Wednesday, October 18, 2006

Breaking Up With The Photocopier The Loserdom Archive Goes Online.

The zerox machine certainly extended a whole new life to home publishing, breeding a whole swathe of often badly designed zines from counter-cultural communties as a result. The stark contrasts of the photocopier wrecked havoc with photos and the cut and pasted text of the typewriters that scripted their articles soon gave zines an image that quickly became misunderstood. What was the consequence of functionality quickly became almost revered as an anti-aesthetic associated with independent production and punk.

In an era where web publishing, blogging and print on demand have blown wide open a route to ease of production for the aspirant writer it remains wholly frustrating that some of the most creative documentary commentaries and polemics on alternative culture remain moribundly attached to outdated methods of distribution. Confusing past seizures of useful technological advances with an aesthetic mode they deprive themselves of whole new audiences to limit themselves to a relatively exclusive and closed underground.

Escaping this misplaced attachment to the photocopier, long running Dublin fanzine Loserdom has finally made the decision to place its archives online. Loserdom is the work of Anto Dillon, who recently used his college thesis on the history of zine publishing in Ireland to pull together a Zine Show in Anthology Books. The website features photos from the punk scene, interviews ranging from Fugazi to Saul Williams and Mudhoney, comics documenting the life of cyclists in the mess that is Dublin commuting and enough quality writing and thought to make most bloggers blush. For those of you who haven't taken the chance to visit Seomra Spraoi, its provision of a new home to the Forgotten Zine Archive might equally prompt you.

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Monday, October 09, 2006

Mindnumbing Muppet Number 7: Gillian Evans

Presenting the latest in a series of Mind Numbing Muppets - a Soundtracksforthem response from the underbelly of the keyboard to the kaleidoscope of dazzlingly silly cahnts who impose themselves on us via their access to the media.

Number 7: Gillian Evans

Gillian Evans is one of those ponitificating middle rank academics populating the society page of the Guardian with regular downbeat pop-tinged sociological observations on Britain's urban social ills. If she exemplifies anything it's that some mutant version of imperial anthropology was alive and well over at the Guardian last week as she sets out to discover what it means to live on a council estate. Gillian relates to her subjects with all the respect Coronation Street script writers imbue in stock comic characters like the Battersbys. Her subjects are a supposedly dwindling and arcane tribe called the working class, complete with their own peculiar atavistic practices and ancient social habits. Faced with a downscaling in her own economic situation, poor Gillian resolved to 'overcome [her] previous efforts to distance [herself] from the people' sharing her estate in order to research and study them in a rather vicious colonisaiton 0f class for academic career led purposes. The odd article appearing in that newspaper of the British chattering classes - the Guardian - is of course a handy bonus.

Her neighbour, Sharon becomes the arcetype of the working class house wife with whom the 'educated talk of the middle classes is useless,' so exhausted she is with the dull concerns of her drab working class life, opting instead to settle for the 'permanent joke of the body's sexual and excretory functions.' In Lady Gillian's eyes, the sign of how common you are is how much free time you allow your childern to play evoking all sorts of moral cacophony on feral childern and improper working class parenting leading to anti-social behaviour. Gillian revels in purposefully keeping her children seperate from those around her for fear of them contracting common practices. Gillian finally gets profound after a statement from one of her subjects that 'the secret of bein' working class is bein' 'appy with yer position.' In a classic imperial form the article ridicules the accents of its subjects, coming replete with excerpts bracketed in explanatory notes such as 'finkin' you're upper [better than other people].' It reeks of how Anglo Irish authors such as Maria Edgeworth attempted to drown the voice of their own sub-altern peasant opposities in footnotes and glossaries.

For Gillian this is a world where social class is an issue of the clothes you wear and the voice you bear, and as a result any resentment of assertion of a rich bashing dignity is dismissed as 'an inverse snobbery.' Not surprisingly after the publication of her book Gillian decided to feck off out of Bermondsey. Could you imagine the plight of her windows if she stayed? Oh wait Gillian was probably banking on the fact that her neighbours were too ignorant to read the Guardian.

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Tuesday, October 03, 2006

Sunday Press Review: MSM Inveighs Against Rossport and Anti-Fascists.

Journalistic Scumbaggery, Personal Vengence and Political Dogsbodies - Just Another Week of MSM Bull Shit.

Jim Cusack
, a man hilariously described as something of a Walter Mitty figure by a DGN organiser on the Late Late Show back in 2004, was back in the SIndo this week, with his ramshackle journalistic style to expose the lack of investigative merit behind Village journalist Scott Millar's recent contribution to Searchlight on clerical fascist Gerry McKeough. The Sindo at this stage it seems will stoop to any low to engage in its red scare tactics against the Shinners and on a lesser note the far left.

If Sunday is anything to go by, this includes a new low of clearing the record of McGeough, whitewashing him as a genuine republican who left those
nasty Shinners behind and now is being cruelly smeared as a former terrorist by those even nastier lefties. Considering McGeough's past, surely even the most sensory deprived of sub-editors could notice the smell of stinking bullshit off this one? Only a fool could suffer the notion that this has nothing to do with Miller's recent criticism of how 'anonymous Garda sources' riddle Cusack's work with all the worth of soap gossip in TV Now. Anonymous sources tell this Indy journalist that we'll be waiting some time for Cusack's construction of castles in the sky to melt away as long as the SIndo maintains its role as a tabloid bitching session for power choosing to masquerade as broadsheet opinion and analysis.

Aside from Cusack's mixing of some vehement red baiting with personal vengence, there was a more serious smearing in this week's Sunday World. Veronica Guerin would be Paul Williams got down and dirty with the people of Rossport. In a real act of journalistic scumbaggery he accused the Shell to Sea campaign of being hijacked by Sinn Fein. IRA heavy weights it seems have been rolling in behind this attempt to gain political capital, to strike fear into a silent majority of locals opposed to the protests. Williams of course is simply laying the justifaction for his own 'anonymous Garda sources' to forcibly gain access to the construction site this week as reported in today's Irish Times. When ordinary punters face the wishes of the elite down, they become extraordinary and surely must be controlled by some thuggish manipulative political masterminds? Don't forget how during the bin tax the Sindo claimed anarchists were infiltrating the campaign.

