Wednesday, December 18, 2019




Since the 2010 Arab Autumn, it has become clear that leaderless revolts only have two inevitable outcomes. In the first, a game of musical chairs between right-wing imperialist forces will be played and only superficial change will be achieved, like in Quebec, Egypt, Tunis, and Sudan. The second possibility, a right-wing contra war will take hold of the country, as it did in Libya, Syria and Yemen. 
In both situations, two factors impede the possibility of genuine progressive change from crystallizing: a lack of revolutionary television broadcasting that can control messaging, and the lack of a political vehicle in the form of a party and leadership to capitalize on that revolutionary media. Without both, real change cannot be achieved. 
If a popular protest movement doesn’t have control of mass media, it cannot control the message, and if it doesn’t have a political vehicle and inspirational leadership, it cannot control the outcome.
Quebec’s protest movement had some semblance of its own media yet it lacked a political vehicle. The outcome was ultimately right-wing control. In Lebanon and Iraq, popular protest movements lacked both access to the media and a requisite political vehicle. To expect a different outcome than was seen in Quebec, Sudan – or Syria for that matter – is borderline delusional or based on some supremacist ideal that Lebanon is different than the rest of humanity.
I served as the Executive Director of CUTV, a small community television station in Montreal, Canada between 2010 and 2013. My experiences there provide critical insight into the importance of mass media and political vehicles for the success of a popular revolt. Since that time, I have been building on this experience in order to support popular protest movements around the world, including in Lebanon, my home since 2018. 

Quebec 2012

In 2012, the Liberal-Federalist party had control of the provincial government of Quebec and Jean Charest, the province’s Premier,  abruptly proposed raising college and university fees by 75 percent. As an executive at CUTV, which was located on the campus of the Anglophone (English) Concordia University, I heard murmurs from embedded reporters noting that students were organizing for a national strike. Events leading up to the strike indicated it would be different than usual. Student organizing in Quebec has historically been a fragmented sphere. English versus French student unions, college versus university, indigenous and “ethnic” versus white. This time, however, Anglo students were as fired up as the Francophone (French-speaking) students and indigenous students were pressuring the movement for inclusion. 
Recognizing the brewing mobilization for a province-wide and unlimited general strike among students in Quebec, CUTV decided to investigate mobile live broadcasting technologies in hopes of providing a mass media platform that could carry the demands of the students to Quebecers. The so-called Arab Autumn was energized and manipulated by al Jazeera through live high definition broadcasts from a camera stationed atop a building near the square, complete with full journalistic packaging. The Occupy movement was energized by low quality mobile live broadcasting from cell-phones. We were looking to surpass both of these models. 
We found solutions through burgeoning technologies at the time that allowed for high definition mobile broadcasting on cellular networks. We leased the equipment months before the general strike began in order to test and modify it to fit our needs. We deployed that tech with full journalistic packaging, the viewer was able to receive a full high definition broadcast with journalists conducting interviews and explaining events in both French and English, all live from the ground and mobilized to follow the action as it developed. 
CUTV Montreal Protests
An exhausted Laith Marouf and his CUTV crew report live
 from the ground in Montreal, May 20, 2012. Alexis Gravel | Flickr
This live mobile broadcasting created an echo chamber of sorts for the movement. More people were now joining demonstrations, in part, because of the broadcast and demonstrations were now getting longer and more frequent. This meant that we were broadcasting upwards of eight hours a day, this, during a strike that lasted for six months; the longest in the history of Quebec and of Canada. 
Within weeks, our online stream was garnering 150,000 simultaneous unique viewers, and our small community website was clocking 2.5 million visitors a day. In comparison, mainstream media and news television stations, who had no political stake in amplifying the demonstrations, did not suspend regular programming and only covered the protests during their regular three times a day news broadcasts. Even then, according to viewer statistics, the maximum number of simultaneous viewers that news broadcasters in Quebec garnered was around 10,000. This meant that CUTV controlled the narrative of the movement, and all the mainstream media combined could not counter our messaging. After six months, thousands of arrests, tens of injured, and daily police attacks on striking students, (and our broadcasting team) the government resigned and called for an early election.
It was at this juncture that the popular protest movement in Quebec lost control of its messaging as it lacked a political vehicle, a political party with structure and leadership, to carry it into power. Like many protest movements since the Arab Autumn, the young Quebecers refused to elect leadership and were therefore unable to provide voters with an alternative in the coming elections. As expected, the Separatist French Supremacist “Parti Quebecois” capitalized on the moment and swept the elections. As the new premier was giving her acceptance speech, an Anglo Federalist mounted the stage and shot at her with a handgun, luckily missing the shot, yet striking home the reality that a fragmented society, even in the so-called first world, can easily devolve into an armed civil conflict given the right (or wrong) media diet.   

