He also spoke at the Manning Centre Conference over the weekend:
The sixth annual Manning Networking Conference wrapped up Saturday evening here with a rapturously received speech by Mark Steyn, who’s pretty much the perfect closer for a crowd of potentially frustrated right-wingers.
“Culture trumps politics,” Mr. Steyn argued. “Once every few years you can persuade the electorate to go out and vote for a conservative party. But if you want them to vote for conservative government you have to do the hard work of shifting the culture.”
“Because if the culture’s liberal, if the schools are liberal, if the churches are liberal, if the hip, fashionable business elite is liberal, if the guys who make the movies and the pop songs are liberal, then electing a conservative ministry isn’t going to make a lot of difference.”
He’s right about that, and it was the right message with which to release the assembled Tories from the fishbowl.
Spinal Tap is universally regarded as one of the greatest, truest movies about rock music ever made, even though the finished cut largely leaves out drugs, groupies and even booze. I could be wrong, but I don’t think anybody even lights up a cigarette.
It’s like if Pixar made Cocksucker Blues.
Whereas Lemmings and other National Lampoon spoofs of the era have strong, well deserved cult followings but are nowhere near as famous now, probably because it is just too painfully accurate.
Jim Goad writes:
I know someone who works in a sushi restaurant, and she says she dreads black customers because they are routinely rude, loud, and they never tip. Doesn’t forcing her to serve them violate the 13th Amendment’s clause against involuntary servitude?
In my years working as a Philadelphia cabdriver, I received a grand total of $1 in tips from my innumerable black customers. Even the black cabbies would complain about black customers’ stinginess. Why does their “right” to not be discriminated against trump my “right” to make money?
Because, I fear, “rights” are a zero-sum game, and the spoils usually go to whoever is pushiest.
And these days, the gays are pushing harder than a steroidal muscle fag mounting a bony twink from behind.
Watch all the videos HERE.
“Eliminating Muslim immigration would not eliminate terrorism,” he said, noting that the 2001 attacks on the United States weren’t carried out by immigrants.
Since when do U.S. citizens require student, tourist or business visas?
Julie Burchill writes:
After a few hours of being told that the Police were about to Knock on my Door (Krazy Kapitals are Katching) and drag Me away for Hate Crimes Galore, I lost patience and phoned the rozzers myself, always keen to meet Trouble halfway. After I’d given them my name and contact details, the charming lady asked me for a brief summary of the online bitch-fight. When I came to the bit about the Hells Angels and Hitler Being Right, there was a sharp intake of breath from Hate Crimes.
‘Let me stop you there, Julie, because this is starting to sound like you should be the one filing a complaint.’
‘I won’t, thank you, as I’m not a cry-baby. But can I file one if this person really has done and I get arrested?’
‘Of course you can! It’s never too late to report a hate crime.’
I went back to the fray refreshed and soon had Michelle the Dame deleting posts left, right and centre: Hitler and the Hells Angels would have to try another day.
This woman doesn’t approve, except she does:
Burchill’s column points to something we should pay attention to. It is the question of security: of what makes us strong enough to deal with the hate, to resist the need to constantly find validation online. It seems to me that if we focus solely on the cyber-bullies, we miss something rather important: that what happens on social media may be more of a symptom than a source of the problem.
Theodore Dalrymple writes:
Just before the current troubles in Ukraine began, we called a plumber to our rented flat in Paris, which smelled of mold at the time. He was Ukrainian. He told us why he had left his native country a few years before: Everyone there was corrupt, nothing was possible without bribery, the opposition was as bad as the government, and all political demonstrations, which were frequent even then, were entirely bogus.
Indeed, political demonstrations had become a form of social security, the political system’s corrupt and vastly rich oligarchs paying a small daily subvention to the otherwise unemployed who agreed to demonstrate in their favor. There was nothing to choose between the government and opposition except the size of the daily payments that they offered, which varied from day to day like the stock market. Principle didn’t come into it; demonstrators changed from pro-government to pro-opposition and vice versa, according to the amount on offer.
RELATED: Penelope Trunk hires a Ukrainian…
We had a Russian translator on the phone, but Dmitry’s English is good enough that he didn’t need one.
Until I said, “What else can we do to make your job good? What are your personal goals for your career?”
He was silent.
I said, “Did you hear me?”
The translator said, “There is not really those words in his language. He doesn’t know what you mean.”
While working on a PJMedia post for next week — bringing Hitchcock’s Rope into the latest gay “rights” absurdity — I came across “Making a Meal of Manhood: Revisiting Rope and the Question of Hitchcock’s Homophobia,” a 2012 essay by David Greven.
Greven is looking back on D. A. Miller’s 1990 paper “Anal Rope,” which (as its title does more than suggest) “reads” the film from that perspective.
(“Perspective” is probably not the technically correct word, but I didn’t go to university, thank God.)
Greven, in contrast, argues for an “oral” reading, which — to my untutored (not to mention straight and female) mind — makes much more sense:
The killers famously use the large chest hiding the corpse as a buffet table, and the static-by-design movie is necessarily dialogue driven.
In a separate essay, “Homosexuality in Hitchock’s Rope,” Gabrielle Golenda helpfully whittles down Miller’s “anal” theory:
The state of the art equipment of the time held only ten minutes worth of film, which was perhaps not coincidentally corresponded with Hitchcock’s use of montage. A sequence in Rope varies from nine to ten minutes, but from start to end, Hitchcock’s intention was for all shots to be ten minutes. Five sequences are actually filmed in a ten-minute takes. Though it is suggested that perhaps he blacked out the frame each time he turned over a new camera (Miller, 114).
[T]he original book’s writer, Richard Hooker, has pointed out how much more liberal the lead character Benjamin “Hawkeye” Pierce is in the show than he was originally written in the original book and it’s sequel.
Although the series is definitely left-leaning, the M*A*S*H books were actually quite right-leaning and conservative. In the M*A*S*H sequel book, Hawkeye is portrayed as “kicking the bejesus out of lefties just to keep in shape”.
I really should explore the former Japan lead singer’s later work…
The 1987 masterpiece, Secrets, would have been enough to justify resting on his laurels for the rest of forever. It’s replete with plangent turns of phrase, but moreover it did what Sylvian seemed to be striving for ever since Adolescent Sex: it was a record that could be considered on its own merits.
Merits that lay well beyond haircuts, makeup and outfits.
How much Gigi and My Fair Lady can I be expected to take?
They’ve FINALLY updated the Cult Movie page, for March:
Tune in for It! Terror From Beyond Space, the 1958 flick that inspired Alien.
As I’ve said about Panic In Year Zero (1962) before, the only thing worse than the end of the world is that Ray Milland is your dad.
I don’t need to see Godzilla again. (And “Gojira” is no more “correct” than the more familiar pronunciation, so don’t be a pedant.)
Journey to the Center of the Earth really doesn’t interest me either.