Gay Republicans

I guess I'll do a post on Tom Foley since Delawarean liberals apparently want conservatives to write about it.

It seems to me that the American Republic has been becoming like the Weimar Republic. I.e. it is becoming the type of culture that breeds sexual deviancy and disorder and therefore blackmail and corruption among its politicians. The pattern of decline opens the door to ironic forms of blackmail in which one moral degenerate tries to blackmail another by standards which they don't believe in, although they play to the general mob as if they do. To some life is but a play, they its actors.

Shirer noted on the topic: "[The Nazis]...quarreled and feuded as only men of unnatural sexual inclinations, with their peculiar jealousies, can." (The Rise and Fall of the Third Reich
by William Shirer :172)

Therefore, "By 1926...the charges and countercharges hurled by the Nazi Chieftains at one another became so embarrassing that Hitler set up a party court to settle them and prevent his comrades from washing their dirty linen in public."(Ib. :174)

Those who sit at the end of the decline of civilization do not believe that language describes order and disorder objectively, whatever sense of deviance and deceny left among the mob or its leaders is used for political purposes. Ironically, the mob also rejects cultivating and shaping their feelings and desires based on principle, yet it is generally too stupid to realize its inconsistency in wanting its political leaders live up to a higher standards.

Note a sample of the culture of the Weimar Republic, a culture from which political blackmail and so on easily emerge:

I begin here by briefly documenting the wider output of filmic representations of homosexuality in the period...
No other films depicted homosexuality as unequivocally, centrally, or positively as these. Michael (1924), the story of the tragic love of a painter for his model/protégé, was a remake of the Swedish film Vingarne (The Wings, 1916); Der Fall des Generalstabs-Oberst Redl (1931) dealt directly with the Redl scandal. [a scandal involving blackmail and homosexuality] At least one of the several films dealing with Frederick the Great (Fridericus-Rex-Zyklus, 1922) pointed to his homosexuality, although all those dealing with Ludwig II of Bavaria managed to keep quiet about his. Though not the main characters, a lesbian and a gay man are central to the plots of, respectively, Die Büchse der Pandora (Pandora’s Box, 1928) and Geschlecht in Fesseln (Sex in Shackles, 1928), the latter worth noting — despite the fact that it ends unhappily for all concerned — for the tender physicality shown in the love between two men in prison. Gays are part of the ambiance of decadence in two of the Mabuse films (Dr. Mabuse der Spieler, 1921/2, and Das Testament des Dr. Mabuse, 1933) and in films, of which there were apparently many, like Nachte der Weltstadt (Nights in the Metropolis, 192?), where lesbians dancing together were shown as characteristic of urban night life.

(Less and More than Women and Men: Lesbian and Gay Cinema in Weimar Germany
By Richard Dyer
New German Critique, No. 51, Special Issue on Weimar Mass Culture (Autumn, 1990) :6)

Generally Leftists reject linking the decadence typical to the Weimar Republic to proto-Nazism no matter how obvious the connections are to those with a minimal amount of common sense. That is because they fail to admit to the fact that people live based on "common sense" and their beliefs and principles. Instead the Leftist mind tends to shift to looking for some material or historical cause for all human decisions and actions. Ironically, biology as an ultimate cause for the way people live their lives is now largely rejected thanks to the Nazis. It seems that learning from the mistake of trying to reduce people to their biology and biological causes in crude "scientific" ways is about the only thing that the Leftist mind has learned from Nazism, although it still murmurs about science often enough.

Given the mental incompetence typical to the Leftist mind and the way it is usually defined by little more than its own feelings combined with artistic imagination it is surprising that it learned anything from history.