The Null Device

Corporate coffee chain Starbucks isn't doing too well; they've had to close 600 stores in the US, in less than favourable circumstances. (Favourable circumstances for Starbucks being closing the 2nd and 3rd stores they opened on a block and ran at a loss after the last independent café nearby went out of business.) Unsurprisingly, some coffee fans are over the moon:

New York Web designer Zachary Thacher, who favors Greenwich Village's cafes, said he avoids Starbucks. "They've commoditized cafe culture, which is why I don't go," he said.

The company that began as innovative is now known for consistency and convenience, [another commentator] said. "To me, that's a huge step down," she said. "You've built your franchise on people who are coming in because they know exactly what they want."

¶ business coffee mcworld schadenfreude starbucks 4

Asterix, the plucky French cartoon hero and original icon of Gallic resistance to foreign hegemony, is now taking on the Americans. Of course, since they didn't have America two millennia ago, they appear in the form of familiar-looking aliens from outer space:

In the book, the 33rd in the bestselling series, the diminutive warrior and his brave chums find themselves facing alien invaders from the planet Tadsylwien - an anagram of that unassailable US icon, Walt Disney.

The ruler of the alien world is called Hubs - I'll leave you to work that particular puzzler out for yourself - and, according to one invader with more than a passing resemblance to Mickey Mouse, Hubs has sent them to Earth in a futile search for the Gauls' "stockpile of lethal weapons".

(via dreamstooloud) ¶ aliens anti-americanism asterix france mcworld usa 0

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 0