I have been watching the ‘Sad Puppies’ campaign in the world of science fiction and fantasy writers for a while now, with mounting amusement. If you are unaware what it is, think of it as a backlash against the overt cultural Marxist ‘Social Justice Warrior’ clique who have been dominating the Hugo Awards for many years now.
Several on the left have remarked the sudden slew of anti-authoritarian nominees has been due to an influx of GamerGate supporters. Yet as the number of votes has only increased slightly, it would appear the GamerGate people were already there, they just finally decided to stand up, form two ranks and figuratively shoulder their Martini-Henry rifles, whilst facing the podium occupied by the establishment.
Anyone who thinks the Culture War is unwinnable or not even being fought by our side is not paying attention.
Yet in Guards, Guards, a reign of terror begins with attacks on small businesses driven by envy and resentment whipped up by a cynical politician. In later books, a conman redeemed through entrepreneurship becomes the hero who saves the day. It is the rich, human mess of the marketplace, under the rule of law, that his heroes strive to protect. Through Pratchett’s generous gaze we see not only the absurdities of a commercial civilisation, but also its abiding value.
Animals loose in a car are never a good idea. Goats are generally the worst, but until you realise there’s a tortoise stuck under your brake pedal you’ve never known the meaning of fear, and possibly not the meaning of ‘old age’ either.
– Sir Terry Pratchett, The Unadulterated Cat. Sadly Sir Terry never really got to know the meaning of ‘old age’ himself. I think he did know the meaning of fear when contemplating a particularly cruel death for a writer, but knew even better the meaning of courage. I would link to the famous “embuggerance” statement to illustrate this point but so many other people are doing that right now that it has melted the internet.
Translation? If you’re not left-wing, keep your mouth shut. What’s becoming clear is that under the false premise of making spaces “safe” for minorities, the only people whose safety is really becoming at risk is right-wingers and basically anyone who doesn’t wholly subscribe to the doctrine of political correctness.
Crash OverRide Network is not an anti-harassment campaign. It cannot be an anti-harassment campaign as it is run by someone who profits and gains notoriety by openly harassing people online. An anti harassment campaign is one that works to prevent the harassment of everyone, whether you personally like them, whether you disagree with things they have done, or whether they share your political ideals. If Quinn really wished to prevent harassment online, she would stop perpetrating it. I will surely not be the last woman she tries to remove from our industry.
Yes, here’s another Happy New Year to everyone, this time from French National Treasure Jean-Paul Belmondo, snapped by me (in amazement at how he looked – I think I last saw him in Borsalino) straight off of French TV (no idea which channel), at or around midnight on Dec 31/Jan 1:
I thought Belmondo had died several years ago. After seeing him on TV, I still suspect that maybe he did die, and that the museum where they keep all the dead (human) French National Treasures has a highly sophisticated animatronics department.
January 2nd, 2015 | 6 comments - (Comments are closed)
One of the lead stories on the UK national news today is a report that a hacking attack on Sony has led to a satirical film at the expense of the brutal regime about North Korea being pulled from Western cinemas:
Sony is canceling The Interview‘s planned theatrical release in response to all major US theater chains deciding not to show the film after attacks were threatened. “In light of the decision by the majority of our exhibitors not to show the film The Interview, we have decided not to move forward with the planned December 25 theatrical release,” Sony says in a statement, reprinted by Variety. “We respect and understand our partners’ decision and, of course, completely share their paramount interest in the safety of employees and theater-goers.”
“We stand by our filmmakers and their right to free expression.”
The hackers who stole data from Sony threatened attacks on screenings of The Interview yesterday afternoon. In the time since, around half of all movie screens in the US declined to show the film.
