Dissent is and always has been entwined with media depictions of it, whether it wants to be or not, and whether that coverage is beneficial or not. The traditional assumption is often that it is, however; as Thatcher famously announced: “We must try to find ways to starve the terrorist and the hijacker of the oxygen of publicity on which they depend.” Thatcher’s government used censorship against the threat of the Provisional IRA in the 1980s, as well as the ANC, who were at the time branded ‘terrorists’ also (and Nelson Mandela in particular). The voices of Irish Republicans were dubbed with the voices of anonymous actors, in a bizarre and at times comic form of censorship, which bore more resemblance to a Monty Python sketch than anything else. The British press, meanwhile, whenever it did mention the IRA, did so with dehumanising and insulting language, comparing Irish revolutionaries (the IRA of the 1920s as well as post-1960s) and the Irish more generally to chimps, Frankenstein, crazy drunks, pigs, a vampire, an inferno, Jekyll and Hyde, and various images of idiocy and barbarianism. Continue reading Oxygen for Terrorists
Excellent and important piece by Adam Harper at the Fader putting some of the most exciting artists currently making music into political context:
It’s no wonder that African and Afrodiasporic artists are choosing to disseminate music in solidarity. In many cases, this creative decision is a strategy for dealing with the alienation that is so often a part of Afrodiasporic experience. As the London-based writer Kodwo Eshun puts it in his 2003 essay Further Considerations on Afrofuturism: “the condition of alienation, understood in its most general sense, is a psychosocial inevitability that all Afrodiasporic art uses to its own advantage by creating contexts that encourage a process of disalienation.” And yet in the continuing environment of white supremacy, this creativity is routinely either erased, appropriated, or confined to narrow and fetishized aesthetic areas. The music in this article—which is all linked by the multifarious connective tissues of underground culture (labels, releases, mixes, remixes, songs etc)—is not necessarily of the same belief or aesthetic, but can all be seen as resisting the supremacist paradigm in its many different ways and contexts. Often, it can be seen as exploring the way in which race intersects with gender, sexuality and/or queerness too.
This is an edited extract from JD Taylor‘s forthcoming book, Island Story: Journeying Through Unfamiliar Britain
By the local estate parade, where I’d been warned of ‘dodgy people’ who might despoil a traveller of their possessions, Gary’s out with his young son. ‘Yer fucken mad, you are’, he says, laughing at my alibi for asking. He flicks his head up proudly. ‘It’s marvellous. Some bits are good round ere, some bits are bad, like everywhere’. His mum and sister live round the corner. It’s a community, he presses. Like Jan, surrounded by her sisters in the nearby streets, in spite of Middlesbrough’s decline it’s still kept together families and communities, and this is what people love about it, something impossible in most growing English towns.
But how does one live? Within the 19th century, Middlesbrough exploded from a dozy hamlet to an ‘infant Hercules’ town of a hundred thousand, producing ships, metals and chemicals. Its Teesside docks and port were live-wired into global trade. But all this was another history lesson, and the last of those industries, ICI’s chemical works at Wilton and Billingham, had been wiped out in the 90s, with a rump of smaller firms operating in its place. Middlesbrough’s population has been plummeting, but there was no serious discussion about a responsible shrinking or ungrowing. Instead there were more retail parks, malls and call-centres promised, and receding memories of a future that had failed to arrive. Continue reading Ex-industrial – JD Taylor