The first step in the process of re-pacifying the public is dividing it into 'good' and 'bad' protesters. The 'good' being a silent, law-abiding and largely imaginary public and the 'bad' being us
Indymedia reading scumbags. So used to contemptously manipulating the public themsevles, the MSM, its pay-masters and their political friends really do find it quite the conceptual leap to understand mobilisation from below and seek out string pulling boogeymen to comfort themselves with. Bless.

As ever when it comes to this sort of thing, this was published first on Indymedia.ie

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Friday, September 29, 2006

9/11 Conspiracy Nuts: Plane Crazy says Schnews and Cockburn

From a fringe that once made a name for itself distributing truth dollars to now more succesfully pushing viral videos on the youtubed and googled vidiot ciruit, 9-11 conspiracy theories have taken on a fast and furious popular growth in recent months. The successive releases of Loose Change, Terror Storm and a host of less competent productions has seen the 9-11 truth types quickly come to accumulate a louder and louder voice within the international anti-war community.

From a position of being able to ignore these cranks because of their association with Christian fundamentalists like Alex Jones who maintain that successive world leaders secretly signal to each other by making as many 'devil sign' gestures as Temple Bar kids at a Korn gig, sections of the left have recently responded to their crass parasitical attempt to ride on anti-war sentiment. Perhaps this is remains an international problem with little of the effect taking hold here, however there are some murmurings - some examples of this can be seen at the swamp that is the IAWM discussion forum, vandalised as it is with 9-11 conspiracy theory cut and pastes. Many other Indymedias are also lost under the growing signal of noise generated by these paranoics, this online effect obviously has repurcussions for the left.

When conspiracy loons that ignore all hopes of substantiating fact and condense unrelated co-incidences into sequenced pulling of the strings become one of the most visible groups explaining the events of the 'war of terror' it means the room for anti-capitalist arguments that challenge social relationships instead of cabals of devil worshipping elites is harder to hear against the rest of the noise. Thankfully Cockburn provides a useful article that demolishies these conspiracy nuts that share so many left wing themes as engaging in a socialism for the thick, while Schnews takes them on in its own wonderful 'in yer face' style by advising them to 'WAKE UP! IT'S PLANE YER CRAZY...' Let's just hope these nuts don't start infesting our own Indymedia with the same vehemence displayed on this particular thread.

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Sunday, September 24, 2006

Dublin Coastal Development: Hoax or Developer's Hooley?

Anyone able to cast their mind back over the Robocop film franchise should be able to recall the many Omni Consumer Product ads featured in the film, with their distinct dystopian undertones amidst a sea of false consumer promise that sought to ever more wed the broken citizens of Delta City to their privatised servitude. A very similar style of ad has been circulating on the Irish inter-web as a viral video. The question of who's behind this viral video and planning application is on many people's lips at the moment. Produced by the 'multi-disciplined, multi- talented' Wasaki Global Corporation it details the plans to build three islands off the coast of Dublin, complete with a replica Howth, 42,000 flats, 3 golf courses, several motor-ways and a giraffe only zoo. Yeah right says you, next they'll try and resurrect Atlantis. Word on the blogosphere would suggest that it's the work of an ad agency called Chemistry who conceived it as a stunt to launch new property website Funda Ireland. Clever bastards, eh? Well clever enough to take in a certain Labour politician on Morning Ireland earlier today.

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Wednesday, August 30, 2006

Mind Numbing Muppet: Neil Boorman The Brand Burner

Presenting the sixth in a series of Mind Numbing Muppets - a Soundtracksforthem response from the underbelly of the keyboard to the kaleidoscope of dazzlingly silly cahnts who impose themselves on us via their access to the media.

Number 6: Neil Boorman

A one time DJ ( 1 ) and music critic, Neil Boorman has raised the eye of the English press this week with his promise to burn all the brands in his possession in some bewildering act of randomness against the over-riding power of brand culture. For a man well into his thirties he's of that rather odd vintage that suffers from some sort of irony deficiency in believing music should be 'difficult for adults to understand.' It is exactly this sort of pathological desire to offend in an attention grabbing 'fuck you I won't clean up my bed-room' act of childish spite that earns him our catty contempt and that grand aul Dublin title of muppet.

Naomi Klein used brands as a point of departure for developing a popular and well needed critique of post-Fordist capitalism. But the gap between his confused and obviously pampered view of how to shop our way out of a particular set of social relations and the No Logo exposition is never made clearer than on his blog. Full of guff about acclimatising to the process of wearing non-branded runners, in his world the options are between Dunne Store's knock off high-tops and Converse originals. He admits to 'travelling to Hong Kong to get some items of clothing copied (non-branded naturally)' without ever questioning the systematic sets of power relations that have led to this warped priveliging of the commodity.

He almost admits being the living incarnation of Nathan Barley, with several collapsed efforts at publishing loud mouth chic London style magazines, brazenly shallow he describes having no interest in his current partner ' had she not been working for a very important contemporary art gallery'. You can be sure someone will give him a quirky column writing an 'anti-fashion' fashion column or even better designing summer wear for Pennys. At the rate vintage clothing is selling these days, he should have no problems dressing like the pretentious knob he is just in time for the latest Marc Jacob's grunge revival.


He likens himself to Cayce from William Gibson's Pattern Recognition ( 1 ). A 'cool-hunter' character who becomes violently ill at the sight of particular company emblems. If he does share a similarity to her, it is far from sharing a post-modern neurosis to the ever lingering logo imprints of hegemonic brands, and more in his own ability to hunt out underground cultures such as subvertising. Then strip them of their depth and ideological worth to pimp them out like sullied street walkers with a simple and crass message to earn a few fleeting moments of press to sell his up-coming book. Neil Boorman is a man no longer content with writing the art and culture features, now he wants to graduate into being the actual focus of the cultural supplements.

What you have here is a rather grandiose dose of liberal bourgeois. When history looks back it will not see a brave soul raising the deep ethical questions that haunt late capitalism. Instead it will see a pampered rich little bitch that has foregrounded his own individuality through yet more consumer choices rather than pushing for critiques of the system grounded in developing social solidarities. Bending the corporate semiotics to subversion you ain't mate, now hand over those Addidas Super Star before I set the dogs on you.

Related: No Logo Documentary: Naomi Klien lucidly explains the deepening of consumption as part of an overall capitalistic project The Century of the Self: a documentary by Adam Curtis examining how those in power have used Freud's pessimistic theories of human nature in order to demobilise democracies, instead deflecting our inner needs away from social solidarity to consumerism.

