My Reaction to 'Spider-Woman's Big Ass is a Big Deal'

I finally got around to reading The Best Page in The Universe's appraisal of the Spider-Woman cover controversy, which had been recommended and derided to me in equal measure over the last few weeks. On reading it, I got exactly what I expected. To catch up, if you haven't already, you can read a rather more measured appraisal of the Spider-Woman butt controversy on The Guardian.

Parts of it I actually agree with. I definitely concur that once the internet furore among the feminist blogs got blazing, a lot of the criticism of the cover lacked the anchor of the image's context within the rest of comic art. But I consolidated that with the fact that sometimes an issue just needs a 'straw that breaks the camel's back' like this particular cover to bring it to wider attention. At the time, I certainly wasn't ready to take sides and, as with anything on the internet, tried to enjoy and learn from the intelligent debate around the issue, and ignore the ignorance.

But after reading the Maddox blog, I was left in the odd position of agreeing with him but utterly troubled by his means of making his argument - the shaming, blanket generalisations and attacks against people who object to 'this kind of thing' that I've seen time and again. If anyone vocalising unease with certain aspects of entertainment being too misogynistic, homophobic, racially provocative or whatever is going to be lumped into a group of grey, borderline-fascist do-gooders then I've got a few generalisations of my own about the way that a certain type of men on the internet tend to react to reasonable criticism. I've seen many of these arguments on my own Facebook wall recently when I voiced concern about a misjudged joke on a cartoon or bemoaned the commissioning of a TV show by a comedy actor who uses aggressive, sexualised insults on complete strangers. Frothing-at-the-mouth, PC bastard I am.

Knock knock. Who's There? Moist.

 First is that argument about 'don't like it, don't watch it', that simultaneously skirts - and misses - the issue. Just as an American who uses the expression 'Freedom of Speech' to justify deplorable views will quickly be reminded that with that freedom of speech comes our freedom of a suitable response, you don't have to subscribe to a comic or own the DVD box-set to participate in a critical analysis of its content and influence. We have the freedom to watch what we want, just as we have the freedom to respond to it. The irony of the 'don't like it, don't watch it' brigade is that people who use that defence are so often the same ones to argue about how much influence the media - read, too much - has on the West in terms of our outlook, attitudes and lives in general. So why is it so hard to join those dots? If something misogynistic, racist, or homophobic is within our mainstream media, people object to the issue of its influence and effect of 'normalising' certain behaviour. You can minimise it by calling it 'taking offence' or 'being PC' if you must, but it can't be dismissed with 'don't watch it then' because, just like blaming drunk women for their own rapes, the culture it creates affects us all whether we like it or not.

Secondly, I think the straw man 'initiative' of drawing every image of Spiderman as Spider-Woman is the typical internet hardcore-gamer mentality; dodge the issue, move the goalposts, jump on the attack and use a technicality to belligerently, but entertainingly, shame the argument of the opposite party. Instead of listening to their opponent's points and creating a coherent retort, they frame a nuanced argument as a 'game' in which they can use their Photoshop prowess to 'win' rather than a debate where you can learn from each other. Changing Spiderman into Spider-Woman uses a lot of smoke and mirrors but ultimately proves nothing - whether I agree that the Spider-Woman cover crosses a line or not, I can clearly see the difference between that and Spiderman in terms of the sexualisation of that image. I can't believe I'm having to explain it, because we all know it's there. There's a kinetic dynamism in the Spiderman images. There's a sexual slither in the Spider-Woman image. It's the work of a great artist that can bring that out. And I'm not saying I ultimately object to a sexy female comic character in context... but spare me the bullshit that it's all the same thing. I've read super hero comics since the age of four. While you might be able to draw Spider-Woman in a pose that looks the same as Spiderman, that doesn't make women any more equal or make you 'right'. Engaging and sharing your views about the issue, standing by your point while conceding ground, compromising and teaching... that's what makes you 'right'.

The 'image game' can work both ways.

