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The left has the ability to understand reason and the law about as well as my spoon understands the difference between mint chocolate chip and rocky road.

“Presenting them with facts and evidence on gun control is met with remarks about penis size. Talking about case law is like banging your head against a wall. Talking simply won’t work with them.

Which is EXACTLY why we need to stop even bothering to pretend to try; it wastes your time, and annoys the pig. The one, the only language they understand is violence, of the “swift and blinding” variety. So be it, then. Govern yourselves—or, y’know, not—accordingly.

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Constitutional course of instruction

Roth Renegade discovers one of Porretto’s favorites, the uncompromising champion of human liberty Lysander Spooner.

The Constitution has no inherent authority or obligation. It has no authority or obligation at all, unless as a contract between man and man. And it does not so much as even purport to be a contract between persons now existing. It purports, at most, to be only a contract between persons living eighty years ago. And it can be supposed to have been a contract then only between persons who had already come to years of discretion, so as to be competent to make reasonable and obligatory contracts. Furthermore, we know, historically, that only a small portion even of the people then existing were consulted on the subject, or asked, or permitted to express either their consent or dissent in any formal manner. Those persons, if any, who did give their consent formally, are all dead now. Most of them have been dead forty, fifty, sixty, or seventy years. And the Constitution, so far as it was their contract, died with them. They had no natural power or right to make it obligatory upon their children. It is not only plainly impossible, in the nature of things, that they could bind their posterity, but they did not even attempt to bind them. That is to say, the instrument does not purport to be an agreement between any body but “the people” then existing; nor does it, either expressly or impliedly, assert any right, power, or disposition, on their part, to bind any body but themselves.

It cannot be said that the Constitution formed “the people of the United States,” for all time, into a corporation. It does not speak of “the people” as a corporation, but as individuals. A corporation does not describe itself as “we,” nor as “people,” nor as “ourselves.” Nor does a corporation, in legal language, have any “posterity.” It supposes itself to have, and speaks of itself as having, perpetual existence, as a single individuality.

Moreover, no body of men, existing at any one time, have the power to create a perpetual corporation. A corporation can become practically perpetual only by the voluntary accession of new members, as the old ones die off. But for this voluntary accession of new members, the corporation necessarily dies with the death of those who originally composed it.

Legally speaking, therefore, there is, in the Constitution, nothing that professes or attempts to bind the “posterity” of those who establish it.

S’truth, strange though it may sound to contemporary ears; no less august a personage than Thomas Jefferson himself implicitly affirmed this thesis years before, with these stirring words:

God forbid we should ever be 20 years without such a rebellion.

The people can not be all, and always, well informed. The part which is wrong will be discontented in proportion to the importance of the facts they misconceive. If they remain quiet under such misconceptions it is a lethargy, the forerunner of death to the public liberty. We have had 13 states independant 11 years. There has been one rebellion. That comes to one rebellion in a century and a half for each state.

What country before ever existed a century and half without a rebellion? And what country can preserve it’s liberties if their rulers are not warned from time to time that their people preserve the spirit of resistance? Let them take arms.

Bold mine, and a hearty amen to that.

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Culprit identified!

So as y’all probably know already, Jerry Seinfeld, fresh off some disparaging words for Wokesters, Cancel Culture, and Leftards in general (to my own great surprise), was slated to give the commencement address at Duke University the other day. Whereupon a cpl-three dozen of the stunning, brave Extry Double Special Snowflake students, affronted by the comic’s White Male Jewboy Fascist violent microaggression against their tender sensibillities, walked out to convey their disgust for Seinfeld’s intolerable, Literally Genocidal Hate Speech the week before.

Questions arose: Might there have been some behind-the-scenes mastermind behind the walkout? Was it spontaneous, or planned in advance? Could such a protest have gone off so smoothly without prior coordination by some shadowy, sinister agent provocateur directing the action from offstage? If not, who might that shadowy manipulator have been?

