Monday, 21 August 2023

ArcTanGent 2023

 Ok, so to not bury the lead journo-style: main thing is ArcTanGent was great and I can indeed still hack a 3 day Camping festival. This is my first since Life 2014, I have broken both legs and swore off them since then, but when I saw the lineup for this I knew I had to make the effort to get over. So I did.




First thing I'll say that as festivals go, I thought it was fantastically well done. The production, curation, provision of site services and essentials, cleanslyness and usefulness of the bathroom facilties, the pre pitched tent I sprung for, and just the general vibe and atmosphere were all great. I was impressed with the dedication to being enviromentally conscious, it was weird buying tinned water (particularly since the design on the stuff at the bar was very Repo Man esque) but it was good that the place wasn't covered in plastic.

Also for a Metal festival, generally lefty AF, aside apparently a few boneheads who turned up for Heilung who I personally didn't see but heard about from a few people. Hielung themselves are conscsious by the nature of what they do inevitably attract a bit of that sort of thing but have distanced themselves from it publicly to the extent that they can. Other than that, I saw plenty of antifa patches on peoples stuff, lots of leftist, feminist, queer and trans artists and just people about the place in general. 

Pure family vibe too. Like there wasn't a play pen or stuff specifically for kids, but there was a good few babies and actual childer knocking about. Not many but enough that it all felt wierdly wholesome. I saw some folk with their kids (always with ear protectors) up on their shoulders at the main stage. Parenting goals tbf.

I found the way they ran the thing interesting. Everything started really early, first bands on 11ish, and everything runs up to 11pm, after which there is a "Silent Disco" where everyone who wants to can go to a stage and listen to DJ sets being played through headphones. Presumably this is to get around local sound rules and regs that dogged Boomtown the last couple of years I was there. Not the worst way to placate the NIMBYs if that's what you need to do, beats turning the sound down on the main stages after 11pm.

The stages were all pretty close together, had they all been on full time they'd have noise polluted each other out, but with this being basically all bands and stuff that required a set up they staggered the set times so at any given time one stage was on they'd be prepping for the next act on the other stage. I'm guess that's probably relatively normal for that type of festival but I'd personally not seen it before so yeah. Cool. Also made it easy to have a wee snoop about the different stages if you'd a mind to.


What I got up to: Thursday, flight got delayed getting from Belfast to Bristol and the coach into town took a bit longer than I had thought from the (admittedly somewhat rushed) research I had done into the transpot situ so I ended up getting charged dear for some of the camping equiptment I had to get from the last camp shop open in Brizzle by the time I got there (which means I need to do a few more of these things to get the use out of them, oh well....) and I didn't get to do some of the shopping I had planned which meant I had to rely on the then unknown quantity of making do with whatever I could get onsite. It also meant that by the time I got up to the site and got my shit together I had missed practically everything on the first day. No Pigs Pigs Pigs Pigs Pigs Pigs Pigs for me unfortunately. If I'm back I reckon I'll need to look into arranging things a bit better with that in mind. It wasn't a complete washout, I did get to see a good bit of Converge who were headlining the mainstage and most of my first big discovery of the weekend Straight Girl who had played the wednesday and was covering for someone who had pulled out, apparently due to getting stuck on the UK border. I had literally just nipped out of Converge to have a quick snoop at the other stages to see what they were like, not intending to really be away for too long when I heard bass, breaks and beats coming from up the hill. Unreal, and short, enough that I caught the latter half of Converge. After that I was wrecked after all the running around so I booked and got my head down. 

Friday I had a pleasant morning catching up with the neighbors (a girl from here and her mate from down South, nice!). Made frieds with a bunch of sound lads from Cardiff, who I'll refer to as 'Jeff's Mates'. I got to see most or all of Joliette, Ashenspire and CLT DRP and really liked them. I saw And So I Watch You From Afar, actually for the first time live, now feel like a bit of a nob for not having done so before. I saw Pet Brick again who I'd had the absolute best time watching at Bangface and gave it absolute stacks, probably the most lively I was all weekend. I didn't get drawn into the mosh pit but I was sorely tempted. Big highlights from the friday tho, not unexpectedly as they were along with Igorrr the big draws for me of the whole thing; Swans and Hielung. Swans was just darkness,vibe and intensity. I got complete full-body frission. It was great. Hielung was just on another level. For those that don't know, they basically do a sort of reimagining of Norse/German pagan shamanic rituals using costumes, instruments etc based on the type of things they have in the historical record or found in Iron Age burial sites from Northern Europe and a good bit beyond (but that's not important and they're not going for full dilligent authenticity). The stage craft is really elaborate too. Off all the stuff I saw, they'd be the only thing that if someone put them on in the Waterfront or something I'd take my parents to see them.

That was the day of the really horrible weather (in the middle of f'ing August, this is what global warming is for the UK btw) and it blew me right into my tent past any feeling towards sociability on my part. And I was just knackered tbh. 

Saturday, having actually just had a really good rest I was intent on making the best of the last day. I caught A Burial At Sea, mathrock group Land Wars (Davitt / Parnell reference? one of the guys is from Cavan so maybe). After that I caught some nice queer, gothy-gazey act called Cultdreams and bumped into my mate Big Mike at the end. He took me to see Gggolddd, cracking dark, moody synth/trip-hop. We split and I had saw Grub Nap for a bit of a change of pace, 2 lads from Leeds doing aggy Sludge-core. Great stuff. Simmilarly the Callous Daoboys were a lot of fun and really heavy, Rolo Tomasi, Health and Loathe were all awesome in different ways and for different reasons. Deafhaven were great, aside from the technical difficulties which I didn't mind so much but I could see people who are more emotionally invested in them getting upset over, especially since they were doing their iconic Sunbather album beginning to end.

