Ron Jeremy

The personification of what the U.S. has become along with its distorted conception of liberty. Ron Jeremy is to late 20th Century and early 21st Century America what Thomas Jefferson was to late 18th Century America.

Ted Koppel reported that he found himself near Ron Jeremy in an airport. Never having heard of Jeremy and finding out who he was as people mobbed Jeremy, Koppel was horrified to discover a porn star was so well-known and admired.

by Tex in Tex May 04, 2008

license

According to the dictionary, one set of definitions of 'license' is
"1. Lack of due restraint; excessive freedom: “When liberty becomes license, dictatorship is near” (Will Durant).
2. Heedlessness for the precepts of proper behavior; licentiousness."

The definition of 'license' that is synonymous with 'licentious' evolved from a very different definition:

"1. a. Official or legal permission to do or own a specified thing. See synonyms at permission.
b. A document, plate, or tag that is issued as proof of official or legal permission: a driver's license.
2. Deviation from normal rules, practices, or methods in order to achieve a certain end or effect."
These meanings are derived from "Middle English licence, from Old French, from Medieval Latin licentia, authorization, from Latin, freedom, from licens, licent-, present participle of licere, to be permitted."
License in the context that I want to focus on in related definitions such as libertarian and libertine is the lack of proper restraint or licentiousness.
Defenders of liberty have traditionally gone to great lengths to distance liberty from license. Tragically, modern leftist liberals and modal libertarians have conflated the the two. License is a perversion of liberty that has morphed into its opposite.

Modal libertarian: I love to exercise my liberty by watching some porn while I smoke pot.

Paleo-libertarian: You are confusing liberty and license.

by Tex in Tex July 02, 2008

hipster

A continuation of the Bohemian "tradition" originating in France around the turn of the 20th Century. These folks were anti-bourgeois, anti-Victorian, and anti-traditionalist. They were avant-garde artists who disdained what they considered ordinary but ended up in a futile cycle of radical change for the sake of change soon drifting into silliness and nihilism.

The Beat Generation and then the Hippie movement tried to pick up this stand of thought and way of life in the mid twentieth century. The existential hero who is cool and detached, not caring what anyone else thinks of him is also a mid century fashion that picked up on this theme.

The cool hipster assumes a persona of crass selfishness, irresponsibility, mindless rebellion, cynicism, ironic mocking of anything meaningful or noble, cold reserve, uncaring indifference toward others while paradoxically advocating a politics of compassion toward certain groups favored by leftists, a dull, dumb countenance, and most of all, being constantly out of sorts--a real sour puss. They usually take on a studied disheveled appearance to further the affection of not caring what others think of them. They also prefer to dress in black.

Of course, most of these folks are as phony as you can get. They look as though they are dead on the inside--enthusiasm or being earnest or being genuine are completely missing from their emotional repertoire. They shun kindness,loyalty, spirituality, or empathy as uncool.

"Man, like, I dig myself and fuck you, man, like."--An example of a hipster sentence. Complete sentences, of sorts, are few and far between for these folks who are too cool to talk in coherent language.

by Tex in Tex February 02, 2008

xenophobia

Taken to the extreme, an irrational fear of strangers or more broadly, a fear of those who are different. Taken in a more moderate way, a rational fear of those who are different in some significant way, such as race, ethnicity, culture, politics, religion. Since people live together in families and communities where blood ties and cultural similarities foster cooperation, those who are different undermine this social solidarity. The very presence of people who are different in appearance or belief or language make the majority of people in a community wary of those who do not share a common interest in preserving the dominant group.

This fear is justified since people naturally view those who look, believe, and act in a similar manner as extensions of themselves. Since people are naturally selfish, they will lend aid and befriend those whom they see as similar to themselves. Conversely, since people are naturally selfish and seek to dominate others to enhance their own power, they will naturally first seek to dominate those who are different. People who are different are more likely to be seen as objects rather than fellow humans.

When confronted with these threats to social cooperation based on viewing others as objects, it is rational to foster laws, social and economic policy, and attitudes that preserve one's own kind in power. To do otherwise is to hand power over to those who will destroy one's own way of life, culture, and political system.

Political power as well as cultural and social power are zero-sum games. When one group gains in the same geographical region, other groups must lose.

