Quotulatiousness

January 5, 2014

In the dictionary, the word “narcissism” is defined as “baby boomer default mental state”

Filed under: History, Media, USA — Tags: , , , , , — Nicholas @ 11:22

Okay, it isn’t really (but if you think it is, you’ve probably fallen for the “gullible isn’t in the dictionary” prank as well). In the Wall Street Journal, Terry Teachout discovers that every defining event of the Baby Boom era always comes back to being about the Baby Boomers themselves:

Most “Monty Python” fans are, of course, baby boomers, who have long been a nostalgic lot and are growing more so as they totter toward old age. Witness their tiresomely obsessive fascination with the popular television series of their youth. Likewise their undimmed passion for the rock music of the 1960s and ’70s, which they still love so much that they’ll buy expensive tickets to see wrinkled old codgers play it onstage.

As always with the boomers, this nostalgia contains more than a touch of narcissism. The same narcissism was on display in many of the countless gushy boomer-penned reminiscences occasioned by the 50th anniversary of the Kennedy assassination. An indisputably major historical event, to be sure, but there was also something decidedly creepy about the self-centered tone of those suddenly-my-world-changed pieces, which was deftly skewered by this Onion headline: “Area Man Can Remember Exactly Where He Was, What He Was Doing When He Assassinated John F. Kennedy.” Like everything else in the boomers’ world, Kennedy’s death turned out in the end to have been all about them.

[…]

Not surprisingly, my parents’ generation did everything they could to make life easier for their own children. Was that good for us? I wonder. It certainly didn’t do us any good from a cultural point of view. I’m struck by how few boomers have embraced adult culture in middle age. My impression is that they’d much rather watch sitcoms than read novels, go to the opera or listen to jazz. In large part they’re a cohort of Peter Pans, determined not to grow up any more than they can help. Indeed, not a few of them seem to take a perverse kind of pride in their adolescent enthusiasms. I read the other day that a “Fat Albert and the Cosby Kids” lunch box from 1973 now sells for $1,200 — and that the Smithsonian Institution’s National Museum of American History owns one. I’m not quite sure which of those facts makes me sadder.

If I live long enough, I’ll enjoy finding out how the millennials remember the world of their youth a quarter-century from now. Since they’re having a much harder time earning a living than did their baby-boom parents, I wouldn’t be at all surprised if their attitude ends up being much more like that of the wised-up kids of the Great Depression, especially as regards cultural matters. While I don’t know whether they’ll go in for late Beethoven by the time they reach their 50s, somehow I doubt that watching an ancient episode of “30 Rock” will cause them to recall with fondness the good old bad old days when they were living in crummy studio apartments — or their parents’ basements.

November 22, 2013

“…you wonder why it took so long for somebody to shoot the swinish bastard”

Filed under: History, Media, USA — Tags: , , , , — Nicholas @ 17:28

Colby Cosh makes no friends among the over-60 Kennedy worshipping community:

The myth of Kennedy as a uniquely admirable knight-errant has finally, I think, been wiped out by the accumulation of ugly details about his sexual conduct and family life. For a while it was still possible to regard JFK’s tomcatting as the inevitable concomitant of super-masculine greatness. By now it is pretty clear that he was just an abusive, spoiled creep. There are scenes in White House intern Mimi Alford’s 2012 memoir that make you wonder why it took so long for somebody to shoot the swinish bastard.

As for the assassination itself, the experience of seeing conspiracy theories bloom like a toxic meadow after 9/11 has hardened us all against the nonsense that was still popular in the 1990s. Most adults, I think, now understand that Oliver Stone’s JFK was a buffet of tripe. It is no coincidence that Stephen King’s 2011 time-travel book about JFK’s slaying, written after decades of fairly deep research, stuck close to the orthodox Warren commission narrative.

The new favourite themes in the 50th anniversary coverage dispense with grassy-knoll phantoms and disappearing-reappearing Oswalds. One new documentary has revived Howard Donahue’s idea that the final bullet that blasted Kennedy’s skull apart might have been fired accidentally by a Secret Service agent in one of the trailing cars. This would help explain the oddity of the Zapruder footage, and might also account for some awkwardly disappearing evidence — notably JFK’s brain — without requiring us to believe anything obviously outrageous.