You has questions, the Bee has answers.

Heh. NEWMAN!!! I might’ve known. The article is paywalled, so no excerpt; I figured the screen-grab pretty much says it all anyhoo. Calls for a topical embed, I do believe.

No word at this writing as to whether the student snub-cum-childishtantrum has shown Seinfeld the error of his Reich-wing ways and persuaded him to Become Better through embracing the enlightened, sophisticated, clearly superior Smarterer Set way of thinking yet, but I have every confidence that it soon will. It always has before, see. You’ll find true happiness and fulfillment once you’ve emerged from the dark side and joined us in the Light, Jerry!

As featured in my upcoming autobiography

On any list of the all-time top o’ the heap purveyors of Brit-style power-pop, rockabilly, and R&B would have to be Rockpile, featuring Welshman Dave Edmunds on vocals and lead guitar and his PiMC© Nick Lowe on bass/vocals. My verymost favorite Rockpile tune will give y’all a li’l taste of what I’m talkin’ ‘bout here.

“Didn’t see a thing until it came…” WHOA, that’s good squishy!

Edmunds, as well as co-conspirator Lowe, has several other non-Rockpile feathers in his not-inconsiderable cap, among them this YUUUGE one:

The band first appeared in the New York Area in the middle of 1979 performing under a number of names including the Tomcats, the Teds, and Bryan and the Tom Cats. According to Brian Setzer (singer/songwriter and guitarist), they changed names to fool club owners (who would not hire the same band for consecutive nights), but kept the “Cats” moniker in their various names so the audience would know they were the same band.

Setzer joined up with Slim Jim Phantom (drums) and they soon added Phantom’s schoolmate and friend Lee Rocker (stand-up bass); all three of them came from the same neighborhood and were interested in punk and rockabilly music.Since 1983, they have used only “Stray Cats” as their name. The band name “Stray Cats” had appeared in the 1973 rock ‘n’ roll film That’ll Be the Day and its 1974 sequel Stardust. They also went to many concerts and enjoyed the punk scene. They met the Clash and they used to see Siouxsie and the Banshees, Charlie Harper and the UK Subs.

The group, whose style was based upon the sounds of Sun Records artists and other artists from the 1950s, was heavily influenced by Eddie Cochran, Carl Perkins, Gene Vincent, and Bill Haley & His Comets. The Stray Cats quickly developed a large following in the New York music scene playing at CBGB and Max’s Kansas City as well as venues on Long Island. When the Cats heard a rumor that there was a revival of the 1950s Teddy Boy youth subculture in England, the band moved to the UK. They spearheaded the nascent rockabilly revival, blending the 1950s Sun Studio sound with modern punk musical elements. In terms of visual style, the Stray Cats also blended elements of 1950 rockabilly clothes, such as wearing drape jackets, brothel creepers, and western shirts, with punk clothes, such as tight black zipper trousers and modern versions of 1950s hair styles.

In the middle of 1980, the band found themselves being courted by record labels including Virgin Records, Stiff Records, and Arista Records. Word quickly spread and soon members of The Rolling Stones, The Who, and Led Zeppelin were at their shows.

After a gig in London, Stray Cats met musician and producer Dave Edmunds, well known as a roots rock enthusiast for his work with Rockpile and as a solo artist. Edmunds offered to work with the group, and they entered the studio to record their self-titled debut album, Stray Cats, released in Britain in 1981 on Arista Records. In addition to having three hits that year with “Runaway Boys”, “Rock This Town”, and “Stray Cat Strut”, they also performed on the eighth day of the Montreux Jazz Festival. The UK follow-up to Stray Cats, Gonna Ball, was not as well-received, providing no hits. Yet the combined sales of their first two albums were enough to convince EMI America to compile the best tracks from the two UK albums and issue an album (Built for Speed) in the U.S. in 1982. The record went on to sell a million copies (Platinum) in the US and Canada and was the no. 2 record on the Billboard album charts for 15 weeks.

