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Encyclopedia > Taylor Locke

Once in a lifetime, there comes one man who has the extraordinary courage, the outstanding ability, and the fierce inner beauty to make a difference in the world. Previous holders of this title include William Taft, Helen Keller, and Gabriel Spahiu. Their glory, their achievements, and their impossible humility have left the world dazzled again and again. It seems almost laughable that the modern world contains such a man. Slight is his figure, but massive is his heart.

Taylor Locke was born on August 5, 1984, to Peter Locke (co-creator of the famed Full Moon Productions) and his wife Karen. As a toddler, Taylor was oddly fascinated by the works of both Judy Blume and thespian Blythe Danner. 'Twas his dream to be an embodiment of both, but Taylor's hectic after-school schedule only allowed him to pursue one dream. And that he did. Labeled a "Star on the Rise" by Crossroads Monthly Newsletter (vol II, issue 1, p. 3), Taylor did not disappoint his growing fanbase, appearing in and even directing a slew of school plays. Some say his next step was only made possible through his father's considerable means, but true fans know that it was Taylor's boyish charm and cool wit that landed him the role of "Nick" in the 1994's controversial Lady in Waiting.

In the down-time between this and his next classic role, Taylor made a successful foray into the music industry, garnering attention from local venues with his indie glam rock outfit, Toasty Pillow. Though the quartet dealt with its fair share of issues, they were dealt a rather favorable hand when Taylor's next film called for a talented musical act.

Phantom Town has been referred to by many a critic as Locke's masterpiece, the quintessential flick among his repertoire. Its success is said to mainly be derived from its fearlessness in confronting such issues as teen partying, neglectful parents, and cell phone signals.

Any other young actor would have let the fame swell his head, but Taylor was content to remain within the confines of his comfortable suburban childhood. He again went the "man versus alien" route in his next and last film, aptly titled Aliens in the Wild Wild West. Surprisingly enough, it was not met with the same open arms as its predecessor. "I've thought about it a lot," said Locke in a recent interview, "and I think I can safely say that the world wasn't ready for some of the themes we introduced. Hell, I wasn't ready for it. But I did it. Because I was dedicated, man. I felt the pulse of this script, thumping in sync with my heart. How do you ignore your heart?"

Taylor managed to do this very thing, shunning the acting world after his film garnered lackluster results at the box office. To this day, Taylor has shied away from the spotlight, choosing to plant himself instead in the shadow of his former glory. At present, Taylor is trying his hand at "rock'n'roll," but for those who watched this boy's career as I have--it is impossible not to look at that bone structure and think, "What if?"


  Results from FactBites:
 
John Taylor and Locke’s Classical System (4485 words)
Taylor is thus one of those people about whose textbookish activities we happen to know just a little, because his high-cultural connections have led students of literature to investigate everything he did.
Taylor was no radical or materialist, but he shared Locke’s resentment of what they both saw as the intrusion of formal grammar into the inductive learning of language.
Taylor’s case is of some interest because of its relation to the contemporary emergence of the modern textbook; his own rather bizarre range of pursuits; and because he exemplifies the tendency to focus on high culture and to relegate the production of textbooks to the sidelines.
John Locke -- Overview [Internet Encyclopedia of Philosophy] (7767 words)
Locke's first problem, therefore, is to trace the origin and history of ideas, and the ways in which the understanding operates upon them, in order that he may be able to see what knowledge is and how far it reaches.
Locke is at one with the rationalist theologians of his century in their antagonism to an "enthusiasm" which would substitute for the insight of reason and of rational faith, the so called "revelation" of private experience.
Locke does not raise questions of Biblical criticism, such as Hobbes had already suggested and some of his own followers put forward soon afterwards; and the conclusions at which he arrives are in harmony with the Christian faith, if without the fulness of current doctrine.
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