You heard me.

Utah jazz ensemble The New Hot 5 performs for a herd of cows in Autrans, France.

Via Kate, Michael Moynihan on the reprehensible fantasist Eric Hobsbawm:

In a now infamous 1994 interview with journalist Michael Ignatieff, the historian was asked if the murder of “15, 20 million people might have been justified” in establishing a Marxist paradise. “Yes,” Mr. Hobsbawm replied. Asked the same question the following year, he reiterated his support for the “sacrifice of millions of lives” in pursuit of a vague egalitarianism. That such comments caused surprise is itself surprising; Mr. Hobsbawm’s lifelong commitment to the Party testified to his approval of the Soviet experience, whatever its crimes. It’s not that he didn’t know what was going on in the dank basements of the Lubyanka and on the frozen steppes of Siberia. It’s that he didn’t much care.

Readers of How to Change the World will be treated to explications of synarchism, a dozen mentions of the Russian Narodniks, and countless digressions on justly forgotten Marxist thinkers and politicians. But there is remarkably little discussion of the way communist regimes actually governed. There is virtually nothing on the vast Soviet concentration-camp system, unless one counts a complaint that “Marx was typecast as the inspirer of terror and gulag, and communists as essentially defenders of, if not participators in, terror and the KGB.” Also missing is any mention of the more than 40 million Chinese murdered in Mao’s Great Leap Forward or the almost two million Cambodians murdered by Pol Pot’s Khmer Rouge.

Similar sleight-of-hand and attempts to isolate Marx from the practical fallout of his totalitarian blueprint can be found here. And for sheer tragicomic delusion, this is tough to beat. As is this.

KC Johnson on the difficulties of juggling Designated Victim Groups:

The contemporary academic majority worships the trinity of race, class, and gender. Class is clearly the third wheel – unsurprisingly given that most tenured professors are well-off financially and secure in employment, and therefore don’t have a personal connection to the preferred ideological viewpoints on the issue. The competition for primacy between race and gender, however, is less clear-cut. In a matter like the lacrosse case, where the preferred viewpoint on class, race, and gender all dictated a rush to embrace false accuser Crystal Mangum’s wild claims, the result – as we all saw with the Group of 88’s activities – can be vicious. But the rape of Katie Rouse, a white Duke student, by a local black man was met with utter silence from the Group. As I noted at the time, they seemed desperate to avoid making a politically difficult choice.

Armed and Dangerous finds affirmation in a flash mob Bolero:

Ravel could not even have imagined the cellphones the musicians used for coordination; our capacity to transvaluate old forms – and our willingness to do so – is unparalleled in human history. What I saw in that video is that embracing this process of perpetual reinvention is what being “Western” means. We have developed more than any previous or competing civilisation the knack of using our past without being limited by it. I looked at those musicians and that audience, and what I didn’t see was decadence or exhaustion or self-hating multiculturalism. I felt like pumping my fist in the air and yelling “This is my civilisation!” It lives, and it’s beautiful, and it’s worth defending.

And Laban Tall notes a lesson in cultural contrasts:

From time to time, I fly to Stockholm from Manchester. On arriving at Arlanda, I’m greeted by giant posters of Stockholmers saying (in English), “Welcome to my town!” On return to Ringway, I’m greeted by posters warning me not to assault airport staff. A few months ago I flew to Munich for the first time. On arrival I was greeted by a Bluetooth message from BMW, promoting their cars. Returning to Manchester, I was greeted at luggage reclaim by a giant poster offering me a test for chlamydia.

As always, feel free to add your own.

Readers, it’s time to acquaint yourselves with the work of Dr Graham St John, a Research Associate at the University of Queensland’s Centre for Critical and Cultural Studies and “an anthropologist of electronic dance music cultures, festivals, and movements.” Dr St John’s scholarly projects include Performing the Country: Culture, Identity and a Post-Settler Landscape, “a study of  contemporary performative contexts for the (re)production of ‘Australianness’ in the wake of recent historical and ecological re-evaluations,” and Making a Noise, Making a Difference: Techno-Punk and Terra-ism.

The latter “charts the convergence of post-punk/post-settler logics in the techno-punk development in Australia” and “provides an entry to punk through an analysis of the concept of hardcore in the context of cultural mobilisations which, following more than two centuries of European colonisation, evince desires to make reparations and forge alliances with Indigenous people and landscape.”

As the texts in question may induce an urge to self-harm, I’ll attempt to convey their profundity with some visual extracts:

Above, a “cultural mobilisation.”

Some speakers, radically situated.

Radical philosophy.

Another blow to the Hegemon.

Dr St John’s more recent and even more ambitious project is Dancecult: Journal of Electronic Dance Music Culture. For the heathens among you who don’t already subscribe, and for whom the terms noisecore and bloghouse are just strange and scary words, the Dancecult journal is,

A platform for interdisciplinary scholarship on the shifting terrain of electronic dance music cultures (EDMCs) worldwide.

Its concerns are of course numerous and deep.