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Wednesday, August 23, 2006

Robot Chicken: "Have you ever seen what happens to a yeti when 12 condoms full of unadulterated coke burst in its stomach?"

Inceasingly obsessed with the quality of humour churned out under the auspices of Adult Swim, its easy to see an evening pissed away diving back and forth between a list of its shows on Wikipedia and then hunting for them in sequence over on Youtube. The best of the Adult Swim material so far, is Robot Chicken. The brain child of Seth Green - yes, the Buffy werewolf - it's a fast witted, stop gap animation approach to the sketch show. Ripping through a whole season of Family Guy-esque pop cultural parodies in the space of ten minutes, it channel hops from demented second long visual gags and comic one liners to longer sketches that regularly spoof movies, child hood fairy tales, thrash TV and everything in between.

If you find the idea of dope smoking Tellytubbies; genocidal Care Bears; a coke smuggling Santa Claus and Chucky the knive weilding doll getting savaged by the Cabbage patch kids funny, then Robot Chicken is the place for you. It dawned on me yesterday that one could probably trace a genealogy of the core routine of detached irony on many of the Adult Swim shows back to the mashing up of popular culture in the early 1980's kids TV show Round the Bend. Its clever parodies of what passed as contempory TV and pop culture has simply been fast-forwarded to renewed relevance among those reared on the same shows it lampooned. Set in a sewer among the cast of a news show, Round the Bend entailed a similar manic blink and you'll miss it machine gun approach to its humour. I can hardly believe its actually availible on Youtube, maybe have a look and see if you notice the similarities?

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Sunday, August 13, 2006

Documentaries: The French Riots and Rap | The Oral Folk History of Post WW2 Squatting

Discovering the wonderful BBC 4 recently, I've come across a series of documentaries that might be worth sharing with you. French rap has been the voice of the banlieues, the poor suburbs encircling Paris and other french cities, the tensions and the musical culture of these estates were briefly brought to international attention by the 1996 film La Haine and more recently during the recent riots where it 'blew on the embers' of rebellion in incendiary lyrics challenging the role of the poulet/police and national myths on what it means to be french. Straight Outta Clichy is a radio documentary that explores the contours of these antagonisms, with interviews with the main movers and shakers in the industry, rappers pursued by the French state for their lyrical descriptions of police violence and those that seek to use rap as a scapegoat for explosions against social deprivation.

Another excellent documentary I've listened to recently deals with the oral folk history of persistent shortages at the end of the second world war, a problem that lead to over 40,000 British people taking the law into their own hands and squatted in property that they didn't own presenting Atlee's Labour Government with its first great crisis. Squatter's Paradise is their tale. With ever escaluating rent prices in Dublin, this programme is definitely food for thought ( 1) Many of you will probably be shocked to find Dublin has its own militant history of squatting as a solution to a lack of social housing, in the seventies the Dublin Squatters Association housed hundreds with the state even threatening to bring in the army to help bailiffs.

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This Never-ending Bebo Hysteria

This Bebo hysteria remains as resistent as a viral chest Infection in a house of stoners and is every bit as irritating. For a number of months now media outlets have been churning out a revised and updated version of the original internet and paedophelia scare mongerings. This time the hysteria hinged on social networking sites like Bebo and Myspace.

For a while it died down, but this morning Roger Greene's Media Matter's shamelessly rooted around the bottom of the bag and dragged it all back up again as a filler slot on a clearly cream crackered show. Many of those summoned to discuss social networking sites clearly have no notion of the forms of interaction governing such sites. Instead they parachute themselves in pretending to be 13 year olds with fake accounts, before preceeding to stalk kids in pursuit of the phantom child molesters caustically satirised by
that Brasseye special.

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Saturday, August 12, 2006

The Omen, Guerilla Advertising and Street Art

All memories of the disaster that was the Psycho remake are seemingly excorcised in the world of big business horror and the intelligence applied by Hollywood to come up with ways to make a quick buck appear seriously to be on the wane. Right minded horror movie fans were probably mostly disappointed with The Omen 666. What a premise - take a classic horror movie and remake it without any real ruptures with the original.

Chiming in with recent cultural trends, the studio must have been busy hiring patsies locally in Dublin to engage in a guerilla marketing of its product. Crudely sprayed stencils of Damien casting an inverted crucifix, with the movies release date popped up all over the city over a forthnight ago. The Wooster Collective took Sony PSP to task over using street art stencils to advertise its merchandise recently, with widespread defacing of the cartoon characters hyping its product occuring in the states. Adidas colour also recently had an ingenius campaign providing blank bill boards for artists to destory, before throwing another pasted bill board sheet with homes in it over the vandalised original to incorporate it into the runner's design.

Fox had originally attempted a revival of the Omen series with a made for TV fourth sequel, a movie that was going to be used as a bridge head to initiate a Friday 13 style sequence of cash ins. With this new movie the studio used all possbile promotional techniques to stir a fuss including manipulating box office numbers to come up with $12,633,666 after the first weekend of screenings. The movie of course was also launched on the 6/6/06. Oh and don't let me ruin the movie in telling you that after the death of Damien's father he is shoved off to become the adopted son of the US president playing nicely into popular themes about the Busy dynasty. FFS.

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Vincenzo Monolouges: New IIW Style Blog Attacks Browne and Left.

Some of you may remember the internet presence of one of Indymedia's most ferocious trolls. Going under the title of Indymedia Ireland Watch (IIW) and registered on the Blogspot hosting site, they used a snide satirical tone to highlight the supposed flaws attached to various Indymedia 'personalities.' Those that put their head over the parapet and stepped beyond online anonymity to be published in the mainstream media, or even exerted more time on Indy editorial duty were viciously lampooned and castigated. The blog also offered financial rewards for the names and addresses of activists appearing in photos on the site. The IIW site under went a sudden and dramatic closure last April but later that month a new site opened up calling itself the Vincenzo Monologues.