I don't want to tell people how to think. And I don't always agree with the leftist, liberal 'voices' he wildly generalises about in this article - but I'm really fucking glad they're there. And while you're going to get people like Maddox that dig their heels in, if the 'Social Police's influence is a drip-drip-drip of producers thinking twice before going with the lazy over-sexualisation of women in comics, or hiring people like Sam Pepper for TV shows, then I for one applaud them for their vigilance and pressure. Ultimately, the entertainment aspect of mainstream media is more interesting and enjoyable for all of us if women aren't lazily characterised as sex objects or damsels in distress. Paradoxically, Marvel's progressive use of female characters in many of their lines is one of the main reasons why their comics have been consistently kicking DC's arse critically for the past decade. Whether, depending on your perspective, it's a scandal or a non-issue that they chose to run this particular cover, what it has demonstrated, once again, is that a certain section of males are still shamefully unable to deal with valid accusations in a reasonable way.

The Five Things You Need In Your EPK

This article originally appeared on the blog at Songeist.com.

This week, I’m going to get into answering a question I’ve received from Songeist member Jim Bridgeman from punk n' rollers Fish Hook.

JB. "Hi Barney. Have really enjoyed reading the blog! I have a question about press / promo packs. Would you say there are any rules to using these? What should / shouldn’t be in there, who should / shouldn’t they be sent to. I’ve often tinkered with the idea but never really done this properly. Thanks."

THE FIVE THINGS YOU NEED IN YOUR EPK
Be they Zipped-up as part of an EPK, or simply presented on a band's sites and social media, there are several key elements that make up any band’s complete electronic press / promo pack. EPK, or electronic press kit, is a term coined by the inventor of online music sales certifications Andre Gray, and popularised by sites like Sonicbids and Reverbnation, to denote a complete, one-stop resource for a band to present its assets to a promoter or press. Although there is a lot of crossover between the two, for the sake of clarity and the limitations of this blog, I’m going to concentrate on a general EPK rather than a press release to go with a record release. For an emerging artist, an EPK is a great way to ‘introduce’ yourself to a promoter or press in an easily digestible, but comprehensive, package.

THE EPK IS DEAD, LONG LIVE THE EPK
Think of your press pack, or EPK, as the digital equivalent of what sending a CD in the post with your biography and contact details folded around it used to be. However, with the help of the internet, we can painlessly use this package to include a few more things to help in our promotion, such as high-quality photographs and logos, videos and MP3s, and other assets. It's very important to remember that we’re entering an age when downloading content itself is going the way of the floppy disk. Now that people are switching to simply using streaming content and their Skydrives and iClouds for storage, even downloading the EPK content alone might be undesirable to the other party.

That’s not to say that just because downloading ZIP files is dying out, EPKs are. Everything in the EPK is vital to have at your disposal. Completing your EPK then uploading it to your various sites, as both a ZIP and the separate audio and visual assets is going to mean that you have everything accessible and up-to-date. Even if the way that the content is disseminated isn't always going to be via the ZIP download, your EPK is still essentially presented piecemeal across your sites. So devising and collating it as one 'project' makes complete sense to ensure your content and copy is synchronised.

The circle of life

1) YOUR MUSIC
When it comes to EPKs, which include large music files as well as other assets, keeping the file size to a minimum is key. You might get that one promoter that enjoys the efficiency of an EPK and refuses to jump around your sites for your assets, but also doesn’t want to wait an hour for your five-song WAV opus to download either.

A maximum of three MP3s at 256kps bit rate is sensible. Make sure that the MP3s are correctly ID3 tagged. Correctly tagged MP3s mean less hassle for the user, it ensures the tracks are named and ordered correctly and they look professional and organised. Fill in the track name, artist, album ("Your band name EPK" is fine for an album name in lieu of anything else), genre and, importantly, track number. This will ensure that when the files are dragged or copied into an MP3 player, they will appear in the order that you want them in. As a fail safe to make sure that the tracks are in the right order (often MP3 players are set to use alphabetical order to denote track order) it’s fine to put the track number at the start of the song name on a promo release. Also recommended is attaching the MP3 artwork directly to the MP3 file.