[…]

In the early ’70s Lyndon Johnson made a cryptic remark about JFK possibly being killed because his administration had been “running a damn Murder Inc. in the Caribbean.” This offhand remark turned out to be quite specific; rumours of multiple CIA assassination attempts against Castro were true, as were wilder tales of literal Mafia involvement (confirmed when the CIA “Family Jewels” were declassified in 2007). Oswald would not exactly have been anyone’s first choice as an intelligence asset, and probably had no state sponsor. But notice that it’s 2013 and we still have to say “probably.”

November 20, 2013

Jacqueline Kennedy and the Camelot myth

Filed under: History, Media, USA — Tags: , , , — Nicholas @ 08:56

Virginia Postrel on the legacy of Jacqueline Kennedy:

When she was 22, the future Jacqueline Kennedy won a Vogue contest with an essay in which she dreamed of being “a sort of Overall Art Director of the Twentieth Century.” As first lady, she proved herself a genius at visual persuasion. She crafted her own image, refined her husband’s, re-created the White House’s, and even shaped America’s abroad.

Her most evocative and enduring image-making came when John F. Kennedy was assassinated, 50 years ago this week. She art-directed the funeral’s pageantry and then, in an interview with T.H. White for Life magazine, memorably linked her husband to one of the most powerful legends in the English-speaking world. Jackie created the myth of the Kennedy administration as Camelot: the lost golden age that proved ideals could become real.

The Arthurian legends traditionally operate as what the cultural anthropologist Grant McCracken calls “displaced meaning.” Every culture, he observes, maintains ideals that can never be fully realized in everyday life, from Christian charity to economic equality. Yet for all their empirical failings, such cultural ideals supply essential purpose and meaning, offering identity and hope. To preserve and transmit them, cultures develop images and stories that portray a distant world in which their ideals are realized — a paradise, a utopia, a golden age, a promised land, a world to come. Camelot is such a setting.

“When they are transported to a distant cultural domain,” McCracken writes, “ideals are made to seem practicable realities. What is otherwise unsubstantiated and potentially improbable in the present world is now validated, somehow ‘proven,’ by its existence in another, distant one.”

[…] The Kennedy administration ended with sudden violence from without, making Jackie’s analogy doubly potent. It suggested a parallel with a legendary Golden Age while simultaneously implying that, left to itself, this new Golden Age might have continued indefinitely. This Camelot was pure glamour: a frozen moment, its flaws and conflicts obscured.

Glamour invites projection. For 50 years, Americans of various persuasions have imagined their ideals embodied in a Camelot that might have been. Advocates of a vigorous Cold War foreign policy claim John Kennedy. So do their opposites. He did less for the civil-rights movement than his unglamorous successor, Lyndon Johnson, yet in imagination he would have done more. Above all, people imagine that somehow a living Kennedy would have prevented the tumult of the 1960s.

November 6, 2013

“…the only real Doctor was William Hartnell”

Filed under: Britain, Media — Tags: , , — Nicholas @ 09:33

In the Telegraph, Tim Stanley discusses the original Doctor Who:

Everybody has a favourite Doctor, but the only real Doctor was William Hartnell. No one else came close to matching his authority and scariness. He was genuinely alien.

Hartnell the man was born in poverty to a single mother in 1908. His career took off in the 1940s, playing hard men and soldiers in cop shows and sitcoms. He was spotted by producer Verity Lambert playing a rugby talent scout in This Sporting Life and offered a part in a new sci-fi show called Doctor Who in 1963. Bill was reluctant at first to work on a mere kids programme — but it turned out to be rather more special than that.

The genius of that early series was that it was pitched perfectly between children and adults; it’s a testament to how much more “adult” children were treated back then. The real focus of the plot were two teachers, Ian and Barbara, who follow a precocious pupil home and find that she’s living in a police box. The police box turns out to be a time ship (rather roomier on the inside than out) and her “grandfather” — the Doctor — is less than thrilled to meet them. In fact, he’s so furious that he shuts the doors, presses a button and kidnaps them. Compare that with present-day Who where the Doctor only ever meets young women with regional accents who he instantly wants to bed but can’t because — I don’t know — he’s impotent or something. Everything about 60s Who was way more mature and sinister.