Lebanon 2019   

While the 2012 Quebec revolt had the privilege of a movement-oriented media to amplify its voice and managed the messaging and narrative in the public discourse; protesters in Lebanon had no such mechanisms. 
When I arrived in Beirut in mid-2018, I was immediately approached by the country’s “left” parties and their associated media outlets. I had dozens of meetings, and in all of them, I emphasized the following: Lebanon was on the edge, the war in Syria had delayed any revolt, the last round of demonstrations in 2015 triggered by a garbage crisis was an indicator of a sill-glowing ember under the ash (or trash pile in this case) and that live mobile broadcasting capabilities were needed. In almost all those meetings, my pitch was received well and my ideas acknowledged. Yet nothing panned out as those parties and media hired consultancy firms or friends to supposedly deliver on the new multi-media strategy. 
When the demonstrations started, it was clear that “left” had failed to prepare. In stark contrast though, both the pro-imperialist liberal media and their right-wing counterparts were well prepared for the would-be revolt. 
In 2012, CUTV’s connections to the popular protest movement in Quebec and the information gathered while embedded with students allowed us to acquire requisite technologies, modify them to fit our needs, and train the crews on the new broadcasting and reporting models before any strikes were called. What was shocking in Lebanon was how just seven years later, TV stations like al Jadeed and MTV Lebanon were ready with the tech and training they needed to control the narrative of the burgeoning uprising without ever having used this model of reporting before. Al Jadeed had at least eight live units broadcasting across the country, MTV had at least six. Their crews were all trained and ready. Did they have prior knowledge of the would-be “revolt,” or were they informed by the power-brokers of what triggers could indicate a brewing movement?
In any case, what al Jadeed and others did was unprecedented in any country. Here you had corporate-owned stations suspending all regular programming, as well as advertising, and reporting live from the streets for upwards of eight hours a day. 
Lebanon protests
A well-equipped Lebanese news crew takes cover from police tear gas in Beirut, Oct. 18, 2019. 
Hassan Ammar | AP
Each broadcasting unit costs a minimum of $1,000 per 30 hours of broadcasting, add to that all of the drones, satellite trucks, journalists, technicians, camera operators, and anchors, and it becomes clear that such an operation cost these stations millions of dollars. Not to mention a substantial amount of lost advertising revenue. Why would profit-driven, corporate-owned stations take on such heavy costs if not for political gain? It was clear that these media outlets wanted the demonstrations to continue, and more importantly, wanted to control and manipulate their message and outcome. 
Compare this to mass protests movements like those affiliated with the Black Lives Matter movement in the United States, or the Yellow Vest protests in France, or for that matter any popular protest movement in wealthy countries with an imperialist bent. In those countries, no corporate-owned or government-sponsored media ever suspend their regular programming or deploy live mobile broadcasting to cover popular protest movements. This, among other factors, is proof enough of the political motive of such coverage in Lebanon. 
Progressive forces in Lebanon did not grasp this reality and allowed their movement to play into the hand of the country’s establishment media and outside influencers. These progressives, by adopting the motto of  “all of them, means all of them” early in the demonstrations, put all of Lebanon’s domestic political parties, including Hezbollah, into the same boat as the corrupt politicians who impoverished the nation. This motto, parroted repeatedly by a media vehicle controlled by foreign power-brokers, meant that the anti-corruption movement was instantaneously diverted into a movement against the enemies of those same by foreign power-brokers.
In a world ruled by multimedia and multi-platform international media empires; a leaderless movement, one that doesn’t control any mass media platform or political party, will, without any doubt, be manipulated by those who do. To believe otherwise and to insist on leaderless movements, especially given the many years of experience we now have to draw from; is to be myopic and delusional, or worse, to be a tool manipulated by those who wish to take control of those movements.
Feature photo | Anti-government protesters install a large cardboard fist labeled “Revolution” in Martyr’s Square in Beirut, Lebanon, Nov. 22, 2019. Hussein Malla | AP
Laith Marouf is an award-winning multimedia producer and media policy and law consultant. His media work spans issues of liberation and decolonization from indigenous nations to Arab peoples, while his policy consultancy work is concentrated on building broadcasting capabilities for misrepresented and underrepresented communities the world over. Follow him on Twitter and Facebook.
The views expressed in this article are the author’s own and do not necessarily reflect MintPress News editorial policy.
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How a Canadian superhero brought queer representation to Marvel Comics






