Why do babies make us all so angry? Because they remind us of us

So I got him this skull-and-crossbones onesie because, you know, he likes that kind of thing. He's always been kind of alternative, kind of positioning himself against society, and of course it's a good memento mori.

Another Brooklyn bar bans babies, and—except for the headline writers at the New York Post, who are thrashing in their isolation tanks with glee at the alliteration—polite society girds itself in anticipation of another bitter argument. Nothing makes us angry like a baby. On Thanksgiving day, you can grab the turkey and make it dance around your friend’s kitchen like a puppet, have it drink a whiskey and tell a series of bone-and-breast jokes to his wife, then throw it back in the oven without even rinsing it off and be lauded as a great wit. But do the same thing with his baby and suddenly you’re a monster. A baby is like a pack-a-day smoking habit, turning friends against friends and making bars, funerals and other usual places of agreement into sites of bitter controversy. Ever since Brooklyn’s Union Hall unsuccessfully tried to ban strollers—and made the New York Times, thereby elevating the whole issue to the status of Real Thing That Is Happening—public drinking in America has fixed on one question: Should babies be the unwanted center of everyone’s lives? Or just their parents’?

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Are you doing that because Whitesnake’s “Here I Go Again” came on, or does it just happen to be playing?

See? It's like I have two dicks, one of which is aroused. Get it? WOOOOOOOOO!

Free will is a tricky thing. We imagine ourselves as independent agents, but anyone who has ever stood on the bar at his cousin’s wedding and mimed rear-entry copulation with a coffee urn while swinging his jacket above his head—only to realize that Whitesnake’s “Here I Go Again” is playing, and now he looks like an asshole—knows the smudged border between decision and compulsion. Why do we want what we want? “I don’t know where I’m going,” David Coverdale sings, “but I sure know where I’ve been.” Here is the lament of a man caught in the trap of subjectivity: convinced that he is free while he is acting, his is forced to admit, in retrospect, that he might only be a cog in a deterministic machine. That’s why David Coverdale has made up his mind. It is not why he’s tired of wasting all his time—that part’s in there pretty much because it rhymes, and also it was in “Foxy Lady”—but the point is that David Coverdale has made a choice, even in the midst of habit and conditioned response. Coverdale will go [there] again on [his] own, living a life of free choice even if—paradoxically—it is the only road [he’s] ever known. Maybe it’s because he has to, but David Coverdale chooses freedom, and you should, too. If we free people living after the 1982 release of Saints and Sinners want to live boldly, deliberately, we must distinguish between correlation and causation. The list of actions that follows will help you decide whether you are doing something because “Here I Go Again” came on, or if it just happens to be playing.

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