The first mistake in analysing the travel ban is thinking its primary aim is to ban travel. It won’t work. It isn’t intended to work. The Trump administration is not aiming to institute effective policy. It’s aiming to communicate. If you understand communication as the primary aim of the ban, it has worked and will continue to work. If you try to counter it by proving it’s inefficient, unjust and unconstitutional, you’re not addressing it, as it’s not intended to be any of those things.
To tackle it, you have to understand it as communication and out-communicate it. This is a culture war and a meme war. You establish a narrative about immigration. Within that narrative you lay down a solution that you know you can meet. You reach power, you implement the “solution” you’ve seeded over the previous decades. The resolution is extremely satisfying to those who are emotionally invested in the narrative. The issue is not about policy; it’s about storytelling. Continue reading “Fiat ars – pereat mundus” — Huw Lemmey
Unsurprisingly, there’s a lot of bombast in the new Oasis documentary Supersonic. Everybody’s busy going mad for it and making history and being the biggest and the best. In a lot of the interview footage there’s a kind of coked-up scattergun quality to both Noel and Liam’s speech; their answers often go on for too long, they’re seduced by their own hype, and can quickly descend into hyperbole and cliche.
There are, however, moments which cut through all this nonsense and which show something of what was good and interesting about the band. One such moment of insight comes during a 1994 TV interview that Noel and Liam are doing to promote Definitely Maybe. A journalist asks the brothers what fans can expect from the album and Noel answers, “Twelve songs about being alive and having fun.” There’s nothing earth-shattering about that description, of course, but its simplicity shows, at that moment, a pop star perfectly attuned to the role of his music. My friends and I loved that album when it came out and, while we knew that the songs as a whole made less sense than those by the more cerebral bands we listened to, but we could pick out the bits and pieces we did understand and use them to give voice to our fun, our boredom, our yearnings.
There’s not much about people like me and my friends in Supersonic, though (or in many discussions of Oasis, for that matter). For all the casual references to birds and girls that litter the film, women almost don’t exist at all as a reference point in the band’s world. I give them a free pass on this sometimes, telling myself that women are so basically absent in Oasis’s music that it can’t even really be counted as sexism, and I think there is some truth to this. On Definitely Maybe there are a couple of songs you could describe as love songs if you really wanted to, but there’s something non-specific about the desire, unattached to any particular person. The film’s footage from the early days fits in with this picture; you see the lads horsing around, recording demos, larking about as they watch the footy, and what’s obviously important to them all is having a good time with their mates. I was reminded of the boys that I used to hang around with as a teen, boys who were all too interested in their guitars/weed/box-fresh Adidas/each other to pay much attention to us girls (all of which was perversely part of their attraction). Continue reading A lot of libido, but no women—Eli Davies reviews Supersonic, the new Oasis documentary
Guest post by John Medhurst:
On September 13th 2015 at a packed TUC fringe event at the Brighton Corn Exchange, ex-Greek Finance Minister Yanis Varoufakis delivered a stirring speech on how the Syriza government had been undermined by the EU’s financial institutions and what this portended for a future Labour government led by Jeremy Corbyn. At its close he finished with one last warning to the British left, born from his own experience in office, – “The enemy is always within. The enemy is always the Ramsay MacDonalds”.
