p.228, Chapter 7 (The Federalist), "Revolutionary Compassion"section
Monday, August 10, 2015
and another excerpt from John Keane's TOM PAINE: A POLITICAL LIFE
Paine was not a pacifist. He recognized that in politics "turning the other cheek" can be a devilishly self-contradictory ethic that enables the strong to outfox or destroy the weak. Yet he was also convinced that an ethic of "an eye for an eye, a tooth for a tooth" was dangerous, especially in politics, where its literal application invariably leads to mutual reprisals and escalating violence, thereby hardening the hearts of the combatants, destroying their civility, and forcing freedom into exile, condemning it to tramp other lands as a poor and hungry refugee. Therefore, the use of violent means to defend liberty was only the lesser of two evils.
another excerpt from John Keane's TOM PAINE: A POLITICAL LIFE
Paine was no believer in self-regulating "free markets." He was not an "ideological spokesman for the bourgeoisie." He certainly believed -- in this he was remarkably modern -- that market mechanisms for structuring decisions about investment, production, and consumption through anonymous monetary exchanges could never be eliminated from the heart of civil societies without destroying the vitality and what Paine sometimes called "civil independent pride." Industry, commerce, and agriculture regulated by means of money-based private exchanges were essential for a free civil society, if only to protect it from meddlesome state power. But -- the qualification was of the utmost importance to Paine -- he refused to draw from this the conclusion that the various institutions of civil society should be ruled by impersonal "market forces." Within this sphere, individuals should not be treated as private entrepreneurs whose talents and powers are presumed to be natural and whose conduct is guided by the bourgeois principle of differential cash rewards for workers and owners of property. He was adamant that market exchanges must be controlled and nurtured politically. A self-regulating market is undesirable. It motivates individuals not on the basis of commitment to serve and be served by their fellow citizens, but through a mixture of greed and fear. Market competition encourages citizens to see each other as threats and as sources of private self-enrichment.
p. 190, Chapter 6 (Public Insults), "Men of Wealth" section
Thursday, June 25, 2015
excerpt from John Keane's TOM PAINE: A POLITICAL LIFE
...fear is a central ingredient of despotic regimes, in which fear of power always corrupts those who are subject to it and fear of losing power always corrupts those who are exercising it.
p.141, Chapter 5 (War), "The American Crisis" section, 1st graph
Friday, February 13, 2015
album review: HOME STREET HOME: ORIGINAL SONGS FROM THE SHIT MUSICAL
Shit musical, indeed.
NOFX's Fat Mike's musical is finally hitting the stage. His label, Fat Wreck Chords, dropped the soundtrack on February 10. And it's lamer than the transients lounging on Telegraph Ave.
Most of the songs are about drug-taking and the S&M scene. I dunno. I quit drinking three years ago, so my household ain't 420 friendly. And as far as dating a dominatrix. . . . Why? Sex is awesome all by itself. Why would you want to ruin it by adding torture to the mix? Consequences of a post-9/11 world, perhaps.
And here's the thing: Fat Mike is a millionaire. Him writing songs celebrating street life is like Stalin penning an ode to those victimized by empire.
But the million-dollar question is, "Who the hell would invest in this musical?" Theatre productions are notoriously expensive, hence the astronomical ticket prices. Maybe it's a vanity project for Fat Mike. Gotta spend your Knob Hill millions on something, I guess.
The sad thing is what a waste this whole endeavor is (and the money I lost buying it). Fat Mike has an unbelievable amount of talent rocking around in his drug-addled brain. A cursory listen to NOFX's catalog proves he has an ear for harmony and melody.
If you're going to do a musical, how about one on the plight of today's working person? With the 1%'s war on the middle and poor classes, a musical in that key could be what America needs right now. Art should educate and engage, not simply entertain. But, no, Fat Mike decided to salute the cult of self, glamorizing the pursuit of pleasure and the annihilation of brain cells.
It's not all bad, though. Besides a kick-ass soundtrack title, Home Street Home (take that, Mötley Crüe!) has a few half-decent tracks. "Three String Guitar" has witty wordplay, especially admirable given it's only 93 seconds long. "Missing Child" is a beautiful ballad told from the perspective of a mother missing her runaway daughter (more songs in that vein would've been nice). "Because I Want To" has splendid synthesizers straight out of an Epoxies outtake. And while the last track, "The Agony of Victory", is a little too saccharine for my ears with its cliche "na-na-na" ending, it gives an excellent excuse to pull out NOFX's last great album, Coaster, which featured a far superior version. Ah, to a better time, before a great American songwriter jumped the shark. . . .