For creating and editing MP3s and their tags, I recommend MusicBrainz for editing and LAME Front End for encoding but of course, Windows Media Player and iTunes are both more than capable of doing all these tasks. Any music that’s going in your EPK you should have uploaded, tagged and ordered in an online streaming playlist on a site such as Songeist as an alternative to these MP3 files and include the live link to this playlist in the covering email.

2) YOUR BIOGRAPHY
A biography is a must in your EPK and is an incredibly valuable asset to your band. It’s standard to format the biog (as well as additional text like gigs, links and contacts) as a Microsoft Word DOC file, which can be read by practically any system. A PDF is acceptable and has more scope for fancy imagery, but PDFs can be very large and are a pain for a journalist or promoter to cut and paste text from. A TXT or RTF file is fine to read, but is less functional in terms of images, customisation and links than a DOC. A DOC represents the best mix of functionality and size; the file is small and easy for a writer to work from but you are free to include hyperlinks from the document as well as a small logo and photo at the top of page one.

I’d keep your biog to the point, between 200 and 500 words. Three paragraphs of three long sentences will do the trick. The way I structure biogs is to have the opening paragraph an overview of the bands location, style and influences. The second paragraph will deal the band’s most recent record and activity and the third paragraph will be an overview of history in terms of live shows and records released. That way you can periodically go back and tweak paragraphs two and three to reflect recent developments or things you want to highlight, but the first paragraph stays largely the same, and is the paragraph most likely to be quoted on blogs and gig promo.

If you want greater detail on my views of how to write biogs, my Top 5 Mistakes That Bands Make In Their Biogs blog was recently featured on the Unsigned Guide. As Marcus Reeves kindly commented in response, it’s also very important to get someone to proofread your biog. Like a folder of badly tagged MP3s, there’s nothing that screams 'amateur' more than a biog riddled with spelling and grammar mistakes.

Spelling mistakes. Setting you apart from the compitition since day one.

3) PHOTOS AND LOGOS
Do not underestimate how important visuals are to press and promoters. Ultimately, while the success of your band is probably not going to hinge on one photo, it has far more influence than you might imagine. Don't get your mate to photograph you in the garden and do a logo on MS Paint. If money's an issues, just like we've all done gigs for exposure at the start, there are hundreds of band photographers in college that will do you a shoot for peanuts, as well as decent logo designers who will do the same. For the sake of an afternoon's research, you can massively enhance your band's appeal with good images. Two large, print-quality JPEGs at least 1500 x 1500 pixels in size is enough. One live shot and one studio shot, or one portrait and one landscape, will provide versatility. Resist the urge to submit every single one of your studio shots 'just in case' as it will just increase the file size.

Providing a graphic file of your logo is also very useful. I'd go with a PDF of the vector art over a JPEG. There is a school of thought that says a large JPEG is preferable, and maybe it was in the past, but in my mind, anyone currently designing a poster or putting together an article for a magazine is going to have the capabilities to deal with a vector PDF. This means that you can attach the file as a smaller size and the image will not degrade when it's manipulated. The designer will have the ability to change the colours and style of the logo to suit their art if they have a vector. There's nothing more cool to see than a nice festival poster where your logo is stylised along with the rest of the artwork and a PDF or EPS will make the designer's job that much easier to make that happen. The format it comes in might be the difference between him or her bothering or not.

If the EPK is accompanying a specific release, by all means include a large JPEG of the album or single cover at least 1000 x 1000 pixels in size.

4) PRESS QUOTES, LIVE DATES, CONTACTS AND LINKS
Rather than having these details as a separate document, it’s absolutely fine to include the press quotes, live dates, contacts and links in the same DOC file as the biog, making a neat, two-page document. It’s also acceptable to have these as separate documents if you need to split things up a little (having a separate file for a full UK tour might be necessary for example) but always aim to keep the document as compact and clutter-free as possible. Again, be sure to format and proofread correctly and bear in mind that we don’t want a breakdown of everything you’ve ever done, just a digestible, well-presented summation of it.

