PUTIN'S ENERGY WEAPON, BIDEN'S IMMIGRATION POLICY, AND THE CANCEL CULTURE

Commentary from the Post editors

 

Post Editorial Board 

 

New York Post

April 6, 2022

 

 

Putin’s Energy Grab

“There is more than one way to dominate Ukraine,” warns David Knight Legg at The Wall Street Journal. Conventional wisdom says Vladimir Putin “has foolishly overreached,” but “under cover of the wider conflict,” he’s “taking full control of Ukraine’s vast, extremely valuable energy assets and intends to integrate them into the Russian supply chain on which Europe now depends.” Indeed, “this war is, or will default to, an energy heist.” If Putin keeps the territory he’s grabbed, he’ll “control all of Ukraine’s offshore oil, its critical ports on the Azov Sea, the Kerch Strait, 80% of the Black Sea coastline and all critical energy-processing and shipping infrastructure.”

 

Joe’s Mess Sure Looks Intentional

“It has become clear over the past 14 months that the Biden administration has no interest in securing the border,” Chad Wolfe charges at the Washington Examiner. Its ending of Title 42 guarantees “an additional surge of illegal immigrants” after a year that “saw the highest number of illegal apprehensions on record.” And it’s “committed millions in taxpayer dollars to provide legal representation for migrants challenging their removal from the U.S.” The prez’s new budget plan “commits $4.5 billion in legal defense for illegal immigrants over the next 10 years.” And a recent shift in who judges asylum claims “will likely result in greater numbers of illegal immigrants with dubious claims of asylum being ushered into the U.S.” Sure looks like “chaos” by “deliberate design.”

 

Princeton’s Cancel-Culture Sellout

“Last December, Princeton University was slated to host an exhibition of 19th-century Jewish American artwork provided by Leonard Milberg,” notes Reason’s Robby Soave. But school officials objected to “the inclusion of artwork by two 19th-century Jewish Americans who had served as soldiers in the Confederate army during the Civil War,” and Milberg promptly pulled out. Why? Because it would have been impossible “to have an accurate show about 19th-century Jewish American art” without those artists. Yet “history is filled with flawed people who nevertheless made important contributions to literature, art, science and philosophy.” And the art had nothing to do with the Confederacy, but the university surrendered to its vice provost for “institutional equity and diversity” anyway, and “a vital learning moment was lost.”