Absolute stand out of the day though, again predictably, was Igorrr. I love Igorrr, have been into them since back when he was releasing on NI's own Acroplane and Ad Noiseum. Saw him play a set at Bangface 2016. Seeing him blow up on the metal circuit and bring in more live elements to the shows since then has been an absolute pleasure. This time he had the full band, him on his hardware, his live drummer, guitarist and an opera singer providing vocals going through mostly stuff off the last two albums. he opened with a wee bit of breakcore and finished off again just by himself banging out the glitches, bass and drum breaks. 

I ended up only seeing a wee bit of Devin Townsend, actually bumped into a guy I met in his own house last week after Kneecap, ended up hanging with him, his brother and their mate who I'd been talking to earlier at the start of Igorrr, then finished the weekend hanging with Jeff's mates, and other people who came around, including two lads from Lambeg, one of who recognised me from activist stuff back in the day and grew up in the street opposite my house, and his mate who was at Lagan literally just as I left. This country is a village.

Silly crack was had. It was a good end to a good day and the festival in general. I had a great time, could see myself coming back if they pull out another lineup like this years that just has a lot of stuff on it I really like. Or that could prove to be a fluke, we'll see. Would be good to get a crowd up for it if I do go back.

Tuesday, 1 November 2022

Halloween 31 Movies 31 Days challenge 2022

 


Doing this now for the third year in a row, should be wee buns since I'm currently "between employment" so have the free time to do this.  Thought it might be fun to post here about it and update the list through the month as I go. Anyone else feel free to join in.

No real rules, just 1 movie per day on average of Horror, Spooky or adjacent media.

1. The Transfiguration - Mubi. Like the film Martin but also a hood movie? Fine for what it is, not enough bite for my tastes tho.
2. Mad God - Shudder. A 90s alt-metal video, all bleakness and stop motion grim looking wet puppets, but feature length.
3. We're all Going The The World's Fair - Shudder. I hear our May is in this, will be looking out for you a chara (and not just so I can do a "Di Caprio Pointing at Screen in OUATIH"-meme face). - just watched it now and she was indeed, all to brief of a cameo but good to see. This was great, maybe not for everyone but I really liked it.
4. The Gate - Physical. 80s childrens horror. When I started watching it I thought I hadn't seen before but bits of it rang a bell with me. I think I must have saw it as an actual child myself. This was amazing. Good one to watch with children if you're babysitting over halloween or you want something to scare younger relatives with that's not too fucked up (or just watch The Fly, as one of my mates Grannies did with her when she was 8).
5. The Snake Girl and the Silver-Haired Witch - Shudder. Another children's horror film, but its Japanese so its pretty messed up anyway!
6. Hausu - BFI Player. Rewatch. Yeah if you know of this film its as bat-shit as you've heard. Had forgotten how much of a weird unspoken sexual undercurrent there was to everything. If you've never seen it, I would heartily reccomend, its just good.
7. Bug - Physical. William Friedkindoing a slow burn psychological horror about a very different type of possession. This kind of defies genre, if you liked Killer Joe this shares a lot of simmilarities.
8. Hellbenders - Shudder. Weird little indie horror made by a family who seem to do everything in house with just a couple of outside collaborators. It's good, I liked it a lot.
9. Vampire's Kiss - Prime. 80s Nicholas Cage MF'ers!
10. Uncle Sam - Shudder. Wow, the anti-militarism subtext in this isn't remotely subtle, and I love it!
11. Leprechaun - Prime. It has been brought to my attention that there are loads of these and most of them are available on streaming for free. Am I enough of a masochist to actually watch all of them? How bad do thse things get and how much will they grate on my sensibilities as a some time Irish folklorist? Will I need to get the 'Ra on somebody by the time I'm finished or wha? There's only one way to find out.
12. Leprechaun 2: LA Leprechaun - Prime. Excrement mostly. Some great moments though and it did make me laugh a bit more than the first one.
13. Leprechaun 3: Las Vegas Go Bragh! - Prime. The worst one yet. They change writer and director each time so far and the lore and rules of what a Leprachaun is / does varys and has to be restablished film to film. The last one they seem to have at least consulted a reference book as to what the original fairy lore was but that's all gone out the window. The tone is remarkably consistent though which I feel we can put down almost exclusively to Warwick Davis's performance. This one sucked because its attempts at humour fumble hard, there were a few clever and genuinely humourous touches in the last couple that made them at least entertaining are just gone. The potentially funny but where they rip off a scene from Faust (weird dark superhero thing from Yuzna, would love to see that get a big DCEU/MCU expensive CGI adaption) would have been better if they'd gone all in, they pussy out of other stuff but that's the most egregious. Most people stop at this point but I can see why, but the next one he's in space, then the next two are in "da Hood", and those are the one's I'm here for.
14. Leprechaun 4: In Space - Prime. Getting well into the "so bad they're good" region, this is as ridiculous as the title would suggest. Dodgy PS1-cut scene CGI, nonsensicle script, again changing the lore, but again held together barely by Warwick Davis haming the absolute balls out of it and the film leaning into its own silliness.
15. Taking a break from the Leprechaun franchise to watch the new Hellraiser - Hulu. I liked it. The first films were about ilicit sex, this was very much using the lore of the franchise to talk about addiction. I liked how the main baddie amongst the humans was a Jeffery Epstein character, like lets face it Epstein Island definitely had a room with a bunch of those puzzel boxes in it.
16. Leprechaun 5: In Da Hood - Prime. Jesus Ice, money's money but fucking hell like. He's about the only good thing in it and all his scenes really pop, the rest of it?  That finale? Like I'm no one to judge if its too daft to be actually transphobic or if its just really really transphobic but its definitely, something... I'm kind of sorry I started this now.
17. Malevolent - Netflix. I needed to give myself a break from Leprechaun, life's too short. This has been on my Netflix list for a while. I thought it was good, funny to see Imelda Staunton playing against Florence Pugh before she blew up. Nicely creepy where it needed to be. Solid.

