I was standing an arm’s length from the Pulitzer-Prize-winner, live-tweeting as he spoke on camera about the state of journalism. About 15 minutes in he said, “This is all off the record.”
My head shot up and I replied, “I’ve been tweeting the whole time, and you’re speaking to camera.”
If George W. Bush had done that, you know what?
Hersh would’ve called him “stupid.”
Paul McCartney and Wings played a benefit in Venice to raise funds for the city.
However, the weight of the group’s equipment did further damage to the main square…
John Bonham’s last act inspires future Spinal Tap joke.
John Derbyshire writes:
Africa’s gift to the 20th century was AIDS. Now ebola is surging. Will this improve when the disease agents have four times as many people to mutate among?
There is also the delicate matter of human capital, of population quality. Why do so many black Africans want out of the place? Bad government and low levels of civilizational attainment. But what accounts for those?
I find smart fraction theory persuasive: sub-Saharan Africa just doesn’t have enough clever people. With four times today’s population, black Africa will have four times as many smart people, but unfortunately the same fraction, so the population increase won’t help.
After one Blogger/Google content warning too many, Arnie and I finally moved his blog over to my secure private server.
From now on, you can reach him at BlazingCatFur.ca.
Rick McGinnis writes:
Like most children of divorce, Mason and his sister wish that their parents would get back together, and balk at their mother’s attempts to build a new family when, as far as they’re concerned, they already had one. And so once again a film populated with liberal characters, created from a very liberal sensibility, ends up confirming a deeply conservative tenet simply because you can’t argue with emotional facts.
As the narrator says:
Why the hell would a Southern town circa 1960 need an “outside agitator” who was PRO segregation?
The film’s entire motivating conceit is inherently flawed, but this is true of so many liberal “message” movies — Roger & Me, White Man’s Burden, District 9, any number of implausible “What if/table-turning” episodes of Law & Order — that you feel weird even pointing it out.
I need to put in at the very start, however, that no one I know personally who ever called themselves a “neo-con”, in jest or otherwise, had ever heard of Leo Strauss before pundits started accusing us of worshiping him about 10 years ago.
I still haven’t read him (life is too short) and really have little idea what he was supposedly on about.
Anyway, Steve Sailer writes:
There’s virtually no evidence in Melzer’s quotes of antiauthoritarianism or egalitarianism in the great philosophers. Hierarchy was seen as a self-evident virtue. The people’s right to know is a relatively recent notion, probably traceable to Martin Luther’s insistence that every man should read the Bible for himself.
Today, the extremism of our culture’s demands for attestations of faith in equality and transparency is a mask for the movement back toward censorship and esotericism. We live in a society in which the fundamental truths—such as, that talents are distributed unequally by genetics—are increasingly considered unfit for public discussion, and careers as eminent as that of as James D. Watson, codiscoverer of the structure of DNA, are destroyed for letting slip a lack of fidelity to the reigning taboos.
Our modern culture is not based on esotericism – esotericism requires that the commoners are allowed comfortable platitudes while philosophers revel in The Real Truth. Instead we have a culture of Orwellian Crimestop and Newspeak where people are forced to humiliate themselves through the cant of evident falsehoods, the opposite of comfort. Virtue is marked by the ability to believe in contradictory falsehoods through effort of will.
David McGimpsey cracks me up:
“Malcolm chased me,” she writes in extracts from her eponymous memoir, released to the Sunday Times. “I didn’t want him for my boyfriend. He didn’t look after himself. And I started trying to cook for him a bit and stuff like that. And, well, that’s how it started. He wasn’t well one time and he didn’t have a bed.
“So I made him sleep in my bed in the daytime to get over a fever, and he stayed in there for days and then he wouldn’t get out. And that was how we ended up having sex.”
Then Westwood fell pregnant with his child, her second son Joe Corre – a social activist who co-founded luxury lingerie brand Agent Provocateur.
“The point is, I didn’t want Malcolm at first, but I did, in fact, end up getting pregnant by him,” she writes. “Even then, I didn’t really want him.”
I can hardly believe he managed it, frankly. So maybe this IS news. Sort of.
Half the “McLaren/Westwood” “Sex/Seditionaries/Too Fast…” exhibits at the Met probably fakes, and a lot of the “expert” descriptions were wrong anyhow, says this guy.
Writers may only create new characters if they end up getting eaten by zombies.
No device is capable of measuring the damage Hitchcock’s “Bang! You’re Dead” has likely had eroding Second Amendment rights in the United States. It’s practically the “Daisy ad” of gun control.
But it’s nice to learn that the episode may also help undermine “progressive” policy regarding the state-sponsored euthanasia of future Terri Schiavos.
Hitchcock’s uncharacteristically straight-faced intro to “Bang!…” seems to suggest that he wanted his little movie to save lives.
Over half a century later, maybe it will, in a manner he could never have anticipated.
But that’s art for you, even middlebrow popular art: the creator can never be certain that his creation won’t take on a life of its own.
A song, a movie, a book, a television show — they’re like that stolen gun. Once it’s out of your hands, all bets are off.
Except not even The Mamas and the Papas walked around wearing “The Mamas and the Papas” t-shirts as far as I know.
Kind of amazing that such a self-referential, even self-indulgent song could be so appealing to total strangers, and retain such staying power.
The song is often cited as one of punk’s greatest singles, and is a fiery polemic on record companies, managers and the state of punk music itself, the motivation for the song being the band’s label (CBS Records) releasing “Remote Control” without bothering to ask them, something that infuriated the group. The song also features perhaps the earliest usage of the phrase “guitar hero” in rock music…
Mick Jones wrote most of the song, despite the fact it’s credited as a Strummer/Jones joint composition. Joe Strummer ad libbed the “You’re my guitar hero” [a dig at the little "rock star" guitar solo Mick included for himself -- foreshadowing of "creative differences" to come...] and “This is Joe Public Speaking!” bits, and was so proud of Jones’ efforts that except for a reference to a disastrous promotional trip to Amsterdam, he declared them finished.
And, by the way, it makes for one of my favorite “misheard lyrics” efforts.
(I’m eternally grateful to “the Meatriarchy” for sending me that particular video, which makes me laugh like almost nothing else. Too bad the creator got the “guitar hero”‘s identity wrong, though.)
Anyhow, I’m reminded (by someone who may not even have been born in the 20th century) that this single/album version of “Complete Control” was released 37 years ago today
please kill me, so.
(And of course, this latter day “live version” [Bond's?] video is “(C) 1977 SONY BMG MUSIC ENTERTAINMENT (UK) Limited” — all caps & all — and don’t you forget it.)