Sugar Baby

A tumblr called YourFilthySexSecret. I may have to post some of those sometimes.

_ _ _

“I am a 24 year old woman in NYC who is a sugar baby to a couple in their 40’s. They pay for my apartment (doorman building amazing location) and give me a huge spending account including house accounts at Saks and Barney’s. I sleep with one or both of them almost every day, or sometimes they have other people stop by for me to care for. I know I’m basically a whore, but I have never felt so loved and appreciated and I get to continue my modeling career without struggling.”

-- Tumblr

Sugar Baby

A tumblr called YourFilthySexSecret. I may have to post some of those sometimes.

_ _ _

“I am a 24 year old woman in NYC who is a sugar baby to a couple in their 40’s. They pay for my apartment (doorman building amazing location) and give me a huge spending account including house accounts at Saks and Barney’s. I sleep with one or both of them almost every day, or sometimes they have other people stop by for me to care for. I know I’m basically a whore, but I have never felt so loved and appreciated and I get to continue my modeling career without struggling.”

-- Tumblr

The Antietam of the Culture War?

Obama, by declaring that homosexual marriages should be on the same legal and moral plane as traditional marriage, just took command of the forces of anti-Christian secularism in America's Kulturkampf. And Nov. 6, 2012, is shaping up as the Antietam of the culture war.

-- Patrick Buchanan

I have not heard from Pat Buchanan in a while. I see he still has his fiery rhetoric. We'll also catch an excerpt from his opinion piece.


_ _ _

It took Joe Biden's public embrace of same-sex marriage to smoke him out.

But after Joe told David Gregory of "Meet the Press" he was "absolutely comfortable" with homosexuals marrying, Barack Obama could not maintain his credibility with the cultural elite if he stuck with the biblical view that God ordained marriage as solely between a man and woman. The biblical view had to go.

Obama had to move, or look like a malingerer in secularism's next great moral advance into post-Christian America.

Consider. Obama had an appearance coming up on "The View," where Whoopi Goldberg would have demanded to know why he lacked the courage of Biden's convictions. He has a $40,000-a-plate fundraiser at George Clooney's, where the Hollywood crowd would want to know why he does not end discrimination against homosexuals.

He has appearances lined up before gay activists raising millions for his campaign. Monday, his press secretary was pilloried for his feeble defense of Obama's now-abandoned position.

His hand was forced. Yet the stand Obama took could cost him his presidency. Same-sex marriage may yet be a bridge too far, even for a dying Christian America.

-- Patrick Buchanan

_ _ _

If it is any consolation to Pat, with respect to his feelings for Christianity, I don't think that it is necessarily the death of Christianity in our culture just because we no longer think to exclude gays from the Kingdom of God. Some Christians might say that it is a fuller realization of the Christian vision to understand that gay love is within the all-encompassing love of God.

The Antietam of the Culture War?

Obama, by declaring that homosexual marriages should be on the same legal and moral plane as traditional marriage, just took command of the forces of anti-Christian secularism in America's Kulturkampf. And Nov. 6, 2012, is shaping up as the Antietam of the culture war.

-- Patrick Buchanan

I have not heard from Pat Buchanan in a while. I see he still has his fiery rhetoric. We'll also catch an excerpt from his opinion piece.


_ _ _

It took Joe Biden's public embrace of same-sex marriage to smoke him out.

But after Joe told David Gregory of "Meet the Press" he was "absolutely comfortable" with homosexuals marrying, Barack Obama could not maintain his credibility with the cultural elite if he stuck with the biblical view that God ordained marriage as solely between a man and woman. The biblical view had to go.

Obama had to move, or look like a malingerer in secularism's next great moral advance into post-Christian America.

Consider. Obama had an appearance coming up on "The View," where Whoopi Goldberg would have demanded to know why he lacked the courage of Biden's convictions. He has a $40,000-a-plate fundraiser at George Clooney's, where the Hollywood crowd would want to know why he does not end discrimination against homosexuals.

He has appearances lined up before gay activists raising millions for his campaign. Monday, his press secretary was pilloried for his feeble defense of Obama's now-abandoned position.

His hand was forced. Yet the stand Obama took could cost him his presidency. Same-sex marriage may yet be a bridge too far, even for a dying Christian America.

-- Patrick Buchanan

_ _ _

If it is any consolation to Pat, with respect to his feelings for Christianity, I don't think that it is necessarily the death of Christianity in our culture just because we no longer think to exclude gays from the Kingdom of God. Some Christians might say that it is a fuller realization of the Christian vision to understand that gay love is within the all-encompassing love of God.

Why do parrots talk?

