BY ONE TALLY, DONALD TRUMP IS THE BIGGEST LOSER IN AMERICA TODAY. Over seventy-eight million Americans decided, in casting a vote for now President-elect Joe Biden, to vote Trump out of office – the most votes cast for any president in American history and as such the most votes cast to oust the losing candidate. In the days since, President Trump, ever the sore loser, has been absorbed in litigating, as he calls it, ‘the rigged election’, rife with ‘fake votes’ and encouraging the seventy-three million-plus people that voted for him (the second-highest tally in American history) to mistrust the vote count. As America grappled with a massive second-wave surge in Covid-19 cases, her President essentially threw an equally giant size tantrum that included him proclaiming on Twitter ‘I WON THIS ELECTION, BY A LOT!’ shortly after every major news network in the country had decided that he was, in reality, on his way out. Twitter marked these and other tweets as misleading and television networks cut Trump off as he raged from the White House, during the vote count, that the election was being ‘stolen’ from him. In four years of incessant headlines usurped by a man who thrives on confrontation, attention, self-adulation and defying every imaginable rule of conduct, the days around the election literally trumped all the others.
Diese Geschichte stammt aus der December 2020-Ausgabe von RollingStone India.
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Diese Geschichte stammt aus der December 2020-Ausgabe von RollingStone India.
Starten Sie Ihre 7-tägige kostenlose Testversion von Magzter GOLD, um auf Tausende kuratierte Premium-Storys sowie über 8.000 Zeitschriften und Zeitungen zuzugreifen.
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DANCE-FLOOR BLISS AND THE SEARCH FOR (POST-) HUMAN CONNECTION
Over the course of roughly a decade, CARIBOU, the electronic-leaning project from Canadian musician and composer Dan Snaith, has released intricate, sonically inventive records that cradle rhythm and history. On \"Home,\" from 2020's Suddenly, he coos softly alongside a frenetic flip of Gloria Barnes' 1971 single of the same name. There, the subtle cracks and gestures in his voice manage to breathe life into the digitally-manipulated sample. Caribou's music has so far thrived on this quality — Snaith's seemingly boundless musical curiosity and his ability to crystalize big ideas into euphoric moments of dance-floor bliss. It's why his choice to use artificial intelligence on his vocals for his latest album, Honey, feels like a misstep. Here, Snaith's voice is transformed in character and identity, at times creating revelatory moments, like on \"Come Find Me,\" where he's reimagined as a treacly-toned young woman, though in small enough doses for it to work. Elsewhere, like on the rap-adjacent \"Campfire,\" where Snaith renders himself as the sort of rapper you might hear on a Caribou track (think Definitive Jux vibes), the concept breaks down.
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