This new blog styles itself as the 'comical antidote to Vincent Browne's knee-high to me media empire.' Like the previous effort at undermining this site, it seeks to ridicule both contributers to the Village and their audience. Those of you who have connected the dots so far will not be surprised to find that the writing style echoes the earlier IIW effort in a sniping 'wouldn't you know' manner that attacks Browne's publication, but remains more firmly concerned with the magazine's relationship with Indymedia and the left more generally. Describing Browne as the Maureen Potter of Irish journalism it accuses him of "bufoonery" in appealing to the "anarchist yoof" crowd of "Idiotmedia" through Village Magazine. Somebody seriously has some issues with anti-establishment media in this country, as you can see for yourself.

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Tuesday, March 14, 2006

Breakcore Special On Radio Neuromantek Tonight.

If I have a readership (and who'd think that?) they have been spoilt with links to music these past few days. Around 2002, there used be a little electro night called Neuromantek that was well worth going to if you could manage the journey from town to the Thomas St House up past NCAD. I did it a bare handful of times, and moaned about it all the way trust, getting lost in one of the more barren looking, junkie infested areas of the city more often than not. What waited up there, as always in the Thomas St House before its demolition, was a night that fairly thumped all round with spliffs being smoked freely inside and nutters dancing on tables. These days Neuromantek exists only as a gig collective, with its main organ being a radio show hosted on Radio Na Life. Due to laziness and almost permanent access to broadband with its universe of online radio I don't fidget around with a coat hanger jammed into the back of my stereo enough, to give the show a regular listen. But anytime I have - has definitely been worth it. Tonight maybe one of those nights, as notice of an all breakcore session came in on IE-Dance this savo. Radio Neuromantek is hosted by Krossphader, Mick Harvey and Paul Watts on Radio Na Lifé, every tuesday from 10pm till midnight, hopefully the live stream will be working tonight. No chance of some auld MP3s masquerading as podcasts there lads even? Guess IMRO would be on their case.

Well, tonight, it's an all-breakcore show, brought to you by Krossie and special guest mentaller DJ Melodymasher (his mum calls him Ed Murphy). Check out what's on his mind, musically and otherwise, here.
Melodymasher recently supported Arron Spectre in the Ice Bar and a junglist/breakcore set he played there back in December is available over on the Alphabet Set. In other news, I've just given the Nialler9 hosted live set of Super Extra Bonus Party strutting their stuff a listen, its well worth a gander. Nialler9 describes it as "some refreshingly upbeat electronica from the jangly tones of "Spanik" to the bouncy energetic "Mushie Shake", and the ethereal "Softly" which samples Dublin singer songwriter Nina Hynes." While im on the topic of radio - when moving to Dublin in 2001, even at that stage the city was packed with pirates, with Future FM and even Power still on the go. Not to mention Phantom of course. What the hell happened there? Either way Powerfm have an impressive archive of their shows availbile in mp3 format.

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Readers Lambast Arctic Monkey's Review In NME

I have an apathy to the Arctic Monkeys that doesn't really bear explanation. Someone freshly obsessing over the meaning of music while heading into the hormonal melting pot of early puberty will lavishly scrawl the name of the Artic Monkey's on their bag, they are sort of an ideal "first band" to go all fanboy on. Not surprisingly, much of this hype has been generated by the NME. How perfect a band comes along, who even in this age of downloading, sound like they have an album collection consisting solely of Oasis, Stereophonics, The Jam and god knows how many buried Britpop acts. Equally they seem only to delighted to share a car ride with their dad as he blasts out his drive time classic rock tapes. NME must have fucking come all over themselves, its the end product of the linage of bands they've hyped and a good swallowing of the influences from their "NME Originals" series. Their exertions to "Get off the bandwagon and put down the album" and "there's only music cos there's no ringtones" are lyrics that fit perfectly into the pseudo generational angst being foisted on us by NME hacks time after time.

I don't actually know anyone who still reads NME, most of the people I hang around with admit to being regular consumers of what was the UK's main music inkie up until sometime in the very late 1990's. NME was the magazine that turned me onto Asian Dub Foundation through a live review and to Atari Teenage Riot by a scene profile of Berlin's digital hardcore scene, and thus in a one of those odd musical twists led me straight out of its grip as a musical influence. As an early teen barometer of taste it was also the very paper that rammed Kula Shaker down our throats, not only that but it drowned them in cat shite for flavoring and still watched as we fed gleefully on them. In this hypermediated reality, with options to digest literature far and wide, it says something about the sheer power of NME's draw that a whole handful of my peers can remember the exact moment we cut loose with it totally. Dropping even the effort of bothering to browse it in stores. That was the moment "nu-glam" muppets Gaydad were announced on its cover as the "savior's of rock."

Thankfully these days the fuckers can't get away unassaulted for such idiocy, not only as a result of blogs and other music related sites, but due to them having to morph their own organs to the will of the net, to the will of popular participation. This struck me first reading their review of the Arctic Monkeys debut. Here's some generational angst, expressed by a site user: "fuck you NME - fuck you for making me hate a musical genre that I once loved. If musical style has receded to find its inspiration in the past, I worry for its future." Most viciously of all someone called Cripple Crow writes "*drops this record into the 'What was NME thinking?!' drawer along with Vines, Menswear and Gay Dad and waits for them to disappear*"

If anything is pissing me off about popular music these days it is the generation of these artificial scenes with absolutely no geographic base apart from the fantasies of a few over exuberant fan/journalists in the NME. Such a distrust I have of the music industry (including press) to churn out crap bands that it usually takes me six months before overcoming my immediate prejudices of anything remotely contaminated with this new British wave to even sample a hearful of its constituent elements after the initial hype dies away. Its happened with them all, from Franz Ferdinand to Arctic Monkeys. And Bloc Party are the only ones who seem to be doing anything worthwhile, so maybe my initial process of distrust has proved itself as an adequate filtering device.

At least Pitchfork can point to something organic in Montreal, but I see fuck all point in turning to the NME for coverage of something like Grime, its coverage of even cross-overs like Lady SOV and Dizzee Rascal is atrocious, consisting of gig listings and little more. If someone like Simon Reynolds was accelerated into his passion for music via the crude intellectualism of a left wing NME in the early 1980's, things have certainly come along way since Derrida was mentioned alongside reviews of Scritti Polliti and the paper sided with the Red Wedge against Thatcherism. The collapse of any vitality of criticism in the paper occurred just as Neil Kinnock lost the '87 election, with an interview with him appearing on the front cover. One of the oldrottenhat crew informs me, senior management didn't like this brash polticising of the magazine and sacked reams of the journalists that defined its style during this era after they refused to withdraw it. Then the rot of dire commercialism and hopping from magazine selling band to Kula Shaker and back again set in, we just read through the finer moments of its colapse in the mid to late 1990's.

