WHO-AAaaaaah! 36,000 excess deaths in Arizona since the pandemic began ...In 2021 Arizona hit “the largest percent of excess deaths of any state,” at 24%.

In 2020, Arizona trailed only New York city in overall deaths that exceeded normal expectations.

But in 2021, the report says Arizona hit “the largest percent of excess deaths of any state,” at 24%. 

The Arizona Public Health Association has published a new report analyzing how deaths in the state have exceeded numerical expectations.

There have been 36,000 excess deaths in Arizona since the pandemic began

(Image: An Arizona highway sign urges drivers to get vaccinated. KJZZ News)

 

By Jill Ryan

Published: Friday, December 17, 2021 - 11:02am

Updated: Saturday, December 18, 2021 - 8:11am

"The findings show tens of thousands of excess deaths directly or indirectly due to the COVID-19 pandemic. 

In 2020, Arizona trailed only New York city in overall deaths that exceeded normal expectations. But in 2021, the report says Arizona hit “the largest percent of excess deaths of any state,” at 24%. 

Since the start of the pandemic, there have been an estimated 36,000 excess fatalities in the state.

Only a little more than half of those were from COVID-19, some of the rest of the causes include respiratory diseases, heart diseases, strokes and diabetes.

The report also concludes lack of evidence-based interventions like indoor mask requirements and vaccine mandates will lead to many more Arizona deaths.

Arizona Coronavirus Cases, Deaths

14

2021 Arizona COVID-19 Cases

0200040006000800010,00012,00014,00016,00018,0001/1/211/21/31/41/51/61/71/81/91/101/111/121/131/141/151/161/171/181/191/201/211/221/231/241/251/261/271/281/291/301/312/12/22/32/42/52/62/72/82/92/102/112/122/132/142/152/162/172/182/192/202/212/222/232/242/252/262/272/283/13/23/33/43/53/63/73/83/93/103/113/123/133/153/163/173/183/193/203/213/223/233/243/253/263/273/283/293/303/314/14/24/34/44/54/64/74/84/94/104/114/124/134/144/154/164/174/184/194/204/214/224/234/244/254/264/274/284/294/305/15/25/35/45/55/65/75/85/95/105/115/125/135/145/155/165/175/185/195/205/215/225/235/245/255/265/275/285/295/305/316/16/26/36/46/56/66/76/86/96/106/116/126/136/146/156/166/176/186/196/206/216/226/236/246/256/266/276/286/296/307/17/27/37/47/57/67/77/87/97/107/117/127/137/147/157/167/177/187/197/207/217/227/237/247/257/267/277/287/297/307/318/18/28/38/48/58/68/78/88/98/108/118/128/138/148/158/168/178/188/198/208/218/228/238/248/258/268/278/288/298/308/319/19/29/39/49/59/69/79/89/99/109/119/129/139/149/159/169/179/189/199/209/219/229/239/249/259/269/279/289/299/3010/110/210/310/410/510/610/710/810/910/1010/1110/1210/1310/1410/1510/1610/1910/2010/2110/2210/2310/2410/2510/2610/2710/2810/2910/3010/3111/111/211/311/411/511/611/711/811/911/1011/1111/1211/1311/1411/1511/1611/1711/1811/1911/2011/2111/2211/2311/2411/2511/2611/2711/2811/2911/3012/112/212/312/412/512/612/712/812/912/1012/1112/1212/1312/1412/1512/1612/1712/1812/1912/2012/21

Source: Arizona Department of Health Services • Note: No data was provided by Arizona Department of Health Services for Oct. 17-18 due to a system update.

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"A Clockwork Orange" . . .There’s something here to infuriate people on both ends of the political spectrum

A Clockwork Orange at 50: Stanley Kubrick’s biggest, boldest provocation

The controversial 1971 adaptation of Anthony Burgess’s button-pushing novel remains both utterly repellent and utterly compelling

Scott Tobias

the Guardian

Scott Tobias writes, ". . the film warns of a society lost to authoritarian rule, where an experimental campaign to curb criminal behavior leads to a deplorable form of social engineering. But Kubrick doesn’t limit himself to that issue alone, and as his agenda expands, so do the possible sticking points for an audience.

The backdrop for A Clockwork Orange is loaded with the interior bric-a-brac of its own period, like projecting the hippest, least comfortable living rooms of the early 70s would gain a permanent foothold. But there’s a key tension here between technological advancement and societal decay: for the elite, there are sports cars and modern homes, but for everyone else, apartment buildings and other public spaces crumble from neglect, leaving packs of young marauders to scavenge sick pleasures from “a bit of ultra-violence” and “a little of the old in-out, in-out”. Kubrick does not need to press much to suggest the root of their destructive impulses. 

Scott Tobias

the Guardian |

"Throughout his career, Stanley Kubrick never cared much about ingratiating himself to the audience, so it’s an achievement that A Clockwork Orange, his controversial adaptation of Anthony Burgess’ 1962 novel, is the most repellent film of his career. That’s not to say it isn’t an audacious and frequently brilliant film, but watching it can feel like getting into a 136-minute argument – with Kubrick, with yourself, and with a society that wrestles imperfectly (and often unjustly and tragically) with issues of law-and-order and individual rights. There’s something here to infuriate people on both ends of the political spectrum, and even if you accept it as a satire that has no ideological allegiances, that can be infuriating, too. And this is to say nothing of its extreme unpleasantness.

Yet we should neither run from difficult arguments nor hide from art that confronts us as seriously as Kubrick always did, and while A Clockwork Orange has settled into the pop-culture firmament – multiple references in classic episodes of The Simpsons will do that to a film – it still feels dangerous and vital 50 years later. As his previous work, 2001: A Space Odyssey, has settled appropriately as the great monolith of screen science fiction, A Clockwork Orange continues to be a moving target, liable not only to provoke you differently at different points in your life, but also from scene to scene. If it were released today, it would be a Three Mile Island-level event for the take industry . . .

[...] Every layer of A Clockwork Orange is its own nasty provocation, including the dispute Kubrick had with Burgess himself over a redemptive final chapter of the novel that wasn’t included in either the film or the American edition. No other director was as skilled as making films as texts to be examined and re-examined through myriad lenses for as long as the medium exists. His reputation as a perfectionist, on full display in every decision he makes here, belies the fact that his films exist to scramble your orientation and question your responses to them. They’re machines that expose our messy humanity."

TAKE A DEEP BREATH AND READ ON FOR MORE DETAILS: https://www.theguardian.com/film/2021/dec/19/a-clockwork-orange-at-50-stanley-kubrick