Each time a mediocre singer performs, he is saying, in effect, "This is good enough for you." The audience, thrust into that familiar American mood of knowing something is wrong but not knowing what it is, unconsciously absorbs the insult and projects it back onto the mediocre performer in the form of inattention, rudeness and noise.

Familiarity doesn't breed contempt, it is contempt.

Americans respect talent only insofar as it leads to fame, and we reserve our most fervent admiration for famous people who destroy their lives as well as their talent. The fatal flaws of Elvis, Judy, and Marilyn register much higher on our national applause meter than their living achievements. In Amerca, talent is merely a tool for becoming famous in life so you can become more famous in death - where all are equal.

The feminization of America has made emotions sacrosanct while condemning as cold and unfeeling rigorous concepts such as duty andhonor. Propelled by incessant hosannas to woman's "finer" this and "softer" that, we make emotional decisions instead of ethical ones and then congratulate ourselves for having "heart.

When you go apartment-hunting in the South, you encounter little old ladies who ask you if you use strong drink. In New York you encounter paranoids who wonder if you will commit suicide--not that they care; what they worry about is blood on their fresh paint, a dubious smell in the hallway, or a hole in the awning as you pass through on your way to the sidewalk. The Southerner who moves to any part of the country has problems, but the culture shock that attacks the Southerner who moves North is almost indescribable.

I simply like guns because you can't shoot people without them.

The nice thing about Southerners is the way we enjoy our neuroses.