Just to get this out of the way, of course, as all good Liberals know and have been saying for years, There. Is. No. Tea. Party.
There never has been.
The so-called "Tea Party Movement" was never anything but a massive wingnut rebranding scam
designed to get millions of bigots and meatheads off the hook for
volubly supporting the Worst Fucking President in Modern History.
Which, after seven years, even a straight-up, braying Republican ass like Joe Scarborough finally, smirkingly admitted out loud.
David Wojnarowicz, Fire in My Belly (1986-87) original silent version
“Outrageous use of taxpayer money and an obvious attempt to offend Christians during the Christmas season.”
– Incoming House Majority Leader Eric Cantor, R-Va. (2010)
“American families have a right to expect better from recipients
of taxpayer funds. While the amount of money involved may be small, it’s
symbolic of the arrogance Washington routinely applies to thousands of
spending decisions involving Americans’ hard-earned money. Smithsonian
officials should either acknowledge the mistake and correct it, or be
prepared to face tough scrutiny beginning in January [when the new
majority in the House moves in].”
— House Republican leader John Boehner (2010)
‘Absolutely, we should look at their funds, if they’ve got money
to squander like this — of a crucifix being eaten by ants, of Ellen
DeGeneres grabbing her breasts, men in chains … kissing — then I think
we should look at their budget.’
— Georgia Rep. Jack Kingston, a member of the House Appropriations Committee (2010)
"I regret that some reports about the
exhibit have created an impression that the video is intentionally
sacrilegious. In fact, the artist's intention was to depict the
suffering of an AIDS victim. It was not the museum's intention to
offend. We are removing the video today."
— Director, National Portrait Gallery, Martin Sullivan (2010)
Also a big fuck you to Bill Donohue, Catholic League for Religious ans Civil Rights
David Wojnarowicz, Fire in My Belly (1986-87) soundtrack Diamanda Galas*
* edited version displayed for the exhibition Hide/Seek: Difference and Desire in American Portraiture