To be honest, Hartnell’s stories can be tough to re-watch. Each serial ran for upwards of 12 episodes a time, some of the scripts were plodding (I challenge you to sit through The Space Museum without slipping into a coma) and the effects shockingly poor. The Web Planet featured a cast of gay butterflies on strings, dancing ants and grubs on rollers that occasionally crashed into the camera. Bill sometimes let the side down by fluffing his lines (When invited to climb a hill: “My dear, I’m not a mountain goat and I prefer walking to any day.” Awkward pause. “And I hate climbing”). There are moments when he looks lost and helpless before the cameras, the line on the tip of his tongue but he can’t remember if it’s “Daleks” or “cabbages”.

October 12, 2013

Not quite as I remember it (from hiding behind the settee in the living room)

Filed under: Britain, Media — Tags: , , — Nicholas @ 00:01

Published on 10 Oct 2013

Trailer for the newly-recovered and remastered Patrick Troughton Doctor Who episode The Enemy of the World. Unseen in the UK for 45 years, and formerly considered missing, The Enemy of the World sees Troughton play the dual-role of the Doctor and also Salamander – the “saviour of the world”. Or is he… Also starring Frazer Hines as Jamie and Deborah Watling as Victoria.

October 11, 2013

Jonah Goldberg on Scooby Doo

Filed under: Humour, Media, USA — Tags: , , — Nicholas @ 11:53

For this week’s Goldberg File email, Jonah Goldberg ran an old piece from some time in the last few years, talking about the cultural implications of the TV show Scooby Doo:

So my daughter and I have been talking about Scooby Doo a lot. She thinks the show, in all its myriad incarnations, is riveting. She will interrupt conversations with “Oh, Daddy, did you know …” and I will expect to hear about something from school or from her daily life, and she will commence to tell me something about Shaggy or Velma or Scooby.

The show has gone through a lot of changes over the years (the Wikipedia entry is disturbingly interesting; one of these days I must remember to carve it into a great chain of toilet seats). In case you didn’t know, the show now features real monsters and ghosts quite often. Not always, but often enough. For decades, the monsters weren’t real, merely the attempts of hucksters and con men. Now the makers of the show teach little kids that there really are vampires and witches.

At first, I thought this scandalous. I always thought the point of the show was to teach little kids not to be scared of things that go bump in the night.

But this is actually the least offensive thing about the show. Bear with me.

Recently, I caught the tail end of one of the newer episodes, and I was dismayed to discover that the perpetrator of the scary hoax was not the bad guy. He was something of an environmentalist/historic preservationist who wanted to keep some greedy corporate fat cats from developing some land. It seemed like something close to an endorsement of ecoterrorism.

Obviously, I was going to turn this revelation into an NR cover story. But as I pondered it, I thought more deeply about the original series. The show starts in 1969. The kids of Mystery Inc., who seem to have absolutely no parental supervision, are clearly counter-cultural. Freddie may not be gay, but he wears an ascot, and, for anyone under the age of 60, that alone is an invitation to a beating. And given that the show was launched in 1969, he may just be dressing that way to duck the draft. (Indeed, why the heck aren’t Fred and Shaggy knee-deep in some rice paddy somewhere?) Velma, meanwhile, certainly looks like she runs a pottery shop in Burlington, Vt., if you know what I mean.

And Shaggy, well, he’s a filthy hippy who always has the munchies. ‘Nuff said.

October 6, 2013

Nostalgic Doctor Who fans rejoice

Filed under: Africa, Britain, Media — Tags: , , , , — Nicholas @ 10:01

According to a report in the Mirror, over 100 lost Doctor Who episodes have turned up in the most unlikely spot:

A group of dedicated Doctor Who fans tracked down at least 100 long-lost episodes of the show gathering dust more than 3,000 miles away in Ethiopia.

It was feared the BBC ­programmes from the 1960s — featuring the first two doctors William Hartnell and Patrick Troughton — had vanished for all time after the Beeb flogged off a load of old footage.

But after months of ­detective work the tapes have been unearthed at the Ethiopian Radio and Television Agency.

A television insider said: “It is a triumph and fans ­everywhere will be thrilled.

“This is a really big deal for the BBC and is set to make them millions from the sale of the DVDs.”

H/T to Tabatha Southey for the link.

