The Null Device

Costa Rican artist Guillermo Habacus Vargas caused an uproar after announcing an art exhibition in which a dog was starved to death. The world was informed that a stray dog named Natividad was chained in an exhibition space, with a pot of food on the other side, out of reach, and kept there until it starved to death. As you can undoubtedly imagine, there was mass outrage worldwide, with galleries dealing with Vargas/Habacus receiving death threats and a petition against him collecting two million signatures. Then it emerged that the whole thing was a hoax: the dog was "starved" only for three hours at a time, and during the rest of the time was fed by the artist.

It has now emerged, however, that artist Guillermo Habacuc Vargas intended the work to be a stunt to show how a starving dog suddenly becomes the centre of attention when it is in a gallery, but not when it is on the street. The work was intended to expose people for what they really are - "hypocritical sheep". He said that in order for the work to be valid, he and the gallery had to give the impression that the dog was genuinely starving to death and that it died.

¶ animal rights art conceptual art cruelty hoaxes media [no comments]

The culture jammer calling himself The Decapitator has released a video of his latest stunt—hijacking a consignment of copies of free commuter tabloid TheLondonPaper, modifying them by gruesomely beheading David Beckham in a mobile phone ad, and then droplifting the doctored copies near Old Street, all in the space of 3 hours.

(via Wired News) ¶ advertising culture jamming david beckham détournement london media pranks the decapitator [no comments]

A year or so ago, Sony's egregiously misnamed Universal Media Disc format (a prooprietary optical disc which only plays in one device—the Sony PlayStation Portable)—essentially died as a viable medium for selling anything other than PSP games. For some reason, people didn't want to spend good money on a low-resolution copy of a movie, bound to a plastic cartridge, for viewing on their PSP; perhaps the number of PSP owners who would use their units for repeatedly watching Spiderman 2 on the train, as opposed to, say, playing videogames, wasn't that great to begin with, and the percentage willing to incur the cost of buying a movie in this inflexible format was even lower. Not even Sony giving away UMDs of their films with DVDs, for only slightly more money, could revive the flagging format.

So now, we learn that Sony are trying to revive the UMD format as a medium for movies by selling TV shows on it, in conjunction with MTV (formerly a music-video channel, now a purveyor of entertainment to the lucrative young-and-dumb demographic). That's right; presumably some executive decided that, while people may not be willing to pay money for a disc containing a version of a movie that only plays on their PSP, they'd be willing to do so for some episodes of Beavis & Butthead. Unless they're planning to bundle them with boxes of breakfast cereal or something.

It's not just the cost of purchasing the disc that counts; it's also the cost of having another bit of plastic taking up space in your house and your mental filing system. As the value of the bits of plastic decreases, the awkwardness of their material nature increases. (A video game you may spend many hours playing is worth a plastic disc and case to store it in—not to mention £25 or however much it costs— a movie you watch once or twice, less so, especially since looking at a small handheld screen is not the best way to enjoy movies if there are alternatives. A few episodes of a TV show sounds like an even more marginal proposition, and the sort of problem that downloads were invented to solve.) Especially in a format whose flexibility is deliberately limited.

¶ business dead media marketing media mtv sony stupidity tech umd [3 comments]

After having had its licence fee increase rebuffed, the BBC is planning to cut 12% of its workforce. Most of the cuts will happen in the factual division, which produces programming such as Planet Earth and stands to lose up to 50% of its budget. The BBC's trashy-populist-entertainment operations, however, look set to emerge unscathed.

One could question the rationale behind this peculiar set of priorities; after all, its Reithian ethos of worthy factual programming is a big part of the high esteem in which the BBC is held across the world. Indeed, one could ask why, for example, EastEnders is any more of a public service, and thus any more worthy of funding from a mandatory tax on television receivers, than its commercial rival Coronation Street, or whether or not something like Top Gear could be provided by the free market with no loss of values. It could be argued that the populist fare fulfils an important function: that of buying social approval for the BBC's license fee. Were the BBC to cut back on it and concentrate on "quality" programming, the majority of license-fee payers might start to question whether they should be obliged to pay over £100 per year for the privilege of skipping the BBC and going straight to Sky One. From then on, it would take a campaign on the front page of The Sun (whose proprietor, it must be remembered, would dearly love to see the BBC reduced to something of the size and stature of the American PBS or Australian ABC; underresourced, timid and marginal) to put the dismemberment of the BBC on the legislative agenda in time for the next licence fee review.