Bold mine, and ‘nuff said about that.

As fate would have it, I’ve been good friends with Setzer for decades, first meeting him and his gracious spouse at the invite-only afterparty I played with my NYC side-band cohorts Tom Hopkins and Jeff Dilena celebrating (drowning in an ocean of open-bar liquor, more like) Brian’s little brother Kenny and his stunning wife Ariel’s nuptials down in Miami. I also worked a side gig during my NYC tenure with senior Setzer sibling Gary, a somewhat lackluster RaB trio that also boasted Hopkins slapping that doghouse bass.

An extremely talented drummer, Jeff went on to lay down the beat for the late Robert Gordon’s backing band, a fairly plum gig despite Robert’s well-earned rep as an insufferable prick. After many years as a semi-high mucky-muck in the midtown Manhattan offices of Columbia Records, the Gordon gig paid handsomely enough to permit Jeff to quit his cushy sinecure at Columbia to drum full-time for Gordon. Me, I went on to have numerous run-ins with the douchebag Gordon before Jeff took the job with him, sordid tales which will also be revealed in my aforementioned tell-all autobiography.

Never did get to meet Dave Edmunds, alas, although I certainly wish I had.

Ahhh, the good ole days…

Update! Okay, okay, kwitcherbitchin’ folks, here’s a couple of archival snaps, below the fold so as not to annoy anybody.

Continue reading “As featured in my upcoming autobiography”

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THAT’S how you do it

Bull by the fucking horns.


Nice work, fella. Make ‘em pay.

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Shitlibs announce impending assassination attempt in Argentina

De facto, if not quite de jure.

Milei Is Absolutely Killing It in Argentina
President Javier Milei entered office like Jack Nicholson breaking his way into the bathroom in “The Shining” — with an axe. Armed with emergency powers granted by the Argentine Congress, he balanced the country’s out-of-control budget in one month, fired government workers by the thousands, eliminated more than 200,000 “corrupt” social welfare programs, and even cozied up to NATO.

“There’s a lot more chainsaw” to come, Milei promised in March, and I momentarily almost became gay.

The usual fearmongers mongered the usual fears.

A few weeks ago, the New York Times ran an opinion piece — complete with a demonic-looking, high-contrast black-and-white photo of Milei — by Argentine author Uki Goñi. According to him, Milei is the “product of a long South American history in which authoritarianism has been the norm and democracy the exception.” Of course, Goñi also called Milei “a far-right libertarian,” and if you can square “authoritarian” with “libertarian,” then cut back on the day-drinking.

Victor Swezey warned in December that “victims of Argentina’s dictatorship see [a] step backward in Milei’s presidency.”

And the Columbia Journalism Review’s Jon Allsop got his panties particularly twisted over concerns about Milei’s “particular hostility toward public media,” and the private media, too. But when a conservative or libertarian shows any level of hostility toward the media, he’s merely returning the favor.

So who is right? Milei and his axe or his critics with their axes to grind?

Let’s look at the numbers.

By all means, let’s:

  • Inflation down from 300% to 11%;
  • The first quarterly budget surplus since 2008;
  • Interest rates cut three times in three weeks;
  • The Argentine peso is now the world’s best performing currency

Among other fine and notable things. No wonder shitlibs worldwide are gonna have to have him murdered—he’s singlehandedly proving every last item in the Leftard catchism assbackwards and wrong, they can’t afford to have this sort of thing continue right out in front of God and everybody. To wit:

“It may also get better over the months ahead,” the UK Telegraph’s Matthew Lynn wrote last week. “With stabilising prices, and a rising currency, investment should start flowing again into a country rich in natural resources and hyper-competitive on wages costs.”

“If so, Argentina would be defying a global economic establishment addicted to bigger government, more regulation, and rising deficits.”

Indeed.