September 26, 2013

Charles Mingus

Filed under: History, Media, USA — Tags: , , — Nicholas @ 09:09

In The Nation, Adam Shatz looks back at the turbulent and creative career of Jazz giant Charles Mingus:

Mingus rarely left his pieces alone when he took them on the road with his Jazz Workshop, as he began calling his bands in the mid-1950s. When the Workshop played “Fables of Faubus,” a dart of sarcasm aimed at Arkansas’s segregationist governor Orval Faubus, at the Concertgebouw in Amsterdam, the jaunty eight-minute tune swelled into a half-hour suite, punctuated by tart allusions to “When Johnny Comes Marching Home” and “God Bless America” and a bass clarinet solo of blistering intensity by Eric Dolphy. (The performance is one of five concerts included in The Jazz Workshop Concerts 1964–65, a seven-disc boxed set on Mosaic Records.) In the studio, Mingus was always splicing, dicing and overdubbing, enriching the texture of his music, increasing its density. He tinkered with titles, giving old pieces new and sometimes cryptic names: the tender portrait of a woman he loved, “Nouroog,” reappeared after their breakup as “I X Love”; “Better Get It in Your Soul,” a foot-stomping gospel tune that’s still played on jukeboxes, became “Better Get Hit in Yo’ Soul,” a message to junkies that they’d be better off with a boost from the Lord than one from the needle.

Mingus was always true to his ever-changing moods: he wanted to create music that, in his words, was “as varied as my feelings are, or the world is.” For sheer range of expression, his work has few equals in postwar American music: furious and tender, joyous and melancholy, grave and mischievous, ecstatic and introspective. It moves from the rapture of the church to the euphoria of the ballroom, from accusation to seduction, from a whisper to a growl, often by way of startling jump cuts and sudden changes in tempo. Vocal metaphors are irresistible when discussing Mingus. As Whitney Balliett remarked, music for him was “another way of talking.”

Though he wrote only a few songs with lyrics, his compositions — and his own bass playing, which revealed new dimensions of the instrument and helped liberate it from its traditional time-keeping role — were supremely vocal. He collaborated with poets in East Village coffeehouses and never hesitated to call out to his sidemen when the spirit caught him, as if he was leading a gospel choir. Each instrument in a Mingus tune evoked the voice, invariably in conversation with other voices; and each voice was an extension of his famously tempestuous personality. (“We don’t need a vocalist,” he told the trombonist Britt Woodman. “This band can have an argument with instruments.”) Philip Larkin was astonished by “how every Mingus band sounds like a great rabble of players, like some trick of Shakespearian production.” No matter how small the ensemble, he could create a sense of passionate, often combative dialogue: as one of his sidemen put it, Mingus “liked the sound of a struggle.” If his Workshop settled into a groove, he would suddenly change the time signature: he didn’t want anyone to get too comfortable. Struggle — against complacency, against the confinements of race and genre, against the record industry and the American government — inspired him; he depended on it to create. Though he dreamed of finding refuge on some “colorless island,” it wasn’t clear how he’d spend his time there. He needed something to fight against; his anger, in Geoff Dyer’s words, was “a form of energy, part of the fire sweeping through him.”

August 27, 2013

Martin Luther King and the American Dream

Filed under: History, Liberty, USA — Tags: , , , — Nicholas @ 12:21

Brendan O’Neill on MLK’s most famous speech:

Tomorrow is the fiftieth anniversary of Martin Luther King’s “I Have a Dream” speech, made on the Mall in Washington, DC on 28 August 1963. Re-reading the speech 50 years on, the most striking thing about it is how much faith it puts in the American Dream. Where today it is positively hip to be disdainful of all things American, to look upon America as a land of shopping addicts and fat rednecks, King and his listeners were passionately devoted to the idea of America and an American project. Using tellingly capitalistic lingo, King said of those gathered that “we refuse to believe that the bank of justice is bankrupt. We refuse to believe that there are insufficient funds in the great vaults of opportunity of this nation.” King said that his dream, of racial equality, was “deeply rooted in the American Dream”.

Not for King the fashionable disgust for America’s obsession with consumerism and wealth. On the contrary, he said blacks were sick of living on “the lonely island of poverty” and longed to wade in America’s “vast ocean of material prosperity”. Not for King any sneering at America’s promise of wealth and opportunity to its citizens — “now is the time to open the doors of opportunity to all of God’s children”, he said. Not for King any mocking of the founding fathers of America, who have in recent years been judged by radical Leftists to have been racist and evil (in the words of The Nation magazine just last month, Thomas Jefferson was a “slave-owning rapist”). Instead, King extolled the “magnificent words of the Constitution and the Declaration of Independence” and talked about all men’s “inalienable rights of life, liberty, and the pursuit of happiness”.

