This blog’s been a bit bleak recently, so here’s another maybe-it’s-not-all-bad schaudenfreude moment:
And more, via Poetix and Sit down man. Detournement thrives, I suppose, when the authoritarian facade falters.
Filed under: cinema | Tags: baader-meinhof, Baader-Meinhof Complex, Hans-Joachim Klein, RAF, Tom Vague
Above: an antidote to the glamorisation of the violence of the RAF in The Baader-Meinhof Complex. I actually didn’t mind the film at all, and certainly preferred it to the comparable Patty Hearst, an even less nuanced act of recuperation and revision. Although its still no Raspberry Reich.
What I appreciated about The Baader-Meinhof Complex was precisely what it has attracted criticism for: its length and the brutal monotony of the late period of the original RAF’s incarcerated existence. I imagine this to be a fairly accurate representation of how this episode was experienced by the public via the media at the time. An escalating sequence of action and reaction, veering ever further from the original issues, moving towards an inevitable moment of tragedy and silence. That said, the sheer longevity of this period didn’t come across diegetically, but in the length of time sat in the cinema, staring at the screen, which in itself seems quite fitting.
Of course, the film lacked thorough attention to the group’s politics, lapsing into ‘terror porn’ and making reference to the particularities of what the RAF represented only when determined by the plot (Ensslin and Baader’s anger at the misdirection of the Springer Press attack, which directly harmed workers; the sexual politics coming to the fore in Jordan; the farcical trial infront of a jury who represents the ideology on which the RAF had declared war).
What many of the newspaper reviews move on to saying about the faults of the RAF itself, though, seems misguided. Now, surely we can recognise that the RAF do not symbolise a failed attempt to destroy an indestrucible society, nor a model on which to base future societies. With the Cold War and Vietnam passed, I imagine there would be a much greater reluctance to pursue a society founded on violence, even amongst the more radical elements of Western oppositional political groups. Instead, returning to the RAF offers a way of understanding a radical reversal of the powers of the media. They were, to borrow Tom Vague’s term, televisionaries, who used the media spectacle as much as they used guns and bombs in an attempt to ridicule and explode the contradictions and hypocracies of consumer capitalism and its passive and docile relations with political action.
Because the current air of (qualified) elation demands from longterm cynics such as myself the provision of a dialectical negativity, may I introduce to you some suitably brutal music to remind you of the internalised and insurmountable frustration and despair of the modern age?
Firstly, some ‘tough music made by weak, weird little people’: Mob Rules (blog). Please don’t try to listen to this on a laptop, I just tried and it does not do it justice. You need to go see them, to witness the shameless gurning and the hesitant unleashing of a long-supressed primalism, to experience the physical unease of wanting to throw forth your head and howl but being persistently obfuscated by ‘difficult time changes’ and music that refuses to do what you want it to do.
Mob Rules, New Cross Inn; ISTRT 03.11.2008 from Roman David on Vimeo.
Should you wish to know more about the motivational forces behind such negative creativity, I would also like to point you towards the zine Niche Homo – made by a man seasoned in confronting positivity – which includes interviews with other such outlets of antagonism as Eugene Robinson of Oxbow and NME-avoiders the Shitty Limits (best band in England?). The Mob Rules interview, particularly, contains such gems as:
‘I don’t think hardcore in general can address anything other than male testosterone points-of-view, really. Hardcore just deals with men of a certain age and the kind of experiences they have in the way they engage with the world. It seems to be primarily anger. You know, thats your currency when you’re in a hardcore band.’
‘And because it’s not boogie rock, and it’s not blues rock, and it’s not quite something that can be immediately understood or can be compartmentalized by the average person, quote unquote, it’s just to much of a contrast between who I am at work, and who I’m not when I’m out. I mean, you’ve got to cheapen and dumb down so much of what you do just to survive day-to-day life. You can’t honestly say all your opinions all the time at work, and things like that.’
‘I’d say the word “fuck” is a pretty integral part of hardcore lyric writing, because you’ve only got so much time to express certain sentiments, and fuck is a word that can cut pretty deep, pretty quick. It can express, really, whatever you want.’
However, should you like your daily dose of bitterness and rage with a twist of novelty and jocularity, perhaps The Wankys might be more to your taste. Songs about the joys of onanism set to a guitar that is genuinely reminiscent of a dentists drill having gone through your teeth and into your brain, whilst the dentist laughs uncontrollably having overdone the nitrous oxide.