NOFX's Fat Mike's musical is finally hitting the stage. His label, Fat Wreck Chords, dropped the soundtrack on February 10. And it's lamer than the transients lounging on Telegraph Ave.
Most of the songs are about drug-taking and the S&M scene. I dunno. I quit drinking three years ago, so my household ain't 420 friendly. And as far as dating a dominatrix. . . . Why? Sex is awesome all by itself. Why would you want to ruin it by adding torture to the mix? Consequences of a post-9/11 world, perhaps.
And here's the thing: Fat Mike is a millionaire. Him writing songs celebrating street life is like Stalin penning an ode to those victimized by empire.
But the million-dollar question is, "Who the hell would invest in this musical?" Theatre productions are notoriously expensive, hence the astronomical ticket prices. Maybe it's a vanity project for Fat Mike. Gotta spend your Knob Hill millions on something, I guess.
The sad thing is what a waste this whole endeavor is (and the money I lost buying it). Fat Mike has an unbelievable amount of talent rocking around in his drug-addled brain. A cursory listen to NOFX's catalog proves he has an ear for harmony and melody.
If you're going to do a musical, how about one on the plight of today's working person? With the 1%'s war on the middle and poor classes, a musical in that key could be what America needs right now. Art should educate and engage, not simply entertain. But, no, Fat Mike decided to salute the cult of self, glamorizing the pursuit of pleasure and the annihilation of brain cells.
It's not all bad, though. Besides a kick-ass soundtrack title, Home Street Home (take that, Mötley Crüe!) has a few half-decent tracks. "Three String Guitar" has witty wordplay, especially admirable given it's only 93 seconds long. "Missing Child" is a beautiful ballad told from the perspective of a mother missing her runaway daughter (more songs in that vein would've been nice). "Because I Want To" has splendid synthesizers straight out of an Epoxies outtake. And while the last track, "The Agony of Victory", is a little too saccharine for my ears with its cliche "na-na-na" ending, it gives an excellent excuse to pull out NOFX's last great album, Coaster, which featured a far superior version. Ah, to a better time, before a great American songwriter jumped the shark. . . .
Saturday, July 7, 2012
Friday, February 24, 2012
Maybe I'm Still a Socialist
I just took down a few books on eBay that had views and watchers in the low single digits. I figure if nobody's really interested, might as well give 'em way. Literacy's like herpes -- it's best to pass it on.
Illiterate America
Further proof that the average American hates to read: I had a bunch of books on eBay but just took most of 'em down 'cause they had hardly any views. Each one was $5, which included free shipping, and a lot were in mint condition from fairly popular authors, like Robert B. Parker. Sad, sad, sad.
Thursday, February 23, 2012
best headline of the day
Actually was in Tuesday's New York Times: "A Banker Who Unwinds by Photographing Prostitutes". If the link still works, you'll probably see a different headline. Ah, search engine optimization. . . .
1994
Since I'm moving and downsizing, I found this in one of my trunks. Postmarked April 8, 1994, it came from my college roommate (I graduated in '93). I thought it was witty:
Dear Friends,
It is time once again to gather together in a frenzy of food, booze and debauchery. On Saturday April 30th, there will be a mass gathering at the home of my birth. Festivities will begin at or about 3 p.m. Saturday and will continue through Sunday May 1st, culminating with an eventing with 7 Seconds at City Gardens in beautiful Downtown Trenton. Saturday's festivities will consist of a massive barbecue running the length of the day. Sunday Brunch will consist of fruit juice and aspirin. If you want to attend the 7 Second show, please send $8.00 and your name care of: [[my friend's address]]
Please remember to reserve your weekend for this event for without you, my loyal friends, my like is meaningless.
Fondling Yours,
Dear Friends,
It is time once again to gather together in a frenzy of food, booze and debauchery. On Saturday April 30th, there will be a mass gathering at the home of my birth. Festivities will begin at or about 3 p.m. Saturday and will continue through Sunday May 1st, culminating with an eventing with 7 Seconds at City Gardens in beautiful Downtown Trenton. Saturday's festivities will consist of a massive barbecue running the length of the day. Sunday Brunch will consist of fruit juice and aspirin. If you want to attend the 7 Second show, please send $8.00 and your name care of: [[my friend's address]]
Please remember to reserve your weekend for this event for without you, my loyal friends, my like is meaningless.
Fondling Yours,
Wednesday, February 8, 2012
Fishtown bound
Kinda jazzed. Looks like I'm moving to Philly's Fishtown borough (one subway stop from Center City). I checked out an apartment this morning and put some money down; haven't signed the lease yet. Glad to get out of the suburbs -- it's boring me to drink.