In the run-up to the fiftieth anniversary of King’s speech, there’s been a great deal of debate about what has changed, especially for America’s blacks. But perhaps the most sweeping, dramatic change has been in attitudes towards the very idea of America. Today, cheap anti-Americanism is the glue that holds so-called liberals and radicals together. Tapping one’s toe to the Green Day song “American Idiot” while laughing knowingly at the fallacy of the American Dream is what passes for being edgy these days. Both within and without America, many Leftish activists and serious thinkers view America as dumb, fat, polluting, reckless and unwittingly hilarious, founded by narcissists and drunks, a “greedy and overweening power”, as the New Statesman said in the immediate aftermath of 9/11.

August 22, 2013

Sixties TV – it was different if you were under 12

Filed under: Britain, Media — Tags: , , , , , — Nicholas @ 14:14

James Lileks looks at a few Gerry Anderson productions:

The Sixties - different under 12

Gerry Anderson! You’re going to get everything you need for crackerjack adolescent-satisfying sci-fi: spaceships, shuttlecrafts, computers, control rooms, crisp commanding officers, futuristic gadgets, and a big score. And none of it will work half as well as you hoped. The spaceships will look great, though. The computers will blink and there will be switches, but nothing makes Star Trek Sounds. The control rooms are clean but everyone is talking in a British accent for some reason, like they have their own NASA that’s just as big. The gadgets are okay. The score has a trademark echoey quality you found in soundtracks, particularly British ones, from the late 60s to the early 70s. It should be good! Why isn’t it great?

I’ve pondered that mystery for a long time. Sometimes you have a revelation — hey, the founding concept of “Space: 1999 was really stupid” — or you carp about the details, wondering why the UFO interceptors went hunting with one (1) missile that required a direct hit to be effective, instead of just blowing the hell out of the area. Then you realize it’s not great because it’s all the work of someone who made horribly grinning square-headed puppets, that’s why, and never stopping thinking he was making entertainment for 8 years olds.

[…]

The title theme is here, complete with oddly romantic piano interlude. It’s every Barry Grey piece that ever left me cold, right there. In general I just don’t feel Barry Grey’s music — except for the opening of the “Space 1999” theme before it goes full whacka-chicka, and of course that other theme. Here’s a guy who wrote miles and miles of scores for things like “Supercar,” for heaven’s sake, and he turns around and knocks off the tightest, sharpest theme of the 70s.

Still, Laurie Johnson was better.

August 2, 2013

How soon we forget…

Filed under: Humour, Randomness — Tags: , — Nicholas @ 09:23

Mancow Muller shows us how quickly we forget the classics:

July 28, 2013

Procol Harum and the Danish National Concert Orchestra and choir

Filed under: Media — Tags: , , — Nicholas @ 11:34

Procol Harum performing A Whiter Shade of Pale with the Danish National Concert Orchestra and choir at Ledreborg Castle, Denmark in August 2006

H/T to American Digest for the link.

May 21, 2013

Ray Manzarek, RIP

Filed under: Media — Tags: , , — Nicholas @ 09:34

Musician Ray Manzarek, co-founder of The Doors is dead at 74:

Ray Manzarek, who as the keyboardist and a songwriter for the Doors helped shape one of the indelible bands of the psychedelic era, died on Monday at a clinic in Rosenheim, Germany. He was 74.

The cause was bile duct cancer, according to his manager, Tom Vitorino. Mr. Manzarek lived in Napa, Calif.

Mr. Manzarek founded the Doors in 1965 with the singer and lyricist Jim Morrison, whom he would describe decades later as “the personification of the Dionysian impulse each of us has inside.” They would go on to recruit the drummer John Densmore and the guitarist Robby Krieger.

Mr. Manzarek played a crucial role in creating music that was hugely popular and widely imitated, selling tens of millions of albums. It was a lean, transparent sound that could be swinging, haunted, meditative, suspenseful or circuslike. The Doors’ songs were generally credited to the entire group. Long after the death of Mr. Morrison in 1971, the music of the Doors remained synonymous with the darker, more primal impulses unleashed by psychedelia. In his 1998 autobiography, “Light My Fire,” Mr. Manzarek wrote: “We knew what the people wanted: the same thing the Doors wanted. Freedom.”

