5th Circuit opinion on vaccine mandates

Just one person's opinion: Biden's overreaching vaccine mandate has already cost the Dems in Virginia and if he keeps it up will bring the party down in flames. A year ago, he, Pelosi, and Fauci thought mandates were too extreme (there are videos of them saying this) but then they changed their minds. Using OSHA (which is supposed to be preventing workplace accidents) to twist the arms of 100-plus-employee companies, forcing them to carry out the mandate, is an extremely weak legal argument. Evidently it's the only one Biden and his team could come up with and yesterday the 5th Circuit demolished the administration's sophistic reasoning. Reading the text of the opinion is highly recommended (as opposed to listening to what Tucker or Rachel have to say about it).

This will probably end up decided by the Supremes (should be fun) but it's good to know what's actually being argued about. For the record, this blog is not "anti-vaxx" but is pro-worker and Big Pharma-skeptical. Below are some excerpts from the opinion. On page 6:

The Occupational Safety and Health Act, which created OSHA, was enacted by Congress to assure Americans “safe and healthful working conditions and to preserve our human resources.” See 29 U.S.C. § 651 (statement of findings and declaration of purpose and policy). It was not -- and likely could not be, under the Commerce Clause and nondelegation doctrine -- intended to authorize a workplace safety administration in the deep recesses of the federal bureaucracy to make sweeping pronouncements on matters of public health affecting every member of society in the profoundest of ways.

On the dubious assumption that the Mandate does pass constitutional muster -- which we need not decide today -- it is nonetheless fatally flawed on its own terms. Indeed, the Mandate’s strained prescriptions combine to make it the rare government pronouncement that is both overinclusive (applying to employers and employees in virtually all industries and
workplaces in America, with little attempt to account for the obvious differences between the risks facing, say, a security guard on a lonely night shift, and a meatpacker working shoulder to shoulder in a cramped warehouse) and underinclusive (purporting to save employees with 99 or more coworkers from a “grave danger” in the workplace, while making no attempt to shield employees with 98 or fewer coworkers from the very same threat). The Mandate’s stated impetus -- a purported “emergency” that the entire globe has now endured for nearly two years, and which OSHA itself spent nearly two months responding to -- is unavailing as well. And its promulgation grossly exceeds OSHA’s statutory authority.

On pp 18-19 of the opinion:

It is clear that a denial of the petitioners’ proposed stay would do them irreparable harm. For one, the Mandate threatens to substantially burden the liberty interests of reluctant individual recipients put to a choice between their job(s) and their jab(s). For the individual petitioners, the loss of constitutional freedoms “for even minimal periods of time . . . unquestionably constitutes irreparable injury.” Elrod v. Burns, 427 U.S. 347, 373 (1976) (“The loss of First Amendment freedoms, for even minimal periods of time, unquestionably constitutes irreparable injury.”). Likewise, the companies seeking a stay in this case will also be irreparably harmed in the absence of a stay, whether by the business and financial effects of a lost or suspended employee, compliance and monitoring costs associated with the Mandate, the diversion of resources necessitated by the Mandate, or by OSHA’s plan to impose stiff financial penalties on companies that refuse to punish or test unwilling employees. The Mandate places an immediate and irreversible imprint on all covered employers in America, and "complying with a regulation later held invalid almost always produces the irreparable harm of nonrecoverable compliance costs.”

On page 20 of the opinion:

From economic uncertainty to workplace strife, the mere specter of the Mandate has contributed to untold economic upheaval in recent months. Of course, the principles at stake when it comes to the Mandate are not reducible to dollars and cents. The public interest is also served by maintaining our constitutional structure and maintaining the liberty of individuals to make intensely personal decisions according to their own convictions -- even, or perhaps particularly, when those decisions frustrate government officials.

the walking dead (that's us)

I got bored and watched seasons 1-2 of The Walking Dead.
Somehow the studio (big corporate media) managed to avoid paying George A. Romero (independent film-maker) for his ideas.
This also gave them imprimatur to purge all the sharp satire and social commentary in the Romero films, leaving only cannibal zombies, which become the backdrop for "human" soap opera. Every ten minutes or so, a domestic argument is interrupted by a knife or bullet entering a zombie's brain cavity.
This TV show about a cannibalism-causing virus ran for nine years before the current pandemic, and is very popular. It's almost as if our corporate overlords were preparing us for something. As if on cue, upon the covid announcement in 2020, people began stocking up on toilet paper.
Watching zombie apocalypse theatre prepares us for a harsh world, run by gangs. I see it as more of an indoctrination process leading to a future like the one Philip K. Dick envisioned in his book The Penultimate Truth (1964).
The book starts with people living desperate lives in deep underground shelters, in the aftermath of an atomic war. Rationing is severe, and rumors circulate about terrible viruses spreading through the population. Each day, TV screens show images of violence and devastation outside the shelters, as the war continues on the Earth's surface.
After a few convincing chapters of this, Dick reveals that it's all fake. The world outside the shelters is green and beautiful, and all the land has been divided into park-like "domains" owned by a few lucky rich people. A small industry of advertising men keeps up the horror show illusion for the benefit of the poor slobs underground.
Something like The Walking Dead belongs in that genre. Entertainment for the locked-down rubes, to be consumed while their betters enjoy the good life in gated estates and on private islands.