Which is a rather sad state of affairs. Surely the purpose of that unique institution, the license fee, should be to fund quality, enlightening programming in niches which the market, left to its own devices, wouldn't fill, rather than to provide popular mass entertainment (a task which the market has always stepped up to catering to)?

¶ bbc media [2 comments]

A technical problem causes Facebook to display its PHP source code; someone grabs this source code and posts it online; the code itself doesn't contain anything more revealing than variable names and include paths. Meanwhile, the non-technical press posts vague yet ominous-sounding warnings about how it could help criminals to steal users' identities (conceding that it doesn't actually allow them to do so as such).

Which is not to say that there aren't any risks; as always, one should exercise common sense. Facebook is an entertainment site, and thus engineered to less stringent standards of security than, say, banking sites. Even if the site itself is secure, your "private", "friends-only" information could fall into the hands of third parties in other ways (if, for example, criminals take control of a router between you and the Facebook servers and sniff all the traffic going through it, or if one of your friends (who is able to see your information) has a Windows virus on their PC which captures the pages they see). The same goes for other sites with "friends-only" capabilities, such as LiveJournal, Flickr, or various members-only forums or mailing lists.

¶ facebook media php scaremongering security [no comments]

Banksy's latest opus is a replica of Stonehenge made of portable toilets, installed on the Glastonbury festival site:

The artist, never shy of controversy, has raised some eyebrows with the location of the artwork in the "Sacred Space" field, venerated by the festival's more hippyish devotees. Banksy himself has no illusions about the sanctity of his work, however: "A lot of monuments are a bit rubbish," he said, "but this really is a pile of crap."

¶ art banksy culture glastonbury hype media [no comments]

Everyone complains about the procession of doom and gloom in the news, but only the Russians are doing something about it. After a bank loyal to Russia's President Vladimir Putin bought out Russia's largest independent radio news network, they decreed that at least 50% of reports about Russia must be "positive".

As well as protecting the Russian people from doom and gloom, they are also committed to guarding them from the pernicious influence of unapproved politicians, all mention of whom has been banned.

(via /.) ¶ authoritarianism censorship media putin russia [no comments]

A 1939 magazine article about the censorship of animated cartoons, and exactly the sorts of things the Hays Office (which handled film censorship in the U.S. at the time) demanded cut from cartoons. For example, a cartoon cow was made to wear a skirt covering its udders, a sombrero-wearing bandit is required to end up in jail (crime, you see, must unambiguously be seen to not pay), and a scene with a stereotypical black (as in African-American) angel placing pushpins on a globe labelled "Harlem" and mentioning "De Lawd" had to be altered, not because of the racial stereotypes (which, in 1939, were perfectly fine) but because it was considered too sacrilegious.

It's interesting to note that the article states at the beginning that animated cartoons were subjected to stricter censorship regulations than live-action films because it was assumed that anything animated was for children, who needed to be protected. Similar justifications were used for comic books (with the Comics Code, which was in force until publishers started ignoring it in the 1960s or so, and had similarly puritanical scope), and in current video game censorship in Australia.

(via Boing Boing) ¶ animation authoritarianism cartoons censorship culture history media [no comments]

Will Hodgkinson, Guardian columnist and early-1970s folk-rock enthusiast, has decided to start his own record label, and is writing about it:

The plan is simple: in the space of one year, I'm going to launch a record label. I have a name for it (Big Bertha), enough of a loan to get going, in a modest sort of way (£5,000), and a philosophy (Big Bertha's releases have to fit into my existing record collection: somewhere between 1968's Chelsea Girl by Nico and 1972's Moyshe McStiff and the Sacred Lancers of the Tartan Heart by medieval folk-rock obscurities Cob).

Hodgkinson then describes the next step of his adventure: the talent-scouting process.

My evening at the boozer in the official role of Big Bertha talent scout did not get off to a good start. First up was a woman who insisted on explaining what each one of her painfully literal songs was about. "This song's about the Iraq war," she said, before singing a song called The Iraq War. Then came a middle-aged woman in thigh-high leather boots who looked, in a rather disturbing way, like my mother. She took tambourines and miniature drums out of a Tesco carrier bag and passed them round the audience, insisting that we bang along as she jumped around the stage and yelped discordantly. I shook my tambourine weakly and tried not to burst into tears. The next act was called Scrotum Clamp. Further comment is surely superfluous.