           
At this point I watched Shock Treatment for the first time, the Rocky Horror Picture Show sequel. It was good, the girl from Phantom of The Paradise who plays Janet in it in particular. but it is not in any way Horror / Spooky so I'm not counting it.


18. The Sadness - Shudder. That one went hard.
19. Saloum - Shudder. Oh thanks be to god, glob and baby jesus, Leprechaun Back 2 Tha Hood is not on streaming and this can finally end now. When I do this I usually like to hit each continent at least once, Europe and Asia generally being very over represented. This is a recent one from Africa, its on Shudder and its good. Set up better than the pay off / horror stuff, though the monsters were good and the SFX used to put them together was unique. Could have been a bit scarier but it wasn't bad.
20. Livid - Physical. Creepy gothic fairytale horror, from the people that did À l'intérieur, though it isn'y nearly as gross or squicky as that one.
21. Slugs - Shudder. I am low level phobic of squiggly things, worms, slugs, snails, leeches etc, since childhood. A couple of halloweens ago I went on a quest to fins something that could still effect my jaded sensibilities, watched August Underground and a bunch of New French Extremity I hadn't seen before, watched some good and interesting stuff but aside from August Underground trilogy I didn't see much that really got to me. This film is squicking me out hard, this might be the grossest thing for my set of triggers I've seen since then. Well done.
22. The Similars - Physical. Latin America this time, a particularly Mexi take on a classic Twilight Zone episode. Leans right hard into its own sillyness. Good but more fun than disturbing.
23. Burnt Offerings - Prime. Interesting take on the old dark house yarn. My primary interest in this was that it starred Oliver Reed and had Bette Davis and Burgess Meredith in supporting roles. They were all pretty good in it, but the film itself was hokey and predictable.
24. Barbarian - Cinema. Have been told this is one of the best horror films of the year and by golly it did not dissapoint. Based social commentary, but a light touch with all that stuff. Good seat-of-your pants thrills too. 2022 has indeed been as good a year for horror as one could expect considering the state of the world. Just seen that the director was one of The Whitest Kids You Know, cool. Bit of a departure but it tracks. Fingers crossed for Sex Robot the movie.
25. Night Of The Demons - Shudder. Its like the platonic ideal of a halloween horror film. Very silly but quite a lot of fun. Great 80s Carpenter-but-EBM soundttrack.
26. Terrifier - physical. Shite. Good creepy clown and a very memorable kill before the half way point but that does not a good horror make. Feels quite mean-spirited and mysoginistic for a 2017 film.
27. Pearl - exclusive private showing. Amazing. Loved X, always liked Mia Goth but absolutely feeling the love now. One of the better things I've watched so far.
28. Wendell & Wild - Netflix. Absolute banger spoopy thing to watch with younger relatives or just in general because its awesome. Definitely in the same league as Nightmare Before Christmas and Coraline. Good film, boss soundtrack as well.  Also, this is some of the most based stuff I've seen commited to film since the last Ken Loach. Zombie capitalsim, prison-industrial complex, corruption and collusion - there's a lot in there.
29. Suicide Club - Physical. One of the few formative J-Horrors millenium wave that I haven't actually seen. Probably fair enough that this isn't in the conversation as much as Ring, Pulse or The Grudge, oits not quite as ood as any of those, but it is interesting. It's the same type of horror, the horrors of new media, this time the source of the horror seems to be a meme, though at the time of production no one would have been using that word. Shame because that understanding might have brought focus to a film that's main flaw is losing focus in the third act. Worth a watch.
30. Braindead - physical. One of my favourite films ever, stone col classic, haven't seen it in ages. Holds up like it was cast from gold. The practical effects, especially the forced perspective shots with the Zombaby (getting practice in for Lord Of The Rings) are an absolute delight, as is the script and the visual gags with said baby and the greaser guy's innards which spontaneously achieve independent sentience. Would love Jackson to go back to his roots and do one more like this for the fans like me who've been with him since pre-hollywood, I doubt he will.
31. Well, last day last film, my Shudder sub is about to die so I probably should watch something off it before it goes. But, no... oh god, oh jesus Christ WTF is this blu-Ray that's just appeared in my living room next to the Playstation? Oh fuck me no....
31. Leprechaun, Back 2 Tha Hood - Physical. I don't want to but I am compelled. Its going in. It's playing. Oh Jesus, why are they retconning the Leprechaun's continuity. The fight with the preacher guy didn't happen in the last film? Why call it Back 2 Tha Hood if they aren't picking up from the end of the last one. This is horrible. The weed jokes are shit, like you'd really have to be very stoned to derive any enjoyment out of this. Warwick Davis looks so fucking tired I feel bad for him.
32. Leprechaun: Origins - fuck I dunno, it just started playing after the last one. No, Stahp.
33. Leprechaun Returns - .... Y U do dis....?
34. Leprechaun Vs Candyman... ... ...
35. Leprechaun - The Directors cut... Oh god. I can't stop it. The Leprechaun has taken over. This is my life now. Fucking Leprechaun movies on a loop. Forever and ever.......

