Lindsey Graham (R-SC) seethed at George Stephanopoulos when the senator tried bringing up Hillary Clinton’s emails to condemn the indictment of Donald Trump.
The interview between Stephanopoulos and Graham got off to a chaotic start — as the two squared off over the 37 criminal counts Trump faces over his mishandling of classified documents. When asked if he believes Trump’s claim to have committed no wrongdoing, Graham immediately deflected by invoking Clinton’s private server scandal.
“Here is what I believe: we live in an America where if you are the Democratic candidate for president, Hillary Clinton, secretary of state, you can set up a private server in your basement…” Graham said.
Stephanopoulos interjected, calling Graham out for not answering the question. The senator didn’t like the interruption. Not. One. Bit.
NO! LET ME FINISH! This is ridiculous! I’m trying to answer the question from a Republican point of view. That may not be acceptable on this show!
Graham went on to blast the “absolutely ridiculous” espionage charge against Trump, which he accompanied with more digressions to Clinton and other Democrats accused of improperly handling sensitive materials in the past. Stephanopoulos eventually challenged Graham by invoking the indictment’s evidence that Trump was recorded saying he took classified documents with him when he left the White House, and he no longer had the power to declassify them.
Donald Trump is facing criticism over alleged antisemitic propaganda in recent campaign materials—following a long history of incidents in which he has been accused of emulating or, in some cases, replicating imagery deployed by Nazis in the 1930s and '40s.
In a fundraising email sent to supporters Wednesday, the Trump campaign depicted President Joe Biden as being controlled by a puppet master portrayed as Democratic megadonor George Soros, a Jewish philanthropist and a frequent bogeyman of the right for his support of liberal causes and candidates. In addition, he has regularly been the subject of political opponents' conspiracy theories.
While Soros has long been criticized by conservatives for his policy positions, portrayals of him in conservative media and by politicians who oppose him have often evoked images of a sort of string puller behind the scenes who is orchestrating a liberal takeover of American society.
Those depictions also evoke conspiracy theories on the right that blame a Jewish cabal for orchestrating machinations in the political, financial and media sectors. Such tropes date back to antisemitic literature published in the early 20th century and proved influential in the rise of Germany's Nazi regime.
Some on social media said the Trump campaign's email closely resembled Nazi propaganda distributed throughout Europe, from its imagery to its caption saying that Soros was "a secret shadow president behind the curtain pulling the strings."
"Criticising Soros isn't antisemitic, but this is because he is represented in antisemitic terms," Alex Hearn, a writer for several Jewish publications, tweeted in response to the imagery. "It is the fantasy of the evil Jew secretly running the world by undermining countries. That is why it looks so similar to Nazi propaganda."
"Same Nazi symbolism, different time," Elad Nehorai, another writer, wrote on Twitter.
Newsweek has reached out to the Trump campaign via email for comment.
The recent fundraising email is not the first example of a Trump political campaign being accused of using antisemitic or Nazi tropes. In 2020, Facebook removed a targeted advertisement from the Trump campaign that included a red triangle once used to designate political prisoners in concentration camps. That same year, the Trump campaign used the "puppet master" trope in an advertisement featuring Senator Bernie Sanders, who is Jewish, controlling Joe Biden.
And in July that year, Trump's campaign drew widespread controversy over a T-shirt, which was available on his website, that closely resembled Nazi iconography—a comparison a campaign official at the time dismissed as "moronic."
More recently, the Trump campaign gained national attention after a group purporting to be representatives of the antisemitic National Justice Party distributed flyers at a recent Trump campaign rally in South Carolina. The flyers called for a "2% ceiling on Jewish representation." (Newsweek could not independently verify the authenticity of the flyers.)
Wednesday's incident, critics said, was just another example of the Trump campaign perpetuating another harmful stereotype. It is the same iconography, the critics said, that helped fuel a surge in the number of reported antisemitic incidents in the later years of the Trump administration.
"We continue to see fundraising emails from the Trump campaign that feature language & imagery of George Soros controlling puppet strings and secret globalist cabals," the Anti-Defamation League told Newsweek in a statement on Thursday.
"This isn't just disturbing, it's indisputably dangerous and reprehensible," the statement continued. "Let's be clear, these are antisemitic tropes about Jewish power and are a gateway into hardcore antisemitic conspiracy theories."
Uncovering a Tragedy: Meet George Stinney Jr., an innocent life snatched by the US at the age of 14.
At just 14, George Stinney Jr., an African American boy, faced an unjust fate. He was wrongly convicted and executed for the murders of two young white girls in 1944, later proven to be an unfair trial.
Stinney's conviction and death sentence by electric chair made him the youngest American in the 20th century to be executed with an exact birth date. The trial, lasting only 2 hours, had an all-white jury and denied his parents entry to the courtroom.
Throughout the trial, George Stinney Jr. steadfastly maintained his innocence, clutching a Bible in his hands. To make him fit the electric chair, they used the very Bible he held as a booster seat. An unimaginable injustice.
Executing Stinney with 5,380 volts, the truth of his innocence remained buried for 70 years until a South Carolina judge finally exonerated him. The murder weapon's weight, over 19.07 kilograms, made it physically impossible for Stinney to wield it.
George Stinney Jr.'s tragic story inspired Stephen King's "The Green Mile," shedding light on the deep-rooted flaws in the justice system. May we never forget this innocent life taken too soon.