Sony’s statement continues: “Sony Pictures has been the victim of an unprecedented criminal assault against our employees, our customers, and our business. Those who attacked us stole our intellectual property, private emails, and sensitive and proprietary material, and sought to destroy our spirit and our morale – all apparently to thwart the release of a movie they did not like. We are deeply saddened at this brazen effort to suppress the distribution of a movie, and in the process do damage to our company, our employees, and the American public. We stand by our filmmakers and their right to free expression and are extremely disappointed by this outcome.”
It is hard not to see the decision by some cinemas to pull screening of the film as anything other than a dangerous capitulation to threats of violence, although one appreciates that the owners of the cinemas think they have a legitimate issue in protecting staff and audiences. But still, this sort of move is bound to encourage other criminals to target any film, of whatever stripe, that they dislike and wish to close down. A few years ago we had the Danish cartoon episode. So what next, one wonders? I wonder what would happen if someone in the West produced a film taking the piss out of the bare-chested leader of Russia?
Meanwhile, in a weird case of life imitating art, the hackers have also allegedly grabbed an early script of the newest James Bond movie. You almost wonder whether this is clever pre-publicity, but it appears this is not.
December 18th, 2014 | 40 comments - (Comments are closed)
The moon is blue, so I shall defend a socialist prestige cultural project. East Germany had its shotputters, the USSR its grand masters of chess, Venezuela has “El Sistema” – a much lauded system of musical education. Now, however, there is a discordant note:
Over 40 years, El Sistema, Venezuela’s music education system, has given a million children the opportunity to play in an orchestra, enriching, they say, the lives of youngsters from the barrios.
Its methods have been emulated in 60 countries, notably Scotland, where a Sistema-style operation was pioneered on a tough housing estate in Stirling with support from the classical violinist Nicola Benedetti.
The mood music has changed, however, with the publication of El Sistema: Orchestrating Venezuela’s Youth, by Geoffrey Baker.
Aghast at the book’s claims of corruption, mismanagement and nepotism within Venezuela, a Conservative politician has questioned whether El Sistema should extend its reach any further. Yesterday, Alex Johnstone, MSP for North East Scotland, said that plans for a Sistema orchestra in Dundee must be halted while the claims are investigated.
“This book gives the impression that the system is much more authoritarian and intolerant than some were letting on,” said Mr Johnstone. “Not so much a new idea, as back to the Victorian habits of teaching piano by rapping them across the knuckles.”
Corruption, mismanagement and nepotism in a socialist show project would astound me only by their absence. But authoritarianism is the norm when teaching children to play musical instruments the world over, and has been since forever. The exception is the namby-pamby modern Western middle classes, and not all of them. The common opinion of that portion of mankind that gives music lessons or pays for them is that you won’t be going anywhere until you have done your quota of scales, sweetums, and if your name is Wei or Xiuying, these days that quota is likely to be big.
Do not misunderstand me. I like namby pamby. I’ve been uncomfortable with compulsion in education for decades now, and if not convinced that it can be dispensed with altogether for the very youngest children, am certainly convinced that it can be phased out at a far younger age than most people think. In most contexts I am convinced that education without force is immeasurably better education.
But how do you get them to practise – or don’t you? Given that it takes unfailing hours of daily practice to make a great player, and that for most instruments the great players invariably start young, would the price of freeing children from the slavery of music practice be no more great classical musicians? If so, would it be worth it?
December 12th, 2014 | 29 comments - (Comments are closed)
The Samizdata people are a bunch of sinister and heavily armed globalist illuminati who seek to infect the entire world with the values of personal liberty and several property. Amongst our many crimes is a sense of humour and the intermittent use of British spelling.
We are also a varied group made up of social individualists, classical liberals, whigs, libertarians, extropians, futurists, ‘Porcupines’, Karl Popper fetishists, recovering neo-conservatives, crazed Ayn Rand worshipers, over-caffeinated Virginia Postrel devotees, witty Frédéric Bastiat wannabes, cypherpunks, minarchists, kritarchists and wild-eyed anarcho-capitalists from Britain, North America, Australia and Europe.