Wednesday, 24 August 2022

Black Metal Veins

Lucifer Valentine, probably best known for *Slaughtered Vomit Dolls* made this documentary in the late 00s. It was supposed to be a chromicle of one of his fans lifestyle in the Virginia Black Metal scene but ended up being much more about him and his friends substance abuse. Personally I think the intention was to make a shocking gonzo exploitation / snuff film that used the realist elements to root the horror scenes and make them more impactful. It fails in those terms because the grisly stuff where (minor spoiler) some of the participants apparently die on camera are clearly faked, come off as a bit cheesey. What he does manage to do, somewhat paradoxically, is capture the reality and the despair of the front line of the class war in late capitalist America. These kids, this doomed generation are the product of the opiod crisis and this could well be watched along with a good documentary about the Sacklers and the opiod crisis in general. The fake OD looks like balls and is not scary but just hearing these people talk about their lives and seeing their mental and physical deterioration under the strain of the junky / crack head lifestyle is fucking terrifying. Worth a watch, probably more so than any of Valentines other stuff. Worth getting the DVD with the directors commentary and extras.

Wednesday, 17 August 2022

If they made The Crow today.....

 The Crow' and Other Movies and TV Shows With Deaths on Set - The New York  Times

What bands and artists would you think would be on the soundtrack? That OST for The Crow is still just a great alternative music compilation album, some big acts and some slightly more obscure ones but all good repping different parts of what the scene was back in the mid 90s.  But if they were doing one now, with the dearth if not the death of MTV and alt radio its hard to really say whats big or current in underground music, unless you're in a major urban centre with a healthy live scene (or like, usually when the apocalypse lurghy isn't haunting us around every corner). I myself have a few ideas of what I'd like to see which I will share but I'd like to hear from other people (assuming anyone actualy reads these things which doesn't appeear to be the case :)).

What artists do you think would be a good representation of where the scene is at right now, or what alt music have you heard recently that you think would match any of the emotional beats of the comic(s) if you're familliar with the source material (O'Barr himself said the music he was listening to which fed into the vibe of the comic book as he was creating it was Iggy Pop, and all your classic 1st wave goth and alt rock groups, Joy Division, Bauhaus, The Cure)?

The following is my personal recreation of what I personally think would / should be on there.

1. 3Teeth

                                   

Yeah? I mean in terms of bands that have come up in the last decade or so are really flying the flag for our thing and doing it well 3Teeth have been at the forefront of a revivial of the old WaxTraxx sound and returning a bit of cred to a scene mired down in cheese.

2. She Wants Revenge


                                

This track has been used on AHS and is I think a recognised classic and their stuff is mostly pretty good (decent live too). Seems like a no-brainer. Probably the closest non-legacy band to the sounds that inspired O'Barr, mostly for the fact that they're just straight up doing the goth post-punk formula really well.

3. Chelsea Wolfe

Just as the original had some slower more emotional moments and some transcendently pretty female vocal led tracks to bring the punch of those moments out, if we're looking at contemporary artists I think a bit of Chelsea would do rightly for capturing the more melancholy emotional beats of the story.

4. Ghostemane



I feel like this is an artist that should be on there as much because he represents something genuinely new thats happened to the scene and something very current because he's fucking sick and has a range of tracks already that could be inserted into that narrative.

5. Adam X

 

Hearing some genuinely good contemporary techno during the nightclub scenes in The Batman when I went to see it last weekend is one of the things that had me on the train of thought that led to this post, like if there was something simmilar happening in The Crow, what would be appropriate? I was thinking some german EBM-Techno like this or some Ancient Methods, Vatican Shadow, Regis or something like that, or maybe something a bit harder like:

6. Paula Temple





which bangs a bit more, is more discordant, abstract and aggy in general.

7. Bob Vylan


Coming back around to more guitar led music, RATM had a track, as did the Henry Rollins band so you'd want some sort of punk represented and Bob Vylans grime inflected-punk, usually with very angry political messaging would seem like a good succesor

8. Turnstile



These lads dropped one of the big scene albums of last year and they've done some really interesting electronic crossover stuff with Mall Grab so you could go that way instead?

9. Spirit Box



Feels like this group could be part of the conversation here as well, since they blew up pretty big very recently and represent a more contemporary sound in Metal that feels very now

10. IDLES



Harking back one again to contemporary takes on the sounds of Post-Punk that inspired the comic. IDLES is one of the groups out now taking on and pushing that sound. 

11. Rein

Now, getting abck to the more traditionally Gothic. There's been an explosion of bands that have given this old genre a shot in the arm, Linea Aspera, Boy Harsher, Azar Swan, Drab Majesty, Perturbator, Riki and so on, but this girl, who's concept album is very much a cyber-punk conceptually oddessy about life and coming back from death. Sounds like our girl if you ask me.



12. Petbrick



Something that wouldn't have been on the original because it wasn't a thing at that point but could be now, I feel, would be the metal-fusion stuff in the far left field of the electronic music scene. Projects like Drumcorps, DJ SkullVomit and Igorrr have been leading the way but of all that sound the best thing I've come across recently was Petbrick, a side project of the drummer from Sepultura Iggor Caldera and Wayne Adams who's been doing simmilar music for years. This is good aggy fight scene music, perfect for a stand off with a major villain.
 