Marvel Comics is frequently referred to as “the house of ideas,” yet the idea of a queer superhero did not fully arrive at Marvel until the 1990s. Despite Marvel’s reputation as a campus phenomenon and as a hotbed for liberal — even subversive — discourse, Stan Lee’s comics publishing juggernaut would not feature a canonically gay character until some 30 years after the debut of The Fantastic Four.
There’s a reason for that.
The 1954 Comics Code Authority — a censorship bureau that policed comics content — explicitly banned “sex perversion or any inference to same,” which comics scholar Hilary Chute notes is “a clear reference to homosexuality.” The Marvel Universe as we know it began in 1961, with the launch of Fantastic Four #1. Thus, Marvel Comics was, from the outset, actually prohibited from depicting gay characters.
So how do you a write a queer character at a time when comics are expressly forbidden from featuring queer characters?
In a word: delicately.

The slow coming out

It wasn’t until 1992 — three years after a major revision to the Comics Code officially opened the door to depictions of LGBTQ+ characters — that Marvel had their first openly gay superhero. In Alpha Flight #106 written by Scott Lobdel, the character Northstar (alias Olympic ski champion Jean-Paul Beaubier) declared: “I am gay.”
Even then this move was met with outrage by Marvel’s corporate leadership, Marvel Comics historian Sean Howe explained in his book Marvel Comics: The Untold Story.
Twenty years later, Northstar would also feature in Marvel’s first same-sex marriage, an event that was prominently depicted on the cover of Astonishing X-Men #51.


Astonishing X-Men #51. Written by Margaret Liu and illustrated by Dustin Weaver, published June 20, 2012. (Marvel)

A hotbed for queer subtext

Northstar had debuted way back in 1983 as part of the all-Canadian, government-sponsored superhero team, Alpha Flight. The team first appeared in the pages of X-Men, brought to life by Canadian artist and writer John Byrne and iconic X-Men writer Chris Claremont.
At the time, X-Men comics were already a hotbed for queer subtext. Comics scholar Ramzi Fawaz notes that Claremont’s X-Men “articulated mutation to the radical critiques of identity promulgated by the cultures of women’s and gay liberation.”
Another comics scholar, Scott Bukatman, puts it more simply and says: “mutant bodies are explicitly analogized to … gay bodies” in Claremont’s X-Men. It is no surprise then, that Marvel’s first gay superhero should emerge from this series.


Marvel’s first gay superhero emerged from the X-Men series. (Marvel)

Byrne described the impetus of Northstar’s sexuality:
“There needs to be gays in comics because there are gays in real life. No other reason …. The population of the fictional world should represent the real world. That’s why I created Northstar — I felt the Marvel Universe needed a gay superhero (even if I would never be allowed to say it in so many words in the comics themselves), and I felt that I should create one, rather than retrofitting an existing character.”

