Category Archives: vulnerability

Axe and misogyny: They view it as a war to defend white supremacy

On January 6, supporters of the sitting president of the United States attacked the United States capitol and rioted inside the building. The stories, images and fallout are all visible and well documented. Here is how I understand that we got here:

In the 80s, republican operatives, mapping demographic changes and voting assumptions began to see rising numbers of people of color as a threat to the electoral power that they had held. Billionare conservatives started funding very specific media sources (Breitbart, Fox News, Daily Caller) to make money from a new market – white people who could be made angry about changes for justice in order to create an enthusastic white supremacist voting block to keep republicans in power.

In their mind, there were just a few short decades to go until the showdown, so they strategized in a couple of very focused ways to ensure that conservative business leaders could resist.

  1. They funded, fostered, nurtured white anger against people of color at every opportunity. Using the axis of race, right wing journalists could re-articulate crushing poverty as the fault of the gains of people of color. It was the Southern Strategy on steroids.
  2. They invested heavily in controlling the courts. Federalist society, nurturing young conservatives, scholarships, mentorship, and guidance to create targeted young right wing ideologues ready to carry the white supremacist mission long after they are dead.
  3. They worked hard to win state legislatures, and use gerrymandering to minimize the power of voters that didn’t vote republican.
  4. They succeeded in establishing a relationships to politicize videogame players and an emerging online troll culture to embrace the symbols of white supremacy with ease and comfort.
  5. They absorbed / hijacked the Republican party in the 2010s and reassured the traditional elements of that coalition that the gains in power would be worth the harm to the nation. Corporate donors, philanthropists, government agencies, and many others became complicit in a full-fledged white supremacist government structure working under the Trump administration to do active harm to people of color at almost every turn.

Here is where we often get it twisted. The justifications and explanations for each of these activist strategies are fairly well documented. The key question is how do a small number of very privileged republican organizers spin this strategy? What do they specifically say and to who – these questions can be part of the educational work to innoculate future fascist moments. In this case, the narrative of white supremacy was the only communiciation strong enough to push working class white people to harm people of color and it was buoyed by hatred of women and an anger at lack of white solidarity.

There are a lot of issues of accountability that will be navigated in the next few weeks. Criminal charges for those who killed a cop, resignations from those leaders who are identifed as responsible (or those who are scapegoated). And this rupture will open the space for new policies that will often have profoundly negative implications for people of color, poor people, women and disadvantaged folks (increased surveillance, new anti-terrorism laws, policing in communities of color etc). To rush into policy-making without reflection is a terrible path forward.

We should take stock of the recuperation efforts. Examine those who played a role, or had been connected to the violence and some-how are attempting to detatch themselves. We should be asking how the invitation was framed such that it made sense to so many people. But finding access points is important.

My first off note about this was Strava – the bike riding app told me that it didn’t support the insurrection against the US government and weren’t cop killers in an announcement at the top of the app. Well yeah . . . you are supposed to be an app that tracks my cycling miles, I hadn’t honestly assumed that you were in favor of a violent overthrow of the government by Nazis and their allies.

“What we saw in the US Capitol this week was the antithesis of what Strava stands for,” the letter read. “It was internal terrorism and we denounced it. Whatever the limits or flaws our democracy may have, we believe that we must protect it. ”

“This is not about politics. These are fundamental principles in which we deeply believe: treat ALL people with decency, respect and fairness ”. says the letter. “When you joined Strava, you joined a global community of athletes who are in line with our community standards: respect each other, respect the rules, and be inclusive and anti-racist.” (Sidenote: it looks like Strava disappeared this note almost as soon as it was made. The only reference I can find to this quote is from a weird fitness webpage that is giving me fascist vibes . . .)

We can probably distinguish those corporations who took a serious loss from their de-platforming of Donald Trump. In this case, we are talking about a corporation that commented on the attacks either for their own gain or to protect themselves from public relations losses.

Axe Body Spray for instance.

Axe Body spray is the worst. Not only in aroma, but in the toxic sexist rape culture advertising that has been marked, mocked and mapped. I’m not surprised that Axe body spray had to respond – they must know that the bogus entitlement to sex because you sprayed yourself down with duck urine is tied to the entitlement of those who tried to murder Nancy Polosi.

“We’d rather be lonely” is the most minimizing and trivializing read on the events of January 6. To understand that Axe would go without their body spray rather than be affiliated with the murderous nazis and that they still have time to indicate that it would make them lonely is grotesque. They still want you to know that if you don’t wear Axe Body Spray you won’t get laid . . . Axe sells entitlement and in this case, a multinational corporation’s PR team put it clearly that this one was too far.