Campus Leftist: "Oh, those conservatives really show their xenophobia in opposing open immigration. That shows what closed minds they have and how paranoid they are. Of course, we had to shout down a conservative speaker last night at the lecture series, and drive him off campus in order to promote diversity and pluralism. We would never be prejudiced as those conservatives are."

by Tex in Tex February 01, 2008

Pareto's Iron Law

The Italian sociologist living in the early 20th Century observed that the distribution of wealth and income remains roughly the same in modern industrialized societies no matter what governmental policies are pursued. A corollary of the Iron Law is the "circulation of elites" where groups vie to be the dominant group under various guises including equality and social justice, but there is always an elite no matter what.

Liberal elitist humanitarian: Let's pass legislation to make a more equal, fairer society.

Conservative realist: That will get us no where except you leftists will be in power rather than us. There is the brutal fact of Pareto's Iron Law. We cannot escape inequality of result.

Liberal elitist humanitarian: Well, I know, but at least we will be ahead of you conservatives. We hate you because you do not love everyone as we leftists do.

by Tex in Tex February 25, 2008

Scarlett O'Hara

Katie Scarlett O'Hara is the main character in the novel and movie, *Gone with the Wind.* In the story, Scarlett is the oldest daughter of an Irish/Catholic immigrant and his French aristocratic wife in mid-nineteenth century Georgia. The family builds an opulent plantation they name Tara just south of Atlanta in Jonesboro. Scarlett loves her father and her home but is otherwise completely self-absorbed.

Before the Civil War, Scarlett is the coquettish belle of the ball attending soirees where she flirts with and torments young men who fall in love with her beauty and burning sexual energy. Scarlett is in love with melancholic Ashley who is love with Melanie. At one of these parties, Scarlett throws herself at Ashley as they are alone in a drawing room. Ashely rebuffs her advance and withdraws. Scarlett throws a vase against the wall in a rage only to find Rhett Butler lying on the couch who has overheard the previous exchange between Scarlett and Ashley. Rhett is immediately intrigued by Scarlett's beauty and energy as are most men. The audience, though, immediately recognizes that Rhett is the man for Scarlett. He is the only one who can tame and domesticate her, which is what she needs.

The story unfolds as the tension builds between the two properly matched couples, Ashley/Melanie and Rhett/Scarlett. Scarlett resists Rhett while being intrigued by him as she marries several other men along the way toward finally marrying Rhett. The entire time, she dreams of marrying Ashely who is married to Melanie. Finally, Scarlett wrecks her marriage with Rhett only realizing what the audience saw all along--that she was intended for Rhett, not Ashely.
Scarlett comes to her senses too late as Rhett walks out the door saying to Scarlett in reply to her question what will happen to her if he leaves her, "Frankly my dear, I don't give a damn." The final scene in the story finds Scarlett pulling herself together after crying over Rhett's leaving and her worrying over how to get Rhett back saying, "I can't let him go. I can't. There must be some way to bring him back. Oh I can't think about this now! I'll go crazy if I do! I'll think about it tomorrow. (She closes the door.) But I must think about it. I must think about it. What is there to do? (She falls forward onto the ascending stairs.) What is there that matters?...Tara!...Home. I'll go home, and I'll think of some way to get him back! After all, tomorrow is another day!"

Scarlett represents both the Old South belle and the New South businesswoman. In both settings that change so drastically in the story and in reality, Atlanta moves from a semi-feudalistic society of manners and morals to a raucous business climate in which everything goes. Scarlett uses her beauty, charm, and craftiness in both social climates to attain her ends. Scarlett gains most everything she thinks she wants through sheer willpower and moral compromise with the exception of Ashley only to realize too late that she has lost her integrity and what she really needs. The story unfolds as a mirror to Atlanta as it has sold itself out for money and acceptability. This is why Atlanta's Southern culture is tragically "Gone with the Wind."

Scarlett O'Hara: "Where will I go, what will I do?"

Rhett Butler: "Frankly my dear, I don't give a damn."

by Tex in Tex February 15, 2008

Atlanta

Capital city of Georgia. Originally named Terminus because of its strategic location for transportation. It became known as Marthasville named for the daughter of an early mayor. In the 1850's the name of the emerging city was changed to Atlanta. There are conflicting stories on the name--one is that Atlanta was named for the ancient lost city of Atlantis while another story is that it is a shortened name for the railroad connection with the West, Atlantica-Pacifica.

