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7 Political Disagreements Settled With Fists and Hair-Pulling

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Getty Images

Anyone with even a fleeting relationship to political news these days has probably noticed that partisan bickering in the U.S. Congress has reached a bit of a crescendo of late. So we got to thinking: When do politicians just give up on the vitriolic rhetoric and throw a punch? The answer: more often than you’d think.

Here’s a list of our favorite instances—both historical and contemporary—when schoolyard tactics have made an appearance in the marbled halls of congresses, parliaments and legislatures worldwide.

1. A hairpiece saves the day

In February 1858, with the debate over slavery in full swing, pro-slavery Congressman Laurence Keitt called anti-slavery Congressman Galusha A. Grow a “black Republican puppy,” and then attempted to choke him. Grow’s and Keitt’s friends quickly piled on, until nearly fifty members of the U.S. House of Representatives were choking one another, throwing punches, kicking and pulling each other’s hair. The free-for-all ended after a wild punch from a Wisconsin representative sent a Mississippi representative’s hairpiece flying. When the Mississippian accidentally replaced the wig backward, both sides started laughing and tensions eased.

2. Who throws a shoe?

Former Taiwanese lawmaker Wang Shu-hui, that’s who. Shu-hui made a name for herself in 2007 when television cameras caught her throwing what appears to be a black slip-on at the speaker of Taiwan’s legislature during a heated debate. It got better when the speaker, eschewing the high road, threw the shoe back at her—at which point the entire legislature erupted into what can only be described as a mass tussle.

3. Crossfire

At a commercial break during a political talk show in Ukraine, Parliamentarian Nestor Shufrich walked right up to Interior Minister Yury Lutsenko and did what so many of us have wanted to do when we’ve seen politicians talking on TV: he punched him in the face. According to this clip, which captures the aftermath of that satisfying sucker punch, the congressmen continued to egg on the interior minister, who refused to punch him back. Congressman Shufrich must have gotten his cue from his fellow parliamentarians, who erupted into a brawl a year earlier.

4. Robert’s Rules of Judo

In 2009, parliamentarians in South Korea lost their cool during a debate over media reform. It’s unclear exactly who threw the first punch, but what is clear is that the ensuing brawl didn’t end until the Speaker of Parliament was physically barred from chambers and the deputy speaker passed the bill in question. A year later, during a debate on a totally unrelated topic, a couple of other Korean parliamentarians lost their cool, too, pulling some pretty sweet judo moves on one another until they were yanked apart.

5. Weapons Allowed?

In May 1856, pro-slavery congressman Preston Brooks got so fed up with anti-Slavery congressman Charles Sumner’s antics that he crept up behind Sumner in the U.S. Senate and beat him over the head with the metal ball on the top of his cane. When Sumner fell to the ground, Brooks ripped out a desk that had been bolted to the floor and continued to beat his rival until his cane broke. Other congressmen tried to step in to help Sumner, but were held at bay by Brooks’ friend and fellow pro-slavery congressman, who wielded a revolver, warning the other politicians to get back, or he’ll shoot. For several decades after this bloody incident, U.S. Congressmen carried walking canes and revolvers to sessions lest they meet a similar fate.

6. A Sword's Width Apart, Gentlemen

The aisle running through the center of the British House of Parliament measures, supposedly, two swords lengths and one inch across. That specification dates back to when members of parliament did their lawmaking fully armed, but evidently, not a lot has changed over the centuries. In 1976, Conservative parliamentarian Michael Heseltine got so enraged by his Labour colleagues’ rendition of a socialist anthem that he lunged for the chamber’s ceremonial mace, ripped it from its holder and began brandishing it over his head. He was restrained and dragged out by a fellow parliamentarian without further incident.

7. Ultimate Budget Fighting

In late 2010, during a heated debate about—what else?—the state budget, Argentinean lawmaker Graciela Camano got so fed up with her fellow lawmaker Carlos Kunkel that she walked up to him, punched him in the face, then stalked out of chambers. Later, explaining her behavior, she seemed unrepentant. All year long he “just kept shouting without making a single proposal,” she said.

