http://en.wikipedia.org/wiki/United_States_presidential_election,_1812
Voting for David Cameron…DeWitt Clinton I mean…in opposition to the War of 1812.
Clinton, solely on account of him not owning slaves.
Quite a coalition for Clinton. A socialist, a quasi-fascist, and a libertarian.
What do you mean calling **QSH **a “quasi-fascist”?
I’m not sure how that qualifies as “quasi-fascist”…
-Promote Western culture and identity by increasing funding for PBS and NPR (for God’s sake, can’t we have more original programming rather than half of it being British imports?) along with the fine arts and humanities while cutting off funding for degenerate art
Besides these and other interesting throwbacks such as promoting eugenics, your economic program is prototypically fascist.
To ensure that Congressmen don’t engage in pork barrel spending, remove decisions on spending appropriation to a nonpartisan commission of economists, demographers, and so on who will determine where spending will go based on income, population, and so forth
I’m not using it as a pejorative. No offense intended.
Oh, come on. :rolleyes: That’s an egregious misuse of the term fascist . Also, to ignore the fact that **QSH **is a teenager in the midst of an ongoing evolution of his political ideas and that his mind is reaching out into all kinds of experimental directions before he settles on a stabilized philosophy, like a normal teenager, would be dickish. Give him room to grow, will you? I think QSH is to be commended for thinking things over in depth; would that most of us oldsters might examine our own preconceptions as assiduously.
Not to speak of the inane anachronism of modern concepts like “fascist,” “socialist,” and “libertarian” applied to 1812 politics.
WillFarnaby:
Besides these and other interesting throwbacks such as promoting eugenics, your economic program is prototypically fascist.
I’m not using it as a pejorative. No offense intended.
I’m afraid you can’t call someone “fascist” in a non-pejorative sense, not unless you’re a fascist yourself.
WillFarnaby:
Besides these and other interesting throwbacks such as promoting eugenics, your economic program is prototypically fascist.
I’m not using it as a pejorative. No offense intended.
Well besides what Johanna , my suggestion about “eugenics” was a voluntary one and something I’m mostly agnostic on. I admit though, that about the only thing I agree with the fascists on were their aesthetics.
What, you mean you like Nazi architecture ?
From The City in Mind,
. . . Hitler’s postwar career as a frustrated young artist has become a cliche of history. To describe him as a “failure,” however, misses the point. His political career was performance art, with many explicitly theatrical touches, and it was such a smashing success that he was rewarded with a kind of absolute temporal power not seen since the Roman emperors. Among other things, it enabled him to practice architecture on the grandest conceivable scale, through his surrogate, Albert Speer.
Back in 1924, while serving a year in Landsberg Prison for his Munich insurrection against the leftist Bavarian government, Hitler had made sketches of a soldier’s monument – a triumphal arch akin to one depicted in a painting by Schinkel, but never built – and a domed government hall of gargantuan proportions. Both these fantasies emerged ten years later virtually intact when Hitler engaged Speer to collaborate with him on an ambitious scheme to transform Berlin into a world capital. By then, Hitler had erased the boundaries between the party, the state, the economy, and his own personality, and anything seemed possible.
<snip>
Speer soon replaced [the old Reich Chancellery] with an enormous, somberly classical edifice, more than half of which was occupied by a sequence of vast ceremonial courts and corridors designed to cow visiting diplomats as they marched hundreds of feet on slippery marble floors from the front entrance to Hitler’s office. . . . As a matter of style, Speer’s version of classicism was not so far from the spirit of Art Deco, which could be described as classicism mechanized and streamlined for speed; Nazi architecture was classicism further simplified to express power minus distracting eroticism. It differed from Art Deco chiefly in eschewing any hint of feminine curves. . . .
<snip>
In those heady days before America entered the war, when France had been conquered, and Paris occupied, and England was reeling from the Blitz, and the Russians were mollified with a nonaggression pact, and America dallied in denial and isolationism, and the prospect of a quick Nazi victory did not seem so far-fetched, Hitler loved nothing better than to adjourn a dinner party at the chancellery and lead his guests to Speer’s headquarters next door where they could ogle a huge, elaborately detailed scale model of the Berlin project, with Hitler weilding a flashlight to illuminate dramatically the various buildings and urban features while he discoursed on his plans to build a city that would exceed ancient Rome in its magnificence and timelessness. In Hitler’s scheme of things, the war just an unavoidably messy phase of a large construction project.