Atlanta was and is a central trade and transportation center. The fall of Atlanta in 1864 was key to the Federal effort to preserve the Union. The psychological boost to the Northern cause as well as the economic impact of the loss of Atlanta to the Confederacy insured the re-election of President Lincoln who had faced a serious challenge to his presidency in the 1864 election due to many Northerners' weariness of war. The city was burned by General Sherman after a forced evacuation of the civilians. The Confederates destroyed their armaments adding to the destruction of the city. Civilians had to live in the woods for months after Sherman's destruction of the city.

After the war, the city rebuilt turning to a modern commercial economy encouraged by the vision of Henry Grady. This more business-oriented approach formed the basis of the "New South." The New South replaced the traditional, Jeffersonian view of Southern culture that focused on tranquility and cooperation with a Hamiltonian view that emphasizes competition and frenetic activity. This ethos has been taken up and intensified by 20th Century political, business, and media leaders in Atlanta. The symbol of Atlanta, the Phoenix, is descriptive of how the native Atlantans of the late 19th Century rebuilt the city after its destruction by the Federal government.

The New South philosophy that worked well to rebuild Atlanta from the ashes that the Federal government left Atlanta in has now morphed into a cut-throat, anti-social "ethic" that Jefferson feared would take hold if the Hamiltonian view became dominant. Atlanta is now characterized by greed and aggressiveness. People there are typically hyper-active, aggressive, and detached. The political, economic climate is solidly pro-growth at all costs.

The only social bond in Atlanta is commercialism. Atlanta is a boomtown with people flooding into the area simply to make money. No one has anything in common. People rarely know their neighbors or care to do so.

There is no common culture to facilitate establishing and maintaining contacts and relationships. There is no effort to preserve culture in Atlanta. If anyone attempts to do so, they are likely to be labeled a racist. Mary Rose, Charlie Rose's former wife and a former anchor woman in Atlanta, has taken the lead to restore and open Martha Mitchell's house to the public. The house of the *Gone with the Wind* author was torched several times by arsonists who were determined to destroy one of the few landmarks not already demolished by developers. The fires were likely politically and racially motivated. "White Columns," the studio for Channel 2 that was built in the Greek-revival style was demolished and replaced by a modern building. People who come to town looking for traditional Southern culture and vestiges of Atlanta's past are discouraged from such interests. Tourists will find nothing like the charm and history of Savannah, Charleston, or New Orleans in Atlanta. Virtually all references to Atlanta's past have been torn down or suppressed by this modern cabal to make Atlanta into a monocultural icon.

Atlanta's business, media, and political leaders seem to suffer from a massive inferiority complex trying to curry favor with the leftist elites in the North. They hate traditional culture and actively seek to destroy it.

The city's native population has been overwhelmed by the influx of non-Georgians into the city and its surrounding suburbs. Native Atlantans are few and far between. The city's population is highly transitive. They are from all over the U.S., and since the 1996 Olympics, from all over the world. Consequently, there is very little indigenous culture in the Atlanta area. If the News Media led by WSB and the *Atlanta Journal* find any remnants of Southern culture, they will cast these traditions in racist terms trying to destroy them. At best, the Media ignores Southern traditions. Atlanta is a rootless, colorless place. It is a city "too busy to hate," but it is also a city "too busy for civility and culture."

The natural environment is beautiful. Atlanta is a city in a forest. Earlier developers who were not as greedy and irresponsible preserved the trees and natural sloping terrain. But socially and architecturally, Atlanta is now a vast wasteland. The buildings are modern and ugly. A few of the newer buildings do have some style compared with the boxy, cubist monstrosities that dominate the skyline. Tom Wolfe famously described the art museum as looking like a chemical factory.

As General Sherman said, "War is hell" when criticized for deliberately targeting civilians in Atlanta for bombardment and death. I would add to that insight that living in Atlanta now is hell.

Tourist arriving in Atlanta: "Where is Gone with the Wind? Where is the Southern history and charm?"

They are gone with the wind.

by Tex in Tex January 22, 2008