Following the election of Jeremy Corbyn no-one would claim Labour is now led by a second Ramsay MacDonald (a role already perfectly filled by Neil Kinnock, who managed to betray his class and his party without even getting elected first). But although Corbyn’s mandate for a real socialist alternative is undeniable and impressive the Labour Party machine and most of its MPs remain unreformed. Too many local Labour parties – like my own in Brighton – are led by midget-Blairs whose response to the election of Corbyn and the subsequent inrush of enthusiastic new members is fear and distrust. Their strategy for the next four years will be to ignore, suppress and defuse their own members who wish to turn the party into a radical anti-austerity opposition. Nor are the unions Corbyn’s automatic allies. One need only see the grotesque Sir Paul Kenny, General Secretary of the GMB, who after accepting his “honour” from the Tories for selling out public sector pensions condemned Corbyn’s stance on Trident as a threat to the “defence of the realm”. Continue reading Always the Ramsay MacDonalds: lessons from 1931 for Labour today
This is an extract from a work-in-progress – No Less than Mystic: What do Lenin and the Russian Revolution mean to the 21st Century left? by John Medhurst. The book will be published by Repeater in late 2016/early 2017
The aim of this book is to present a new history of Lenin and the Russian Revolution that has a direct relevance for those today who oppose and resist neo-liberal capitalism. It broadly covers the period 1903 to 1921 in Russia and seeks to explain why the Bolshevik Revolution degenerated so quickly into its apparent opposite. Yet it is not only and exactly a work of history. It examines the issues and events of the Russian Revolution through the lens of a 21st century, non-Marxist libertarian socialism. It suggests that corporate capitalism must be opposed not with a set of “revolutionary” formulations which were questionable one hundred years ago and have even less relevance now, but with popular, pluralistic and democratic movements built on people’s needs and experience. As a result it is kinder to Russia’s non-Leninist socialists than are most histories. Although not blind to the many flaws of the Russian Mensheviks, Socialist Revolutionaries and Jewish Bundists I seek to rescue them from a century of misrepresentation. I do not automatically assume the knowledge of the subject that many Russian Revolution hobbyists take for granted, nor show much deference to those icons of Bolshevism, Lenin and Trotsky, still common today on the left. I suggest that socialist thinkers and activists such as Noam Chomsky, Michael Albert, Owen Jones, Naomi Klein and Arundahti Roy have more constructive and positive options to offer the anti-capitalist left today than do the sages of Bolshevism. Continue reading What do Lenin & the Russian Revolution mean to the 21st century left?—John Medhurst
As a big fan of both Bowie and Chris O’Leary, it was as hard to select an extract from Rebel Rebel as it is to choose a favourite Bowie song; each song is covered in a self-contained entry, and they’re all fascinating.
In the end I chose a series of 3 posts which make chronological/conceptual sense, and shed entertaining light on Bowie’s complicated relationship with late ‘60s hippy culture. Also contains The Prettiest Star, which is far from his best track but which, for sentimental reasons, remains one of my all-time favourites.
Rebel Rebel (Zer0, 2015) is out on March 27th, there’s a list of stockists here – TS
Recorded: (demo, “Lover to the Dawn,” unreleased) ca. mid-April 1969, 24 Foxgrove Road. Bowie: 12-string acoustic guitar, harmony vocal; Hutchinson: lead vocal, acoustic guitar; (album) ca. late August-early September 1969, Trident. Bowie: lead vocal; Christmas: 12-string acoustic guitar; Wayne: lead guitar; Renwick: rhythm guitar; Wakeman: electric harpsichord; Lodge: bass; Cambridge: drums. Produced: Visconti; engineered: Sheffield, Scott or Toft.
First release: 14 November 1969, Space Oddity. Broadcast: 5 February 1970, The Sunday Show. Live: 1969-70.
“Cygnet Committee” was, consecutively, a break-up letter to a communal arts center Bowie co-founded, a scattershot attack on the counterculture and a desperate self-affirmation. Deep in this gnomic, nearly ten-minute screed was a struggle to find a workable design for the years ahead, Bowie pledging himself to a life of creative destruction while keeping clear of professional revolutionaries. It was the sound of Bowie willing himself to become a stronger artist, hollowing himself out to let a greater creative force, for good or ill, take hold in him. The possession took. In fleeting moments, you can hear the apocalyptic, utopian voice of “Five Years” and “Sweet Thing,” of “Station to Station” and “‘Heroes.’” The man who was able to write those songs had to go through the crucible of “Cygnet Committee” first. Continue reading Materialistic arseholes and suburban dreamers: Bowie and the 1960s—Chris O’Leary