The Null Device

Apparently, the youth of the Islamic world really like their heavy metal:

I first realised that my never-quite-abandoned adolescent taste for heavy metal had a political edge in – of all places – the Jaballya refugee camp in Gaza. I was interviewing teenagers about their strangled lives and expected to hear the usual Hamasnik lines reeled back at me. But instead, they kept using words from Metallica and Slipknot to explain how they felt. "I am dying to live/Cry out/I'm trapped under ice," one of them said. They showed me their carefully-stashed CDs and T-shirts – liable to be seized by Hamas-militia at any time – and begged me to send more.

At first sight, this seems bizarre. How did a style of music midwifed into the world by Ozzy Osbourne in the old English industrial town of Birmingham in the mid-1960s become an enemy of jihadism? How did a hard, brutal sound designed to mimic the factories of the Midlands become the soundtrack for the children of the Islamic revolution?

In a region controlled by senile dictatorships and fundamentalist faith, the unemployed young – who make up 65 per cent of the population – have very few windows through which to yell their rage. Metal gives it to them. Reda Zine, one of the founders of the Moroccan heavy metal scene, explains: "We play heavy metal because our lives are heavy metal." The point of the music is, he says, to rage against "the vampires of intolerance and superstition". The guitarist of Iran's hottest young metal band, Tarantist, agrees: "Metal is in our blood. It's not entertainment, it's our pain, and an antidote to the hypocrisy of religion that is injected into all of us from the moment we're born."

Similar territory is explored by a recent documentary titled Heavy Metal in Baghdad, chronicling the troubled career of Iraqi heavy metal band Acrassicauda, now in exile in Turkey.

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Dragged kicking and screaming into the world of time-squeezed Anglocapitalist efficiency, the French have been taking to McDonalds in droves. Well, someone in France has, with the chain making more money in France than in Britain and reporting record profits. The funny thing is, it's never any French person anyone has actually met; all interviewed profess an existential disgust of le macdoh.

“No,” says Magali. “It is not. A croque is something ... beautiful. But thees is ... my god.” Correction. Magali is not appalled. This is something deeper than appalled. This is existential.

Magali doesn't eat in McDonald's. In fact, she says, she doesn't know anybody who eats in McDonald's. Stop any Frenchman on the street - and we stop plenty - and he will shrug and snarl and say that he doesn't eat in McDonald's, either.

At the next table a family are eating together. “We're only in here because we're in a rush,” says the father, much like a husband explaining a mistress to his incredulous wife. “It's not normal. We would never eat in McDonald's usually.” He says that he is from Montreal, anyway, and that we may refer to him only as Mr X. The rest of the family stay silent, and munch, and blush.

French obesity rates have rocketed in recent years. According to estimates, 11 per cent of the French are obese and 40 per cent are overweight. This is better than the UK or the US, but it grows by about 5 per cent every year. One thinks of those previously untouched indigenous tribes that manage to wipe themselves out in a generation after being introduced to booze. The French are failing to eat in moderation. For a culture that prides itself on its waistline, this is a difficult failing to accept.

In recent years, at least in Paris, there has been a boom in fast-food eateries of the sort described above. The pioneer in this respect is a newish chain called Cojean. It was set up in 2001 by Alain Cojean, who had spent the previous 15 years working in research and development for - yes - McDonald's. Cojean is a very different beast.

We visit the branch across the road from the Louvre. Cool and airy, it is tastefully converted from an elaborately corniced patisserie. It sells fresh salads, proper coffee and sandwiches that are resolutely not triangular. We pick a ham and melon salad with noodles and rocket. The melon tastes as if it has just fallen from a tree, and the ham just scraped from a happy pig. There is a surprise bit of jagged plastic lurking in the middle, true enough, but we are not in McDonald's so we have no urge to sue. It just adds to the sense of handmade authenticity.

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The writer L.P. Hartley once stated that the past is a foreign country where they do things differently. Today's Cat And Girl revises this, arguing that, in the age of globalisation, instantaneous communication and accelerating change, our past is more foreign to our present selves than actual foreign countries are.

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McDonald's: The Videogame. A simulation of running a fast-food corporation that's like Sim City, had it been written by anti-globalisation activists. Bulldoze rainforests and villages, brainwash children and corrupt officials or go bankrupt. Play it before the lawyers kill it.