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Sunday, February 26, 2006

The Craic We Had The Day We Died For Ireland.

Wonderful the way a seemingly otherwise "enlightened" forum like thumped can suddenly completely lose track of itself and pour scorn on the "scum" of Irish society. It really is interesting the sort of langauge some of a lot of them are using in their discussions of the riots in Dublin today. I'm not coming to this from some fluffy PC angle on this at all, it just reeks of a real fear of social tension, of what happens when working class youths come into the city centre for a political protest that doesn't carry the same cudos as some spectacle of an "anti-capitalist" event. The distinction being drawn up between the "real" and , I suppose, "fake" protesters is equally laughable. Where exactly does one check the authenticity of their political reasoning in attending a protest? That people engage in "violent" action is thrown up usually to denote "fake" protesters - so I suppose those suburban kids involved in car burning in Paris were disengenious as well?

Political action takes many forms, some of that involves burning, looting etc. I think Sean O'Casey quiped that the real revolutionaries weren't in the GPO in 1916, they were across the road looting Clerys. Its interesting that BMW's were burnt out, and that symbols of wealth like banks/McDonalds were done on, even the PDs windows were smashed. Republicanism is without doubt the most entrenched and organic radical political movement in the country, what anarchism is to Barcelona - republicanism is to Ireland. Its not a surprise at all that the republican tradtion is then what working class youths latch onto as an expression of their opposition to state authority and power, it is the closest formulae to hand.

It is the slogans of that movement that are scrawled on estate walls, school desks and so on. Of course all of this is changing as other political movements become more pronounced, albeit amidst a general sharp decline of the organised left. What happened today was a total fuck up, its exactly what the Orange Order wanted to happen. But it should be looked at as an opportunity for a ruckus with the police being taken and used. It happens every few years, and in minor ways all the time. Its where a particular protest like today moves towards a social protest - attacks on the authorities that wreck petty bullying all over disadvantaged communities and shit all over working class youth/ "scum." It happened in Edinburgh during the G8, youths orchastrated a rout of the cops in Cherry Orchard a few years back in and every anti-capitalism demo I've been on in this city has had some element of this "scum" among the participants, usually the most vocal and militant as on Mayday. Who are we to delineate the barriers of who can take political action?

Its intolerable this liberal multicultural bullshit of "oh can't we all live together?" No - the Orange Order are an organised expression of sectarianism, they were set up to sow division in the North after the 1798 Rebellion and the success of the United Irishmen in eroding religious difference, their traditions are recent and artificial - given accelerated growth after the setting up of the Northern statelet and accentuated by the troubles. This sort of muticulturalism is completely stupid, its the sort of stuff that blindly skips over all sorts of abuses from the oppression of Muslin women within the west to patronisingly taking racialist views of minorities. In this case it assumes the Orange Order is an expression of the traditions of all protestants.

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Saturday, February 18, 2006

Podge and Rodge: Sexual Innuendo's A-Go-Go

The run away genius of the Blizard of Odd confirmed that when RTE turned in on itself to feast on its own entrails for inspiration things often turned out fantastic. The trend would certainly seem to be continuing that way as two relatively new chatshows get up and running from the burnt out remains of what was the Den puppet family back in the days of Ray D'arcy.

First up is Dustin's Daily News Round Up which is a quirky current affairs and news show. On five days a week to keep kids just home from school entertained in the run up to Home and Away. The show sees Dustin tearing after every chance to exploit his inate Eamonn Dunphy like qualities to deliver swarthy sarcastic pub style abuse to the punters. The more perverted branch of the RTE puppet family, Podge and Rodge, two rotund rural bachelors holed up in the ruins of an abandonned asylum in Ballydung are also now doing interviews on late night mid week TV.

So far they've well managed to get the boot in on several all round muppets. Gavin Lambe Murphy was called a "cock" as the pair ridiculed him on the unison bottle yellow colour of his hair and face, and explained how "you weren't as big of a prick as we thought you were.
Her of Echo Island/Live at Three fame and the instantanously forgettable name was subjected to probing questions on the colour of her pubes, while Micheal O'Muircheartaigh was reduced to providing commentary for weasal racing.

But with sexual innuendos splashing around at the rate of blood in an abbatoir, this could get tiring and quick.
Are the rest of its presenters so fucking inane, that RTE's now resting its hopes on its puppets for its late night "yoof" viewing? For those of us that remember programmes in the mid nineties, like Sean Moncriefs first vehicle The End which provided continuity between a string of left of centre comedic gems on Friday and Saturday nights - the national broadcaster's still got a stretch to go if its going to entertain the yoof.

Anyone interested in checking out the early days of Podge and Rodge on the The Den should check out www.ballydung.com

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Wednesday, February 15, 2006

Black Brain Radio: Manic Online Preacher?

Lurking somewhere just before Radio One on the dial there's been this utterly bizarre "pirate" broadcast moaning away for the past few days. I picked it up in UCD and someone else I know managed to pick it up in location as far flung as Maynooth.

It consists solely of this bloke in a mild Dublin accent, possibly tinged with the drawl of an upbringing in the environs of the leafy southside talking in a monologue for hours on end. One moment it sounds like he's reading from Wikipedia and following the embedded links within it as he disembarks from one topic to another.

At other times it sounds like he's reading Amnesty International reports. So far he's been going on about Dante's Inferno, Mugabe shutting down opposition radio stations, Aristotle, the levels of radioactive contamination in the general population and the immune system. All day I found myself asking myself "what the hell is this?" Has some lone bloke picked up a radio transmitter off the net for cheap and set himself to work? Its the radioactive equivalent of a street ranter with no given specialty, and the oddest thing of all is you can hear Ray Darcy's show in the background...

There was some comfort in the whimsical thought that this was a lone nut, drowning his thirst with tea, his only company the inanity of Ray D'Arcy's perky morning advice on love, walled in inside his house, a box in the suburbs - lashing out against the infotainment machine and waiting for Babylon to come crashing down around him. Turns out it was just the latest public art series from IMMA and Garrett Phelan, a transmitted sound installation which some how tries to close the gap between the visual arts and audio in an investigation of how ideas spread in society. What toss - since when does the title of "art" justify such a tedious lack of cop on?