Validation through storytelling

Northstar’s sexuality first surfaces in Alpha Flight #7 (1983) when he meets up with “an old friend” named Raymonde who is strongly hinted to be a former lover. In the story, written by Byrne, Raymonde comments on Northstar’s good looks. He also references the secretive nature of his relationship with Jean-Paul: “Then you have not really told your sister all about me, after all, Jean-Paul? I thought that would have been odd.”


From Alpha Flight #7 (Marvel)

When Raymonde is later murdered, Northstar snaps with blind rage. The narrative caption tells us: “And Raymonde had led him out of that dark fear, into the bright clear light of self-acceptance.”
In 1983, the narrative of a former lover being murdered and thus spurring the superhero to action and emotional eruption was already a comics cliché. But staging that through a same-sex couple establishes a sort of subtextual validation of Northstar’s relationship as something more than the Comics Code Authority “sex perversion” label.
Two years later, in the 1985 limited series X-Men and Alpha Flight, Northstar’s sexuality is once again woven into a key story, this time written by Claremont. After having his consciousness briefly absorbed by the X-Man Rogue, Northstar becomes furious that she now knows his “secrets.”
In a misguided attempt to help Northstar, Rogue then asks him to dance at a very public reception. When Northstar’s own teammates make fun of the incongruity of Northstar dancing at a ball with a woman, Rogue thinks “None of y’all understand him the way ah do.”
In the face of this ridicule, a stoic Jean-Paul takes Rogue up on the dance. She remarks “You don’t have to,” to which he replies, “Yes, Rogue. I do.”


From X-Men and Alpha Flight #1 (Marvel)

Northstar

On the literal level, Northstar is being ridiculed for his general disinterest in heterosexual romance. But Claremont is crafting a story of a man who struggles with his closeted sexuality in the face of social pressures.
It’s a sympathetic portrayal of the character that helps to normalize the concept of a gay superhero, even if Marvel couldn’t identify him that way at the time.
Whether through delicate subtext or comics covering wedding events, Northstar holds a uniquely prominent and, at times, poignant position in the history of LGBTQ+ superheroes.


As we come to understand the importance of diverse representation within the superhero genre, this is a character that needs to be known, discussed and hopefully appreciated.

How a Canadian superhero brought queer representation to Marvel Comics

December 17, 2019 5.23pm EST
Author
J. Andrew Deman
Professor, University of Waterloo

Disclosure statement

J. Andrew Deman receives funding from SSHRC to study the X-Men comics of Chris Claremont.

Partners

University of Waterloo


University of Waterloo provides funding as a founding partner of The Conversation CA.


SEE https://plawiuk.blogspot.com/search?q=LGBTQ

SEE https://plawiuk.blogspot.com/search?q=GAY

SEE https://plawiuk.blogspot.com/search?q=COMICS

Billy Bragg shares his memories of the late singer-songwriter Kirsty MacColl



English singer-songwriter Kirsty MacColl (1959-2000) on Oct. 3, 1979. (Getty Images)


Listen10:16
If you've heard the 1987 single Fairytale of New York by the Pogues, then you know Kirsty MacColl's voice. This year the late singer-songwriter would have turned 60. Political singer and activist Billy Bragg was MacColl's good friend. He joined us to share his memories of MacColl and why he thinks she never truly received the recognition she deserved during her life.

Kirsty MacColl
Singer Kirsty MacColl killed by speedboat while swimming. The British singer Kirsty MacColl has died in a boating accident in Mexico. The 41year-old daughter of folk singer Ewan MacColl was struck by a speedboat while swimming off the coast, said a representative of her management company.
From Wikipedia, the free encyclopedia

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Kirsty MacColl
Kirsty MacColl at Double Door Chicago.png
Kirsty MacColl at the Double Door in Chicago, March 1995
Background information
Birth nameKirsty Anna Louisa MacColl
Born10 October 1959
CroydonSouth London, England
Died18 December 2000 (aged 41)
CozumelQuintana Roo, Mexico
Genres
Occupation(s)Singer-songwriter
Years active1979–2000
Labels
Websitekirstymaccoll.com
Kirsty Anna MacColl (10 October 1959 – 18 December 2000) was a British singer and songwriter. She recorded several pop hits in the 1980s and 1990s, including "There's a Guy Works Down the Chip Shop Swears He's Elvis" and cover versions of Billy Bragg's "A New England" and The Kinks"Days". Her song "They Don't Know" was covered with great success by Tracey Ullman. MacColl also sang on recordings produced by her then-husband Steve Lillywhite, most notably "Fairytale of New York" by The Pogues.