Shout! Factory
10 Surprising Facts About Mr. Mom
Shout! Factory
Shout! Factory

John Hughes penned the script for 1983's Mr. Mom, a comedy about a family man named Jack Butler (Micheal Keaton) who loses his job. To ensure their three kids are taken care of, his wife, Caroline (Teri Garr), goes back to work—leaving Jack to fight off a vacuum cleaner and learn why it's never a good idea to feed chili to a baby.

In 1982, Keaton turned in a star-making role in Ron Howard’s Night Shift, but Mr. Mom marked the first time he headlined a movie, and it launched his career. Hughes had written National Lampoon's Vacation, which—oddly enough—was released in theaters the weekend after Mr. Mom. But Hughes himself was still a relative unknown, as it would be another year before he entered the teen flick phase of his career, which would make him iconic.

In the meantime, Mr. Mom hit home for a lot of viewers, as the economy was on the downturn and more and more women were entering (or reentering) the workforce. But some people think that the movie's ending—which sees the couple revert to traditional gender roles—sidelined the movie's message. Still, on the 35th anniversary of its release, Mr. Mom remains an ahead-of-its-time comedy classic.


Mr. Mom producer Lauren Shuler Donner came across a funny article John Hughes had written for National Lampoon. Based on that, she contacted him and the two became friends. “One day, he was telling me that his wife had gone down to Arizona and he was in charge of the two boys and he didn’t know what he was doing,” Donner told IGN. “It was hilarious! I was on the floor laughing. He said, ‘Do you think this would make a good movie?’ And I said, ‘Yeah, this is really funny.’ So he said, ‘Well, I have about 80 pages in a drawer. Would you look at it?’ So I looked at it and I said, ‘This is great! Let’s do it!’ We kind of developed it ourselves.” In the book Movie Moguls Speak, Donner mentioned how Hughes “had never been to a grocery store, he had never operated a vacuum cleaner. John was so ignorant, that in his ignorance, he was hilarious.”

The players involved with the movie told Donner and Hughes they thought it should be a TV movie. Hughes had a TV deal with Aaron Spelling, who came aboard to executive produce. “Then the players involved were upset because John was writing out of Chicago instead of L.A.,” Donner said in Movie Moguls Speak. “They fired John and brought in a group of TV writers. In the end, John and I were muscled out. It was a good movie, but if you ever read John’s original script for Mr. Mom, it’s far better.”


Stan Dragoti ended up directing the film, but only after Hughes turned it down, because he preferred to make his movies in Chicago, not Hollywood. “I don’t like being around the people in the movie business,” Hughes told Roger Ebert. “In Hollywood, you spend all of your time having lunch and making deals. Everybody is trying to shoot you down. I like to get my actors out here where we can make our movies in privacy.” Hughes remained in Chicago and filmed his directorial debut, Sixteen Candles, there.


In 1982’s Night Shift, Keaton’s character works at a morgue and starts a prostitution ring with co-worker Henry Winkler. Donner had an agent friend, Laurie Perlman, who represented the not-yet-famous actor. She contacted Donner and pitched Keaton to her. “’Look, I represent this guy who is really funny. Would you meet with him?’" Donner recalled of the conversation. "So I met with him. Usually I don’t like to do this unless we’re casting, but I met with him because she was my friend. And then she said, ‘You have to see this movie Night Shift that he’s in.’ So I went to see Night Shift, and midway through I couldn’t wait to get out of that theater to give Mr. Mom to Michael Keaton. Fortunately, he liked it."

Keaton told Grantland that he turned down one of the main roles in Splash to play Jack Butler. “I just remember at the time thinking I wanted to get away from what I’d just done on Night Shift,” he said. “I thought if I do it again, I might get myself stuck. So then Mr. Mom came along. So I said no [to Splash] so I could set up this framework right away where I could do different things.”