13. Roly Porter (for the score)

 


The original fampusly also had an excellent score even aside from the OST by Graeme Revell of the legendary pioneering Industrial Noise music group SPK. Few there are who would be a worthy successor, though one could make a case for Merzbow or maybe Orphyx, personally I think Mr Porter here, formally of the dubstep bassweights Vex'd who I personally feel have been responsible for some of the absolute best and most industrial music of the last couple of decades and Roly's ambient works could do absolure wonders on the film score.



14. Ice Nine Kills

And finally, this has all been pretty speculative so far, these guys already have one in the bag waiting to go. BTW the video starts with a bit of a skit and the actual track is about halfway through the video if you're watching the link. I dunno how much I like this band in general, feels a bit gimmicky because thats exactly what it is, but it also is kind of good, so....? eh. People do seem to like them though.

If we're talking about bringing anyone back, of the artists that were on there originally The Cure and Nine In Nails (or Trent paired back up with Atticus Ross) would be great. Trent would indeed be worthy and experienced candidate for just score duties.

You know its going to happen one day, in fact the latest seems to be that its on its way out of development hell and looking like a real prospect for some time before the middle of the decade (not that we haven't heard that one before, but still). Lets hope at least one of the producers will get to read this (Lily, or Lana, girls, I know at least one of yous got a secret account here, c'mon lets make this happen!), or at least that as much care is taken with the OST and score and any other musical content with the new one as was with the original.

If anyone reading this has suggstions, feel free to comment!




Sunday, 14 August 2022

Sadowicz and the culture war

 shutterstock_editorial_409535d.jpg

Oh shit, the inevitable has happened and now Twitter knows who Jerry Sadowicz is. He's had his run at The Pleasance cut short after complaints over his content. J K Rowling and the Freeze Peach keyboard warriors have come out to bat for him.

I've seen Sadowicz's stand up since I was a kid and have seen him perform recently too. He's also a brilliant personal magician and card trickster, he wrote the text books that you by if you want to learn stage magic. The shows are as he puts it "card tricks with 'patter'", the "patter" in question being the rawest, purposefully offensive un-PC, bunch-of-old-guys-on-a-building-site-level craíc, directed at his audience, other stand ups, anything else going on in the world at the moment and especially himself.

I have seen him tell the most racist and sexist joke I have ever heard in my entire life, an impressive feat for a 2-line gag.

I've seen him go up to a person in the front row at his gig in a wheel-chair and say "for my next trick I'm going to make this cunt get up and walk!" to their obvious amusement and delight

Apparently what specifically got him into trouble this time is calling Rishi Sunak a "Paki" and gettting his dick out on stage. Both those things are pretty much par for the course for one of his shows, he didn't do anything out of the ordinary and it seems like the climate has just changed.

As far as the whole "ironic racism" discourse and how this relates to it goes; yeah I get how the apparent "ironic racism" of online internet culture and sites like 4chan was de-subverted and just led to the literal and unironic racism that heralded a resurgence of the far right across the world. I get that this is a problem and should probably inform how we look at "ironic racism" in a modern cultural context even when it is sincerely ironic.

That said, Sadowicz is not 4chan. He is very much a product of analogue tech and old media. If you are buying a ticket to a Jerry Sadowicz show (which is pretty much the only way you're going to experience his performances these days) you really ought to bloody well know what you're letting yourself in for. As he talks about himself, he's purposefully cultuvated an audience who are capable of recieving his material in the manner intended. His face should be your trigger warning.

Personally I can't see this going too badly for Sadowicz. It sounds like the Pleasance was bang in the wrong and have been making shit up about their reasons for cancelling the second night (this wasn't a full Edinburgh Fringe run this was 2 nights, one of which was cancelled). He'll be fine and the lost revenue will be covered by earnings generated by the subsequent publicity. I'm more concerned that dragging him into the culture wars at this stage of his career is going to make him into some icon of the alt-right, the shows aren't going to work or be as much fun at all if the actual shitlords, incels and Dankula stans start showing up at them and clearly being a bit too much into it. I think we'll just have to see how it goes.

Sunday, 24 March 2019

Jordan Peele's Us, discussion and analysis (spoilers, lots of them)


Please don't read this unless or until you've seen the film. If you're in two minds about whether to see it or not, go watch it. Its great.




Coming out of the film, which I'll say off the bat that I really enjoyed for the most part, I had a lot of questions. I don't have answers to many of them and I reckon a second pass at some point in the future may help but for now this is just a collection of thoughts rather than my concrete conclusions.

So, the biggest question I had was, what the fuck did I just watch?

Well, the plot is pretty mental, but its not nonsensical either.

From imdb: "A family's serenity turns to chaos when a group of doppelgängers begins to terrorize them." Thats basically it, a creepy twist on the home invasion scenario, then we get into the second act wherein it turns out that this isn't just happening to the family we're following, there's some weird apocalyptic shit going down. Everybody has a double, who in the film are called The Tethered, tonight is the night of the untethering and everyone's other self is out to get them. The family survives after a certain amount of high-jinx and having to kill their other selves, presumably to escape, but everyone else is fucked.

So that's it, that's the story.

But what it this film about though? Jordan Peele has gone on record as saying that there isn't a single detail in the film that doesn't have some significance. This is no more a film merely about creepy dopplegangers that It Follows was merely about a demon or The Babadook was about a haunted childrens book. There's a lot here that demands to be unpacked.

He's also said that the film is about duality, and yes that is the core motif that holds the film together visually and thematically but that on its own doesn't say a whole lot.