notes for "1970s underground pop" (mix for internet radio)

[I am working on a mix for (open source) internet radio streaming. Below are notes explaining my choices. The mix is scheduled for this Thursday, Nov. 11, 8 pm Eastern on ffog's Myocyte show on tilderadio and anonradio. Please note that with the recent time change the mix is an hour earlier than it's been for the last 6 months. The official time for the mix is Nov. 12 at 0100 UTC.

Update, November 12, 2021: Thanks to all who listened and/or commented last night. The archived version of the mix in mp3 form is here.]

In the bleak mid-'70s, a time when horrible songs by Elton John and Captain & Tenniel dominated the airwaves, a mutated form of '60s pop song persisted in the college radio underground. This mix examines pop themes in the prog rock, dub, punk, and jazz rock subcultures of the '70s. Some fairly eccentric '60s songs are also sprinkled in for context. Many of these artists are now considered classic but at the time, only music nerds were listening to them.

Donovan's "Wear Your Love Like Heaven" kicks off the set, mainly to show how effortlessly it segues into a quite different song, Genesis' "Trick of the Tail." "Trick," coming from a then-arty band known for its portentous, doom-laden catalog, surprises with its catchy vibe and sprightly Brian Wilson-esque vocal harmonies. The doom isn't completely absent, however, in this concise science fiction fable of a Satyr-like humanoid from a parallel universe who is imprisoned on Earth and jeered at by people who "got no horns and got no tail." "Love Street," by The Doors, continues the keyboard pop of the first two songs and also has some odd mystical elements, particularly that "store where the creatures meet," which causes Jim Morrison to wonder, suggestively, "what they do in there."

desperate_straights350w

Infectious piano (by Ray Manzarek) drives "Love Street" and the same can be said for Anthony Moore's ivory-tickling in "Apes in Capes," a joint Slapp Happy/Henry Cow project. In 1975 Dagmar Krause's warbling vocals sounded downright strange, and they still do. Another chanteuse from the skewed side of pop, Dorothy Moskowitz of the short-lived '60s art-rock outfit The United States of America, sings about "Coming Down" from an acid trip. She never "belts it out" a la Grace Slick but maintains an air of beatnik cool as she sings of Reality, which, as we know, "is only temporary."

A startlingly clear "alternate mix" of The Mothers of Invention's Freak Out has recently surfaced on the web, yielding tonight's version of "You're Probably Wondering Why I'm Here," sung by Mr. Zappa, alternating vocal chores with the late great Ray Collins. Before Zappa could afford elaborate horn charts he played a kazoo, and this is possibly the most sarcastic use of that instrument ever heard. Next up is a '60s throwback from 1978, Tina Peel's "Knocking Down Guardrails." A friend of mine was the roadie for this band and I fondly recall sitting with him on the stage at Max's Kansas City one night after all the band's instruments had been packed up. (I also once visited Tina Peel frontman Rudi Protrudi in his Alphabet City apartment.) The same year, Tuxedomoon released "New Machine," which didn't look back to the '60s but rather forward to the '80s, with its beatbox, synths, and anguished vocals from Winston Tong. A trace of the former decade can still be heard, however, in Michael Belfer's unabashedly psychedelic guitar wails.

Next we hear an improbable (but smooth) transition to Curved Air's "Not Quite the Same," a song about masturbation sung with impeccable English reserve by Sonja Kristina Linwood, over a tight arrangement of trumpets, trombones, violin and VCS3 synth. Although keyboardist Francis Monkman didn't write the song (that was Linwood and violinist Darryl Way), a similar eclectic style can be heard in Monkman's later soundtrack for the film The Long Good Friday. Then, DC art rock band Grits takes us "Back to the Suburbs," in a Zappa-esque plea for regression to babysitters, bowling alleys, and other markers of a safe childhood in the burbs, after the singer finds it too much of "a strain to be alive and so neurotic." Infantile regression can also be heard in Zappa's own "Let Me Take You to the Beach," expressing a simple desire for a weekend weenie-roast, made to seem ironic only because everything Zappa writes is sarcastic.

