If you're honestly claiming that ignorant loudmouths pandering to the masses (and the platforms that enable them) have no share in the blame for an overall lower vaccination turnout then I don't know what to tell you. I'm perfectly open to you explaining the nuances of the situation to me. Call it an opinion, I'm fine with that. I'm not debating this in a court of law, and at any rate you should be used to far flimsier claims if you're listening to Rogan's interviews.
I'm sorry you've spent so much of your time listening to Rogan, but that personal investment doesn't necessarily make him worthy of that time.
The problem is that Joe Rogan has no critical thinking skills. He will mindlessly parrot whatever his latest guest has told him, because to his mind whether or not something sounds reasonable hinges entirely on how rhetorically persuasive his guest is - how adept that person is at being a populist.
While being open-minded is a commendable character trait, being an actual tabula rasa, unable or unwilling to challenge the opinions of your guests in debate, just makes you vacuous and impressionable.
You're also giving yourself an easy out by being able to shrug your shoulders and say "hey, I don't know! I'm just listening to what these perfectly reasonable sounding people tell me, and I've got to say they make a lot of sense to me."
People having their ignorant, knee-jerk reactions validated by a moron hosting the world's most popular talk show in which he gives ample air time to demonstrably harmful whack jobs (without posing any challenging or critical questions) is absolutely one of the major factors why the number of vaccinated adults in America sits comfortably at 20-30% below that of Western Europe and Australia.
Some people are so unbelievably stupid, their voice so detrimental to any facet of the human condition that it becomes a societal imperative to tell them to shut the fuck up.
Many confuse the freedom of speech with the mistaken notion that all speech should be held in equal regard, and come at no personal cost.
I absolutely love FF but, I've never quite understood the appeal of lyric books. The only lyric collection I own is by Leonard Cohen because that shit is profound. I don't understand how anything less than that (which, let's face it, includes Fleet Foxes), divorced from its context of music, would tickle anyone's fancy.
I love how up-in-arms iPhone users got over that stunt, yet have no problems with Apple incessantly trying to put all kinds of nonsense on their phones.
That's because you're reading Dune in 2022, where gritty realism has eclipsed all other aesthetics as the dominant aesthetic of "serious" science fiction. And considering you've waited this long to read one of the seminal works of the genre, I might be correct assuming you're also reading it out of context (of the field of Golden Age/New Wave Science Fiction literature).
Without going into details about overt descriptions in the book and how they may or may not be interpreted (although Herbert himself names the work of Sci-Fi illustrator John Schoenherr as the closest visual parallel) nobody reading a novel in 1965 about galactic empires, space princesses and sandworm wrangling would picture a world radically different from Flash Gordon or Barsoom. Herbert consciously adopts the tropes and visual imagery of early 20th century space opera (which itself draws from medieval and ancient world exotica), which he deconstruct and use for his own thematic ends. The closest genre parallel I can think of would be the graphic novel Watchmen. Imagine how much of Watchmen hinges on the overt invocation of the aesthetics and underlying character tropes of the golden age of superhero comics.
I don't know. That Dune score is as mundane and boring as the film. Sure, it's epic, but Dune is supposed to be trippy and otherworldly, not boring, black leather jumpsuit wearing people in space. Denis Villeneuve is great at making competent, well-crafted movies that sort of misses the point of the subject material and follows the Dark Knight ethos of filmmaking in making everything look gritty and real, devoid of imaginative flair. At least Lynch made it weird, trippy and flamboyant. The Dune aesthetic is supposed to be closer to Flash Gordon than The Dark Knight. Herbert was intentionally adopting the Space Opera iconography and narrative tropes of yesteryear, using it as a backdrop for his thematic exploration. That Hans Zimmer score sounds exactly like a Hans Zimmer score, which I guess is good if you just want more Hans Zimmer in your life, which is an acceptable, inoffensive thing to want.
Dune is a fine novel, a grand exploration of fate versus free will; the hero's journey deconstructed and presented as one man's failure to withstand the powerful, dehumanizing forces of religion and ideology for which he becomes an unwilling figurehead; an insightful staging of the tragedy of man, as he must needs be swallowed up by the irresistible force of the symbolic order and be made its thrall.
The sequels are trash though.
Like The Witch, it's the simple-looking story that makes the film looks promising. It's society's current obsession with equating novel plot ideas with quality that produces so much trite garbage. It's the cinematic equivalent of "zany thesis syndrome" in academia. Give me a simple story told with vision and verve, where the actual visuals in your visual media is allowed room to breathe, rather than another convoluted exposition-assault.
Man, fuck Doja Cat.
.......
Just to be clear, I have no firsthand knowledge of Doja Cat deserving to get fucked, and I don’t want to participate in the rumor mill. Doja Cat may or may not deserve to get fucked and I don’t want to imply anything else.
He failed to follow a simple rule,
I'm speaking not of James P. Joule,
But rather the law to not be cruel,
As sound as the logic of one George Boole,
Especially in this time of yule.
1. Beach House - Superstar
2. Beach House - ESP
3. Beach House - Once Twice Melody
4. Beach House - New Romance
5. Beach House - Through Me
6. Beach House - Over And Over
7. Beach House - Runaway
8. Beach House - Pink Funeral
9. Ethel Cain - Crush
10. Indigo De Souza - Ivy (Frank Ocean cover)
If you don't board the hype train early you can't say you were there before they got big, in the eventuality that they do get big.
That said, I don't get the appeal either.
Sounds like the real issue is that a band containing the name ABBA can too easily be confused with the original band ABBA. Which means that next they'll be coming for ABBATH, my favorite ABBA tribute band.
https://i.postimg.cc/zB975LXc/abbath.jpg
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