¶ business culture indie media music music industry [no comments]

A Times columnist's take on France24 and those silly French people:

Since, alongside the news , the new state-funded France 24 channel sees itself as an ambassador for the French "art de vivre" (French for "way of life") and for its "savoir faire" ("rural snail-tasting festivals"), the channel launched at 7.29 GMT yesterday evening -- presumably in order to allow staff and viewers to first knock back a couple of reviving Pernods after their return from the traditional Gallic post-work/pre-dinner bout of hanky-panky ("mouchoir-pouchoir").

That means that at the time of writing, we don't actually know what the opening headlines were. But we might guess they were something along the lines of, "Iraq, c'est encore un grand mess, n'est-ce pas?" (literally, "That George Bush is a dork, isn't he?"); And "L'Angleterre evidemment a une équipe de cricket qui joue comme un bunch de garçons de Nancy -- pas, obvieusement, notre Nancy en Lorraine!"); though maybe not, "Et maintenant, les actualités chaud directe de Rwanda ...").

France 24 is basically a TV channel for a nation that is annoyed that it has failed to persuade the rest of the world to speak French rather than English (apart from -- and this really embarrasses them -- the word gauche, which is the universally used term for "Donald Rumsfeld").

¶ culture france franglais french humour language media murdoch news politics times [2 comments]

Not that long after al-Jazeera launched its defiantly postcolonial English-language news channel, another player is entering the market; France 24 will be a 24-hour news channel, funded by the French government and a French private TV network, and broadcasting in French and English (with Spanish and Arabic to be added later).

France 24 can be viewed through its web site (if you have Windows Media installed), and will be available on cable TV. Its mission is, in its own words, "to cover worldwide news with French eyes"; the channel insists its editorial policy will be independent of the French government (though, in either case, you'd expect them to say so).

¶ france french media news tv [no comments]

The Graun writes about The Pitchfork Effect, which is sort of like the Slashdot effect, only rather than overwhelming web servers, it propels obscure indie bands to fame and critical acclaim, on the strength of a single review in one of the new generation of independent music websites like Pitchfork and DrownedInSound. These sites can now make or break a band by word of mouth, not because they are read by many music fans, but because they reach the few passionate enough about new music to be high up the opinion-forming chain; by the time a band filters down to corporate mass media dinosaurs such as NME, and the millions of teenagers of all ages who buy their "indie" uniforms through the mail-order ads in the back hear of a band, it's overexposed and the Pitchfork coolsies have moved on to the next new thing.

But websites flourish precisely because they don't have to worry who to put on their covers, a factor that still makes or breaks magazine sales. They feel more fearless in the face of the music industry because they're not part of the system, says Schreiber. "Publications obviously seem to feel they need to watch their step and not alienate the label or the artist or the publicist or the advertising department, but that means sacrificing a lot of how you wind up feeling about a lot of the records you have to cover. We don't have to do that."

Travis buys plenty of albums from Pitchfork's recommendations, because he believes its reviews. "I trust them because Pitchfork has more independence. It's like the NME used to be, back in the day. These days it has more of an agenda. Like when Conor [McNicholas, editor of the NME] said on national TV that the NME wouldn't put Antony [of Antony and the Johnsons] on the cover after he'd won the Mercury Music Prize - because he was 'too weird'. It's staggering to hear that."

¶ culture dinosaurs hipsters indie media music pitchfork tipping point [1 comment]

Cory Doctorow argues that high-definition television might kill special-effects-heavy blockbusters, by amplifying the way that Moore's Law keeps increasing audience expectations and making last year's special-effects extravaganza look like so much cheese:

It's a good reason to go to the box-office, but it's also the source of an awful paradox: yesterday's jaw-dropping movies are today's kitschy crap. By next year, the custom tools that filmmakers develop for this year's blockbuster will be available to every hack commercial director making a Coke ad. What's more, the Coke ads and crummy sitcoms will run on faster, cheaper hardware and be available to a huge pool of creators, who will actually push the technology further, producing work that is in many cases visually superior to the big studio product from last summer.