“The risk of a default of Argentina has decreased by 38.4% since Javier Milei took office in December,” news aggregator Visegrád 24 posted to Twitter/X on Tuesday. “The Credit Default Swap (CDS), which acts as a kind of insurance against debt default, stood at 4,280 points when Milei was inaugurated. Now, it has fallen to 2,634 points.”

It’s early into Milei’s term and his reforms have barely had time to take hold. There will be pain ahead because decades of bad policies don’t work themselves out in weeks or months. But shrinking government, tamping inflation, and stabilizing the currency, make for a solid foundation for future prosperity.

Free markets work. Who’d a thunk it?

See what I mean? Not there are NO clouds on the immediate horizon, to wit:

There has not as yet been anything like an authoritarian crackdown on dissent. No journalists have heard that midnight knock on the door, and no communists have been treated to free helicopter rides.

BIIIIG mistake there, Mr President, sir. If there’s any single thing that could be counted as sowing the seeds of your own destruction, suffering a Commie to live would have to be it. Please do note that, for Milei, I added no asterisks or sneer quotes around “President.” No need for ‘em, ‘nuff said.

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He Woke Us Up. He Educated Us,

…I don’t think that most of us, however much we may love (or hate) him, fully appreciate the extraordinary scale of the revolution he has wrought.

He woke us up. He educated us, in a way that a teacher with a more sober and restrained classroom manner would never have been able to do. He showed us who our leaders really are and showed us who we, if we dare to take heart and take action, might be.

From Henry, in the comments, this article linked:

The Remarkable Uniqueness of Donald Trump

Perhaps one of the better articles about the case for Trump that I have read.
Henry’s comment

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Point well taken

Remember yesterday, when I hit my estimable and esteemed colleague (blogleague? blogalleague? oh, phooey) JJ Sefton with a little good-natured ribbing regarding the dearth of human beings in political office nowadays, which I consider to be more or less an oxymoron along the lines of “jumbo shrimp” or “military intelligence”? Well, in the comments he pithily reminds me:

Whether Biden is a human, a subhuman, a vegetable, or some combination is certainly debatable. “Obtain” and “legitimately elected” are not one in the same. 😉

Heh. Good ‘un, JJ. No argument against from moi, I did overlook those most salient facts. Sloppy of me, I know, but what the hell, anything for a laugh, right?

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Blibbering

Yeah, he’s just fine, no Alzheimers issues here, nosireeBOB.


Follows, several more videos confirming Pedo Peter’s total lucidity, clearheadedness, and remarkable facility for quick-wittedness and spontaneous speech, all from the same Medal of Presidential Paralympics in Freeduuhhhh…yeah, you know, the thing.

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Tide seems to be doing…that thing tides do

You gotta love it.


And then there’s this:


And this:


In the words of this Great American, albeit in a different context: “It’s turning now.”


Easy-peasy prediction: Look for these objectively pro-terrorist, Sorosturfed protests to do a fast fade from the daily news cycle in 5…4…3…2…

Nashville Pussy

Would like to remind you all that “pussy” is not a dirty word.

That’s a full-length video of NP’s set, 34 minutes long, but the part I most wanted to highlight is near the beginning and should be obvious to anyone who knows me well. One of the YT commenters makes a very astute observation:

It might look anarchic but that is an extremely polished rock n roll performance. A total lesson in how rock n roll is done. One of the best live rock n roll bands of all time.

Indeed so, right down the line. As for the band’s sordid history, here’s the background.

Nashville Pussy is an American rock band from Atlanta, Georgia. The band’s lyrical themes mostly revolve around sex, drugs, drinking, fighting, and rock ‘n’ roll. Initially called Hell’s Half-Acre, the band’s name comes from Ted Nugent’s introduction to “Wang Dang Sweet Poontang” on the Double Live Gonzo album.

