Staff Reports
In a twist that somehow manages to be both surprising and utterly predictable, Senator Jon Tester, a Democrat from Montana, found himself embroiled in controversy over a Pearl Jam concert poster that depicted a dead Donald Trump. This artistic gem was part of Tester’s 2018 reelection campaign, which was supposed to be all about unity and bringing people together—except, of course, for that little detail of featuring an American bald eagle picking at Trump’s remains. Critics might call it distasteful; supporters might call it art. Either way, it raises eyebrows higher than a hat on a jackrabbit.
According to Tester’s 2020 book, *Grounded: A Rural Democrat’s Fight to Unite America*, he actually praised the poster privately, delighting in its edgy depiction. This is, after all, the same Senator who claimed to fight for unity in America while flaunting artwork that screams quite the opposite. When political opponents pointed out that his campaign had condemned the imagery, the Senator’s camp was quick to backtrack. However, shockingly, two weeks down the line, Jon himself still hadn’t disavowed the artwork that was allegedly so “off-message.” Acting like a failed magician, simply trying to distract from the disappearing rabbit might not cut it in the political arena.
Hmmmm….I thought we were toning down the violent depictions? "Democrat Jon Tester Praised Pearl Jam Poster Depicting Trump Dead, Eagle Eating Corpse" https://t.co/2kyrTawR9y via @BreitbartNews
— Peter Schweizer (@peterschweizer) August 1, 2024
Let’s not forget that PEARL JAM was not just any band—this was a rock group beloved by a certain segment of the population that revels in edgy and sometimes violent commentary against political opponents. This poster’s very creation was a result of his close friendship with Pearl Jam bassist Jeff Ament, which is a friendship that seems to have blurred the lines of political decorum. After all, when you have a buddy who’s an artist, maybe don’t pick the rendition of your opponents being feasted upon.
In a rather delicious irony, Tester claimed in his book that while the poster was “off message,” he was “amazed” by the artwork. Meanwhile, fans lined up for hours to snag these controversial masterpieces for a mere $35. It raises the question: is this the kind of “art” that American Democrats are proud to showcase? If so, the art gallery of liberal politics has taken quite a bizarre turn.
As if this wasn’t enough, Tester has also had a history of making violent comments surrounding Trump, even suggesting that the best approach to defeating him is to “punch him in the face.” Is this the behavior of a statesman or a member of a kindergarten class thrown into the deep end of a playground brawl? Mike Berg from the National Republican Senatorial Committee pointedly remarked that Tester’s rhetoric is sick—perhaps an understatement when considering both the content and context of these words.
In sum, Tester represents a disturbing trend in some parts of the Democratic party today: a penchant for violent imagery coupled with violent rhetoric dressed up in colorful campaign slogans. So the question arises: is it possible for him to truly unite America while privately drooling over graphic depictions of his political opponents’ demise? The answer seems clearer than ever with each wave of free speech—especially when it’s touched with an artistic brush and framed in hypocrisy.