I think that whoever run’s Axe’s twitter handle might not get the depth of this moment. But then again neither did the men who came to DC to murder uppity women. For instance Cleveland Grover Meredith Jr. The investigating report indicates that he voluntarily showed Federal agents text messages planning to kill Speaker Polosi.

“How much u give me to go trench the Capital lawn with ma big truk?” The other participant wrote, “Don’t do it.” MEREDITH replied, “I’m gonna run that CUNT Pelosi over while she chews on her gums.” Later in the conversation, MEREDITH wrote, “Dead Bitch Walking. I predict that within 12 days, many in our country will die.” (https://extremism.gwu.edu/sites/g/files/zaxdzs2191/f/Cleveland%20Grover%20Meredith%20Statement%20of%20Facts.pdf)

Misogynistic slurs have been uncovered and amplified in the quotes of those who drove to the capital heavily armed with a desire to do harm. The centrality of violence against women is really tied to the logic of the transgression of violating the capitol. The goal was similar to the early 1900s strategies of faux-assasination communications attentat – to illustrate the potential for somene to be harmed. To illustrate that a president or a king can be reached and to strike fear.

We could also examine this from the perspective of the domestic violence literature. Understanding the power and control wheel and the transgression of safe spaces to induce terror. Abusers will communicate in many small ways that the abused is not safe – including by invading previously safe space to communicate disempowerment.

There was no way to understand the photos of the dude with his feet up on the desk outside Speaker Polosi’s office and his initial encounters with the press. Barnett is his name and we can match the entitlement and joy in transgressing with is deep hatred of a powerful woman.

BARNETT states “I did not steal it. I bled on it because they were macing me and I couldn’t fucking see so I figured I am in her office. I got blood on her office. I put a quarter on her desk even though she ain’t fucking worth it. And I left her a note on her deskthat says “Nancy, Bigo was here, you Bitch.” (https://extremism.gwu.edu/sites/g/files/zaxdzs2191/f/Richard%20Barnett%20Statement%20of%20Facts_0.pdf)

Donald Trump has articulated the hurt done to white men in several divisive ways, but the deeply sexist and racist framings he has presented seem to have tracked well with the people who showed up to do harm on January 6.

Challenging white supremacy means contesting the common-sense nature of the dialogue. Fragmented social media (where people can bury themselves in media which affirms their point of view) has reached a point of insulation – where it can protect harmful ideas from critique. This means that unpacking white supremacist (ill)logic means navigating the ways that sexism and racism co-create this moment of deep entitlement and violence.

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“Either unmarked or engraved, hey, who’s to say?” MF DOOM

It is hard to fathom the loss of DOOM (editing note – “all caps when you spell the man’s name”). I listened to a lot of MF DOOM and spent quite a few hours discussing, debating and analyzing his lyrics. I can’t capture the depth and weirdnesss of thoughts about DOOM in a single post – every time I sit down to outline this post I get a gigantic spider web of entwined themes.

Black america, slang, diaspora reflections, coded language in hip hop, sample choices, mocking, survivorship, graffiti, families, drugs and alcohol, masking, comic books, representation, sex, communication strategies and a million other threads travel through DOOM lyrics. All you can really do is pull some of those strings and hope that they spark meaningful thoughts.

So maybe we start with the fact that DOOM wrote about his death, his legacy and the fragile nature of human existence in his first song as DOOM.

Daniel Dumile emerged in the NYC hip hop sphere as MF DOOM for the potent first album Operation: Doomsday with the support of Bobbito Garcia and his indie record label Fondle ‘Em. Although Dumile had rhymed with KMD, this was a new incarnation for the artist with a new mask, lyrical style and stylized representation as a villain – exhaggerating every hip hop trope with double and triple entendres.

“On Doomsday/ ever since the womb/ ‘Til I’m back where my brother went, that’s what my tomb will say/ Right above my government: Dumile/ Either unmarked or engraved, hey, who’s to say?”

MF DOOM “Doomsday” from Operation: Doomsday.

Dumile’s brother Subroc was killed in a car accident the same week that his band KMD was dropped from Elektra shelving their second album Black Bastards. The band was fired because of the album cover art presenting the hanging of a Sambo character – symbolizing the birth of a new Afro-centric Black man who refused to perform demeaning roles. Cue Dante Ross.

How do you make art out of this kind of stuff? DOOM is honest about his own upcoming death in the chorus, then he names the stakes. It has been DOOM’s day (centered on him) and also a apocalypse/catastrophe (doomsday) from his birth until his death. His tomb might be engraved (famous) or he may finish his run on this earth as an un-acknowledged anonymous dead person but he is going to work.