Following the initial 1997 breakup of Kentucky cowpunk band Nine Pound Hammer, guitarist Blaine Cartwright formed Nashville Pussy where he would take up vocal duties in addition to guitar. The core lineup of Nashville Pussy consists of husband-and-wife duo Blaine Cartwright and Ruyter Suys (pronounced “Rider Sighs”), and drummer Jeremy Thompson, formerly of Texas band Phantom Creeps. Original drummer Adam Neal (Nine Pound Hammer) left to form the Hookers. Original bassist Corey Parks (sister of former basketball player Cherokee Parks) quit one month after the release of the album High as Hell, and later joined Die Hunns. Tracy Almazan a.k.a. Tracy Kickass formerly of New York City’s The Wives, and Helldorado was enlisted to replace Parks mid-tour.

Nashville Pussy recorded Say Something Nasty with Almazan on bass only to be replaced by Katielyn Campbell (of the band Famous Monsters). Katie Lynn’s image is on the album Say Something Nasty. Campbell was subsequently replaced by Karen Cuda for the album Get Some. Karen Cuda also appeared as bassist on the album “From Hell to Texas”, and in the live DVD Live in Hollywood.

Nashville Pussy have released seven full-length studio albums, one EP and two live DVDs.

The band has remained largely underground, but has been gaining a large cult following in the rock club scene, and in Europe, Australia, Japan, France, and the rest of the world. Grassroots promotion of the band has been aided by their taper-friendly show recording policy. Ruyter Suys was recently voted One of the Greatest Female Electric Guitarists in ELLE magazine. Nine Pound Hammer has since reunited and plays the introduction song for the Adult Swim cartoon 12 Oz. Mouse. Cartwright also had a cameo in the Mr. Show spinoff movie Run Ronnie Run as Duke’s Bar Owner. The band also played themselves in the Dutch Film ‘Wilde Mossels’ (Wild Mussels).

Nashville Pussy received a Best Metal Performance Grammy nomination for their song “Fried Chicken and Coffee” from their debut release, Let Them Eat Pussy (1998, The Enclave) 1999 Grammy. Between April 2 to May 7, 1999, the band toured as the opening act for the North American leg of Marilyn Manson’s Rock Is Dead Tour. Ruyter Suys was featured on National Enquirer TV along with Jennifer Lopez on the Grammy Red Carpet for her ‘revealing’ Evel Knievel meets Wonder Woman leather bustier in a feature titled ‘Too Much Too Little’ and their songs “Come On, Come On” and “Hate & Whisky” were featured in the video game Jackass: The Game. Additionally, “Snake Eyes” was for the end credits in the video game Rogue Trip: Vacation 2012 and both “Shoot First and Run Like Hell” and “Wrong Side of a Gun” were in the movie Super Troopers. The song ‘DRIVE’ with its Gary Glitter style drum beat was featured in the episode ‘Watching Too Much Television’ of the HBO series The Sopranos. HBO’S Entourage also featured Nashville Pussy’s ‘Hell Ain’t What It Used to Be’ in the episode ‘A Day in the Valley’. In 2012 Ruyter Suys has also played guitar and toured for Atlanta comedy metal band Dick Delicious and the Tasty Testicles.

Pretty strong credentials,  I’d say. Below the fold for the rest, so’s the punk-rock non-fans in my reading audience won’t be annoyed.

Continue reading “Nashville Pussy”

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Elon is at it again

Speaking the plain truth, being reviled to the rafters for it by shitlib morons. Y’know, the usual sort of thing.

Elon Musk posted about the West’s Achilles heel and man oh man did it make a lot of people angry
Elon was up at 1:30 a.m. and decided to spit some fire on the interwebz:


Hoo boy.

You know you can’t say things like that on the internet, Elon!!!

Follows, the typical Mark-1 Mod-0 foaming, frothing, nonsensical hissy-fit, wherein the Usual Gang of Idiots can’t even manage to stay on-topic. Gee, wonder if Mr Musk gives a lumpy fart. Myself, I’m beginning to suspect he tremendously enjoys hacking off the stupes and dupes, and is now doing it on purpose, just for his own amusement. Good on ya either way, sir.

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