(via Boing Boing) ¶ activism amusing games globalisation mcdonald's no logo [no comments] Share

Momus' latest blog post is a critique of the recent film Pan's Labyrinth. Other than being an exercise in the goring of sacred cows (an often useful exercise), it makes some good points:

The film bore all the hallmarks of COG screenwriting. COG screenwriting is the opposite of personal vision, the opposite of imagination. It's screenwriting as taught by "experts" in screenwriting class, a kind of brutal, plot-advancing writing style based around a Centre of Goodness (COG) who wins the audience's sympathy (usually by pure genetic superiority -- ie a very good-looking actor is cast -- but also by a series of sufferings overcome throughout the narrative). It takes no prisoners -- and no risks. COG screenwriting is the filmic equivalent of modern managerial techniques. It's brutally efficient -- yes, it can and will make you laugh and make you cry -- but the difference between a film made by a COG director like Guillermo del Toro and an artist like Jodorowsky or Arrabal is like the difference between a house designed by a Project Manager and one designed by an architect. I will not let del Toro pass for an artist. I'm sorry, critics. He is a cinematic Project Manager.

Complete absence of sensuality, the incidental, the non-programmatic. Appeal is made to our adrenal glands, but no sexual organs (del Toro has the nerve to talk about Pan, but read the antics of the original Greek Pan here then compare them to the sexless, boring Pan character in this movie). Shock and surprise and mawkish empathy dominate, but there's no moment in which a character senses the breeze blowing in from the woods, just for its own sake. No, everything is fire and death and danger and hatred and forward motion. No indirection allowed. Improbable chases, with a deus ex machina to save the COG and a fatal comeuppance for the COB.

This is a Mexican-US co-production. But its values are American -- it has the shiny blue lighting, the flashy special effects, and all the conventions, of a US blockbuster (and the director apparently turned down both Harry Potter and the Narnia film to make it). This, then, is "global" film-making as a kind of outsourced American filmmaking. We do not leave the technical nor the moral universe of the Americans. Nothing is imported, in the sense of a "foreign" worldview. The film has learned American ways, but American audiences will not learn anything they don't already know from it, either texturally or morally.

¶ art content film globalisation hollywood momus pan's labyrinth [no comments] Share

Young Europeans are moving to India to work in call centres, as that's where the jobs are. They get paid Indian wages (i.e., a pittance when translated to euros, pounds or krone), but get free accommodation, subsidised food and free taxi fares to/from work, as well as sufficiently flexible schedules to travel around the country. At the moment it seems more like a backpacker working-holiday thing (somewhere between the two Australian rites of passage, the backpacking trip through Thailand and pulling pints in a pub in the UK) than a new trend in migration, though many are staying for longer, mostly for the culture and lifestyle (or possibly to defer the shock of finding how little their bank balance is worth back home).

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John Harris (who wrote The Last Party) on how popular music has been subsumed by corporate globalisation:

For musicians whose sensitivity to such chicanery places them a few notches up the evolutionary chain from Busted and Avril Lavigne, the implied contradictions can be pretty hard to swallow. Put bluntly, Anglo-American popular music is among globalisation's most useful props. Never mind the nitpicking fixations with interview rhetoric and stylistic nuance that concern its hardcore enthusiasts - away from its home turf, mainstream music, whether it's metal, rap, teen-pop or indie-rock, cannot help but stand for a depressingly conservative set of values: conspicuous consumption, the primacy of the English language, the implicit acknowledgement that America is probably best.

As the record industry's corporate structure has hardened into an immovable oligarchy - EMI, Time-Warner, BMG, Sony and Universal - so the range of musical options on offer has been dramatically scythed down. In 2004, there are but a handful of international musical superstars: Beyoncé, 50 Cent, Justin Timberlake, Eminem, Norah Jones, Coldplay. To characterise the process behind their global success as top-down is something of an understatement. MTV may have initially been marketed with the superficially empowering slogan, "I want my MTV"; more recently, with billions gladly hooked up, it has used the flatly sinister, "One planet, one music". Those four words beg one question: who decides?

Such, to use a phrase beloved of the Bush White House, is the cultural aspect of the New American Century. How long, I wonder, before Halliburton and Exxon start sponsoring festivals?

