“Doubt is our product since it is the best means of competing with the ‘body of fact’ that exists in the minds of the general public. It is also the means of establishing a controversy.” — from a 1969 tobacco industry internal memo sent by an executive at Brown & Williamson Tobacco Corporation.
death cult 2. A religious group that requires demonstrations of faith involving the risk of death.
— a definition from Wiktionary.
What the Wiktionary definition of “death cult” overlooks is that it doesn’t necessarily have to be a religious group. It can be a political – or more broadly cultural – group, though it will still share many of the same characteristics of a religious group, such as unquestioning devotion to, and faith in, a leader either living or dead, and often scorn for those outside the group, sect, or tribe. The Republican Party has become such a death cult, and particularly that greater part of it which remains devoted to their Orange Leader, their president in exile.
Danse Macabre, a late fifteenth-century painting by Bernt Notke (1440-1509).
The denial of science by the Republican Party during the current coronavirus pandemic has been breathtaking, but it is nothing new; it has been building up for about 50 years, with large corporations such as Big Tobacco leading the way in the denial of science in order to protect their interests. For 50 years now, Americans have learned at the knee of their corporate masters to doubt the science concerning the harmful effects on their health of tobacco use, the deleterious effects on their air caused by centuries of burning fossil fuels, and the poisoning of their environment by man-made chemicals such as plastics, pesticides, and herbicides.
For some large corporations, it might be that death is their product, and the politicians and media organizations in their pocket are the salespeople. Gullible people without critical thinking skills are their customers. Viewing the customers that —way strips them of their agency, however, and portrays them as passive receptacles for mind poisons, when in reality they are active participants in their deception because it reinforces what they want to believe. They want to stand science on its head and believe the vaccines for COVID-19 are the real poison in our midst, not the virus.
It’s not all that great a leap from believing there’s no harm for others in second-hand smoke as a tobacco user indulges their selfish pleasure to feeling that wearing a mask to protect others from inhaling a coronavirus carrier’s potentially deadly virus particles is an unnecessary imposition on the carrier, and not a viable public health measure. Smoke, after all, is a visible manifestation of poison, and a virus is not visible to the naked eye.
“I see them! Over there against the stormy sky. They are all there. The smith and Lisa, the knight, Raval, Jans, and Skat. And the strict master Death bids them dance. He wants them to hold hands and to tread the dance in a long line. At the head goes the strict master with the scythe and hourglass. But the Fool brings up the rear with his lute. They move away from the dawn in a solemn dance towards the dark lands while the rain cleanses their cheeks from the salt of their bitter tears.”
— the acrobat, Jof, describing one of his visions to his wife, Mia, at the end of Ingmar Bergman’s 1957 film,The Seventh Seal.
Modern day death cultists are right there with people of ages past, who doubted the existence of anything they couldn’t see themselves unless they could endow it with some religious significance. Republican death cultists go one step further in proudly boasting of their ignorance as a demonstration of faith in their Orange Leader, without a care about where that might lead for themselves and for society at large, as long as they can selfishly satisfy themselves with the notion that their obstructive behavior is a repudiation to those who won’t let them smoke in bars, or keep digging and burning coal, or pour Roundup on everyone’s food, or go grocery shopping for fifteen minutes without wearing a mask.
— Vita
The great thing about the internet is that it is interactive; interactivity is also one of the bad things about the internet. When people read paper newspapers, way back when, they were exposed to advertisements paid for by commercial establishments in the news and features sections, and to classified advertisements paid for mostly by individuals or small businesses in a section of their own. Paper newspaper advertisements were interactive only in the sense that the reader could choose to ignore them. This was reasonably easy for the reader because the ads themselves did not hop up and down, yell and scream for attention, obfuscate the actual content of the newspaper for a period, or otherwise make a nuisance of themselves and detract from the peaceful enjoyment of the newspaper by the person who had paid a dime or a quarter for it.