Kirsty MacColl was the daughter of folk singer Ewan MacColl (1915–1989) and dancer Jean Newlove (1923–2017). Her father was born in England of Scottish parents. She and her brother, Hamish MacColl, grew up with their mother in Croydon, where Kirsty attended Park Hill Primary School, Monks Hill High School and John Newnham High School, making appearances in school plays. At the time of her birth, her father had been in a relationship with folk singer, multi-instrumentalist and songwriter Peggy Seeger since 1956 (a relationship that would continue until his death in 1989), and already had a son with her.
She came to notice when Chiswick Records released an EP by local punk rock band the Drug Addix with MacColl on backing vocals (The Drug Addix Make A Record) under the pseudonym Mandy Doubt (1978). Stiff Records executives were not impressed with the band, but liked her and subsequently signed her to a solo deal.[1]

— Produced by ​Ben Edwards
SUSTAINABLE FASHION REDUCE, REUSE, RECYCLE 
The Current

'It's pretty staggering': Returned online purchases often sent to landfill, journalist's research reveals


Cheaper for businesses to just toss returns than check if they can be resold: Adria Vasil





Online shopping has created a boom in perfectly good products ending up in dumpsters and landfills, environmental journalist says. (Ko Backpacko/Shutterstock

Listen11:49
Do you order different sizes of clothing online, knowing you can return the one that doesn't fit?
Did you know the ones you return are sometimes sent straight to landfill?
Online shopping has created a boom in perfectly good products ending up in dumpsters and landfills, according to Adria Vasil, an environmental journalist and managing editor of Corporate Knights magazine.






Amazon has faced accusations of destroying returned items in both France and Germany.
The issue also affects unsold products. Burberry admitted in 2018 that it had incinerated £90 million worth of clothing and accessories in the previous five years. The company stopped the policy last year after a public outcryVasil spoke to The Current's Laura Lynch about how consumers can fight the rise in waste. Here is part of their conversation.
How is the boom in online shopping influencing how much good product just goes to waste?
It's pretty staggering. The increase of the volume of returns has exploded by 95 per cent over the last five years. And in Canada alone, we are returning $46 billion worth of goods every year. And you think, OK, what's the big deal? Well, the problem is that — especially when we're returning online — a lot of these products end up going in landfills.
Why? You're returning something that's new and fine?

It actually costs a lot of companies more money to put somebody on the product, to visually eyeball it and say, Is this up to standard, is it up to code? Is this going to get us sued? Did somebody tamper with this box in some way? And is this returnable? And if it's clothing, it has to be re-pressed and put back in a nice packaging. And for a lot of companies, it's just not worth it. So they will literally just incinerate it, or send it to the dumpster.
Do you have an example of something that we might all be doing that could lead to this kind of a waste?
Have you ever bought any clothes online? 
Yes, absolutely.
We're buying more of our clothing online, but it's actually hard because you don't really know exactly the sizing. So what many of us are doing is called bracketing. We will buy a medium, small and large or, you know, an 8, 10 and 12, and try them all on and then return the two that don't fit. Problem is, the two that we return are actually, in many cases, being landfilled. And the brands do not want to deal with those returns. So they'd rather just dump them.
So are there companies that are trying to curb this practice? Are there solutions?
We're seeing so many clothing brands, in particular, throwing out or incinerating clothes, as Burberry did. They were caught burning billions of dollars of clothes. H&M as well. And it was a scandal, you know, for people in the clothing industry. Finding out, if you're a shopper, that billions of dollars are being burned because they do not want this ending up on the market, and undervaluing their clothes on shelves this year. It lowers the prices, et cetera. 
So we're seeing some brands push back against this. Patagonia has started an online and a physical store for products that are maybe slightly damaged that they have repaired. You're seeing some brands actually do the repairing, encourage the repairing, so that they can get packages and goods back on shelves. 
France is banning … having those [returned goods] go to landfill.
And so we're starting to see a shift in attitude. People are actually, I think, really fed up and disgusted by the practice. 