Filed under: reviews, space and everyday life | Tags: ACAB, canary wharf, grave of capitalism, halloween
A bit premature, perhaps, but an interesting proposition nonetheless: an anarcho-paganist mortuary ritual for the death of capitalism, held on Halloween within the belly of the beast itself, outside the Lehman Brothers offices in Canary Wharf. The reality, however, was somewhat less supernatural and apocalyptic, and the actual event was a typical – enjoyable, if a little lacklustre – anti-capitalist demonstration.
It is difficult to hold an event in the name of such partisan activist groups – ‘the four horsefolk of the anti-capitalist apocalypse – Anarchist, Communist, EcoWarrior and Revolution’ – without revealing some fundamental mobilisational and ideological fissures; but perhaps even more difficult to evince any irony, playfulness or even schadenfreude when everyone and everything is so damn serious. As such, this event attracted a lot of criticism, from all sides. From the Left itself – which the event claimed to represent – some disapproved of how the organisers seemed to make light of the amplified immiseration of working class individuals that is the real consequence of the current economic events, others thought the event was juvenile and imbecilic, whilst others, caught in a generalised apathy or scepticism towards the effectiveness of such forms of protest, seemed to feel that it was simply targeting the wrong places, putting on a poor front at a time when it is imagined that the Left could organise itself in a serious and effectual way.
Well, I thought it sounded like fun, so I went along. I like the idea of a Dionysiac, borderline nihilistic, celebration just before a moment of utter calamity (a moment that will probably not arrive as such: a moment that is warned of and overplayed as a means of shortcutting its manifestation). Both Henri Lefebvre and Georges Bataille, of course, were interested in the revolutionary potential of the festival, or the festivity of revolution, and if nothing else this event provided an opportune moment for a bit of posturing, a bit of theatre along the lines of the Lucy Parsons/Class War ‘Behold your future executioners’ stunt (Lucy Parsons, incidentally, pre-empts the concerns of King Mob as mentioned in the previous post, having said that ‘Now is the time for every dirty lousy tramp to arm himself with a revolver or a knife and lie in wait outside the palaces of the rich and shoot or stab them to death as they come out’). At the risk of sounding a little dramatic, an event like this serves to remind the people on the enemy front lines, the decision-makers of finance capitalism, that they are not isolated and unnoticed out there in Canary Wharf, that opposition is real. As such, when unified resistance is still so speculative and ideologically divided, there is still a time and place for quasi-celebratory, lighthearted, protest. And Canary Wharf at Halloween seems about right.
Unfortunately, once again, this gesture was easily contained and immobilised by a typically overestimated police presence and predictably dour ‘Lefty’ turnout: SWP banners, students with dreadlocks, beardy old men, djembe drums, black hoodies and so on. I hasten to add that I say this in full knowledge that I fit into this category somewhere or other, so it’s a fairly moot point, but an acknowledgement that the aesthetics of demonstrations are somewhat out of sync, perpetuating the old City Boys versus soap-dodging crusties dynamic.
Anyway, my own experience of this event, I think, is worth recounting. For the most part, I wandered about in the middle of the crowd of protestors, hemmed in by police, behind whom were all these fabled Bankers, I guess, looking bemused and maybe a little entertained. After a brief period of chanting and waving placards and so on, the samba (?) band started playing, so I just stood around watching them. Until, however, a column of about twenty police charged into the crowd to grab four or five Black men standing infront of me. In the process, these police stormed over a young woman with a pram. They threw the men aside and started searching, hassling or shouting at them, whilst a line of police blocked the view of the rest of the protestors. These police didn’t say much, refusing to speak after briefly offering an absurd excuse for targeting the few men who clearly looked different to the rest of the body of protestors. Eventually, the police let most of the men go and slid away. The men said they’d been accused of carrying weapons which, of course, they weren’t. Two of them were father and son who now, one imagines, will unfortunately be a little more careful about attending an event like this.
The effect of this episode was that the energy of the protest was dissipated, with the police demonstrating that they can and will use force, and there is very little that we can do about it. Any claims on their behalf of pre-empting violence are undermined by the aggression with which they charged into the crowd, irrespective even of child bystanders. ‘Racist Police stamp on babies’: a tabloid headline that won’t be seen any time soon. I took this whole event as a lesson that if you maintain outdated forms of protest, you will be met with what you had imagined was an outdated brutality of authoritarian backlash. The posturing of protest is yet to match the posturing of the police.