It’s unclear exactly why [parrots] evolved this capability [for vocal learning], but research suggests they use it to tell members of their group apart from members of rival groups. ... According to this theory, birds that are raised in captivity might mimic their human owners as a way of gaining acceptance as a member of the family. If they hear “pretty bird” a lot, they’ll interpret that as a call distinct to their flock, and try making it themselves. If the parrot gets no response when she squawks, but gets lots of attention or treats when she makes humanlike noises, she has an extra incentive to practice forming words and phrases.

-- Andrew Sullivan's Dish

Why do parrots talk?

It’s unclear exactly why [parrots] evolved this capability [for vocal learning], but research suggests they use it to tell members of their group apart from members of rival groups. ... According to this theory, birds that are raised in captivity might mimic their human owners as a way of gaining acceptance as a member of the family. If they hear “pretty bird” a lot, they’ll interpret that as a call distinct to their flock, and try making it themselves. If the parrot gets no response when she squawks, but gets lots of attention or treats when she makes humanlike noises, she has an extra incentive to practice forming words and phrases.

-- Andrew Sullivan's Dish

Grrrr

Grrrr

Atlas (1,1) Destructive Competition?

James Taggart and Eddie Willers continue to argue over the failure of the Rio Norte line and Wyatt Oil as well as the railroad competitor, the Phoenix-Durango, which now has the Wyatt Oil business. We see how James is obviously moved by other than economic considerations and cold capitalism.

We will see this anti-capitalist perspective developed as we go on; I think this is the Looters & Moochers perspective, which is disguised by a loudly professed concern for fairness - the wolves in sheep’s clothing. I imagine the naive reader is being lulled by this argument for fairness and the aversion for cold considerations of money, which Ayn Rand will use to jar us liberals out of our complacent and misplaced sense of justice.

The first line is spoken by James Taggart, and he is referring to Ellis Wyatt, who switched to the Phoenix Durango because the Rio Norte line could not handle all of Wyatt’s oil.


_ _ _

“What does he expect? That we drop all our other shippers, sacrifice the interest of the whole country and give him all our trains?”

“Why, no, he doesn’t expect anything. He just deals with the Phoenix Durango.”

“I think he’s a destructive, unscrupulous ruffian. I think he’s an irresponsible upstart who’s been grossly overrated.” It was astonishing to hear a sudden emotion in James Taggart’s lifeless voice. “I’m not so sure his oil fields are such a beneficial achievement. It seems to me that he’s dislocated the economy of the whole country. Nobody expected Colorado to become an industrial state. How can we have any security or plan anything if everything changes all the time?”

“Good God, Jim! He’s -”

“Yes, I know, I know, he’s making money. But that is not the standard, it seems to me, by which one gauges a man’s value to society. And as for his oil, he’d come crawling to us, and he’d wait his turn along with all the other shippers, and he wouldn’t demand more than his fair share of transportation - if it weren’t for the Phoenix-Durango. We can’t help it if we’re up against destructive competition of that kind. Nobody can blame us.”

-- “Atlas Shrugged” by Ayn Rand

_ _ _

I think that second line is key: “Why, no, he doesn’t expect anything. He just deals with the Phoenix Durango.” This illustrates the virtue of capitalism. Wyatt does not bother with substantive expectations and airy promises. He just wants performance, and he will do business with anyone who can give him that performance. In focusing, even ruthlessly, on such narrow economic considerations, we see the true realization of social benefits for the larger society by the virtue of functioning and efficient businesses.

Atlas (1,1) Destructive Competition?

James Taggart and Eddie Willers continue to argue over the failure of the Rio Norte line and Wyatt Oil as well as the railroad competitor, the Phoenix-Durango, which now has the Wyatt Oil business. We see how James is obviously moved by other than economic considerations and cold capitalism.

We will see this anti-capitalist perspective developed as we go on; I think this is the Looters & Moochers perspective, which is disguised by a loudly professed concern for fairness - the wolves in sheep’s clothing. I imagine the naive reader is being lulled by this argument for fairness and the aversion for cold considerations of money, which Ayn Rand will use to jar us liberals out of our complacent and misplaced sense of justice.

The first line is spoken by James Taggart, and he is referring to Ellis Wyatt, who switched to the Phoenix Durango because the Rio Norte line could not handle all of Wyatt’s oil.


_ _ _

“What does he expect? That we drop all our other shippers, sacrifice the interest of the whole country and give him all our trains?”

“Why, no, he doesn’t expect anything. He just deals with the Phoenix Durango.”

“I think he’s a destructive, unscrupulous ruffian. I think he’s an irresponsible upstart who’s been grossly overrated.” It was astonishing to hear a sudden emotion in James Taggart’s lifeless voice. “I’m not so sure his oil fields are such a beneficial achievement. It seems to me that he’s dislocated the economy of the whole country. Nobody expected Colorado to become an industrial state. How can we have any security or plan anything if everything changes all the time?”