It's one thing for a black-and-white movie at a Hitchcock revival to look a little dated, but it's galling -- and financially perilous -- for last year's movie to date in a period of months. You can see what I mean by going to a Lord of the Rings festival at your local rep-house and comparing the generation-one creatures in Fellowship of the Ring to the gen-three beasts in Return of the King.

(via Boing Boing) ¶ hollywood media technology tv [1 comment]

This looks like a potentially interesting film:

"Heartbroken by a break-up with his girlfriend Desiree, twentysomething Zia (Almost Famous' Patrick Fugit) kills himself - only to wake up in the afterlife: a purgatory populated exclusively by other suicides, where the jukeboxes only play Joy Division and Nirvana, all the colours seem desaturated, and life is more or less the same as back in the real world - 'just a little worse'. Learning that his beloved ex has also taken her life, he hooks up with a Russian misfit (whose final moments, seen in flashback, provide one of the film's funniest scenes), and a moody Goth hitchhiker (Shannyn Sossamon), and sets off in a battered station wagon to find her; the resulting road-trip - including a scene-stealing cameo by Tom Waits - forms the basis of this ruefully funny road movie."

(via Mind Hacks) ¶ film media suicide [1 comment]

An argument that the abundance of images of attractive people causes widespread unhappiness:

Psychologists Sara Gutierres, Ph.D., and Douglas Kenrick, Ph.D., both of Arizona State University, demonstrated that the contrast effect operates powerfully in the sphere of person-to-person attraction as well. In a series of studies over the past two decades, they have shown that, more than any of us might suspect, judgments of attractiveness (of ourselves and of others) depend on the situation in which we find ourselves. For example, a woman of average attractiveness seems a lot less attractive than she actually is if a viewer has first seen a highly attractive woman. If a man is talking to a beautiful female at a cocktail party and is then joined by a less attractive one, the second woman will seem relatively unattractive.

Psychologists Sara Gutierres, Ph.D., and Douglas Kenrick, Ph.D., both of Arizona State University, demonstrated that the contrast effect operates powerfully in the sphere of person-to-person attraction as well. In a series of studies over the past two decades, they have shown that, more than any of us might suspect, judgments of attractiveness (of ourselves and of others) depend on the situation in which we find ourselves. For example, a woman of average attractiveness seems a lot less attractive than she actually is if a viewer has first seen a highly attractive woman. If a man is talking to a beautiful female at a cocktail party and is then joined by a less attractive one, the second woman will seem relatively unattractive.

The strange thing is, being bombarded with visions of beautiful women (or for women, socially powerful men) doesn't make us think our partners are less physically attractive. It doesn't change our perception of our partner. Instead, by some sleight of mind, it distorts our idea of the pool of possibilities.

Our minds have not caught up. They haven't evolved to correct for MTV. "Our research suggests that our brains don't discount the women on the cover of Cosmo even when subjects know these women are models. Subjects judge an average attractive woman as less desirable as a date after just having seen models," Kenrick says.

So the women men count as possibilities are not real possibilities for most of them. That leads to a lot of guys sitting at home alone with their fantasies of unobtainable supermodels, stuck in a secret, sorry state that makes them unable to access real love for real women. Or, as Kenrick finds, a lot of guys on college campuses whining, "There are no attractive women to date."

Mind you, this article is rather male-centric (it's partly a survey of studies, and partly a lament from the head of a Los Angeles PR agency, kvetching bitterly about all the unfeasibly gorgeous women he is surrounded by and how their presence is making his life a hell), and doesn't cover the female perspective; i.e., whether women are bombarded with images of unfeasibly attractive potential male partners, and whether this causes them to feel dissatisfied with actual partners (or potential partners) to the same extent.

(via Mind Hacks) ¶ beauty evolutionary psychology media psychology sex [no comments]

News At Seven is a new experimental system which converts RSS feeds into TV-style news videos, with 3D animated characters (apparently taken from shoot-'em-up games) reading the news according to scripts. A talking head in a newsroom reads the stories as automatically selected images are projected behind her; then a blogger's comment is introduced by a scruffy-looking "man in the street" being interviewed as other people walk by. (The fact that the other people appear to be dressed in uniforms and walking at the same pace makes them look less like passers-by and more like troops marching off to war; perhaps they need to randomise them a bit more?) Anyway, it looks rather impressive. I wonder how long until there are publicly available RSS readers that do something like this.