From dancehall to raving, club cultures to sound systems, disco to techno, breakbeat to psytrance, hip hop to dubstep, IDM to noisecore, nortec to bloghouse, global EDMCs are a shifting spectrum of scenes, genres, and aesthetics. What is the role of ethnicity, gender, sexuality, class, religion and spirituality in these formations? How does existing critical theory enable understanding of EDMCs, and how might the latter challenge the assumptions of our inherited heuristics? What is the role of the DJ in diverse genres, scenes, subcultures, and/or neotribes?

The journal’s current gems include Media Studies lecturer Dr Hillegonda Rietveld’s Disco’s Revenge: House Music’s Nomadic Memory, an article rendered lofty by obligatory references to Deleuze, Guattari and de Sade, and which “addresses the role of house music as a nomadic archival institution,” one that is “keeping disco alive through a rhizomic assemblage of its affective memory in the third record of the DJ mix.”

Some of you will, I’m sure, feel a strong urge to contribute, thereby helping to expand the boundaries of human knowledge on matters of great and pressing import. Happily, Dancecult is preparing a themed issue, due for publication in April 2012, to which scholarly contributions may be submitted:

This special edition of Dancecult seeks contributions from scholars of psytrance from all disciplines and methods attending to this genre (or meta-genre) in a period of transition and growing complexity.

“Critical attention” should be paid to the following:

The role of the contemporary psytrance festival,

The continuing significance of the “traveller” (as opposed to “tourist”) pretence or sensibility,

And,

The repression of Goa/psytrance.

If some readers are unfamiliar with the cultural minutiae of raving sub-genres, a brief outline is helpfully provided. It seems that for devotees of psytrance, now is a time of crisis:

In the 2008 edition of Psychedelic Traveller magazine, in an article “The Exodus of Psytrance,” Sam from chaishop.com reported that… “the exodus of artists and dancers is clearly visible. Most primitive cornerstones of psytrance parties have lost half or more of their visitors. Most labels have signed bankruptcy, media companies are struggling if not yet dead, scene workers left for a ‘normal’ job.”

Dark days.

Yet, while psytrance has been buffeted by manifold economic, political and aesthetic crises, it appears to be a hardy and durable phenomenon… In the areas of genre, music production/performance, event production, virtual distribution, pharmacology, it appears that psytrance flourishes amid complexity.

Sweet mercy, the dream still lives.

Now get cracking on that paper. It’s vital work.

Watch the strings.

No computer graphics or slow-motion effects were used in the video. There is, however, some debate as to what it is we’re seeing…

John Lennon was never imprisoned or tortured, but he was seen as a threat.

That’s the Guardian’s Jonathan Freedland in a piece asking Where Are Today’s Political Popstars? It’s highlighted as an editor’s pick, no less.

They weren’t wrong to think the man who once shook his moptop like a wind-up toy was radical: he was. In Give Peace a Chance and Happy Xmas (War is Over) he had written not one but two anthems of the movement to end the Vietnam War.

Ah, anthems. Written in support of a movement whose most notable gift to mankind was a totalitarian future for the Cambodians and Vietnamese and one of the largest genocides in history.

His politics hardened in the immediate aftermath of the Beatles’ breakup, declaring after Bloody Sunday that in a choice of the British army or the IRA he would side with the IRA.

A terrorist organisation responsible for the murders of close to 2,000 people, many of whom were civilians, and which, according to the Observer, Lennon saw fit to fund with tens of thousands of pounds.

He sang about Revolution; many thought one was on the way.

Indeed. Lennon also found time to lend his pop star gravitas to the Workers’ Revolutionary Party, a Trotskyist cult apparently financed by those moral colossi Muammar al-Gaddafi and Saddam Hussein, and which entranced such artistic luminaries as Corin and Vanessa Redgrave. The WRP’s ambitions included socialist revolution, the overthrow of private property and the replacement of the police by a “workers militia.” Imagine that. And hey, who wouldn’t feel threatened by a millionaire pop star sprawled on his peace bed high above Manhattan, singing a hymn to global totalitarianism and a world with “no possessions,” while his sidekick Yoko collected fur coats?

For some beautiful dreamers any revolution will do. And this is the Guardian, where communist psychodrama must be given a free pass. That’s what radicals do, apparently.

Update:

Karen points us to today’s Guardian editorial, which is positively engorged with pop radicalism. 

While [Morrisey] is a political weather-vane blown by emotional gales, [Johnny] Marr is a sturdy signpost pointing left – a friend of the great bard of socialist song, Billy Bragg, and the mover behind the Smiths’ involvement with the anti-Thatcher Red Wedge musical collective.

Yes, Johnny Marr:  the vegan socialist who crashed his BMW after another tequila binge. When not strumming his instrument and “forbidding” certain people to enjoy his records, Mr Marr is a “visiting professor of music” at Salford University, where he rails against “an age of stifling conservatism.” And, oh yes, the “great bard of socialist song” Billy Bragg. A man who – proudly and in a very serious voice – told Radio 4 listeners that he’d “learned all of his politics from pop music.”

Some things you just can’t parody.