Welcome back to the re-education. I'm Eli Lake, and today's show is about punk and why destruction is necessary for cultural renewal. My guest is libertarian writer and podcaster Nickillespie. This is a long one, but worth every minute.

I know what you're thinking, punk. You're thinking that he fire six shots or only five?

Now to tell you the truth, I forgot myself and all this excitement.

But being this is a 44-magnum, the most powerful handgun in the world,

and will blow your head clean off.

You could ask yourself a question.

Do I feel lucky?

Well, do you, punk?

We just heard from Clint Eastwood, in his role as Inspector Dirty Harry Callahan, after he tracked down a crazed sociopath

named Charles Scorpio Davis.

In the traditional sense of the word, Scorpio is the very definition of a punk.

He's a criminal coward, who in that final scene with Dirty Harry grabs a terrified young boy as a human shield,

only to have our antihero shoot the gun out of his hand.

At one point, in the movie, Scorpio pays a man to beat him up, so we can later claim to the authorities that Dirty Harry abused his civil rights.

And of course, the press plays right along with it.

Now when we use punk as a noun, usually we mean this kind of gutless menace, a terror who is easily frightened.

It's what Brand Nubian, the artist playing now, in the background, mean in this song,

aptly titled, Punks jump up to get beat down.

Indeed, for most of its life in the English language, punk has been a derogation.

In Elizabethan England, for example, it was a synonym for prostitute.

Steve Allen, the Bill Maher of the 1950s, once parodied Elvis Presley performing

misery motel, a knockoff of Heartbreak Hotel, get it, with a band that he called

...