(via Boing Boing) ¶ media technology [no comments]

Remember Mahir Cagri, the globetrotting, red Speedo-wearing Turkish journalist/photographer who went looking for love and "nice nude models and peoples" on the web all those years ago? Well, now he's apparently planning to sue Sacha Baron-Cohen for basing his Borat character on him without permission.

(via Boing Boing) ¶ culture media [no comments]

Reporters Sans Frontières has published its 2006 Press Freedom Index, ranking the world's countries in where they stand in press freedom. There's little change at the top (mostly Nordic countries, with the notable absence of Denmark due to the cartoons row; the poll counts incidents of violence, harrassment and intimidation against journalists, not instances of the defense of press freedom, so any boat-rocking will look bad), nor at the bottom, with North Korea still being world champion of repression, and the likes of Iran, Cuba, Burma and Turkmenistan (whose eccentric dictator, ironically, has just opened a book-shaped building dedicated to the media and "free creativity"; perhaps they can put the cells where journalists are tortured inside it?) being not much better.

The United States has fallen nine places, thanks to uses of national-security laws against journalists critical of the "war on terror" (if it's any consolation, this was done in the name of freedom), and the jailing of blogger Josh Wolf, and France's position has also continued to decline. Meanwhile, Australia has dropped a few points (which is attributed to "anti-terrorist laws").

(via /., Boing Boing) ¶ authoritarianism censorship freedom media [no comments]

An Italian television programme invited 50 politicians to its studio on the pretext of being interviewed and surreptitiously tested them for drugs; the result was that 12 politicians tested positive for cannabis, and 4 for cocaine:

The programme sent a reporter to interview lower house deputies allegedly for a programme about the 2007 draft budget currently going through parliament.

But unbeknown to each of them, the make-up artist employed by the show was dabbing their brow with swabs, and their perspiration was later tested for cannabis and cocaine.

(via RRR) ¶ drugs hypocrisy media politics pranks [no comments]

My favourite radio programme these days is International Pop Underground. This is a weekly 2-hour show on Melbourne's community radio station 3RRR, presented by music journalist Anthony Carew, and playing a broad selection of interesting music from all over the world, ranging from indiepop to post-rock to antifolk to bedroom electronica; it's quite variable, though typically falls somewhere in the pop-music tradition whilst having that slightly rough-hewn, handcrafted eccentricity absent from the assembly-line ad-jingle/ringtone music most people know as "pop".

I started listening to this back in Melbourne some years ago, tuning into 3RRR using a radio. I stopped doing so when moving to London, mostly because, while you can stream it from the radio station's web page, it falls inconveniently on Wednesday morning local time. A year and a bit ago, I cobbled together a script for capturing and storing the stream for future listening, and started tuning in, sporadically, again. In recent months, I have started regularly listening to this show (usually on the following Saturday morning, whilst still in bed; at(1) is my friend). Whilst doing so, I have discovered numerous gems; for example, last week's show included:

• The Blow, Babay (Eat A Critter, Feel Its Wrath); a cute, clever song about meat-eating as a metaphor for unrequited love, from the point of view of the eaten creature/spurned lover, over a choppy, jaunty, Casiotone-ish backing. One for DJ sets.
• The Decemberists, Sons and Daughters; nothing to do with the old Australian TV soap or the NME band from a few years ago, but rather a song rallying the faithful to flee strife and persecution in boats and dirigibles and leave for a new underwater utopia of freedom and abundant cinnamon. Surreal and yet stirring.
• José González' cover of Kylie Minogue's "Hand On Your Heart", and André Herman Düne's similarly acoustic cover of Bronski Beat's "Small Town Boy", both of which were quite good.
• Okkervil River, The President's Dead, which was almost like a piece of spoken word set to music, about an otherwise ordinary, and quite pleasant, day suddenly shattered by an event in the news.
• And a track by The Whitest Boy Alive, Erlend (Kings Of Convenience) Øye's new electropop project, whose CD I'll have to get. (Damn you, Mr. Carew, for making me spend so much money on CDs.)

This is not the only programme on RRR I listen to; I also sometimes tune into Local And/Or General, the new-Australian-indie show. I don't listen to it as often as IPU because it's not as consistently rewarding. Whilst it does play a few gems, there is rather a lot of standard garage/pub/grunge rock to sort through to get to it.