If IMMA and the Irish art establishment want to investigate the spreading of ideas in society, and have the capacity to give someone access to a transmitter powerful enough to hog a frequency all over county Dublin, the least they could do is turn it over to an open public access project.

What THEY say: "Black Brain Radio is an unconventional and innovative radio artwork created by Irish artist Garrett Phelan with Temple Bar Gallery and Studios and in partnership with the Irish Museum of Modern Art (IMMA). The transmission will be broadcast around the clock over a thirty-day period from 19 January 2006 to listeners within the greater County Dublin area on a frequency of 89.9fm. In addition, Black Brain Radio will have the capacity to reach a wide international audience through its dedicated on-line presence."

What The COMMENTARIAT of Indymedia say: "Recognition? What does this mean precisely? Does it mean that he can exhibit meaningless scrawls on the windows of the Civic Offices while other people are prosecuted for painting political slogans on walls, and posters advertising public meetings are torn down? He can set up a "safe" pirate radio station, or do some obscure collaboration with the free state army that amounts to a tape of the same bit of morse code being repeated over and over again in a darkened gallery?"

And now for two tech (no) ical points: there has been an array of problems with blogger lately, which have been preventing me accessing this thing even from a reading point of view, never mind posting. Worst part is no radge seems ta hav nae answers. Meanwhile over on the good ship Old Rottenhat, the good captain Krossphader has delivered a Nietzschean parody of the demise of techno in Dublin after the closue of D1's weekly club.

Related: 1 and 2 (now if only our own techno fiend Cogsy would get his blogging ass in gear a little more often!)

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Thursday, January 26, 2006

Special Dispositions for Chomsky - What Would Emma Have Thunk?

So the great bespectacled Chommers has come and gone? What a build up there was - and as a whole the events themselves were just an interesting quirk to after work hours rather than the mind shattering revelations some were expecting. The humourous highpoint was the special disposition he was given by the state to enter the country, what a way we've come as anarchists from the Palmer raids that saw Goldman and other anarchists deported from the states. The low point was the passive consumption of his politics by so many, or maybe this is just an activist disdain for the huddled masses?

I came across some anecedote from an activist in the 1970's who described how when Howard Zinn rolled into town his talks would be witty, with a flowery acerbic delivery that you could really enjoy sitting through, where as when Chomsky came on it was as if a cloud of guilt hung over the audience as each person felt they should have a note book and pen out taking down references. You could see that in his talks this week alright. But the bloke seems well aware of his purpose, it gets illustrated in Manufacturing Consent where you have something like 40 pages asserting the propaganda model then maybe 400 or something where he relentlessly, and as objectively as possible illustrates the model in practice. That seems to be what he does in his lectures as well, the sort of assertions that govern most left wing rethoric and educational talks are backed up with a relentless potted history and critique that is usually lacking.

He seems intent on highlighting dichotamies which is something of a nifty rethorical device. For instance in his tuesday talk, his "conservative recommendations" (his words) for American foreign policy were not his own opinion, but were preferential options agreed by the overwhelming majority of the population as sourced in opinion polls in the mainstream press. In this illustration that the actions and expressions of the ruling elite there are soo removed from the desires of its people there lies an implicit critique of contemporary democracy, that is expressed without resorting to slogans and assertions that are sometimes groundlessly put forward as political arguments. There's certianly something to learn from this style - especially given the inability of elite circles to argue back against him. If he confuses people its probably a good thing, as in challenging so many of the assumptions of popular belief you undermine a lot of presupposed ideas and at least people might be tempted to explore a little more the foundational basis of their own views.

One thing that got to me was the obvious seperation from engagement in political activism among the people that went to the talks, and not just anarchist activism, but activism of any form. As if attending Chomsky was an act within itself. This was all the more clear as I was giving out a free anarchist paper outside, in the RDS one of my fellow paper pushers from the cheap seats raised the refusal of people to accept a free paper which challenges on a regular basis the dominant ideas of power as a question to Chomsky himself, (while simultaneously predicting his immeninent demise and waving a hi vis jacket around like a loon) - he linked it to an "intentional ignorance" in his answer.

Perhaps Chomsky's chief failure is that his arguements are too much of a critique and he merely expresses the pro-active challenges to power as an afterthought to critiquing it. In the talk with the WSM he was remarkably chirpy about the prospects for the future in terms of a deepening of democracy and radical social movements - but if he was the expression of sixties dissent and started off in meetings of 5/6, on a pessemistic note there are far too many radical political meetings of 5/6 - so what do these 1000 that attended each talk be at? How do they envision change coming about and are just who exactly are they waiting on to carry it out? At the WSM talk he reasserted much of his writings on anarchism. He is a very repeative man, with much of what he was saying practically coming verbatim from texts like Notes On Anarchism.

More than anyone he is a populariser of radical ideas, as the proliferation of articles on the net, books in every bookshop in the country and the minor media feeding frenzy this week illustrates. Its probably fair to equate him with some of his own heroes such as Paine who developed a huge low level, quite but prevalent popularity for certain ideals.

Best of print: For anyone who missed the UCD Tuesday talk, there's a good review of it in the latest Village by Harry Browne, as well as a very personal letter he sent to Chomsky highlighting his use/abuse for politial gain at the hands of Amnesty. It should be on the net later in the week if ye miss it in the shops.

Best of the web: Catch the Tuesday night session in UCD (webstream of thursday session) the bloke doesn't half no how to digress. The WSM session should be up on Indymedia in video form soon as..
Sarcy Indymedia contributer tackles the D4 quifed Amnesty muppets in Moaning is half way to a solution..Thumped has an interesting discussion on the great debate between Chomsky and Foucault...Some of Chomsky's thoughts on po-mo here...Terrifying photo of Chomsky over here on Aauld Rotten Hat FC...RTE does its share on Prime Time as does Newstalk and grumpy Dunphy..

Worst of the web:
Tedious debate on UCDSU.net on the visit. More UCD idiots get themselves tangled up in knots of purposeful mishearing, their Boards.ie adult equivilents find themselves equally as perplexed.