Tuesday, February 7, 2012
2013
We all know Obama is a coward
He's a wuss like Moe Howard
Once again no selection
Let's #OCCUPY the election!
He's a wuss like Moe Howard
Once again no selection
Let's #OCCUPY the election!
Saturday, January 28, 2012
Class Actress
Friday night in Philly in Fishtown, corner of Frankford and Girard Aves., around 9:30. A middle-aged white male yelled, "Same to you, asshole!" in one of those voices that send goose bumps up and down your spine -- the type of voice that's not only loud but also filled with unadulterated rage, the kind that leads to unpremeditated murder. The white male, who had the haggard look of someone who's borderline homeless, had said those words to a cab, which peeled right onto Frankford Ave. The white male stalked down Girard Ave. past a car or two to another cab. He got in, one foot in the street, and told the driver that the other cabbie was "a faggot". The white male closed the door behind him and yelled out the window, "He likes dick. DICK!!!"
And that's what I witnessed as I went into the bar/club Johnny Brenda's. I'd been there before with uneventful trips to and from my car. Maybe the 40-degree weather was what set that crazy cab passenger off.
I walked through the downstairs bar and went upstairs to the club. Johnny Brenda's website earlier in the day said the opening act, Prussia, were supposed to go on at 9:30. They walked on stage at 9:45. They must've already done a sound-check 'cause they picked up their instruments and got right into their half-hour set. I wasn't really into it; though, to be fair, I wasn't there to see them. These Detroit-ers had this synth-rock sound going on. Impressive how most of them were multi-instrumentalists.
After they finished up, the headliners took about 30 minutes to set up. While waiting, I did a little people-watching. I felt like an out-of-towner -- kinda true since I live at the tip of Northeast Philly, and even though it's only about 10 miles away, it's world's apart in the modern sense. My neighbourhood is full of sports-loving, functionally-illiterate, middle-class morons who rarely venture out of their row homes. The sold-out Johnny Brenda's was packed with 20-something hipsters; when they weren't murmuring in their low single-digit cabals, they were flicking through their iPhones, Apple lighting up their faces in the dark room so they could get their mobile fix, satisfying them until their technology-addicted brain craved more instant-gratification wireless activity.
Coincidence that I'm judgmental about technology while I do a blog post on Google?
Class Actress hit the stage at 10:45. (Hey, just like the Johnny Brenda's site said they would!) And they were amazing, thanks to the venue's sound system; one of the best for a place that size . . . about 300, in case you're wondering.
Class Actress have gotten pigeonholed with the label 80s synth revival. A bit unfair, I think. While synthesizers dominate their sound, singer Elizabeth Harper's voice sounds nothing like what came out of the Reagan decade. It's throaty with the allure of a siren, while at other times angelic, promoting Victorian values. And as far as the music goes, the two guys on keyboards play more like what you'll hear in a 2012 dance club.
The four piece (there was a drummer, too -- not sure why since it sounded like a drum machine drowned him out) started with "All the Saints". A wise choice with that catchy riff at the beginning. Still perplexes me why it's in the middle of their debut album, Rapprocher. Should be up near the front.
Their second song, I think, was "Keep You", which seems to be their big hit. A couple songs later came "Weekend", another danceable ditty popular with the kids.
They played for about 45 minutes with a one-song encore. "Limousine", I believe. It's about what to expect, since they only have an EP and album in their samplers, and the ticket was an unbelievable $12.53 (I bought it the Monday before the show after I downloaded Rapprocher from Amazon).
Now with all that boring music-geek shit out of the way, let's get down to the sultry stuff: Harper's stage presence. Jesus Christ! What a beauty, as The Tubes used to say. Not supermodel beauty, but the beauty of a performer whose sex appeal increases with audience adulation.
Unfortunately, winter weather prevented Harper from dressing salaciously. She wore black shoes, pants, jacket, and a white, long-sleeve dress shirt -- the kind with undone cuffs sported by knockout women and homosexual men. About halfway through the set, she lost the jacket. Yes! Gave her more wiggle room so she could run her hands through her lush dark hair and over her body, sans erogenous zones. Sexy performer she is, her shirt was undone two or three buttons, giving perverts like me in the crowd a peek every once in a while at her black bra. Good goddamn!
With visions of that class act, I skipped out of Johnny Brenda's to my Civic a couple blocks away. Plenty of cabs, no psycho white males. Lovely. . . .