¶ 3rrr indie media music [5 comments]

Project Censored has published a list of the top 25 news stories you didn't hear of in the mainstream media:

1 Future of Internet Debate Ignored by Media
2 Halliburton Charged with Selling Nuclear Technologies to Iran
4 Hunger and Homelessness Increasing in the US
11 Dangers of Genetically Modified Food Confirmed
14 Homeland Security Contracts KBR to Build Detention Centers in the US
18 Physicist Challenges Official 9-11 Story
24 Cheney's Halliburton Stock Rose Over 3000 Percent Last Year

(via Boing Boing) ¶ 9/11 conspiracy theories halliburton internet iran media paranoia [no comments]

Today's Evening Standard headline: "CHATROOM LED TO MODEL'S MURDER"

Upon closer examination, the details of the story emerge. Apparently the model in question was murdered by her boyfriend at the time, whom she had initially met in an internet chatroom.

So yes, whilst one could say that, were it not for the chatroom, she'd probably still be alive, claiming that the Evil Evil Internet led directly to her death is a bit of a stretch. Though why let logic get in the way of selling copy?

¶ internet media paranoia sensationalism [1 comment]

This evening, I tuned into BBC News 24. The intro ran, and on came the newsreaders, informing the audience of the big story: the English football team was beaten by Portugal, and was out of the World Cup.

The report played a clip of the goal that ended it all, and the Portuguese player's triumphant expression. Then they crossed to England supporters outside the stadium in Germany, with the reporter asking them how they felt. Not surprisingly, they were disappointed.

Then the report crossed to Lisbon, where fans were partying. The reporter asked a few how they felt; they were elated. This just in: Portuguese football fans celebrate when their team wins.

This went on for 20 minutes, discussing the mechanics of the game, the hopes and dreams of various fans, and so on, after which they briefly crossed to the rest of the day's news. And in other news: 60 people were killed in a bomb blast in Iraq, as sectarian violence threatens to escalate further. Presumably things are also happening in other parts of the world (such as, say, the Gaza Strip and Somalia, to name two recently newsworthy locations), though one can't be sure because there wasn't time to mention them.

Am I the only one who sees something wrong with this?

¶ bbc football lowbrow media news populism [10 comments]

A comparison of US and British media's responses to domestic terrorist acts:

Right this minute, on the BBC World service: a lengthy report on humanitarian efforts in Africa. No news crawl. If you didn't know the London bombings had happened already, you wouldn't even know.

Right this minute, on CNN International: a lengthy report on anti-terrorism efforts in other countries, so far specifically framed as a series of successful trades: decreasing freedom for increasing surveillance, with greater security supposedly as the net result. Along the bottom, a news crawl repeats bombing-related headlines constantly.

One of these things is not like the other. One is constant, constant fear-pandering. The other -- from the country that actually suffered the bombings, no less -- is still reporting something resembling actual news, with something resembling a dose of actual perspective.

A related thought: if Britain was like America, we'd probably have Dannii Minogue singing Rule Britannia (and/or God Save The Queen, complete with the jingoistic third verse -- "confound their politics, frustrate their knavish tricks, on Thee our hopes we fix") at a star-studded gala right now.

(via jwz) ¶ bbc cnn fear media sensationalism terrorism the long siege uk usa [1 comment]

Meanwhile, Sky TV (the Australian satellite TV company, jointly owned by Murdoch's BSkyB and two other Australian media oligarchs, Kerry Packer and Kerry Stokes) is lobbying to take over the ABC's Asia Pacific television service. The contract comes up for renewal next year, and the government hasn't said which way it'll lean. Who knows; perhaps some Evangelical Christian group will come out of nowhere and snatch the contract or something?

¶ australia media oligopoly [3 comments]

According to former RRR announcer Cousin Creep (since working on US radio), the latest thing in radio formats in the US is a format called "Jack". The Jack format appears to consist of the equivalent of an iPod full of songs from various incompatible genres put on shuffle, with prerecorded "short patronizing voice overs with lame postmodern attitude" between the tracks (whatever that means); apparently it appeals to the ever-shortening attention spans of the public or somesuch, and also means that stations don't have to employ DJs.

Could the radio format which only plays "the best 30 seconds" of each song be far off?