revolution_dub

Kevin Ayers' evocation of a romantic Paris sidewalk cafe, "May I?," complete with accordion and street sounds, nowadays could be instantly summed up with the words "trigger warning." Nevertheless, Ayers' perambulating bass and Lol Coxhill's ethereal sax perhaps succeed in charming us more than the dated come-on in the lyrics. Meanwhile, Can's Damo Suzuki is having none of it with "Don't Turn the Light On, Leave Me Alone," a melange of gypsy-caravan ambience and rock jam, propelled by Jaki Liebezeit's always-seductive drumming. The spirit of collage continues with Lee Perry's "Doctor on the Go," a slinky reggae beat layered atop a British sitcom that blares tinnily from a TV monitor (or so it sounds). Then it's back to the '60s with Rajput & The Sepoy Mutiny's amazing, struggling sitar rendition of "Up, Up & Away." This gem languished in obscurity in the US until its inclusion in Re/Search's 1993 anthology Incredibly Strange Music, Vol I.

"That's Ramsey F---ing Lewis, right there," announced l0de AKA Zak ZYZ on his YouTube radio show, as he listened to "Cry Baby Cry," an over-the-top lounge-jazz version of John Lennon's song. "Lounge" then had its avant garde apotheosis 10 years post-Lewis with Gary Wilson's cult LP You Think You Really Know Me, from whence comes the next tune, "You Were Too Good To Be True," a winsome, slap-bassed instrumental. Quentin Tarantino already rediscovered the penultimate track, George Baker Selection's "Little Green Bag," and used it in the "cool gangsters walking" intro of Reservoir Dogs. And lastly comes The Modern Lovers' "Old World," from the period before Jonathan Richman went full-blown twee, included here for the organ work by soon-to-be-Talking-Head Jerry Harrison, as well as the involvement of '60s-turned-'70s-trailblazer, John Cale, who produced this track.

Playlist

0:00 Donovan, 7 inch, Wear Your Love Like Heaven (1967)
2:20 Genesis, A Trick of the Tail, A Trick of the Tail (1976)
6:40 The Doors, Waiting for the Sun, Love Street (1968)
9:24 Slapp Happy/Henry Cow, Desperate Straights, Apes in Capes (1975)
11:32 The United States of America, The United States of America, Coming Down (1968)
14:09 The Mothers of Invention, Freak Out, You're Probably Wondering Why I'm Here (1966)
17:44 Tina Peel, :30 Over D.C.~~Here Comes The New Wave!, Knocking Down Guardrails (1978)
19:15 Tuxedomoon, No Tears EP, New Machine (1978)
23:33 Curved Air, Phantasmagoria, Not Quite the Same (1972)
27:17 Grits, As the World Grits, Back to the Suburbs (mid-'70s, released 1993)
31:23 Frank Zappa, Studio Tan, Let Me Take You to the Beach (1978)
34:06 Kevin Ayers and The Whole World, Shooting at the Moon, May I? (1970)
37:56 Can, Soundtracks, Don't Turn the Light On, Leave Me Alone (1970)
41:34 Lee Perry & The Upsetters, Revolution Dub, Doctor on the Go (1975)
45:24 Rajput & The Sepoy Mutiny, Flower Power Sitar, Up, Up & Away (1968)
47:35 Ramsey Lewis, Mother Nature's Son, Cry Baby Cry (1968)
50:50 Gary Wilson, You Think You Really Know Me, You Were Too Good To Be True (1977)
52:45 George Baker Selection, 7 inch, Little Green Bag (1969)
55:58 The Modern Lovers, The Modern Lovers, Old World (1976)

my friend the reptilian

steadman_reptilian

A friend of mine is a one-percenter and thinks he is self-made. His lack of empathy for the little people is staggering. If you lost your house due to covid quarantining or related job-loss, well, many people have internalized the American Dream but let's face it, not everyone is prepared or qualified for the responsibilities of home ownership. And if a private equity company snaps up the house, along with hundreds of other homes lost to similar misfortune, who is better qualified to manage the house? If the market determines that the US will turn from a nation of homeowners into a nation of renters, that is as it must be, because the market is all-wise.

These companies won't gouge on the rent because the renters will leave (i.e., become homeless). Nevertheless, the market entitles owners to charge the highest rent they can, and if it means warehousing the property until a better class of tenant comes along, so be it. It can be a tax write-off.

Who is a better landlord, a professional property management company, or grandma-with-a-spare-room who may or may not call the exterminators? Grandma also might do unprofessional things like not raise your rent for several years, or let you skip a payment. She would be, of course, a poor specimen of Homo Economicus, and the sooner she loses *her* house the better the country will be.

Addendum: The experimental drug hesitancy causing workers all over the US to resist employer vaccination mandates can only be the result of "ignorance," my friend also said (in the same conversation above).

Addendum 2: Illustration by Ralph Steadman, from Hunter S. Thompson's book Fear and Loathing in Las Vegas