And that's what I witnessed as I went into the bar/club Johnny Brenda's. I'd been there before with uneventful trips to and from my car. Maybe the 40-degree weather was what set that crazy cab passenger off.
I walked through the downstairs bar and went upstairs to the club. Johnny Brenda's website earlier in the day said the opening act, Prussia, were supposed to go on at 9:30. They walked on stage at 9:45. They must've already done a sound-check 'cause they picked up their instruments and got right into their half-hour set. I wasn't really into it; though, to be fair, I wasn't there to see them. These Detroit-ers had this synth-rock sound going on. Impressive how most of them were multi-instrumentalists.
After they finished up, the headliners took about 30 minutes to set up. While waiting, I did a little people-watching. I felt like an out-of-towner -- kinda true since I live at the tip of Northeast Philly, and even though it's only about 10 miles away, it's world's apart in the modern sense. My neighbourhood is full of sports-loving, functionally-illiterate, middle-class morons who rarely venture out of their row homes. The sold-out Johnny Brenda's was packed with 20-something hipsters; when they weren't murmuring in their low single-digit cabals, they were flicking through their iPhones, Apple lighting up their faces in the dark room so they could get their mobile fix, satisfying them until their technology-addicted brain craved more instant-gratification wireless activity.
Coincidence that I'm judgmental about technology while I do a blog post on Google?
Class Actress hit the stage at 10:45. (Hey, just like the Johnny Brenda's site said they would!) And they were amazing, thanks to the venue's sound system; one of the best for a place that size . . . about 300, in case you're wondering.
Class Actress have gotten pigeonholed with the label 80s synth revival. A bit unfair, I think. While synthesizers dominate their sound, singer Elizabeth Harper's voice sounds nothing like what came out of the Reagan decade. It's throaty with the allure of a siren, while at other times angelic, promoting Victorian values. And as far as the music goes, the two guys on keyboards play more like what you'll hear in a 2012 dance club.
The four piece (there was a drummer, too -- not sure why since it sounded like a drum machine drowned him out) started with "All the Saints". A wise choice with that catchy riff at the beginning. Still perplexes me why it's in the middle of their debut album, Rapprocher. Should be up near the front.
Their second song, I think, was "Keep You", which seems to be their big hit. A couple songs later came "Weekend", another danceable ditty popular with the kids.
They played for about 45 minutes with a one-song encore. "Limousine", I believe. It's about what to expect, since they only have an EP and album in their samplers, and the ticket was an unbelievable $12.53 (I bought it the Monday before the show after I downloaded Rapprocher from Amazon).
Now with all that boring music-geek shit out of the way, let's get down to the sultry stuff: Harper's stage presence. Jesus Christ! What a beauty, as The Tubes used to say. Not supermodel beauty, but the beauty of a performer whose sex appeal increases with audience adulation.
Unfortunately, winter weather prevented Harper from dressing salaciously. She wore black shoes, pants, jacket, and a white, long-sleeve dress shirt -- the kind with undone cuffs sported by knockout women and homosexual men. About halfway through the set, she lost the jacket. Yes! Gave her more wiggle room so she could run her hands through her lush dark hair and over her body, sans erogenous zones. Sexy performer she is, her shirt was undone two or three buttons, giving perverts like me in the crowd a peek every once in a while at her black bra. Good goddamn!
With visions of that class act, I skipped out of Johnny Brenda's to my Civic a couple blocks away. Plenty of cabs, no psycho white males. Lovely. . . .
Wednesday, January 25, 2012
creative wit
So I'm walking around the other during my break at work, running some errands. A group of kids are sitting at the bus stop having a conversation. In the middle of it, a girl says, "I'm not that very creative." This boy says, without missing a beat, "That's not true. I've seen how you dress." I laughed out loud. Couldn't help it.
Moscow companionship
Got my Moscow travel book in the mail today from Frommer's. Interesting little bit on page 64: "...foreign men traveling alone may be surprised by a late-night phone call to their rooms offering 'female company' for the night. If you make it clear you're not interested -- it can't hurt to mention it to the reception desk -- the solicitation will stop."
Um, yeah, I think I'll mention to the front desk not to allow those calls through.
Um, yeah, I think I'll mention to the front desk not to allow those calls through.
Monday, January 23, 2012
Burr Tebow
I've been enjoying this Bill Burr video recently where he talks about Tim Tebow and salivates after some young laaaaadies. Funny stuff: http://www.youtube.com/watch?v=ST15FsGeUl4
Saturday, January 14, 2012
Moscow, bitch!
