2.1a Babylon

Having defended Manchester by the Sea from prosecutorial castigation such as those pontificated by DA Joseph McBride, I admittedly come close to doing the same thing to Bernie Taupin, Elton's master mechanic, and I am dissatisfied with myself, but in the essential elements, Bernie's flirtation with violence and homo-erotica during  jowly Reginald's peak output, in my amateur connoisseur mode, let's say that's from 72 to 81, as after that Elton falls into diluted self-imitation, lends itself to the extremes of punk, heavy metal, and hip hop, genres into which the dowager rarely treads, and so yes, I am posing a scenario where my hypothetical authority to restrain or even prevent Elton's lifestyle merits the loss of great emotive artistry to prevent this, among other things, and that I actually don't find irrelevant. Reginald's most powerful output may, emphasis on may, have prevented spastic from ending her life as a distraught disabled teenager, but he also fueled my rage, cynicism, and nearly superlative need for heroic passion. The only reason I wasn't a zealot stalking him concert to concert came down to poverty and the regimented life of rehabilitation. The industry now lays laurels at his feet, papering over the price he paid through drugs and a high risk lifestyle, but does it always have to be this way, in order to grasp the brass ring, to paraphrase Eastwood? Why should libertarian acceptance of self-destructive behavior merit concern over such admittedly moral issues?