Major Arseholes

***

With one eye spinning clockwise and the other spinning counter clockwise, those having little to no self confidence in themselves and their personal worldview will often gravitate to those whom they perceive as knowing everything. Those they gravitate to are typically major assholes.

CDC Repeatedly Advised People With Post-Vaccination Conditions To Get More Doses – via zerohedge.com

A network composed of experts from inside and outside the U.S. government repeatedly recommended that people who suffered adverse events following COVID-19 vaccination receive additional shots, even when the experts could not rule out the vaccines as the cause of the events, documents obtained by The Epoch Times show.

These major assholes and shysters, full of confidence in their abilities to portray their belief in self as a sure sign that they not only have their own act together, but also can help you get your act together quick and easy, just by associating with them, not only are major assholes, but the cockiest sons-of-bitches one will ever come across.

CDC: Vaccinated at Higher Risk from Covid Than Unvaxxed – via slaynews.com

The U.S. Centers for Disease Control and Prevention (CDC) has stated that Americans who have received mRNA shots for Covid are now at a higher risk of infection from new variants of the virus than those who are unvaccinated.

The CDC quietly made the damning admission in an update on its guidance regarding newly emerging variants of Covid.

The update comes as Democrat President Joe Biden’s administration appears to be preparing to bring back Covid lockdowns, masking, and vaccine mandates as the critical 2024 approaches, despite the pandemic being over.

Sadly, few of the unconfident and hesitant see these human venus fly traps for what they are until it’s too late.  They’ve hitched their wagon to these cocky assholes and sit on the sidelines waiting for them to throw a glance in their direction to affirm they have something to live for – that being to follow them into whatever gutter they direct them to.

More Children Under the Age of 16 Died from Non-Covid Vaccines than Covid Vaccines Since December 2020 – via healtimpactnews.com

In fact, more children under the age of 16 have died from non-COVID vaccines than the COVID “vaccines” since the COVID shots were given emergency use authorization by Donald Trump in December of 2020, and almost NOBODY is talking about this anymore!

149 children under the age of 16 have died after being injected with non-COVID vaccines since December of 2020. (Source.)

112 children under the age of 16 have died after being injected with COVID “vaccines” since December of 2020. (Source.)

In total, nearly 100,000 cases of adverse events (97,941 cases) were filed in the U.S. Government Vaccine Adverse Events Recording System (VAERS) database for non-COVID vaccines since December of 2020, including 886 deaths, 1,326 Life Threatening reactions, 1,687 Permanent Disabilities, 42 birth defects, 7,526 hospitalizations, and over 8,000 trips to the ER, for NON-COVID vaccines. (Source.)

Way past time to stop listening to these self-proclaim saviors, those who tell you they have your best interests at heart, will be there for you, have all the answers but are no more than cocky charlatan assholes.

***

Tonight’s musical offering:

Beethoven – Sonata Op.10, No. 3 

Beethoven’s Piano Sonata No. 7 in D (Op. 10, No. 3) of 1798 is the last of a set of three sonatas bearing a dedication to the Countess Anna Margarete von Browne. That inscription tells us something about the environment in which the young Beethoven found himself. He arrived in Vienna in 1792, not yet 22 years old. The city, already the musical capital of Europe, was founded on a system of commercial wealth and aristocratic patronage. It was an intensely competitive milieu in which pianist/composers (synonymous roles) vied with each other for the financial favors of noble benefactors. The names of these patrons are preserved on the scores of Beethoven and Haydn and Mozart: van Swieten, Lobkowitz, Kinsky. A year before the dedication of the sonatas, the Brownes gave Beethoven a horse in return for an earlier dedication – cash was not the sole artistic currency of the time.

By the end of the decade, Beethoven had distinguished himself as the leading keyboard virtuoso in the city, but it was a position he was obliged to defend. By any standard, the competition was cutthroat. Pianistic feats demonstrated in improvisational performances by one instrumentalist were quickly imitated by others. Compositions were hurried into print to ensure their provenance and at the same time to declare the technical and stylistic advances of the composer to a knowledgeable audience. It does not diminish the stature of this early masterpiece to suggest that the enormous expressiveness to be found in the sonata, particularly in the second movement, is as much a result of the need to be innovative as it is a manifestation of creative inner impulses.

The festive opening movement, though seemingly guileless, contains subversive elements – Beethoven insinuates music which reaches beyond the compass of the keyboards available to him at the time. Following the jaunty first phrases, a downward cascade of notes leads the left hand to one note below the lowest F then possible and the ensuing upward sweep carries us to a high F-sharp, also a note which did not exist on the restricted keyboards of the day. Our modern eight-octave keyboard makes it possible for pianists to play the two unwritten but implied notes and in fact most editions of the score include them as part of the text.

The despair which pervades much of the second movement Largo e mesto was new to Beethoven’s music – the sadness and resignation made all the more palpable when heard after the energetic first movement and followed by the hesitant balm of the third movement Menuetto. The full return to affirmation is confirmed by the last movement Rondo which opens with a teasing three-note question, repeated and then answered with what sounds like a Beethovenian improvisation on that motif. It would be comforting to hear only good humor in this conclusion, but we may note that the great Chilean pianist Claudio Arrau heard in that three-note phrase an echo of the three-note group which begins a high, almost wailing, figure midway through the second movement. Perhaps the peaceful evaporation of the ending offers us a reason to consider this similarity. – via laphil.com

Beethoven – Sonata Op.10 No. 3 – Tiffany Poon