May 18, 2013

The micro-state of Sealand

Filed under: Britain, Europe, Government, Liberty, WW2 — Tags: , , , — Nicholas @ 08:56

Thomas Hodgkinson reports on his week-long visit to the tiny nation of Sealand:

Sealand

Seven miles off the coast of Suffolk, there is a country. It isn’t a very big country. In fact, its surface area extends to no more than 6,000 square feet, which is about twice the size of a tennis court. You won’t find it on Google Maps and it isn’t a member of Nato or, indeed, the EU. But it exists. And I know, because I’ve been there.

[. . .]

The reason for this suspicion of strangers in general lies in the violent, picaresque nature of its past. Sealand was built in 1943 by the Royal Navy as an anti-aircraft fortress designed to shoot down Luftwaffe planes. In those days it was equipped with two 94mm Vickers heavy anti-aircraft guns and two 40mm Bofors light anti-aircraft guns, and manned by 120 seamen crammed into accommodation in the hollow concrete towers. It was known as HM Fort Roughs, or Roughs Tower for short. Abandoned after the War, it gathered rust and guano, a gloomy relic of conflict, until the era of pirate radio in the 1960s.

Then two rival entrepreneurs competed for possession, regarding the fort as the perfect place (since it was outside the three-mile zone that then constituted British territorial waters) from which to broadcast pop music to a grateful generation of teenagers. The piratical pair were the long-haired Irish chancer Ronan O’Rahilly, of Radio Caroline fame, and one Roy Bates, a cravat-wearing former Army major.

Each time one of them put men on Roughs Tower, the other would send people to eject them, sometimes forcibly. It was a question of who was prepared to go further, and the answer turned out to be the Englishman. For Bates, the solitary fortress became far more than a radio project. It became an obsession that would absorb not only his life, but also the lives of his wife and children.

The key thing, he knew, was to maintain a presence. With even one occupant, Roughs Tower was tough to take. But Roy couldn’t afford a guard, so instead he plucked his 14-year-old son Michael out of school and put him up there, sometimes with his daughter Penny, sometimes with his wife Joan. For Michael, this was a welcome escape from the dreary rigours of a public-school education, but as he confided to me during a long lunch on-shore after my visit, “I expected it to last six months, not 40-something years”.

Sealand2

May 12, 2013

Thomas Szasz was no conservative

Filed under: Health, Liberty, Media — Tags: , , , , — Nicholas @ 09:50

In Reason, Jacob Sullum looks at an essay on the late Thomas Szasz that puzzlingly attempts to portray him as a staunch conservative:

In an interesting but puzzling Aeon essay, Cornell historian Holly Case notes the resemblance between contemporary doubts about the scientific foundation of psychiatry and the critique first laid out by Thomas Szasz half a century ago. “It might be that the world has only recently come around to his way of thinking,” Case suggests. Yet she misconstrues an important aspect of Szasz’s thinking by portraying him as “a staunch Republican” and a “conservative,” apparently unaware of his self-proclaimed libertarianism. Szasz, who died last year at the age of 92, was a Reason contributing editor for decades. He described the main motivation for his intellectual career as “my passion against coercion,” which he opposed (outside of situations involving the defense of rights) no matter who was advocating it, left, right, or center. Hence he opposed forced psychiatric treatment, but he also opposed interference in consensual transactions between psychiatrists and voluntary patients. Here he parted company with some left-wing critics of psychiatry.

[. . .]

But Case focuses mainly on common ground between what she views as right-wing and left-wing critics of psychiatry. Beginning in the 1960s, she writes, “Right and left sought to eliminate insanity in order to lionise dissent, legitimise the marginal and condemn the new normal. Few other issues show a convergence of right and left so far-reaching, while still allowing both sides to adhere to their politics and maintain a sense of total opposition.” At the same time, she says “Szasz was conspicuously alone in mounting the barricades from the right,” so she really needs him to be a right-winger. Bending the facts to fit her thesis, she ascribes to Szasz a “distinctively conservative perspective.” That label does not jibe with his opposition to drug prohibition and his forthright defense of the right to suicide, two major themes of his career that Case tellingly ignores. Szasz’s position on physician-assisted suicide combined both of these themes and demonstrated that his perspective was in fact distinctively libertarian. He opposed Oregon’s Death With Dignity Act (later imitated by Washington) because it medicalized a moral decision and required people to meet government-dictated criteria before they could legally end their lives. If the drug laws did not make it difficult for people to obtain substances useful for suicide (such as barbiturates), he said, there would be no need for physician-assisted suicide.

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