Under the headline "Obama's America: where artists are terrorists," Marisa Martin rants in a Nov. 22 WorldNetDaily column about how artist Geoffrey McGann was "interrogated and publicly humiliated" for wearing a "strange watch" while attempting to board a plane at an airport.
Martin rather innocuously describes McGann's watch as merely having "extra springs, fuses and mechanical pieces, none of them workable or connected, as I understand." Here's a picture of said watch:
Yeah, that shouldn't freak out any TSA person at all.
Martin then launches into you standard right-wing anti-TSA rant:
The National Security Agency seems obsessed with fabricating an enemy that in no way resembles any terrorist, living or dead. They consistently deny that Islamic terrorists are Islamic, which requires some mental dexterity, a lot of paperwork and a contingent of advisers from the Muslim Brotherhood.
Of course, if Islamic terrorists know they're being profiled at airports, they would certainly do their best to not look like an Islamic terrorist, would they not? Martin seems to not have considered that. And she most certainly will do no such thing, because she's moving on to blaming Obama for repressing artists:
This may be a comical fluke by an overly zealous baggage handler and cop, but considering the plight of the pathetic little Egyptian “filmmaker” Mark Basseley Youssef, it is beginning to look like a new day for the rights of expression in America.
Youssef, the state sanctioned scapegoat tossed to our enemies, is living in a U.S.-sponsored hell. An obscure immigrant with an amateurish YouTube promo that was also unknown before the White House targeted him for attack, he was arrested in the middle of night accompanied by with hoards of reporters for … parole violations? We are to led believe that concurrent with the Benghazi mess, this man’s suddenly discovered parole violations are pressing, national news. Local prosecutors were sent to his home and federal brass brought in to deal with the grave dangers of insulting the Prophet.
Is Youssef our poster child, a reverse Red Scare campaign for artists and writers who dare to step out of line?
Obama had just delivered his menacing declaration to the U.N. that “the future must not belong to those who slander the prophet of Islam.” Certainly the White House, the State Department and the U.N. offices of Susan Rice have slapped a zero tolerance sign in the face of anyone who would “offend” Muslims. They have by no means, however, made the same effort to protect the sensibilities or even the lives of Christians and Jews across the globe.
Since when does the White House denounce and micromanage artistic expression in the U.S.?
The answer is easy: Since about 2008.
Martin can't seem to decide whether Youssef, aka Nakoula Basseley Nakoula, the maker of the anti-Muslim film that provoked deadly demonstrations in the Middle East, is an artist or just "pathetic." But then, she goes on to excuse his long criminal history to defend his "artistic expression":
The excuse for the abysmal treatment of Youssef was that he was a “criminal,” a fact loudly trumpeted by the castrated press who has helped with his digital lynching. True enough, he was a small time crook with a string of forgeries, false identities and drugs usage – not unlike some who have served this administration. Eight purported violations were suddenly discovered in September, just after Youssef was accused of being involved in making the “film.”
Among many who questioned this circus was Los Angeles defense attorney Mark Werksman and law professors Lawrence Rosenthal and Jonathan Turley. Former federal prosecutor Bill Otis noted that probation violators routinely “get a pass on violations far more serious,” while Youssef had every right to make a “perfectly legal video.” Will we keep those rights?
Martin also overlooks the fact that Youssef/Nakoula was never charged with anything relating to his film --he violated his probation on a felony bank fraud case by using using several aliases. Martin offers no evidence that Youssef was treated any differently than anyone else found to have violated probation on a felony. (We also thought that conservatives believed in law and order.)
Youssef drew attention to himself, and his criminal history, by making a deliberately inflammatory film. There's no evidence Youssef was engaging in anything but anti-Muslim propaganda by making this film. Nevertheless, Martin portrayed him as a martyr:
Youssef is imprisoned for a year (high YouTube crimes), still alive but not for lack of fatwas. Western artists must man up and support each other soon before this is commonplace. Artists and writers are especially good at this, exposing ludicrous rules and rash authorities. Who is the Goya or Beckmann for America, or have they all become subordinates and servants for the system?
So which system is Martin a servant to?