Well I don't know about the rest of you but coming out of the cinema I was mostly confused. I was expecting it to be about racism in a more direct fashion. From the premise I thought the obvious place to go, would be internalised racism, an actualisation of the conflict inherent to W.E.B. Du Bois's concept of "double consciousness" which he discusses at length in "The Souls of Black Folk" - i.e. the idea that for a person of colour one must adopt an almost schizophrenic concept of the self, both being oneself in the world while always being conscious of how you're perceived by the dominant white society. That is kind of in there but its not the main focus (unless I'm missing something, I'm not African American myself so there's a fair bit in probably not getting) as I had been expecting it to be.

Since watching the film I've seen a few interviews with Peele and he's said categorically that that isn't what is about anyway. It seems to be partly inspired by his own personal fear of Doppelgängers. Which fair play, is a creepy concept and works well. But obviously it has been loaded with a lot of symbolism. There are a few lines in there that are clearly meant to be ominous. When asked "what are you" the Mother doppelganger says "We are Americans". Earlier in the little girl of the family says "oh yeah, that's right nobody cares about the end of the world". So there you have the notion of America literally tearing itself apart while the younger generations fears for the future go unheeded.

When you get past the home invasion stuff and realise that this is going on everywhere that seems to play into the notion of social upheaval, revolution that classic gothic trope of The Return of the Repressed. When you find what The Tethered actually are, this horrible dehumanising thing that's also necessary to maintain the world that we know, one can't help but think of the exploitative relationship between the 1st and 3rd world, the fact that the most basic decent standard of living that the least of us enjoys is predicated on unspeakable horror that's always just beyond our field of vision.

The whole thing as well of The Tethered in their own environment: human beings just mindlessly going through the motions without real choice or active thought, speaks to fears about the atomisation and alienation inherent to modern living too.

I think there's another level where this is about trauma and mental illness. Adelaide seems to be suffering PTSD, The final reveal the final reveal seems to speak to the idea that real trauma takes away a part of who you once were. Through the set up she displays depressive, paranoiac and magical thinking. Reading profound significance into coincidence is again something that is not uncommon in people with mental health problems. That the whole home invasion kicks off just after her having that conversation with her partner is not insignificant.

Is there a connection here between the personal and political? I feel like the answer is yes but I'm not quite sure how.

Now all of the elements above are in the mix but none of them are the focus of the film. So maybe that's fair enough. Get Out was very on the nose as to what it was about. This isn't but actually, its cool, it doesn't have to be. There's still a lot in there I don't get like what the significance of the Rabbits or the Scissors are. I look forward to hearing what anyone else has to say and unpicking the various threads that have been so deftly woven in there. And what's with all the Micheal Jackson stuff? Well, at least we have that from the horses mouth.

If anyone has any alternative takes or wants to expand on anything I've brought up I'd be really interested in hearing it.

Edit:

A couple of good analysis vids on the film up now on YouTube. I liked the RedLetterMedia one because the lads were pretty much spot on and my feelings about the film over all are quite similar both in terms of what I thought was good and was critical of. The ever reliable Wisecrack did some excellent work teasing out some of the complexities inherent to the imagery. The overall take which was that as a film it is purposefully oblique and multifaceted enough to be meaningful in different ways to anyone watching it is spot on imo.

Saturday, 9 March 2019

Blindboy Boatclub, the Left and New Media Celebrity Culture in Ireland


A long time ago I had intended to write an article about Russell Brand for this blog. This would have been about 2013/14 between the Jeremy Paxman interview and the 2015 General Election. We were at that stage more than half a decade into the crisis and while things hadn’t quite descended into the infernal quagmire we find ourselves in now they were certainly gearing up. During that time Russell emerged as a voice of a type of politics that is as old as power structures themselves, that has been around in something approximating its current form since modernity began and has always been there, though rarely articulated in the mainstream of political or social discourse. Also, the specifics of they way in which it blew up and other people reacted to it said something very interesting about the culture around politics and the media in general at this juncture in our history. As ever and to my own personal annoyance, in spite of the fact that I felt I had some unique insights to contribute to the conversation I never got around to laying those thoughts down in a coherent manner, which is inconveniencing me right now as there seems to be something similar happening right now in Ireland with two other public figures and I don’t have that previous work to refer back to.

So, failing that and without getting into the whole Russell Brand thing at length I’ll now sum up the salient points of this essay that never was, or as I see them the three features of what I’d call The Russell Brand Moment:

1) Revolutionary or even quite a lot of the time left-reformist politics are ruthlessly no-platformed by the gatekeepers of the mainstream media out of the general political discourse. On this occasion an individual circumvents the gatekeepers by already having access to a platform due to their celebrity status built in a long career elsewhere in the media as an entertainer.

2) This was assisted by a use of social media platforms as a way of bypassing said gatekeepers and reaching a wide audience in a way impossible just a decade ago and unthinkable in any other generation.

3) That said, there are limitations that we must understand, no point getting over enthusiastic. The individual at the centre of this is usually part of the movement and reasonably well informed, but about to the level of the average cadre, which is understandable, they already have a full-time occupation, i.e. whatever propelled them to their celebrity status in the first place and may hold contradictory positions; they may slip up on particular issues when called to voice opinions outside of their immediate span of knowledge. Added to that their no more free of any unreconstructed societal attitudes than the rest of us. It would be churlish of us to expect otherwise.

The 3rd point I had actually observed at the time and was bourn out by the trajectory the whole Brand thing took over the course of 2015. Essentially Brand fell at the first hurdle making the rookie error of seeing a modest shift leftwards on the part of the Labour Party as a new dawn in UK politics and backing David Milliband in the 2015 general election. In doing so he shot what credibility he had and retired temporarily from public life and the one man war against the media and political establishment he’d been on since the Paxman interview.  He’s been back since but that moment has tangibly passed. I’m sure he’s kicking himself now that the actual labour left has made a breakthrough, but maybe we’ll look back and see the Brand moment as a precursor to the ascension of Corbynism.

