The monolith was
\nmoved<\/STRONG><\/EM><\/FONT><\/A> in 2002 to a privately owned site.)<\/P>
\nOne of the fascinating points Bravin made was that “Thanks to an alliance between the
\nHollywood producer and a juvenile-court judge from St. Cloud, Minn., as many as 4,000 Ten
\nCommandments monoliths were erected in public spaces across the country, for the dual pupose
\nof promoting [deMille’s] 1956 epic [“The Ten Commandments”] and instructing the citizenry in
\nbehavior acceptable to God.” <\/P>
\n
There were, in 2001, pending court cases and legislation involving displays of the law of
\nMoses in more than a half-dozen states, Bravin reported. <\/P>
\n
Not so incidentally, today’s Wall Street Journal has a piece by none other than Alabama
\nSupreme Court Chief Justice Roy S. Moore, the man at the center of the latest controversy. The
\npiece has to be among the stupidest op-eds ever to run in the
\nJournal’s editorial pages — and that’s no mean feat. It’s called “In
\nGod I Trust”<\/STRONG><\/EM><\/FONT><\/A> (online only for WSJ subscribers), and it’s
\nriddled with legal and factual errors, among them the false claim that God is “specifically
\nmentioned” in the U.S. Constitution. He is not. But Justice Moore’s confusion may be
\nunderstandable, since He is “specifically mentioned” in the Constitution of the Confederate States
\nof America.<\/P><\/p>\n","protected":false},"excerpt":{"rendered":"As long as we’re looking at the issue of Alabama’s Ten Commandments, my staff of thousands thought you might find an old Wall Street Journal story relevant. Unfortunately, it’s not online except by subscription. The headline on the story, when it ran in the print edition in April 2001, gives you the gist of it: “When Moses’ Laws Run Afoul of the U.S.’s, Get Me Cecil B. […]<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[4],"tags":[],"class_list":{"0":"post-363","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pbvgEs-5R","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/363","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/comments?post=363"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/363\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media?parent=363"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/categories?post=363"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/tags?post=363"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}