“Good God, Jim! He’s -”

“Yes, I know, I know, he’s making money. But that is not the standard, it seems to me, by which one gauges a man’s value to society. And as for his oil, he’d come crawling to us, and he’d wait his turn along with all the other shippers, and he wouldn’t demand more than his fair share of transportation - if it weren’t for the Phoenix-Durango. We can’t help it if we’re up against destructive competition of that kind. Nobody can blame us.”

-- “Atlas Shrugged” by Ayn Rand

_ _ _

I think that second line is key: “Why, no, he doesn’t expect anything. He just deals with the Phoenix Durango.” This illustrates the virtue of capitalism. Wyatt does not bother with substantive expectations and airy promises. He just wants performance, and he will do business with anyone who can give him that performance. In focusing, even ruthlessly, on such narrow economic considerations, we see the true realization of social benefits for the larger society by the virtue of functioning and efficient businesses.

Julie Delpy

Julie Delpy wrote 2 Days In New York because it struck her, looking around, that most Hollywood romcoms were hilariously awful in their depictions of women her age. That is, women in their late 30s and early 40s. The Anistons and Barrymores who, on screen at least, are still "having the problems of a 25-year-old. Like, should I date him, should I not date him? Should I have sex with him but tell him I don't like him? OK. I mean, I have friends who are still single, but even they don't ask themselves those kind of questions. They've evolved into something else."

-- ONTD

The whole interview is worth a read. People mostly talk about her movie "Before Sunrise" with Ethan Hawke. I've never been able to watch more than a few minutes. I am not much for romantic comedies. Julie Delpy made her mark on me with "Killing Zoe" with Eric Stoltz. It's a small role, but definitely memorable. Her character, Zoe, is even the namesake of the movie, after all.


_ _ _

I have one small quibble. In one scene, Marion, played by Delpy in a pair of huge, hipster glasses, goes on a weepy jag about how old and unattractive she is, and how no one will ever want her. I can't imagine anyone in the audience not thinking, give me a break, you're still Julie Delpy.

She looks astonished. "Really?"

Yes!

"Are you kidding?"

You're a movie star, come on.

"Oh, you have no idea – the insecurity I felt after the birth of my son. I felt fat and unattractive, and I still feel that way. I still feel I'd better stick with my boyfriend, because no one else is going to want me.

"I'm not kidding. When I had my kid, I gained a lot of weight – 60 pounds. And you feel somehow not pretty any more. You feel that your tits are to feed – I mean, it's a physical thing. I felt so insecure. Super duper insecure. When I wrote the screenplay, that scene totally resonated. I've never felt worse. I mean, it's great to be a mum, but I felt devoid of my femininity. I felt like a cow. You feel that no one finds you attractive and you get very depressed. Very common. Even a year after the baby."

-- ONTD

Julie Delpy

Julie Delpy wrote 2 Days In New York because it struck her, looking around, that most Hollywood romcoms were hilariously awful in their depictions of women her age. That is, women in their late 30s and early 40s. The Anistons and Barrymores who, on screen at least, are still "having the problems of a 25-year-old. Like, should I date him, should I not date him? Should I have sex with him but tell him I don't like him? OK. I mean, I have friends who are still single, but even they don't ask themselves those kind of questions. They've evolved into something else."

-- ONTD

The whole interview is worth a read. People mostly talk about her movie "Before Sunrise" with Ethan Hawke. I've never been able to watch more than a few minutes. I am not much for romantic comedies. Julie Delpy made her mark on me with "Killing Zoe" with Eric Stoltz. It's a small role, but definitely memorable. Her character, Zoe, is even the namesake of the movie, after all.


_ _ _

I have one small quibble. In one scene, Marion, played by Delpy in a pair of huge, hipster glasses, goes on a weepy jag about how old and unattractive she is, and how no one will ever want her. I can't imagine anyone in the audience not thinking, give me a break, you're still Julie Delpy.

She looks astonished. "Really?"

Yes!

"Are you kidding?"

You're a movie star, come on.

"Oh, you have no idea – the insecurity I felt after the birth of my son. I felt fat and unattractive, and I still feel that way. I still feel I'd better stick with my boyfriend, because no one else is going to want me.

"I'm not kidding. When I had my kid, I gained a lot of weight – 60 pounds. And you feel somehow not pretty any more. You feel that your tits are to feed – I mean, it's a physical thing. I felt so insecure. Super duper insecure. When I wrote the screenplay, that scene totally resonated. I've never felt worse. I mean, it's great to be a mum, but I felt devoid of my femininity. I felt like a cow. You feel that no one finds you attractive and you get very depressed. Very common. Even a year after the baby."

-- ONTD