So with that in mind I’d like to talk about what’s going on with a public figure in Ireland; Blindboy Boatclub of The Rubberbandits.

The Rubberbandits
The Rubberbandits are two friends who grew up together in Limerick that go by the aliases of Blindboy Boatclub and Mr Chrome. They were early stars of Irish social media, making their name initially on Bebo and Myspace with a series of humorous prank phone calls. In 2007 they started making comedic hip hop and gigging a live show. In their music videos and while performing they both always wear a plastic shopping bag with eye and mouth holes cut out while their DJs dressed up as disgraced former government minister Willie O’Dea. Their first video Horse Outside went viral and took them from 'internet famous' to genuine notoriety. The humour of these songs has a certain off-the-wall sillyness and broadness to it, but like some of our best (O’Brien, Milligan etc.) it is belied by a fierce wit and satirical eye, the targets of which have ranged from the hyper-sexual machismo in hip-hop to ill informed armchair republicanism to hipsters.

By the beginning of this decade the Bandits were hot shit and have only gone from strength to strength, scoring TV work for RTÉ, The BBC, ITV, Channel 4. They had one of their songs featured in the new Trainspotting film and have played gigs and festival appearances up and down the island and internationally. Through all this they have managed a degree of relative anonymity for two people in the entertainment industry who are household names in a modern country. Their names are out there and can be accessed with a cursory Google but there’s only a single picture of Chrome’s face sans-plastic bag and none of Blindboy. Seriously, you can find a picture of what Burial looks like IRL easier.

More recently, Blindboy has authored and published a book of short stories, The Gospel According to Blindboy in October 2017 and started doing a podcast which was initially to promote the book but has taken on a life of its own, topping the iTunes podcast chart since its first episode continuing to do so through to the time of writing.

Through that time Blindboy has used his media presence to articulate the common sense perspective of his generation, using his platform to talk about pertinent issues if the day, mostly looking at them through the lense of mental health, sharing his own experiences to destigmatize something that’s still heavily taboo in Ireland. An early intervention was in 2006 when he spoke out against Bebo’s use of profile views, which he considered psychologically unhealthy to the point where it might lead to someone taking their own lives and called for the practice to be discontinued. This lead to his page being shut down without discussion by Bebo in spite of their popularity (the interview has now been reproduced in the feb 20th podcast God's Posture where he speaks about it at length). The evils of social media and potential deleterious effects on the psyche of the users and unconscionable business practices of the various platforms is something that we’re now all familiar with and has been discussed and analyzed to the point of cliché but in 2006 looking at that type of media through psychological theory was quite novel. He understood social media as only someone who grew up using it could.


He’s also used this as a way into the wider issues effecting Irish society, critiquing capitalism by looking at the socio-economic conditions which drive metal illness and talking about the psychological benefits for men of embracing feminism on the Late Late Show where he’s a frequent guest and expanding on these themes at length in the podcast. More recently he’s weighed in on the movement to repeal the 8th amendment. In a recent podcast he interviewed the film and TV star Cillian Murphy, who rarely gives interviews but had reached out to him to collaborate on some repeal propaganda, specifically orientated towards young men who the usual political discourse wouldn’t reach and might otherwise be apathetic on the issue. When the referendum was won by a substantial margin what most activists in the field have known for years was accepted, finally, by the establishment, i.e. that the pro-choice position had (in Gramscian terms) transcended good sense to become the common sense position. One can’t underestimate the role of pop-cultural figures in expressing and solidifying cultural turns like this.

Getting back to what I’ve proffered as the three features of the “Russell Brand moment”, the first two points seem to be fairly self evident based on what’s been outlined so far. There are differences though, he’s not been as confrontational or taken on the beast as directly as Brand had been doing, even now much later it still astounds me that Brand with his YouTube channel was in a running dialogue with the Murdock media empire and that he could goad them into responding to him on the nightly Fox news shows.

Also, Blindboy’s personal politics are quite different to Brand who consciously and overtly identified with the revolutionary tradition and specifically Anarchism (though a somewhat muddled and idiosyncratic one). Instead Blindboy talks about his family history in the West Cork IRA in the 1920s though he doesn’t identify with any contemporary Irish republican organisation. When he gets down to it he’s decidedly left-reformist, stopping a good way short of anti-capitalism though decidedly to the left of the Irish Labour Party. Which seems fair enough to me as it would put him about where most Irish people, and in particular those around the great social movements of recent history are at the moment, i.e. conscious and even proud of the republican revolutionary tradition, to the left of consensus politics on most issues and if not up for a full overthrow of the state, are certainly disillusioned with it as-is and yearning for change. 

Which brings me to the question of how should organisations of the left ought to relate to him? Is there a right way to respond to these figures that as they occur in the culture, especially since with the continuing prevalence of social media and the disintegration of the institutions that were traditionally the gatekeepers of the cultural discourse this sort of thing is liable to happen in the future.

Again, I’m sorry that I never managed the Russell Brand post because a lot that happened on the left in the wake of the Newsnight interview and subsequently is instructive. You had stuff like the “I Support Russell Brand’s Call for Revolution” facebook page. I will be generous and assume this was the work of one Brand fanboy who was an SP member rather than a party social-media initiative, but it struck me as a bit band-wagon jumpy and opportunist. Basically it was an SP member using the Brand moment to proselytise for his specific fraction by creating the page to share Brand content and SP content, often content specific to his local branch in Coventry. Now I wouldn’t want to pick on the guy unduly but I am singling him out as an example of people on the left getting overly enthusiastic and just being narrowly focused on how to further their sectional or even personal agenda without looking at the bigger picture, which ought to be inclusive.

