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Among Members of Congress, there’s a long-standing, proud tradition of the Airport Freakout. Add to the list of those who’ve indulged in meltdowns and temper tantrums while traveling one Sen. David Vitter, who on Thursday joined what we’ve dubbed the “Mile-Low Club” by going ballistic on an airline worker after missing a flight from Washington’s Dulles airport to New Orleans.
Vitter, best known for hiring a prostitute and forcing his wife to accompany him to a press conference where he expressed remorse, apparently arrived late for the flight and pushed through a locked gate, thereby setting off a security alarm:
Vitter, our spy said, gave the airline worker an earful, employing the time worn “do-you-know-who-I-am” tirade that apparently grew quite heated. That led to some back and forth, and the worker announced to the irritable Vitter that he was going to summon security…But after talking a huffy big game, Vitter apparently thought better of pushing the confrontation any further. When the gate attendant left to find a security guard, Vitter turned tail and simply fled the scene.
More from Ken Silverstein:
Perspective — October 23, 2013, 8:00 am
How pro-oil Louisiana politicians have shaped American environmental policy
Postcard — October 16, 2013, 8:00 am
A trip to one of the properties at issue in Louisiana’s oil-pollution lawsuits
I recently spent a semester teaching writing at an elite liberal-arts college. At strategic points around the campus, in shades of yellow and green, banners displayed the following pair of texts. The first was attributed to the college’s founder, which dates it to the 1920s. The second was extracted from the latest version of the institution’s mission statement:
The paramount obligation of a college is to develop in its students the ability to think clearly and independently, and the ability to live confidently, courageously, and hopefully.
Let us take a moment to compare these texts. The first thing to observe about the older one is that it is a sentence. It expresses an idea by placing concepts in relation to one another within the kind of structure that we call a syntax. It is, moreover, highly wrought: a parallel structure underscored by repetition, five adverbs balanced two against three.
Percentage of Britons who cannot name the city that provides the setting for the musical Chicago:
An Australian entrepreneur was selling oysters raised in tanks laced with Viagra.
A naked man believed to be under the influence of LSD rammed his pickup truck into two police cars.
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“Shelby is waiting for something. He himself does not know what it is. When it comes he will either go back into the world from which he came, or sink out of sight in the morass of alcoholism or despair that has engulfed other vagrants.”