spleen” who is “domineering” and “brazen,” “an anachronism” who resembles “a Cadillac-driving ward-heeler” and “stages public rituals of accusation,” insists perversely on “dwell[ing] imaginatively in the Holocaust.”

“It is tempting,” writes Traub, “to compare Abe Foxman with Al Sharpton, another portly, bellicose, melodramatizing defender of ethnic ramparts.” Leave aside that Sharpton is a notorious fraud who gave America the Tawana Brawley farce. More to the point is that for all the publicity that he succeeds in garnering, Sharpton represents no one but himself. Foxman, in contrast, is the chief of one of the leading, if not the leading, organizations through which American Jews defend their civil rights. Traub’s complaint that Foxman is obsessive about anti-Semitism is akin to assailing the head of, say, the NAACP for being overly sensitive to racism. But that’s an exposé you won’t read in the Times any time soon.

Apparently for the likes of Walt and Mearsheimer to bait the Jews is all right: Traub gives them extremely respectful treatment. But for Jews to defend themselves is, it seems, disgusting.

Bookshelf

• Half a lifetime spent hanging out in smoke-filled nightclubs and harshly lit recording studios has persuaded me that the act of playing jazz is inherently photogenic. This being the case, I happily call your attention to Lee Tanner’s The Jazz Image: Masters of Jazz Photography (Abrams, 175 pp., $40), whose subtitle is right on the money. It contains 150-odd black-and-white pictures taken by most of the best photographers who have interested themselves in jazz, among them Bill Claxton, Bill Gottlieb, Milt Hinton (who was also one of the great jazz bassists), Herman Leonard, and Gjon Mili. Many of the images it contains will be instantly recognizable to anyone who has more than a passing acquaintance with jazz: Fats Waller eating a hot dog in Harlem, Lester Young sitting in a hotel room not long before his death, a cadaverous-looking Dave Tough warming up on a practice pad. Others are less familiar but no less striking. I wish there were more pictures from the 1930′s and fewer from the 1960′s, but everything that’s here is choice.

What struck me as I flipped through The Jazz Image was the intense characterfulness of the faces of the men and women portrayed within. Did anybody ever take a bad picture of Louis Armstrong or Duke Ellington? Some performers give the impression of being detached from the act of performance—take a look at the back-desk violinists the next time you go to a concert by a symphony orchestra—but great jazz musicians, whether on or off stage, almost always look larger than life. A few, most notably Bill Evans, actually give the impression of looking like the music they play.

• For some reason I’ve never gotten around to writing anything about Gilbert and Sullivan beyond the odd review. Don’t ask me why: I admire their operettas greatly, and after watching Mike Leigh’s Topsy-Turvy on TV last month, I had “My Object All Sublime” running through my head for the better part of a week. This inspired me to read Michael Ainger’s Gilbert and Sullivan: A Dual Biography (Oxford, 504 pp., $55), which somehow escaped my notice when it was published five years ago. It is, as advertised, a dual biography that covers the lives of both of its subjects quite thoroughly, before, during, and after the years of their professional association, and if you’re wondering how much of Topsy-Turvy is true, it’ll tell you exactly what you want to know. (Short answer: most of it.)

Like most Gilbert-and-Sullivanites, Ainger is not a professional scholar but an amateur enthusiast, and like all such folk, he revels in the accumulation of facts. As a result, Gilbert and Sullivan: A Dual Biography is a bit dry in spots, but never impossibly so, and though I wouldn’t recommend reading it solely for pleasure, I’m glad to say that I found it surprisingly pleasurable to read.