Two of the greatest talk film (via Doug Tarnopol)
Another genius production from my friend John Butler.
Man is inadequate, but technology is intransigent.
Fusion brings fulfillment.
Here’s a wonderful 21 year old recording of Rage Against the Machine. By the end of the decade they were already a legend, and retired. Tom Morello, the guitarist, has since founded Audioslave, which became a rock legend in its own right, and Nightwatchman, his solo act. But two decades on, political art has yet to be bettered.
Note: I don’t speak French, I’m responding to a Google Translate version of the original post, so I’ll refrain from my usual special attention to semantics, in order not to dwell on what may be a technical mistake in translation.
Last Wednesday, Jacky Terrasson’s agent, Christophe Deghelt, responded to the massive campaign to boycott the Israel state sponsored Red Sea Jazz Festival (more details on the government and corporate connections of the festival in this article). Since thought did actually go into this post, I think we in the BDS movement should respond. So here it is, point-by-point. I hope this furthers public discussion, as BDS so often does, because just like Christophe Deghelt, this is a “debate that I hold dear”.
On Notions of War, Peace, and Popular Struggle
Earlier this week, I found a message in my inbox by an Israeli, who’s a Jazz musician, who’s paying gig was canceled because of a successful BDS movement campaign to get Swedish Jazzist, Andreas Öberg, to cancel his gig in the Eilat Red Sea Jazz Festival. Usually, the extent of my response, when I get unsolicited mail from angry Israelis, is to take a screenshot and add it to my “Love Letters” albums on my Facebook profile. Call it an artistic form of exhibiting political repression, racism and sexism, if you will (but what does culture have to do with politics, I wonder…). This time, however, since we’re not talking about your typical angry Red Hot Chili Peppers fan, but someone who has lost a paying gig. I think it merits a response (even though, as I will argue below, I am actually not the address for cultural worker grievances).
You Don’t Know Me and I Don’t Know You
The interesting thing about Israel is that its government and registered citizens have a wonky spatial perception, which feeds off itself: In Israel, you’re not in the state, the state is in you. Due to this cyclical perception, along with the “standard” “nation branding” (a marketing lie on to itself, and that sick capitalist perception of a state- a geographic territory with obligations and responsibilities towards its respective inhabitants- as a product which is on the market for sale), known as Brand Israel, much of Israel’s propaganda is based on the blurring of the lines between the individual and the state (and army).
As a BDS activist, whose main focus is cultural boycott, I’ve come up against a very common Israeli claim (individuals, small business, and government officials) that “culture has nothing to do with politics”. Most commonly it comes in the form of a puzzled “rhetorical” question: “What does culture have to do with politics?!” As if asking this question closes the discussion, because it’s so obvious that art, music, books, films, theater and dance are a pure form of entertainment that has no intellectual, political, anthropological value. As if cultural products aren’t bought and sold as commodities and status indicators.
Shuki Weiss Promotion and Production Ltd. in the Service of the State of Israel
Michael Parkinson of the BBC interviews the great Orswon Welles (1974). (He speaks about Hemingway around 15:00)
You book some tour, receive some award, get an event invitation. “They love me! They really love me!” you think. Or maybe “Woah, cool! I always wanted to go to Murmansk!” All of a sudden, out of nowhere, you start getting letters from Arizona: “Dude, we’re trying to have a picket line here, you’re seriously treading on our turf! Boycott racism!” Panicked, you call your agent: “But I just wanted to make music!” Your agent, being payed to be in contact with the corporeal world tells you how it is: “We’ll have to loose some revenue, but let’s donate this concert’s proceeds to these people’s organizations!”, better yet “let’s buy activists off with free tickets!” Without much debate, you happily pack your bags and head off in your private airplane to the Congo. After all, what do you know about politics?
A message from the Syrian opposition: “We just want to thank our sponsors in the CIA, MI6, Mossad, al-Qaeda, Qatar and the House of Saud for their generous financial support and high tech communications equipment.”
Anton Newcombe of The Brian Jonestown Massacre seems to have a very formed opinion of the Boycott, Divestment and Sanctions movement. Between the Palestinian-led organizations, the BDS National Committee and The Palestinian Campaign for the Academic and Cultural Boycott of Israel, and the U.S. Campaign for the Academic and Cultural Boycott of Israel, and my own little campaign on Facebook which continuously appealed to them among many others, it’s unfortunate that it never occurred to the band to try and contact the people who asked them not to play in Israel. I hate to write a post-performance letter [1,2,3,4,5], and some may ask what’s the point, but I truly believe that while it may be too late to get you to cancel, it’s it’s never too late to get you to understand. So one more time with feeling: A post-performance analysis and response to the statements of Anton Newcombe of The Brian Jonestown Massacre [Hebrew].