¶ alternative britpop carling-indie commercialisation commodified rebellion corporatism globalisation indie mcworld monoculture mtv the recording industry [no comments] Share

Old computers donated to third-world countries are having unforeseen impacts:

"On a trip I made to the Gambia last year I was amazed to see on of the roadside carpenters was doing a roaring trade making a range of contemporary Swedish style furniture," he said. "When I asked him where he got the idea, you've guessed it, he told me he'd seen it on the Ikea website."

¶ gambia globalisation ikea unintended consequences [no comments] Share

Multinational companies are now moving away from call centres in India, because of communication problems:

In spite of TV and e-mail, people living thousands of kilometers away and without local knowledge cannot always answer inquiries authoritatively. According to reports, England is full of jokes about operators in India who master Scots or Midlands accents, but falter over small physical details. Kate, a doctor based in England, recently on a visit to India, told this correspondent that grappling with rail inquiries in the United Kingdom can be quite hazardous as often the information is incorrect as the person at the other end just does not understand the query.

¶ globalisation india [7 comments] Share

Former Swedish anarchist leftist Johan Norberg has penned a progressive defense of global capitalism titled, appropriately, "In Defense of Global Capitalism"; he outlines his arguments here. Norberg's thesis is that globalisation and free trade are precisely the solution the third world needs to escape poverty, and bring with them things like increased wages, reduced pollution (through technological improvements) and greater civil liberties; meanwhile, most opposition to globalisation comes from Westerners, and is founded in protectionist self-interest (i.e., by unions), naïvéte about historical trends, or even an objection to the modern condition and an Arcadian romanticisation of a remote agrarian past.

That's why in a typical developing nation, if you're able to work for an American multinational, you make eight times the average wage. That's why people are lining up to get these jobs. When I was in Vietnam, I interviewed workers about their dreams and aspirations. The most common wish was that Nike, one of the major targets of the anti-globalization movement, would expand so that a workers relatives could get a job with the company.

The best thing that could happen to the Arab world would be for them to run out of oil. Then theyd have to open up to trade, and a small number of people wouldnt be in control all of the wealth, as is the case in Saudi Arabia.

The further you get from the West, the more positive people are toward globalization, toward more business and trade ties with the rest of the world. The most vocal opponents of globalization in poor countries are often funded by critics from wealthier countries. For instance, Vandana Shiva [director of the New Delhi-based Research Foundation for Science, Technology, and Ecology] is a very vocal opponent of economic liberalization and biotechnology, and shes funded by a lot of different Western groups.

So, is Norberg's thesis just a rebadged Lexus and the Olive Tree in Starbucks-progressive garb, or is the "anti-globalisation" movement really full of it, or both?

(I wonder what he'd say to Greg Palast's accusations that the World Bank/IMF assistance programmes are designed not to help third-world economies but to starve them into bankrupcy, allowing assets to be bought up cheaply by multinationals and reducing the locals and their descendants to sharecroppers. I suppose that's just an unfortunate implementation detail, and not an indictment on the phenomenon of globalisation as such.)

¶ anarchism capitalism contrarianism globalisation neoliberalism [4 comments] Share

I recently read a very interesting book (Where You're At, by Patrick Neate) about the spread of hip-hop culture from the inner cities of America to places like Japan, Brazil and South Africa, becoming a sort of lingua franca of globalised pop culture. Today I found an article which ties in to that, about multi-ethnic hip-hop in Israel, a scene which includes everybody from marginalised Arabs to Ethiopians and Moroccan Jewish rappers rhyming in French. I saw another piece some time ago about Palestinian youths on the West Bank taking to rap to voice their grievances; perhaps we really do live on a hip-hop planet.

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This is fairly interesting, in a global-economy sort of way: impressions of New York as perceived by data entry workers in Ghana who transcribe fines issued by police in New York. (via bOING bOING)

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Life imitates Douglas Adams: A NY Times piece arguing that global communication has sown conflict and enmity, rather than the new era of understanding it was supposed to usher in.

But at this halfway point between mutual ignorance and true understanding, the ''global village'' actually resembles a real one -- in my experience, not the utopian community promised by the boosters of globalization but a parochial place of manifold suspicions, rumors, resentments and half-truths.