Still, I prefer this approach to the churlishness and negativity that a lot of leftists and activists responded to Brand with. For those unfamiliar I’ll refer you to Mark Fisher, one of the few people on the left who at the time had what I’d call the correct take on Brand:

The next night, it was clear that Brand’s appearance (on newsnight) had produced a moment of splitting. For some of us, Brand’s forensic take-down of Paxman was intensely moving, miraculous; I couldn’t remember the last time a person from a working class background had been given the space to so consummately destroy a class ‘superior’ using intelligence and reason…. Brand had outwitted Paxman...

The moralising left quickly ensured that the story was not about Brand’s extraordinary breach of the bland conventions of mainstream media ‘debate’, nor about his claim that revolution was going to happen. (This last claim could only be heard by the cloth-eared petit-bourgeois narcissistic ‘left’ as Brand saying that he wanted to lead the revolution – something that they responded to with typical resentment: ‘I don’t need a jumped-up celebrity to lead me‘.) For the moralisers, the dominant story was to be about Brand’s personal conduct – specifically his sexism.

Rather than be happy that our politics were suddenly being articulated in the mainstream he was lit on for past personal indiscretions and problematic material from his old stand up routines. Now I’m not going to defend any of that, just saying that when something like that happens that this was a lot of people’s first response does not speak well of them as individuals or the movement they inhabit. It felt to me at the time that after decades of defeat and retreat and so many years in the bunker that a lot of these activists just didn’t know how to take it when something good happens. There was also a tangible element of jealousy relating to the whole thing. These h8rs were people who had spent years or decades in the trenches being patently ignored by the media. Seeing someone from so far outside their club, who is a bit of a clown, doing what they could and would have done if only they’d been given the opportunity. I can only imagine how that smarted.

And I’ll reiterate, its not like he’d done nothing, a lot of the criticism was legit to some extent. Nobody should be afforded a pass for bad behaviour just because they’ve done some good work. But, again getting back to Mark Fisher’s peice:

It is right that Brand, like any of us, should answer for his behaviour and the language that he uses. But such questioning should take place in an atmosphere of comradeship and solidarity, and probably not in public in the first instance – although when Brand was questioned about sexism by Mehdi Hasan, he displayed exactly the kind of good-humoured humility that was entirely lacking in the stony faces of those who had judged him. “I don’t think I’m sexist, But I remember my grandmother, the loveliest person I‘ve ever known, but she was racist, but I don’t think she knew. I don’t know if I have some cultural hangover, I know that I have a great love of proletariat linguistics, like ‘darling’ and ‘bird’, so if women think I’m sexist they’re in a better position to judge than I am, so I’ll work on that.”

So far though there seems little sign of anyone of any significance on the left doing that to Blindboy. Partly this is because of how he’s been handling himself. Also, I’d put that down to the political culture on the Irish left as not being so hostile, unlike Britain four years ago we’ve not had a series of defeats, disappointments, organisational schisms and wasted opportunities to build a culture of begrudgery out of. Far from it. The backlash might happen, some of the stuff from the Rubber Bandits is pretty off the wall and if one were so inclined one could go back through his work looking for stuff you could decontextualise and paint as problematic I dare say you could nitpick enough out of it to make whatever point you wanted if you were so inclined.

But then why would you?

Which brings me in a roundabout way to what I propose as the right and sensible thing to do in this instance and in general: constructive engagement. When the political discourse gets opened up beyond the usual quarters of the activist left we should be in there, not just to capitalise on it for our own benefit but to engage with the people coming to it from that direction with our ideas and the good sense we’ve acquired through decades of struggle and also to be open to what we can learn from them.

One thing that I’d also propose is to acknowledge the immense potential someone like Blindboy has in overcoming something that’s been a bit of an issue on the left. Again because we’ve been on the defensive for so long we’ve got to a point where we seem to spend a lot of time concentrating on telling people what to not do. I think that having a vision of how things could or should be is also important if we are to get anywhere. It’s particularly good to have this discourse directed towards men. With the cultural revolutions and progress towards gender equality a lot of the traditional role of men in society has come to be seen, quite rightly, as oppressive. The traditional narrative of patriarchy has been torn down but we should do more to provide something for men in its absence, if for no other reason than if we don’t somebody else will. Jordan Peterson has made a bit of a splash doing exactly this. That said, depending on your position in the movement that might not be prudent or appropriate, so when Blindboy talks on the podcast about physical exercise, mental exercise and how one relates to the other, that is what he’s providing. In fact since the early drafts of this piece when I wrote the last sentence he has basically said this on the podcast in response to a listeners query about the Jeepster.

It also means to an extent acknowledging that while he does have a part to play in the struggle he’s not an expert by any means in organising or experienced in the practical side of the movement. So, when he does drop the ball, as in his recent comments on the Trump protest or letting his podcast guest Vincent Browne rabbit on in an ill-informed and inaccurate manner about the organised left parties in Ireland (including mine), that we at least have that in mind when we engage him back on these issues.

For now though, I’m just looking forwards to enjoying the show. It is a part of a national conversation that people my age are having in public that isn’t going on anywhere else and I’ll be happy to see it continue. I am interested to see where he takes what he’s doing in the future.