When newspapers and writers of other content moved to the internet, they still needed to make a living, of course, and naturally they turned to advertisers to help fund their efforts. Since there was no pay model for the internet, such as had been the case in the days of paper newspapers when readers either subscribed for home delivery or paid directly at street corner kiosks, publishers relied even more heavily on advertisers for income. For some reason, people had gotten the notion that internet content should be free, and rightly or wrongly that’s the way things developed. Here is where the interactive part kicked in and started an internet arms race.
Bob Dylan performs his song “Mr. Tambourine Man” at the 1964 Newport Folk Festival. Dylan’s guitar and harmonica rig is much like the getup buskers used then and today to make a few dollars for their efforts. All that’s missing here is the hat or guitar case for collecting money tossed in by passers by. Many small websites, like this one, have to either pass the hat by posting a “Donate” button, or hope for the best from advertising revenue, or both.
Advertisers realized that since the internet was interactive and didn’t just lie there waiting to wrap fish after it was published like the old paper newspapers did, they could do things to jazz up their ads and, they thought, readers would pay closer attention and the advertisers would see higher returns. Great! Not all advertisers, just the ones who lacked any restraint, got their ads to hop up and down, to yell and scream for attention, to obfuscate for a period the content the reader was actually there to see, and to otherwise make a nuisance of themselves in order to draw attention. It turns out people did not like that, particularly the ones with slow internet connections or limited bandwidth, which the sparkly new advertisements ate into, much to the hapless reader’s dismay. Enter software engineers with a retaliatory response.
The software engineers had some experience in combating opponents in the advertising field after having worked to swat away the pop up army of advertisements that plagued internet users in the early days. One thing many advertisers have never been known for is restraint. Now here they were again, but instead of pop ups they were employing twitchy, sparkly, pushy advertisements. The software engineers working on behalf of browser makers and internet users came up with ad blockers. Now all ads were blocked. Hah hah! Internet users had the option of whitelisting – or permitting – ads on a website in the options menu of their ad blocker, but who would ever bother to do that? Publishers noticed, however, that their internet ad revenue plummeted.
An emotionally fraught rendition of “Silver Springs” in a 1997 concert by Fleetwood Mac, which demonstrates why they continued to draw large crowds well after their heyday. The song, written and sung by Stevie Nicks, who as a songwriter ranks in the top echelon of 1970s and 1980s pop and soft rock, is a deeply personal revelation. Fleetwood Mac had by 1997 long passed their peak of popularity for album sales, but concert ticket prices for such an established group with an extensive catalog of hits remained high, from $20 to $50 for the cheap seats, to over $100 for the best seats. The internet works similarly, with an enormous underclass of websites barely making it, and several well established websites with large followings dominating the market.
Enter Google in the spring of 2017 with the Funding Choices program and their own ad blocker built into their Chrome browser, which in the past year has overtaken Microsoft’s Internet Explorer as the world’s most popular browser. But since Google makes the lion’s share of its revenue selling ads and marketing user information, why would Google then be against ads? Because the obnoxious ads that prompted the development of ad blockers have poisoned the well for everybody, and Google, with its dominant market position, can dictate which ads will fly and which ones won’t.
The Funding Choices program is geared toward internet users, telling them they can pay to subscribe to a publisher’s content and go ad free, or view the content free on condition they allow ads, which Google assures them they have vetted for good behavior. Google’s ad blocker built into its Chrome browser is geared toward advertisers, telling them essentially that unless they allow Google to vet their ads for good behavior, they will not see the light of day on the world’s most popular browser. All of this would seem a boon to both internet users and publishers. But that depends on how much they trust “Don’t Be Evil” Google. Rather than turn over yet more power to Google, a company which has already surpassed Microsoft in ways not only financial but morally suspect, perhaps the time has come for internet users to seek alternatives not only for search but for the multitude of other applications which Google has used to ingratiate itself as the public’s servant, the servant whose ear is always at the door. This website, for one, will seek alternatives to displaying Google ads. Oh, you weren’t even aware there were Google ads on this website?
― Techly