UPDATE: Kevin Myers is an irritating twat. Journo muppets who are paid to speak out of their dill can be irritating enough, but this bloke is on a whole other level. Here he is ranting about Chomsky, in a diatribe accusing him of being like an autistic child faced with the impposibility of escaping observence of patterns. Nicely torn asunder here.




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Monday, January 23, 2006

Graphic Journalist Joe Sacco Files Another Report From Iraq

Graphic journalist Joe Sacco has filed another report from the front lines of the Iraqi occupation. His previous report is still availible over here. Sacco is the bloke responsible for the wonderful Palestine comic book which deals with his experiences there at the tale end of the first intifada.

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Thursday, January 12, 2006

Who Thought Kurt Cobain Had Anything To Do With Rebellion?

Everyone knows the one about the latent political symbolism of the X Men. Written against the background of the emerging civil rights movement, those that wanted to find politics, could find it - in neat metaphors for the repression of minorities in the form of mutants. Or in the Mutant Registration Act, that was the kernal of the early story as a parallel with the Nuremburg Laws, while Malcolm X or the Black Panthers were manifested in the character of Magneto, the bold revolutionist who refused assimilation on human terms providing a stark opposition to the reformism of Xavier. In the later sixties, youthful drop outs with minds tweaked on acid would see echoes of themselves in the blossoming of extra-normal powers of perception in the students of the X university and isolated home town teens getting turned on by the freak evolution.

I've recently become rather enamoured with graphic novels, the €20 + tag provides quite the block, so lets call it an aroused interest as opposed to a full blown decadent infatuation. Channel Zero is the work of Brian Wood, the first in a series of graphic novels that play off the slogans of the anti-capitalist period, and the more technical minded fantasies within it. Ward sees comics as an outlaw medium which are perfect for the expresson of political dissent. Channel Zero is essentially a comic about turning off the TV, to follow Le Tigre its about getting off the internet and on to the street. As the introduction by Warren Ellis puts it "pop culture rolled over and died sometime ago. Some people actually think Marilyn Manson is scary, that Kurt Cobain actually had something to do with rebellion." Into this stoked pile of shit enters the the Channel Zero narrative, growing up as a student in NY prior to 9-11, Wood obsessed over the idea that Rudi Guiliano's political reign would go national, alongside a rejuvanated christian right and a bolstered imperial ambition in the contintental south -this is the world of Channel Zero. In a wave of moral hsyteria the state has introduced the Clean Act with a huge bureacucracy censoring DATA deemed dangerous to the moral and security fabric of the nation, wheat pasters are routinely shot, the American population is made suspectible to propaganda through chat shows and is ever further removed from the reality of geo-political politics.

Enter Jennie 2.5, like the main protaginist in a William Gibson novel, tattooed all over with the brands and logos that proliferate and polluate her visual horizons, she is geeked and ready to use her technical skills to undermine the whole god damn mess by hacking the TV stations and broadcasting her own anti-system propoganda. Along the way she deals with the consequences of using a mainstream medium to propogate rebellion, how politics can manifest itself as dead words in the mouths of sub-cultures and the consequences of state repression. Woods graphic design background makes a bold break with traditional comics, its stark black and white style aping the DIY photocopied seriousness laden in punk zines. Its failure is in a coherant politics, everything that is seen as against the American beast is who-haa-ed up with out any real questioning of the content. Still anyone with an interest in Cyber Punk ought to check it out.

Maus by Art Spiegelman is a two part comic which attempts to come to terms with the author's fathers experience in the Warsaw ghetto and later in the camps. The narrative contains two elements, as the cartoonist illustrates his own relationship with his rather irritant father the aged Vladek, and a history of his fathers experiences during the holocaust. Spiegelmann uses an old comic device to represent his characters, turning jews into mice, poles into pigs and germans into cats, all in an ironic nod to propoganda posters issued by the Reich during the period. The first epsiode of Maus, saw the cartoonist win the Pulitzer prize, a rather handy anecdote to throw in the face of those who willfully defy the notion that there is any intelligence in comics. The comic may not hold the same impact as a Primo Levi novel, but its purpose stands as the authors own attempt to come to grips with his family's experiences, as he navigates his own sense of identity and guilt over living in a world without the same repression, and a refusal to understand the experiences of those that survived.

Another comic that bears some similarity to Maus is Joe Sacco's Palestine, his illustrated journal of his experiences in the aforementioned occupied terroritories at the tale end of the first intifadia. Most of Sacco's experience seemed to have consisted of listening to the stories of those living in the Gaza Strip, these he illustrates with a stark dignity that brings a sense of the personal to what can often seem like an overmediated situation. As with Maus, Sacco's comic reaches out to an audience that may not neccesarily read the more weighted standards on topics that are so gravenly serious. Again, this effect can be seen in the work of Marjane Satrapi, who uses a simple comic book form in Persepolis to trudge up memories of her childhood under communist parents in a secular Iran before the revolution and the pass over to eventual fundamentalism. She is a master of the daily anecodotal, illustrating political upheavel through the prisms in which it made itself felt to her, primarily through family members and school. Her follow up volume sees her contend with exile abroad as her mind dwells on the situation at home.

Some other graphic novel authors I've yet to get around to but come highly recommended include Grant Morrison, who was responsible for revisiting the Batman series with a gothic eye for the darkness implicit in the tales of Arkham Asylum, much of his influence can be seen in the latest Batman movie. Morrison also created a series based on the adventures of the Invisibles, with the lead figure, King Mob named after the London based situationist group of the early seventies. He also riled the tabloid press in the eighties with a strip called St Swintins Day, a urban drama about a young teenager who dreams of assisinating Thatcher. Alan Moore is another British comic author who's V Is For Vendetta is about to make it on to the silverscreen, again there is meant to be a latent political content in this tale of life and resistance in a fascistic post nuclear war based Britain. Maybe its a spurning on from the cinematic wonder of Frank Miller's Sin City, but I think I can see myself being drawn into these wonderous little worlds for a period.

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Monday, December 19, 2005

Outfoxed: Gagging Online Whispering.

