Very rarely does anybody call them out or otherwise try to reign it in, because you're as likely as not to be physically attacked and in America, the odds of bystanders coming to your rescue are... Not zero, but not great.
Very rarely does anybody call them out or otherwise try to reign it in, because you're as likely as not to be physically attacked and in America, the odds of bystanders coming to your rescue are... Not zero, but not great.
Regardless, no punishment is too harsh, this should be considered the equivalent of lighting up a cigarette on a plane.
There are angry people playing dominance games on one hand, and on the other people who simply don't care what anybody else wants and will do what they can get away with. There's no difference in intelligence between the two, but only the first type can actually be reasoned with. The second type will only pretend to be reasonable until the person that they're intimidated by leaves the room.
Everybody says "social cues," but as you said, the people who "don't get social cues" also don't seem to "get" direct requests or orders.
There are a couple of us who have actually seen someone call them out that are warning folks here what commonly happens. I saw someone get attacked with a knife, another commenter here had a gun pulled on him when they asked them to stop. It isn't about the loud music itself, it's that they're openly saying they are king shit, that no one is willing to challenge them, and broadcasting their eagerness to deliver violence upon anyone that might.
The other side of this is that they often do it on places you can't easily escape, like a train car with stops only every 5 minutes. This gives them a very long time to go to town on anyone that might challenges them. Something I've seen with my own eyes when they were asked to tone down the music.
I'm well aware of the types you're talking about, but in my experience this has largely changed. It used to be that these sorts were the most common offenders. But now it's just, well, everyone and anyone. For instance I don't think the little, old lady in front of me on the bus the other day was challenging people to violence.
I though the discussion here was about people not using their headphones on airplanes.
On topic (and discussed already on HN): https://github.com/Pankajtanwarbanna/stfu
Okay this is ridiculous. One is a fire hazard and the other is not. Do you really need the hyperbole here?
I'm not sure it's contempt they're expressing, or if they're expressing anything at all. There really are people who enjoy and defend it, too; "it's just a guy playing music, mind your own business." Truly alien.
If you ask such person to stop it is implied they expect you to back that up with violence and you've already consented to a battle.
More like you've already admitted cowardice, which makes you fair game. If it's the music that upsets you, come at me with louder speakers!
This is actually a really good response though. Because the act of having a device blaring demonstrates contempt for everyone one around them. It's hard to act in a hateful way to someone who just offered you something for free.
Yes, because there's been a recent push to more heavily punish good Samaritans than perpetrators. When good men get metaphorically crucified for helping, they stop helping.
If that seems like a common sense outcome of such policies, you're right. But as we've seen time and again, common sense is not a flower that grows in everyone's garden.
On the other hand I did get a chewing out from an older guy for having a conversation with friends on a train once, so some people take it perhaps a bit too serious.
Motivated in large part as a response to society saying fuck them. I'm not defending assholes being assholes, but I think what we have been seeing in the US over the last 5 or 10 years is classic collapse of the social contract stuff. The less a society cares about its people the less its people will care about the rest of society.
Yes, because people have always felt like outsiders in relation to society. My point was that this sort of public misbehaving is getting worse because social cohesion is getting even worse. Not everyone with grievances against society will respond this way, but as more people have grievances against society, more people will respond in a manner like this.
What I did not know is that he was one of the producers for Voyage Home. https://www.imdb.com/name/nm0857130/
https://memory-alpha.fandom.com/wiki/I_Hate_You
> According to the movie credits, the song was performed by the obscure band Edge of Etiquette. (Edge of Etiquette was, indeed, so obscure that it is rather difficult to find anything more about them than their having performed this particular song.) The punk on the bus who flipped Kirk "the bird" was played by Star Trek IV associate producer Kirk Thatcher. According to the Star Trek Encyclopedia, 4th ed., vol. 1, p. 354, Edge of Etiquette was a pseudonym for Thatcher.
> Thatcher also wrote the lyrics for the song to music written by Mark Mangini. A game card, from the Star Trek Customizable Card Game released by Decipher, excerpted the lyrics of the song. Thatcher had complained that the new wave music previously considered would not have been an accurate representation of what a 1980s punk would listen to, and offered to write "I Hate You" instead.
This links to https://www.wired.com/2016/09/punk-star-trek-iv-vulcan-nerve... ( https://web.archive.org/web/20161222223425/https://www.wired... ... ghads, their "you must log in" blocker even worked through the wayback machine ... use reader mode)
> But portraying “Punk on the Bus” would turn out to be Thatcher’s most lasting contribution to The Voyage Home. He and Nimoy had grown chummy during filming, so when the filmmakers were looking to cast the punk, Thatcher lobbied the director to get the role. “I told him, ‘Look, I used to have a mohawk, and I’ll dress the part—you won’t recognize me,'” Thatcher says. “Leonard said, ‘Huh, really,’ in that deep, basso profondo way. I couldn’t tell if he thought it was a stupid idea.”
> ...
> The song itself came later. Paramount Pictures had a music-licensing deal that gave it to access to songs by new-wave artists like Duran Duran, but none of those bands seemed like a good fit for Thatcher’s snarling character. “I said, ‘Leonard, that’s not punk. I could write you a punk song and it will cost you nothing. I’ll do it for [a few hundred dollars],'” says Thatcher. He wrote out the nihilistic lyrics, which he brought to his friend (and future Mad Max: Fury Road Oscar winner) Mark Mangini, a sound editor who came up with the song’s snotty, simple guitar riff. Thatcher himself sang vocals, and the whole tune was recorded on a weekend night, in a hallway that would provide the necessarily shitty sound.
> “My idea of punk at the time was the Dead Kennedys, Germs, Black Flag—real West Coast hardcore punk, that real raw sound,” Thatcher says. “I also wanted a Sex Pistols ‘God Save the Queen’ vibe, which is why I did the British accent.”
> As for Nimoy’s response? “He came by, heard it, and said, ‘OK. That’s very punk.'”