I was only going to do Paris this summer while vacationing, but I figure since I'm over in Europe I might as well make a meal of it, so I'm gonna hit Warsaw, Poland and Moscow. Crazy thing with Russia is that their visa crazy. You need to fill out more paperwork than for a college's financial aid -- ya have to first to get a tourist invitation then a tourist voucher. One of these involves getting a sponsor, which a hotel can vouch for. It's going to be an interesting process. . . .
Stephen King's influence
Started listening to Stephen King's Insomnia the other night. Ever since then, I've had trouble sleeping. Coincidence? ;)
Saturday, January 7, 2012
swordfish
Living up to my Boring Bachelor moniker, I thought I would blog about what I had for dinner. Picked up a T-bone-shaped swordfish steak at Whole Foods. I could've went to Pathmark or Acme, which are closer, but Whole Foods' high prices are warranted -- you do get what you pay for.
I don't think I've ever eaten swordfish, but it was amazing! Back in my thirties I used to eat seafood on Saturday nights (nothing fancy: like Mrs. Paul's and Gordon's frozen food doohickeys). I'm trying to get back into that habit, but having fresh seafood, along with vegetables, a small red potato and a mug of milk. Now them's good eating!!!
I don't think I've ever eaten swordfish, but it was amazing! Back in my thirties I used to eat seafood on Saturday nights (nothing fancy: like Mrs. Paul's and Gordon's frozen food doohickeys). I'm trying to get back into that habit, but having fresh seafood, along with vegetables, a small red potato and a mug of milk. Now them's good eating!!!
best birthday playlist ever!
My 16 years of Catholic brainwashing tells me I shouldn't brag, but I'm damn proud of this mix I came up with -- flows quite nicely:
Beatles: "Birthday" (1968)
Rocket From The Crypt: "Born in '69" (1995)
Police: "Born in the 50's" (1978)
Supersuckers: "Born with a Tail" (1995)
INXS: "Born to Be Wild" (1993)
Choking Victim: "Born to Die" (1997)
Vandals: "Happy Birthday to Me" (1995)
NOFX: "New Happy Birthday Song?" (2007)
Cure: "Happy Birthday, Simon" (1981)
Atom & His Package: "Happy Birthday, Ralph" (1997)
Models: "Happy Birthday, IBM" (1980)
Sugarcubes: "Birthday" (1988)
J Church: "Birthday" (1995)
Smiths: "Unhappy Birthday" (1987)
Replacements: "Birthday Gal" (1987)
Crazy Alice: "Birthday Card" (1996)
Mountain Goats: "Quetzalcoatl Is Born" (1994)
Insane Clown Posse: "Birthday Bitches" (2002)
Luke Campbell: "It's Your Birthday" (1994)
Cibo Matto: "Birthday Cake" (1996)
Underworld: "Born Slippery (Nuxx)" (1996)
"Weird Al" Yankovic: "Happy Birthday" (1981)
Altered Images: "Happy Birthday" (1981)
Steve Kilbey: "My Birthday, The Moon Festival (1986)
Kitaro: "Earth Born" (1975)
Beatles: "Birthday" (1968)
Rocket From The Crypt: "Born in '69" (1995)
Police: "Born in the 50's" (1978)
Supersuckers: "Born with a Tail" (1995)
INXS: "Born to Be Wild" (1993)
Choking Victim: "Born to Die" (1997)
Vandals: "Happy Birthday to Me" (1995)
NOFX: "New Happy Birthday Song?" (2007)
Cure: "Happy Birthday, Simon" (1981)
Atom & His Package: "Happy Birthday, Ralph" (1997)
Models: "Happy Birthday, IBM" (1980)
Sugarcubes: "Birthday" (1988)
J Church: "Birthday" (1995)
Smiths: "Unhappy Birthday" (1987)
Replacements: "Birthday Gal" (1987)
Crazy Alice: "Birthday Card" (1996)
Mountain Goats: "Quetzalcoatl Is Born" (1994)
Insane Clown Posse: "Birthday Bitches" (2002)
Luke Campbell: "It's Your Birthday" (1994)
Cibo Matto: "Birthday Cake" (1996)
Underworld: "Born Slippery (Nuxx)" (1996)
"Weird Al" Yankovic: "Happy Birthday" (1981)
Altered Images: "Happy Birthday" (1981)
Steve Kilbey: "My Birthday, The Moon Festival (1986)
Kitaro: "Earth Born" (1975)
Tuesday, January 3, 2012
To Joke Or Not to Joke, That Is This Blog Post
I don't hear the word reputed too much anymore. Think I'm gonna go around and describe myself -- since I work in publishing -- as a reputed editor. No?
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