It is a weird thing to put in the middle of your comeback/vengence album. But for DOOM life and death never seem all that far apart. This is the opening track (after the intro skit) an honored place in the hip hop album – the centerpiece to tell a consumer if they should buy the album. It might seem morbid, but this is life and death stuff and that crucible produces amazing art.

Doom reports that he made the album while semi-homeless, sleeping on couches, battling doubt and an industry that didn’t understand or like him. Which forced a very intimate album. The samples are friendly (if you like 80s and 90s RnB – DOOM and his friend’s limited record collections) and looped with careful MPC skill by the masked villain himself (as he writes in “Operation: Greenbacks” he owns the crown in “microphone, beats or the wheeles of steel”).

For me this song presents a declaration of his rebirth into a new world of DOOM. The song is an invitation to understand an artist’s use of the medium of hip hop to embody his own will to re-define and rearticulate himself. From a traumatized rejected creative artist who had tried to do the right thing (KMD) to a retaliatory bad-man who was beloved and could also pay his electric bill. That transformation came through intention, lyricism, imagination and the follow-through to make something happen.

We can imagine the tomb as an end piece – the final resting place – but we can also understand the tomb as a transition between worlds. Most mystery cults (and the saccharine descendants like the masons) use simulated burial, re-birth and re-naming as ritual symbols marking a person’s change by committing to the worldview.

In similar ways the end of KMD, ending of intimacy (you don’t get to see DOOM’s face after this) and the death of Dumile’s brother come to a focal point in this song’s chorus. Like a mystery cult burying an initiate in a stylized coffin suffused in incense and low lighting only to have them emerge reborn and shrouded in a new costume and given a new name.

For the comic book loving Dumile, it is also the birth of every significant bad guy character. It is Doctor Doom from the Fantastic Four comic book crafting his metal mask, studying esoteric magic and creating the character to plague the comic book heroes. It is a great story arc for an artist and Dumile could foster a literal mask to keep the public just far enough away from the actual pain while still talking explicitly about how much he missed his brother and was still angry at the journalists and record labels that had ruined he and his brother’s career.

The new DOOM, clad in the metal mask is ready to make fun of the goody goody rappers like KMD. Not only that, he wants their money, the credit and the praise. In his mini Jeopardy segment in the song, DOOM chooses the category “Means to the end” – he will do what needs to be done to get the money. He is “Bound to go three Plat / Came to destroy rap.”

Emerging as a villain from the tomb had to be liberating – and DOOM is free to drive off with sexy women, brag about his toughness in jail, mock the current so-called tough guy rappers and play with verbal expression without any limitations other than being the best. And that is what made him a villain in their eyes — and a hero in ours.

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Moral force against symbols of white supremacy: solidarity means sharing risk

At the heart of white supremacy is the request to those who get white skin privilege to take care of their own. White supremacy means that white people explicitly or implicitly give jobs, representations (front stage in advertising, leading roles in televisions shows) and foreground the needs and stories of white people. White supremacy is insidious because it is the water we drink every day in the United States and the casual continued comfort with the symbols of white supremacy (including the stars and bars) is evidence of how deeply twisted white supremacy is with american culture.

In 2015 Bree Newsome took down the confederate flag that flew in front of South Carolina’s statehouse. Here is the Vox footage from that direct action.

This is a really interesting case study for several reasons.

  1. Newsome’s use of biblical and constitutional rhetoric present a uniquely american rhetorical location for Black amercians – faith in God and indignant appeal to promised democracatic structures for equality (civil rights). Given the central location of separation of church and state in the first amendment, the combination of biblical scripture and civil rights might seem in tension. But Black churches have been central places for spiritual respite, cultural survival and political resistance in this nation. Which is why they have historically been targeted for violence. Newsome is climbing in the shadow of the Charleston South Carolina massacre in the The Emanuel African Methodist Episcopal Church where an avowed white supremacist murdered nine worshipers including the pastor and state senator Clemanta Pickney. Newsome puts the pieces together about historical violence and the context of the action in the Democracy Now interview:

2. I was at a lecture this month where the presenter noted this as a good example of white work for racial solidarity. James Tyson climbed the fence with Newsome and helped out with the action. The presenter called this collaborators, arguing that anti-racist work needed more white people interested in collaborating to make changes for racial justice. Others like Noel Ignatiev have noted that solidarity to fight racism means sharing risk and there are ways that this can be done performatively. Thinking, talking and strategizing about how to be productive and ethical allies to people of color means consideration. James Tyson shared in the risk (both got arrested), used his privilege (he argues with the police officers that Newsome should be allowed to come down the flagpole on her own for safety – he notes that “They had enough respect to allow me to help her.” in the Democracy Now interview).

