For my own personal celebration of Halloween, I watched Frank Capra’s Arsenic and Old Lace (A.D. 1944). Anything by Capra is golden, and Cary Grant’s appearance in a show assures its comedic value. Here is the official trailer:
By the way, the movie’s story occurs on Halloween. Disliking most horror films and hating slasher flicks, I think that Arsenic and Old Lace may now be my favorite Halloweenish movie. Of course, there is always Tim Burton’s treasure trove . . .
George Carlin humorously ridicules the perversion and falsity of contemporary euphemisms (rated R):
Even with his leftism, Carlin was sage, as in his attack on applied nominalism. This routine was taped in A.D. 1990. Newspeak has continued apace.
Florence King has a hilarious review of Naomi Wolf’s Vagina: A New Biography in National Review: “A Woman of Parts.” It is classic King.
I am heartened to see that King is still writing. Many more years to her!
A name is the verbal manifestation of one’s identity and of one’s relationship to wider reality. As we are social creatures who live within a culture inherited from our ancestors, I think that we should respect our heritage by giving traditional names to our children. We thereby symbolize in word the intergenerational continuity of our people as well as acknowledge our existential debt to those who lived before us. For Christians, it is moreover important to pick Christian names, and children hopefully will develop a relationship with their patronal namesakes.
Unfortunately, democratic man only considers the current generation; ancestors and descendants do not matter. The practice of endlessly innovative naming in our society originates in this rebellion against all standards and authority apart from contemporary ego. We see the same reckless spirit with the adoption of more and more boys’ names for girls—consider how Avery, Kelly, and Ashley are slowly becoming girls’ names—so much so that boys are now ridiculed for having “girls’ names.”
And then there are pretentious and/or guttersnipe fads, where mothers give their spawn the names of television characters or celebrities. Consider all the white trash in America who have been named after soap operas and W.B. shows. Pop culture has replaced sacred scripture as the chief inspiration for our society.
For a humorous take on the decadence of faddish boys’ names, here is George Carlin (rated R):
Tucker gets what he deserves!
The election nears, and the American people are pretty tired of the campaign. For some comic relief from democracy, here is Johnny Carson as a politician hooked up to a polygraph:
If only they could all be forced to tell the truth when they speak to the public.
If you have not yet seen this parody of undertow culture by way of Beauty and the Beast, then enjoy:
I have only heard “bougie” used by educated, upper middle class black friends, and I suspect that its use might be a Howard cultural marker, though I am not sure. Regardless, I am glad that the videos’ producers felt comfortable enough to make fun of their own ethnic group’s lower class manners. We all know that coastal white elites have no hesitancy in ridiculing poor whites. This is a sign of health.
Earlier in the year, I read several articles written by blacks critical of Key and Peele. The general opinion of these articles held that Key and Peele were race traitors for daring to ridicule ridiculous things in black American life. I think that such reveals the widespread myopia and ethnic narcissism of American black “intellectuals.” The world’s Cornel Wests in waiting never consider human life or human history beyond the horizon of their racial obsessions; they see everything through their specially tinted black lenses. Were such self-absorbed folks able to look farther afield, they would realize that most of what they say is foolish. In the case of black comedians who ridicule ridiculous things characteristic of blacks, they would see not racial treason but the normal tendency of modern acerbic comedy, wherein the comedian as social critic attacks what he knows. It is shocking to consider, but black comedians probably know more about the inanities of their own cultural background than those of another. Just as Jewish comedians have the best insights to make Jewish jokes and Southern comedians have a bigger arsenal of humorous anecdotes about idiocy in Old Dixie, so also black comedians know best the silly characteristics of black American life.
However, if people believe that it is always and everywhere Selma, Alabama in March of ‘65, then they will circle the tribal wagons accordingly. American blacks and their leftist white enablers/inflamers never look at reality as it is; they only ever see Klansmen in white faces and poor, oppressed Kunta’s children in black ones.