I'm starting a new series of autobiographical stories with a Gemstone connection, mostly South Carolina or megachurch-related. First up: Cousin George:
He was the son of my father's older brother, just my age, tall and blond, with a hard chest, a thin belly, and a Southern drawl. He lived in Walterboro, South Carolina, about 50 miles from Charleston but a thousand miles from Rock Island, so we visited only a few times during my chiildhood. Usually my Grandma Davis took me down on the train.
What I remember most about my visits: the sizzling heat, the humidity, and the beefcake. No one in South Carolina owned a shirt. I had never seen so many muscular bodies.
And the racial diversity: Cousin George had friends who were Native American and Chinese, and even black (I never saw anyone black in heavily-segregated Rock Island).
We went fishing and crabbing, and Cousin George warned me to avoid the "dead man's fingers" inside the crab shells that would turn you into "a goon."
We went swimming in the warm salty Atlantic Ocean.
At night Cousin George and I took our baths together together in scalding-hot water, and then slept naked together under thin sheets -- "only fools wear pajamas," he insisted.
When I was 13, Grandma Davis got sick, and the train-visits stopped. We didn't stay in contact. Occasionally my father would tell me something about his three older sisters, but he never mentioned Cousin George. Apparently my uncle never mentioned him. Was he dead, or disinherited, or a disappointment?
Years later, when I was a visiting assistant professor in Florida, I got a job interview at a college in South Carolina, and afterwards I thought I'd look up my relatives. I visited my uncle and aunt, and Cousin Suzie, and then I asked about Cousin George.
They all exchanged glances. "Oh…um…we don't talk to him much," Cousin Suzie said. "He lives in Charleston." She said it with palpable disgust, like it was a cesspool of immorality.
"That's only an hour away," I pointed out. "And it's on my way home."
"Oh…um…he's busy with his own affairs, is all."
What would cause such obvious discomfort? I wondered. Only three things:
My South Carolina relatives were all strict Nazarenes. Maybe George was a backslider.
They were somewhat racist. Maybe George was in an interracial relationship.
Maybe he was gay.
Turns out: all three!
They gave me the address in Charleston -- they didn't have a phone number -- and I drove down. A massive African-American bodybuilder-type answered the door. Rod, the boyfriend!
Cousin George came home from work about an hour later, a massive blond bodybuilder-type (this isn't him, either).
We went out to dinner at the Boar's Head, a gay-friendly restaurant, and talked about bodybuilding and our jobs and romances, and the difficulty of dealing with fundamentalist relatives.
"You should have known about me back when we were kids," Cousin George said. "Why do you think I wanted to take baths together?"
"And sleep naked," Rod added. "'Only fools wear pajamas.'" They exchanged a glance and laughed.
Apparently he had heard a lot about my visits.
No, I didn't hook up with my cousin. But I did discover that both Rod and George still slept without pajamas.
The story with illustrations (no nudity) is on RIghteous Gemstones Beefcake and Boyfriends
...George Vanderbilt’s library at The Biltmore...my lens flare created the perfect mood of a haunted intellectual haven...the frescoes on the ceiling, the massive fireplace, the red velvet furnishings, curving staircase leading to the catwalk...and books, the smell of leather bound books...I could linger here for hours and then leave through the French doors and wander down to the Italian gardens and Olmsted’s genius...it’s a place of dreams...
Embracing my inner Encanto fangirl 💀 video made by me. The “Love Tia ♥️” watermark is my signature for That Innovating Artist. I am the same person! All credit goes to everyone’s favorite overlord that is Disney 🦋✨🕯️
Top: 1768 María Carolina de Habsburgo-Lorena, reina de Nápoles by Anton Rafael Mengs (Museo Nacional del Prado - Madrid, Spain). From their Web site 2287X3051 @310 3.8Mj.
Second row: 1768 Leigh Family by George Romney (National Gallery of Victoria - Melbourne, Victoria, Australia). From pinterest.co.uk/lillyho86/parents-and-children/ 1200X1119 @300 280kj.
Third row: 1767/1768 Natalia Alexandrovna Repnina by Per Kraft the Elder (State Hermitage Museum - St. Petersburg, St. Petersburg Federal City, Russia). From Web Gallery of Art 932X1255 @300 258kj.
Fourth row left: 1768 Lady by Francis Coates (Tate Collection - London, UK). From artuk.org 946X1190 @72 301kj.
Fourth rów right: 1768 Konstancja Poniatowska by Krafft Starszy (Muzeum Narodowe w Krakowie - Kraków, Poland). From zbiory.mnk.pl/pl/wyniki-wyszukiwania/katalog/354209 2480X3284 @300 1.8Mj.
Fifth row: 1768 Marie Loys by or after François Hubert Drouais (Musée du Louvre - Paris, France). From fr.gallerix.ru-pic-D-245773047-2736; removed spots, smudges and flaws w Pshop 2272X2777 @72 9.6Mp.
Sixth row left: 1768 Varvara Sheremetev, later Countess Razumovsky, by Ivan Petrovich Argunov (Museum-Estate Kuskovo - Moskva, Russia). From liveinternet.ru/users/4000579/post386542964/ 796X1036 @96 324kj.
Sixth row right: 1768 Sofia Magdalena, 1746-1813, drottning av Sverige prinsessa av Danmark attributed to Lorens Pasch the Younger (Gripsholms slott - Mariefred, Södermanland, Sweden). From Wikimedia 2658X3479 @300 3.2Mj.
Bottom: 1768 Mrs. Richards by Thomas Gainsborough (auctioned by Sotheby's). From their Web site; erased spots and background and blurred feigned oval 1865X2289 @72 6.4Mp.