(via Rocknerd) ¶ jack media music radio [no comments]

In the wake of the Band Aid 20 charity single (which is rumoured to be awful), NYLPM looks at what happened to Band Aids #3 through to #19:

Band Aid 3: Recorded in a secret corner of the Hacienda, "Baggy Aid" in 1990 melded social conscience with a wah-wah break and found Shaun Ryder offering to feed the starving his melons. That Line was sung by Bobby Gillespie, but nobody heard his reedy mewlings and the single flopped.

Band Aid 8 and Band Aid 9: The blackest hour in the long history of Band Aid saw a schism as Blur and Oasis insisted on recording separate versions of the legendary song for Christmas 95. Blur's video featured Keith Allen in a dress riding a desert goat and Oasis' contribution ran into trouble when Liam punched Michael Buerk in the face. A disgusted public turned instead to Kula Shaker's Crispian Mills, who promised to feed the world with his cosmic love.

Band Aid 15: Radiohead's "Kid A(id)" was more challenging than most interpretations, being a 17-minute video installation showing Thom Yorke being chased by a bear to the sound of a whimpering child. Retail response was sluggish.

(via Found)

¶ band aid britpop culture humour media music [no comments]

Australia has come in in 41st place in Reporters Without Borders' annual Worldwide Press Freedom Index; which is below all EU members, several other Eastern European countries, South Africa and Hong Kong; in contrast, New Zealand ranked ninth, only slightly below the 8 nations sharing first place. Australia's dismal showing has to do partly with restricted press access to refugees, though chances are that media ownership concentration, defamation laws and attempts to force journalists to reveal their sources have also contributed.

The bottom of the list is held, predictably, by North Korea (at #167), with Cuba just above it. Saudi Arabia is at #159, three places ahead of China, while Singapore is at #147. Brazil, a popular recent poster child of the Third Way, languishes at #66. The US's arrest of journalists at anti-Bush protests and restrictions on journalistic visas have knocked it down to #22. Meanwhile, in the Middle East, Israel is at #36 (shared with Bulgaria), except in the occupied territories, where it is at #115 (shared with Gabon), though ahead of the Palestinian Authority (#127, slightly better than Egypt and Somalia).

First place is shared by Denmark, Finland, Iceland, Ireland, the Netherlands, Norway, Slovakia and Switzerland.

¶ australia authoritarianism brazil cuba eu freedom of speech israel media north korea palestine saudi arabia singapore usa [3 comments]

Danny O'Brien on the growing class of microcelebrities; people/bands/&c. who are famous within a smallish, widely distributed group:

But there are plenty more people who are what Carl Steadman first identified as microcelebrities: famous for fifteen hundred people, say. And fifteen hundred very thinly distributed people too. One person in every town in Britain likes your dumb online comic. That's enough to keep you in beers (or T-shirt sales) all year.

But is it enough? Is fame relative? The upper reaches of fame have disappeared beyond human ken - so does that mean that we're all humiliated by not being as popular as Madonna? Or is it a fixed constant? If you're liked by about-a-paleolithic-tribesworth, is that enough to keep the average person with a smile on their face?

Danny mentions a band named Groovelily, who sit in this middle class of fame; who have small groups of fans around the world willing to put them up and arrange gigs. Which sounds like a familiar story to anybody into indie music (of the DIY-CDs-sold-at-gigs variety, not the signed-to-a-label-just-outside-the-Big-4 variety).

In fact, microcelebrity seems to be the default meaningful sort of fame; the megacelebrities, the various Madonnas and Elvises of this world, are too few in number and too eroded by the demands of mass appeal to mean anything.

¶ culture diy indie media microcelebrity [5 comments]

In the UK, as the Blair administration prepares to dismantle the BBC, the Tories (who, presumably, have given up on wooing the Murdoch media for the next election) are dropping the anti-BBC plank of their platform, which called for the phasing out of the license fee and reducing the BBC to a minority broadcaster like the PBS in the US, and repositioning themselves as a "friend of the BBC"; a move undoubdtedly intended to appeal to those supporters of the venerable news organisation sufficiently gullible to fall for it. However, unreconstructed Thatcherites need not feel too betrayed; as Tory leader Michael Howard points out, the BBC's charter review will take place after the general election, and there's nothing stopping a Tory government from coming out, announcing that it has weighed up the facts, and after great deliberation, decided to take the chainsaw to Auntie.

¶ bbc media tories uk [no comments]