(via Slashdot)

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An interesting piece about the dominance of English, and the efforts made to preserve other languages from its encroachment:

In Hong Kong, by contrast, the new, Chinese masters are promoting Cantonese, to the concern of local business. And in India some people see English as an oppressive legacy of colonialism that should be exterminated. As long ago as 1908 Mohandas Gandhi was arguing that "to give millions a knowledge of English is to enslave them." Ninety years later the struggle was still being fought, with India's defence minister of the day, Mulayam Singh Yadav, vowing that he would not rest "until English is driven out of the country". Others, however, believe that it binds a nation of 800 tongues and dialects together, and connects it to the outside world to boot.

(Psychoceramic speculation: perhaps someone should try something like that in Australia; what's the point of becoming a republic if we still speak the tongue of our colonial oppressors? It may be politically correct to adopt and adapt an Aboriginal language (as has been done with Hebrew and Icelandic) as "Australian"; a committee of fashionable academics, bureaucrats and special-interest groups could be appointed to supervise the development of the language.)

[T]he Icelanders have readily adopted alnaemi for "AIDS", skjar for "video monitor" and toelva for "computer". Why? Partly because the new words are in fact mostly old ones: alnaemi means "vulnerable", skjar is the translucent membrane of amniotic sac that used to be stretched to "glaze" windows, and toelva is formed from the words for "digit" and "prophetess". Familiarity means these words are readily intelligible. But it also helps that Icelanders are intensely proud of both their language and their literature, and the urge to keep them going is strong

[M]ultilingualism, a commonplace among the least educated peoples of Africa, is now the norm among Dutch, Scandinavians and, increasingly, almost everyone else. Native English-speakers, however, are becoming less competent at other languages: only nine students graduated in Arabic from universities in the United States last year, and the British are the most monoglot of all the peoples of the EU . Thus the triumph of English not only destroys the tongues of others; it also isolates native English-speakers from the literature, history and ideas of other peoples. It is, in short, a thoroughly dubious triumph. But then who's for Esperanto? Not the staff of The Economist, that's for sure

¶ a modest proposal culture english globalisation icelandic language postcolonialism [2 comments] Share

Ominous tidings: Riot police shoot dead a demonstrator at anti-globalisation protests; the officers will probably be charged, but who gave the orders to shoot to kill? Meanwhile, a Russian programmer is in jail for revealing the secrets of Adobe's access controls (a crime under the DMCA), and hence Alan Cox has resigned from the USENIX committee in protest. Whether this will make a point or marginalise the penguinhead pirasite colony remains to be determined. Meanwhile, the US Government has created a special elite cyber-cop agency of highly-trained aspheads to hunt down intellectual property thieves, crackers, copyright violators and other enemies of capitalism (and that means you, hiding there with the DeCSS source and the eight gig of MP3s on your hard disk; don't think they cannot see you), further escalating the War On Copying.

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The World Trade Organization has, one must admit, a bit of an image problem, especially amongst youngsters susceptible to the seductive underground brands of the anti-capitalist movement. So, to combat this, the WTO has commissioned a marketing campaign from yoof marketeers Y Not, to sell their vision of neo-liberal free trade to the kids under the brand of "Positive Anarchy". A leaked report floats a number of strategies, including beating the lefties at the merchandising game (gas masks and bandanas being relatively unexciting brands) and selling trendy teen clothing with the WTO brand, to getting comedians to take the piss out of the anti-capitalists and product-placing fake WTO-brand merchandise on Reality TV shows.

- Recruit model/spokespersons. Polling indicates that "Anti" has benefited significantly from association with high profile musicians/actors. (Note: 43% of teen girls identified U2 singer Bono as related to "Anti" "brand.") Through a third party, Y NOT, Inc. initially approached actresses Sarah Michelle Gellar and Tara Reid about serving as spokespersons for the WTO "brand," but made little headway. We have since been approached by a representative of Kevin Costner, but aren't convinced that he is "brand" appropriate.

Utilizing this strategy, the WTO "brand" would be replaced by a symbol or logo that teens consider more appealing. Note: in focus groups, 59% of teens reported that they would consider purchasing WTO product if associated with friendly talking frog.

As far as I know, this is not a parody, though it looks like one. (via Lev)

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