Democrats in the House chamber burst into raucous laughter when Marjorie Taylor Greene called for “decorum”.
The far-right Georgia Republican, controversialist and conspiracy theorist was presiding over the House on Wednesday as Steve Scalise, the Republican majority leader, was speaking.
Scalise was discussing the debt ceiling standoff between House Republicans and the Biden White House.
Greene's ignored call for composure comes months after she heckled President Joe Biden during the State of the Union when she shouted 'Liar!' after he claimed Republicans hoped to threaten Social Security.
At last year's SOTU, she and Representative Lauren Boebert of Colorado chanted 'Build the Wall' as the president spoke about immigration.
In a recent Homeland Security committee meeting, MTG branded Secretary of Homeland Security Alejandro Mayorkas a 'liar,' after he said his agency is fighting the drug trafficking taking place at the US southern border.
Ultimately, the Republican committee chairman, Representative Mark Green, moved to strike MTG's labeling of Mayorkas from the record.
Democratic congressman Jimmy Gomez responded to the video of Green calling for decorum by writing that MTG 'calling for decorum is like Leonardo DiCaprio telling people to date people their own age.'
Representative Adam Schiff tweeted: 'I haven’t laughed this hard in a while - but Marjorie Taylor Greene just called for “decorum” on the House Floor.'
Put her in a tan, 90s pantsuit and Marjorie's ready to do stand up.
"Iraq snapshot" (THE COMMON ILLS):
Somehow, the film's timeline?, some people seem to have the idea that he beat her up real bad in a limo in Dallas in 1976 and Tina up and left. Wrong. He beat her repeatedly. He beat her through the sixties, he beat [her] through the seventies until she left. And when she left, this 'kind' man threatened to kill her and did a little more than threaten.
That wasn't about 'love.' What's love got to do with it? Not a damn thing.
Tina was a meal ticket and long before [terrorist] moved into his 'open' relationship ('open' for him only, of course), Tina was well aware of his many girlfriends, mistresses and one-night-stands. When she would try to leave, he would beat her. When she did leave, he would pull her off a bus and beat her. When the song didn't sail up the charts, he'd beat her. When he was having a bad day, he'd beat her. When he thought she was getting too much credit (she was the act), he'd beat her. He'd beat her for any reason whenever he damn well felt like it. It was a non-stop abusive relationship.
And, sad to say, many of the rock press knew about it when they were together and many of them sided with [terrorist]. That was the attitude in the rock press. It was especially the attitude at Rolling Stone and, for those who doubt it, you can comb the archives and find that attitude displayed everywhere -- even in an article on Sonny & Cher's then-new TV show, where it was 'shared': "Many of my friends favor the belief that after work Sonny beats the sh*t out of her with a tire iron." (For those too lazy to do their own research, the pig 'sharing' that bit of 'amusement' was Chris Hodenfield.)
That was the Rolling Stone attitude. It didn't disappear. In 1981, editor Brant Mewborn was screaming loudly for the magazine to feature Tina (who just done two multiple night engagements of SRO business at the Ritz and been brought on Saturday Night Live by Rod Stewart to sing a duet of "Hot Legs") and the reaction was one of indifference, one of 'she walked out on [terrorist].' The abuse was well known by then. Didn't matter. That was the 'feel' and 'mood' at Rolling Stone: Tina walked out on the man who beat her, she didn't matter.
Rolling Stone was long aware of what actually went on in The [terrorist] and Tina Turner Revue. Some of the truth leaked out in Ben Fong-Torres' hard hitting piece in the magazine's October 14, 1971 issue. Rolling Stone was made even more aware after the publication of the article when the police nabbed a man who had been hired by Ike to break the legs of Ben Fong-Torres and publisher Jann Wenner. The article noted his 'flirtations' with other women and his heavy coke use.
Tina was the one who got them to update their sound when their music was dying in the sixties. So the idea that "even Tina has to" feel anything is beyond belief.
She was enslaved. She wasn't allowed to live her life. She wasn't allowed to practice her religion. She wasn't allowed to be just an artist in the revue. She would try to bargain her way out of the relationship with that and [terrorist] would just beat her.
He beat her because he was damn lucky she presented herself in his life. He beat her because he couldn't beat men and he couldn't make the male singers stay. He beat her because she was his ticket to big money and big fame. Even with all her talents provided him with, he still beat her and that was because he really couldn't take the fact that no one really considered it "[terrorist] and Tina," it was just Tina. Which is why the Who wanted Tina for their film (Tommy) and not [terrorist]. Which is why Phil Spector wanted Tina (and not [terrorist] for "River Deep Mountain High." By the end of the act, he couldn't even keep it together in the studio.
He beat her over and over for their entire relationship. He beat her with his fists, he beat her with wire hangers, he beat her with whatever was handy. An electrical cord could and would do. He threatened her with death (repeatedly) if she left him.
And that would have been true if he'd died long before Lana Clarkson was murdered. He was another control freak and he was abusive to Ronnie Spector. Not on an [terrorist] scale but few people in the world will reach that kind of scale while in the spotlight.
Jim asked us to write about this and showed an e-mail explaining why this topic needed to be addressed. A reader of two years had been on the AOL message boards and saw [terrorist]'s abuse minimized by guys with man-crushes on [terrorist] who repeatedly down-played the physical abuse of Tina Turner, the beatings, the crimes. The reader said it brought back for her the denial she was met with when she brought charges against her then husband for abuse.
Boys, it's sad when your heroes have feet of clay, we understand. It must be even sadder when your hero turns out to be an abusive crook. But that is the reality of [terrorist]. And he didn't 'just beat Tina once,' he did so repeatedly. And the message that the reader copied and pasted into her e-mail, where a man was saying that all that happened, all that caused Tina to leave, was [terrorist] was in a bad mood and just slapped her, is a nice little fantasy for those who need their daily dose of denial. But it's not reality.
Here's the thing, if [terrorist] had beat a woman he wasn't involved with even once the way he regularly beat Tina, his ass would have been hauled off to jail and it's doubtful that people would be writing "Poor [terrorist]" pieces today. But because it was his wife (or 'wife'), we're supposed to allow for something. What, we're not sure. But there's a lot of minimizing going on about the fact that he 'only' beat his wife. (And for the record, he also beat many of his mistresses. Ann Thomas is only one of the many women who've gone on record explaining how [terrorist] also beat them.) As if it's somehow 'different' if the woman you physically attack is your wife. Almost as if they're saying, she probably asked for it.
The American Bar Association's Commission on Domestic Violence notes that 1.3 million women "are physically assaulted by an intimate partner" each year in the US. That's nothing to minimize.
The music legend — who died at age 83 on Wednesday after a "long illness," her rep confirmed — opened up about her romance with Bach, now 67, in her 2021 HBO documentary Tina.
"He was [16 years] younger [than me]. He was 30 years old at the time and had the prettiest face. I mean, you cannot [describe] it. It was like insane. [I thought], 'Where did he come from?' He was really so good-looking. My heart [was beating fast] and it means that a soul has met, and my hands were shaking," Turner recalled in the film.
"We met at Cologne [Bonn] Airport — actually it was Düsseldorf Airport [in Germany], and her manager Roger [Davies] asked me to pick up Tina," added Bach, a former music executive, in the documentary," Bach said in the documentary.
As the Queen of Rock’n’Roll. As a woman who showed other women that it is OK to strive for success on their own terms.