The joke’s on you because it’s not the zombies who are sociopaths, it’s you.
|Rick Ross:||"Put molly in her champagne, she ain't even know it / I took her home and I enjoyed that, she ain't even know it."|
|VICE:||“Last Words” is a fashion spread featuring models reenacting the suicides of female authors who tragically ended their own lives.|
|Ross:||I want to make sure this is clear: woman is the most precious gift known to man, ya understand?|
|VICE:||It is part of our 2013 Fiction Issue (http://www.vice.com/magazine/20/6), one that is entirely dedicated to female writers, photographers, illustrators, painters, and other contributors.|
|Ross:||It was a misunderstanding with a lyric, a misinterpretation where the term rape wasn't used.|
|VICE:||The fashion spreads in VICE magazine are always unconventional and approached with an art editorial point-of-view rather than a typical fashion photo-editorial one.|
|Ross:||I would never use the term rape in my records. As far as my camp, hip-hop don't condone that.|
|VICE:||Our main goal is to create artful images, with the fashion message following, rather than leading.|
|Ross:||The streets don't condone that. Nobody condones that.|
|VICE:||“Last Words” was created in this tradition and focused on the demise of a set of writers whose lives we very much wish weren’t cut tragically short, especially at their own hands.|
|Ross:||So I just wanted to reach out to all the queens that are on my timeline and all the sexy ladies, the beautiful ladies that had been reaching out to me with the misunderstanding.|
|VICE:||We will no longer display “Last Words” on our website and apologize to anyone who was hurt or offended.|
|Ross:||We don't condone rape and I'm not with that.|
“The prettiest people do the ugliest things.”
Nabokov: “Poshlust,” or in a better transliteration poshlost, has many nuances, and evidently I have not described them clearly enough in my little book on Gogol, if you think one can ask anybody if he is tempted by poshlost. Corny trash, vulgar clichés, Philistinism in all its phases, imitations of imitations, bogus profundities, crude, moronic, and dishonest pseudo-literature—these are obvious examples. Now, if we want to pin down poshlost in contemporary writing, we must look for it in Freudian symbolism, moth-eaten mythologies, social comment, humanistic messages, political allegories, overconcern with class or race, and the journalistic generalities we all know.
Poshlost speaks in such concepts as “America is no better than Russia” or “We all share in Germany’s guilt.” The flowers of poshlost bloom in such phrases and terms as “the moment of truth,” “charisma,” “existential” (used seriously), “dialogue” (as applied to political talks between nations), and “vocabulary” (as applied to a dauber). Listing in one breath Auschwitz, Hiroshima, and Vietnam is seditious poshlost.