A powerful expose of the intersection between elite interests and the ideological bias of Murdoch’ s Fox News network, Outfoxed performs the same function as Michael Moore’s work. Picking up key themes and running them to death, to expose the obscene manipulation of the American public through such slogans as ‘fair and balanced’ reportage. Diana Winthrop, a former Fox News producer describes being ‘ordered, from the top, to carry propaganda; carry Republican right-wing propaganda.’ Of guests on its leading show Special Report, between January and May last year, there was a greater than 8 to 1 imbalance in favour of Republicans. Fox News seems to epitomise where much of the global media is being pushed. Aesthetically, the network is a blizzard of information over-load, updates prowl along the bottom of the screen while newscasters mouth off in split screen boxes against glaring graphical backdrops of American patriotism. Despite an onscreen abundance of ‘news’ and ‘fact’, tuning in to Fox news prompts seeds of mental dissension, you are staring into the face of elite bias and content and its as obvious as the American flag in the background.

The success of films like Outfoxed, the Corporation and those by Moore are evidence that a wide section of the population are increasingly sceptical. When elite interests and the media intersect, more of us expect propaganda. But as the recent US Elections show, substantial portions of the population are still shaped by a socialisation process that occurs throughout our lives, that equates the free market with a free media. Outfoxed leaves no one in doubt that corporate power is waging a war against journalistic freedom. Something Outfoxed ignores, but far from paranoiac fantasy is the state’s simultaneous attack on noncompliant media activists and networks.

Most dramatically, in an act Mark Thomas compared to smashing up printing presses, the FBI seized two Indymedia servers, crippling part of the network for a brief period in November. There’s some evidence that the Swiss authorities requested it to cover up the publication of photos of undercover police agent provocateurs in action in Geneva protests. The seizures have also disrupted evidence gathering for legal action against the Italian authorities after a violent police raid on a media centre during the Genoa protests of 2001. In the US Indymedia was the centre of failed legal attempts by the Diebold corporation, to prevent publication of flaws in electronic voting terminals for use in the recent US elections. Back here, the Indymedia network has been pivotal in uncovering the use of Shannon Airport as a stop over for the US Military, as well as undermining state hysteria around such events, as Mayday when it was accessed a million times and the Bush visit.

These raids aren’t a once off. The more obvious context is a background of similar state led offensives against the development of non-corporate media networks. In what’s being dubbed a ‘model for the world’ by Miami authorities, at recent protests reporters were embedded with state forces, as in Iraq. Those refusing to be embedded are often on the receiving end of repression or delegitimised. Cops shouted "she's not with us, she's not with us" at Ana Nogueira, a reporter for the grassroots TV Network, Democracy Now as she was hauled off reporting as police broke up a demo of 200 people. The City Council had forbidden gatherings of seven or more. Before the run up to the Republican National Congress police from several NY Departments raided and shut down an Indymedia benefit screening. In the summer of 2004 Indymedia founding member Lenin Cali Najera of Equador was murdered. Colleagues suspect a robbery was faked as cover for a political assassination, carried out by right wing paramilitaries. Again, in Cyprus a major national scandal broke after police admitted to investigating Petros Evdokas and Indymedia at the behest of the CIA, after he published material claiming American interference in a referendum on the island

Obviously the music industry feels the effects of peer to peer file sharing networks, and takes action against them. Sometimes this is illegal. As a recent Australian court case found, sections of the industry were hiring people to paralyse peer-to-peer networks with fake files. It should be no surprise that political and corporate elites are also feeling the impact of radical journalism online. The dynamic between the establishment media and the insurgent electronic media is interesting. After a police raid on the Indymedia Centre in Genoa in 2001, The Daily Mail wrote an article accusing a hospitalised media activist of being "in charge of computer systems used to co-ordinate attacks on the G8 summit." Like wise only a handful of mainstream press outlets covered the Indymedia server seizures despite it being condemned by a huge range of Journalistic Unions and brought up in the British Commons. In a similar manner Watergate era US media giants ignored extensive bugging and actions against the US left, only becoming concerned when they were directed against the Democrats, as one faction of power.

Organisations close to the US state were quick to recognise the potential of new media technologies in creating popular mobilisations. Within reason, anyone can put up a website, so ideologies and interest groups previously isolated from traditional media can now challenge its dominance. The RAND Corporation, a think tank linked to the US Military warned of the development of ‘all channel’ network designs that facilitate equal access to knowledge and its production. New networks facilitated by the net ‘will pitch battles for public opinion and for media access and coverage, at local through global levels.” Already the role of this new media has been dramatic. RAND noted how online medias prevented the Mexican State from turning the Zapatista Chiapas Rebellion of 1994, into a bloodbath similar to the Mexico City University occupation of ‘68, more worrying for RAND was the ripple effect the rising had in coalescing radical activism globally. The fact that ‘there is no single, central leadership, command, or headquarters—no precise heart or head that can be targeted” worries repressive state mechanisms that could previously target key figures or organisations, in tactics best characterised by the FBI’s illegal COINTELPRO operation to ‘disrupt, discredit and destroy’ the new left in the sixties.

If social conflicts were to arise in Western countries, it would be increasingly difficult for any state to monopolise information in order to isolate hot spots. The targeting of San Francisco’s business district for action by anti-war activists the day bombs fell on Iraq and the mass arrests of 3,000 people undermined the images of patriotism generated by the US State. Those that wanted to get around the lack of mainstream media coverage could, mainly through online journals. South Korea’s most popular media outlet is called OhMyNews, an online portal with the motto ‘every citizen is a reporter.’ Already it’s been attributed responsibility for shifting the balance of power to liberals in a presidential election through mobilising youth.

As with the Charterist movement that developed around the 19th Century radical British Press, a mobilising media is a worry to elites, with its threat of awakening once passive parts of the population. Increasingly the modern mainstream media primarily exists to deliver adverts to a passive consumer, for political elites its there to deliver official lines to a passive population. For states and corporations, the development of a radical online journalism deliberately uprooting the elitism of traditional medias, inviting the unwashed to define their own interests and symbolically turning the world upside down is a worry. For once mobilised, its rare a population shares the same interests as its corporate and political rulers. As it stands these sites are whispering, but the potential is there for them to begin screaming.

Another more academic version of this article is availible over here

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Soundtracksforthem specialises in iconoclastic takes on culture, politics, and more shite from the underbelly of your keyboard. A still-born group blog with a recent surge of different contributers but mainly maintained by James R. Big up all the contributers and posse regardless of churn out rate: Kyle Browne, Reeuq, Cogsy, Chief, X-ie phader/Krossie, Howard Devoto, Dara, Ronan and Mark Furlong. Send your wishes and aspirations to antropheatgmail.com

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