3. The moral authority to remove the symbol of the confederate flag in this case is the justification for civil disobedience and direct action. Newsome is excellent on this point:

Thinking about changing white supremacy means all of the tools in the tool box. The cultural awareness, education, political action, stunts, celebrity endorsements and militant actions will be necessary. This long-standing constellation of white supremacist narratives that have sustained inequality and injustice as normal by stretching and re-articulating violence as community care for people who are like you. To move away from that requires mental and political work. Taking note of the keystones and approaches that can inform the work to come is useful.

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cannibal capitalism and video game streaming

Cannibal capitalism is the mediated consumption of other people’s suffering. Usually someone gets paid for this. In the NFL players and owners get money while viewers watch men exchange ritualized interpersonal violence. Traditional televised sports are ripe with injury moments and the moral judgement that soothes and justifies the suffering.

Slightly less visible is the suffering that happens in order to bring us the entertainment. The New Yorker has a nice essay on video game streamers who broadcast their games to gigantic audiences of semi-interactive fans. Taylor Clark describes the harm that many streamers face from the occupation.

“At this summer’s PAX West–a yearly convention that inundates downtown Seattle with gaming fans–virtually every streamer I spoke with voiced concerns about the health risks of overwork. “My doctor told me I was going to die if I kept doing it like this,” a young broadcaster who goes by Bria Leigh said. ‘You spend ten hours a day in the chair. And you don’t even want to get up to use the bathroom, because you’re afraid you’ll lose viewers.'”(43) – Taylor Clark, “Revenue Streaming.” The New Yorker. November 20, 2017. P. 38-44

Clark’s article contains reference to a gamer who died during a 24-hour charity stream (Brian Vigneault) and a opens with the description of Roberto Garcia AKA Towelliee, a popular streamer.  Clark describes the impact on Garcia from his years of grinding out gaming for fans.

“Game streaming, Garcia discovered, required non-stop work.  The only way to attract viewers, and to prevent the ones you had from straying to other broadcaster, was to be online constantly, so he routinely streamed for eighteen hours a day.  “That’s what I had to do to grown the viewership,” he said.  His ankles swelled from sitting at this computer.  his weight grew to four hundred and twenty pounds.” (38) – Taylor Clark, “Revenue Streaming.” The New Yorker. November 20, 2017. P. 38-44

There is a lot to unpack in the representations of video gaming and new media.  My interest is to note that this new genre of entertainment has consequences for the producers.  Streamed live, viewers get to watch and comment on (consume) the streamers with a kind of interactivity that has seldom been seen before.  The invitation is there for viewers to chat directly with the producers and create community.

But the expectation is that the streamer is there for the viewer and in some ways is entitled to the viewing.  In this relationship where the streamer depends on the views to make a living there is a certain incentive to grind through moments of suffering in order to keep viewers.

This relationship is cannibal capitalism where viewers consume the suffering of someone else through the media.  It is visible through the twitch comments and the representations of streaming participants.  It is also in the bodily cost that is above-and-beyond other lines of employment.  (No doubt that people who cut down trees for a living have swelling feet and high blood pressure from their job, but few arborists have 10,000 people watching their successes and failures live).

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DIY synthesizer inspirations: Peter Blasser and Chris Beckstrom

I continue to learn about digital noise-making.  I’ve been soldering and bread-boarding synthesizers and noise-boxes for the last year.  Along the way I’ve found a few cool motivations and inspirations.

1. I found Peter Blasser and his musical wizardry through an essay he wrote about making electronic instruments for a small child for econtact.   At first I thought he was mocking the reader, and then I realized that the essay was deeply creative, fluid and inspiring.  I spent as much time exploring the links as reading the text.  This led me to Peter’s astounding limited edition home-made instruments: Ciat.lonbarde.net

Here is Blasser with a workshop about his Shnth I found enjoyable.

Blasser offers some really interesting DIY projects at his website: Peter B.  I’m collecting the parts to make some paper circuits.  I find his approach, openness and creative inspirational work to be sublime.

2.  Since I’ve been making my own instruments I often run into disappointment.  I finish something and plug in a battery and it doesn’t work.  Finding motivation to keep creating when projects flop takes a little intellectual inspiration.  I often turn to look at the pictures and read the notes by Chris Beckstrom.  As he puts it:

My admittedly lofty goal was to build a modular synthesizer, from scratch, using basic components (no kits), with zero electronics experience. Turns out, it’s possible! I’m sharing circuits, designs, pictures, and code to help other folks realize their dream of building a modular synthesizer for themselves.