Stores will sometimes dump returned goods rather than go through the process of checking and repackaging them. (Shutterstock/ungvar)
Why won't companies give the clothes to charities?
It's an image thing. They're trying to maintain exclusivity. They're trying to maintain kind of the specialness of their product. But it's really symptomatic of a larger issue with kind of our consumer culture right now.
So what can we do as consumers, especially now that we're doing shopping for holidays? 
I would highly recommend that you do second-guess your returns. So, think about the product closely and see if there's somebody else who can give it to. If you do not want to return it, can you donate it instead? 
Purchase second-hand. A lot of us are buying new goods that we don't really need. And there is an increased trend in second-hand shopping right now. And so I would encourage you to partake in it and to look for brands that are actually part of the circular economy, that are, like Patagonia, repairing, refurbishing and fixing goods at the end of their life so that they can have a second life. And so that we do not end up with so much waste.

Written by Padraig Moran. Produced by Ben Jamieson. Q&A edited for length and clarity.

MORE FROM THIS EPISODE



Canada·Exposing Hate

Airbnb bans members of defunct neo-Nazi website Iron March

'Our community is a better place without them,' short-term rental website says

Airbnb has previously removed accounts of people planning to attend white supremacist events in American cities. (Martin Bureau/Getty Images)
Airbnb has banned 60 accounts belonging to members of Iron March, a neo-Nazi forum that was taken down in 2017 and whose contents were leaked by activists this year.
The short-term rental company announced the move on Friday, six weeks after the online activists posted the entire database of the notorious forum.
"This was a no-brainer. When we see people on our platform pursuing behaviour antithetical to our Community Commitment, we take action to prioritize the safety of our community," an Airbnb spokesperson wrote in an emailed statement.
"Anyone sympathetic to neo-Nazi ideology and violent extremism has absolutely no place on Airbnb, and our community is a better place without them."
Iron March was one of the most extreme far-right websites on the web, the birthplace of Atomwaffen Division, a terror group whose members have been charged in five homicides in the U.S. Iron March members often discussed serving in the military to gain combat experience for an eventual "race war."
A screenshot of an archived version of the Iron March forum before it was taken down in 2017. (Internet Archive)
Two years after disappearing from the web under mysterious circumstances, the full database of the website was leaked online by someone identified only as antifa-data. The leaks contained all post forums along with private messages, email addresses of members and their IP addresses.
Earlier this year, CBC traced about 90 members of the forum to Canada, including 10 who clamed to be in the Armed Forces or considering joining. CBC identified one of the members as a navy reservist in Calgary who espoused a violent fascist ideology but claims to have since been deradicalized.
Airbnb did not specify how it linked the Iron March data to its own members, saying only that it used its standard verification process. The company requires members to provide their names, email, phone number and photo ID to sign up.
"That's one kind of social consequence for being part of a hate group," said Evan Balgord of the Canadian Anti-Hate Network. "It sends a signal that their views are condemned by every reasonable person."
In 2017, Airbnb removed user accounts of people who were seeking accommodations to take part in a far-right rally in Charlottesville, N.C., where one participant drove a car into counter-protesters, killing a woman named Heather Heyer.
This past April, Airbnb also removed the accounts of people linked to a hate group that organized a white nationalist gathering in a national park in Tennessee.
It later banned Canadian far-right figure Faith Goldy from the platform.

ABOUT THE AUTHOR

Roberto Rocha
Journalist
Roberto Rocha is a data journalist with CBC/Radio-Canada.