Teri Garr, Michael Keaton, Taliesin Jaffe, Frederick Koehler, and Martin Mull in Mr. Mom (1983)
Shout! Factory

In 1983, more women stayed at home than worked, so it was a novelty for a man to be a stay-at-home dad. Today, an estimated 1.4 million men are stay-at-home dads, and 7 million men are their children's primary caregiver. “Mr. Mom became part of the vernacular,” Donner told Newsweek. “Mr. Mom represented a segment of men who were at home dealing with the kids who, up until then, really hadn’t been heard from. That’s what really told me about the power of film, because it spoke for a lot of men. It also helped women, because I think that women sometimes, if you’re a housewife, you’re not really appreciated for what you do. This sort of made women feel better about what they did because they knew that men were understanding it.”


More than 30 years after the film’s release, stay-at-home dads feel the term “Mr. Mom” should die. The National At-Home Dad Network launched a campaign to terminate the phrase and instead have people refer to men as “Dad.” In 2014 Lake Superior State University voted to banish “Mr. Mom” from the lexicon.

“At least, the pop-culture image of the inept dad who wouldn’t know a diaper genie from a garbage disposal has begun to fade,” wrote The Wall Street Journal, after declaring “Mr. Mom is dead.”


The movie redefined gender roles, but when the producers pitched the premise to Garr, they hid the plot reversal. “They just told me it was about a guy who does the work that a woman does, because it’s so easy,” she told The A.V. Club. “And I went, ‘Oh, yeah. Ha ha.’ It’s so easy. All the women I know who stay home and take care of their kids, they go, ‘Oh yeah, this is easy.’ Hmm.”


The quote everyone remembers from the movie comes from Jack, holding a chainsaw, standing next to Ron Richardson (Martin Mull) and discussing what kind of wiring Jack will use in renovating the house: “220, 221, whatever it takes,” Jack says.

“We’re doing the scene and it was okay,” Keaton told Esquire. “And I remember saying to the prop guy, ‘Go find me a chainsaw.’ When he comes back with it, he says, ‘You wanna wear these?’ And he holds up some goggles. I go, ‘Yeah.’ You know, they make me look crazy. And when Martin shows up, I know I should look under control, I’m not sweating it. I’m a dude. So we’re standing there, Martin pulls me aside and says, ‘You know what you ought to say? When I ask about the wiring, you oughta just deadpan: ‘220, 221.’ I died. It was perfect. I may have added ‘whatever it takes.’ But it was his.”

“That was a little ad-lib that we just threw in, but every carpenter or construction person I’ve ever worked with, they’re always quoting that line from Mr. Mom,” Mull told The A.V. Club.


Mr. Mom only opened on 126 screens on July 22, 1983, but managed to gross $947,197 during its opening weekend. Once the film went wide a month later to 1235 screens, it hit number one at the box office and spent five weeks at the top. By the end of its run, the film had grossed just shy of $65 million, making it the ninth highest-grossing film of 1983 (just between Staying Alive and Risky Business). National Lampoon’s Vacation, Hughes’s other film that summer, came out July 29 and ended its theatrical run with $61,399,552 (at its height, it showed on 1248 screens). Vacation finished the year in 11th place.


During a 1986 interview with Seventeen magazine, Molly Ringwald asked the writer-director why he never showed teen sex in Sixteen Candles or The Breakfast Club. “In Sixteen Candles, I figured it would only be gratuitous to show Samantha and Jake in anything more than a kiss,” he said. “The kiss is the most beautiful moment. I was really amused when someone once called me a ‘purveyor of horny sex comedies.’ He listed The Breakfast Club and Mr. Mom in parentheses. I thought, ‘What kind of sex?’ Yes, in Mr. Mom there’s a baby in a bathtub and you see its bare butt.”


In the beginning, producers wanted Mr. Mom to be a TV movie, not a feature film. But a year after the film came out in theaters, ABC produced a TV movie called Mr. Mom, with the same characters and premise. Barry Van Dyke played Jack and Rebecca York played Caroline. A People magazine review of the movie stated: “They and their three kids are immediately likable … But it goes downhill from there as the script lobotomizes all its characters. Here’s a textbook case in how TV takes a cute idea—and a script that does have some good lines—and leeches the wit out of it.”

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