Source: DIY Modular Synthesizer | Chris Beckstrom

I really like that uses bolts as cheap connections instead of the costly cables for most systems.  I appreciate that he lists that some of his modules aren’t working at the moment.  At points where I struggled to move forward it is really gratifying to see a home-made system that seems accessible.  In fact seeing creative people who aren’t deterred by lack of money or parts is helpful as I put together my machines.

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Kendrick Lamar: God is gangsta

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Defection from white supremacy

What does it look like when white people defect from the traditions of white supremacy?  It probably looks (and sounds) like South Carolina Representative Jenny Horne talking about removing the confederate flag from the South Carolina state house.

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Make this the year YOU discover a new destination!

Excellent visual argument about Palestine.  Compelling visuals, crisp juxtaposition and significant argument about the importance of graffiti.

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No Malice & Pusha T on CNN

Several casual observations:

– Bill Weir, CNN reporter seems manipulative, disrespectful and really entitled.

– Both spend some time trying to not incriminate themselves.  It is Pusha who makes the most blatantly inconsistent statement when he refuses acknowledge drug profits in part 2.  “No, I’m a really good rapper.”

Probably worth juxtaposing with “King Push” first track from his most recent album:

– I have a little more clarity about the difficulties of No Malice.  I think he makes some of the most explicit justifications for why he refuses to perform violent drug rap music any more.  I appreciate that he gives up obvious financial gain to be real to his family and his beliefs.

– Pusha T’s segments are basically Pusha T advertisements.   The exchange where he tells Weir how much publicity he’ll get from being on CNN is awesome.  Pusha is phenomenally media savvy and makes it clear that he wouldn’t be on CNN if it didn’t benefit him.

– No Malice’s argument about white consumption of violent black-performed drug rap is pretty compelling.

– When asked by Weir why he doesn’t take the money to perform Clipse songs, No Malice gives the best exchange of the series:

“Brother, that money, that money at one time, was out for my life.  They can’t invent a dollar amount to get me out there to tell . . . look at what’s at stake? I can’t tell anybody about selling drugs any more, I can’t even make it look cool anymore.  There are people that are dying, look at what is going on in Chicago.   And I like I said earlier, your race can enjoy it!  And laugh and joke and enjoy it . . . and then get back to business.  I have a message and I have to share it.  Then I have to let you do what you want with it.  You know, you do what you want with it.  But, I’ve got enough blood on my hands.  Enough.”

– No Malice, CNN.

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Harm reduction, EDM & ‘Molly’

Longreads suggested the tell-all essay on so-called molly and Electronic Dance Music festivals written by Shane Morris.  It is a good read with snappy prose and a strong argument that the EDM festivals are locations where lots of people seek drugs from one-time drug dealers who may sell them almost anything.

But I’m more taken with his follow up essay where he not only answers many of the criticisms and also suggests a series of solutions.

Much of what he suggests is harm reduction – trying to make risky behavior (of almost any stripe) less likely to result in damage.  But it is also a sincere plea for bystander accountability and a change in the culture of drug-users and those promoters who make money on festivals.

I’m only saying that it’s time the EDM community starts acting like the family it espouses itself to be. No more secrets. No more “turning around and pretending you didn’t see that happen.” No more fearing what might happen if you ask for help. No more pretending people aren’t getting hooked on Molly. If everyone in the EDM community collectively decides to help themselves, rather than bending to legislation, we can fix this. If we advocate a culture of safety, health, and honesty, we can correct the course of this ship before it maroons itself on the rocks.

Part I. We need a return of safe, “cool down” areas to EDM events. If we all acknowledge that people are going to do drugs, and it’s just something that happens, then we should also be able to acknowledge that every person deserves to be safe, healthy, and well. If you’re not feeling OK, there needs to be a place you can go and sit down, chill out, drink water, maybe even get a bag of ice and put it on your head.

via Finding Molly: Reconstructing Dreamland | Bro Jackson.

Morris also suggests people “call out the idiots promoting overconsumption,” and for transparency (including drug testing kits for prospective users).   He also commits to making his own music events more safe and offers up “safe word” as the catchphrase for a campaign of communication:

Here is his explanation:

In BDSM circles, using a safeword means things have gotten too much for you to handle, and you need to stop, without judgement. In that regard, I feel its purpose is well served here as well. If you’re at an event, and things have spun out of control for you, a friend, or perhaps a stranger you’re just looking out for–you should be able to remove yourself from the situation and know your safety is the primary concern, without fear of repercussions or judgement.

via Finding Molly: Reconstructing Dreamland | Bro Jackson.

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