It’s tempting to include every great press quote you’ve ever had but, as with all these things, efficiency is key. Three short quotes that you present in a way that grabs attention is better than three paragraphs that describe the minutia of how great you are but don't fit on a flyer.

Your list of contacts needs to include at least one email for the band or management, and that goes for your social media and websites too. I can’t imagine how many promoters or blogs have just given up on bands because they don’t have emails displayed on their Facebook or rely on Contact Forms on their site. I know I have. Sorry to burst your bubble, emerging artists, but you don't need to avoid stalkers just yet. Soundcloud messaging might be easy for you, but it isn’t easy for someone who works in the industry and needs to save, organise and cc their correspondence in the way that email allows.

Don't go overboard with the links. You should definitely include your official site, Facebook, Twitter and Soundcloud and could include preferred music vendors such as Bandcamp or Songeist but every last social site isn't necessary. One link that’s becoming an increasingly vital is your band’s YouTube page. Make sure your YouTube Page has its best foot forward. If you're busy on YouTube and your homepage is constantly rotating through content for hardcore fans, create a playlist of a few of your select promo or live videos and link to this playlist through the hyperlink in the text.

Fish Hook's Rachael. Expect her EPK on its way!

5) OPTIONAL EXTRAS
If you're sending out promotion for your latest single, or the whole appeal the band hinges on your visuals, you might want to consider including a promo video as a small MPEG in the EPK. Everyone has access and familiarity with YouTube now, so I would generally advise against sending videos in EPKs, specifically because of the increase in the file size. That being said, it’s certainly been something that I’ve done, and been encouraged to, do in the past.

Another thing that’s a standard in an EPK is a stage plan. If the main purpose for your EPK is to send out to live venues, there’s absolutely nothing wrong with including this. However, I would certainly confirm that it’s been read and acknowledged before turning up to a gig and expecting a full rider and saxophone stand based on the fact it demands one on your stage plan in your EPK. There’s a handy stage plan creator HERE.

Finally, it's important to note that this blog is my breakdown of a small, efficient, multipurpose EPK that's easy to download, touches all the bases and is my personal preference. Bands can make a wonderful impression by presenting all of the above in a huge, multimedia PDF file with interactive menus and videos if they so desire, especially if they're targeting to specific press and promoters who have a vested interest, patience, and ultra-fast broadband. Whether having an esoteric, resource-heavy EPK is something you want to utilise over the small, humble, 'does what it says on the tin' EPK I've described is something you need to decide for yourself.

SENDING IT OUT THERE
With the separate assets complete, remember to take this opportunity go back over all your sites and refresh your tracks, photos and copy to correspond with the material in your EPK. Then select the place where you're going to store the EPK, such as Dropbox or OneDrive. It's a good idea to upload the assets separately in two separate folders so you can give people who, say, just want the tracks, the option to grab them. That means first Zipping up your MP3s into one folder, then Zipping up the photos, logos and DOC file(s) in another folder and uploading them separately. Then take both the original folders and plonk them in another folder called 'Your Bandname EPK'. Zip that up, upload it, and you’re done.

Last but not least is your covering email. It’s important to take the same care and attention to detail in writing this email as you did in making your EPK. I'd use your email’s HTML editor to link using words like HERE rather than having long, ugly URLs all over the place like this… http://www.songeist.com/tw/4V5a9em

Laying your links out like this would be perfect.

Listen to 'Your Band Name' EP HERE (link to your streaming site).
Download Full 'Your Band Name' EPK HERE (link to the EPK file).

Good luck!

Barney

I’d really love to hear any more questions you guys have about music and promotion as it pertains to emerging artists. Please email me your thoughts, suggestions and queries to barney@songeist.com

Vinyl photo courtesy Acid Pix's Flickr used under Creative Commons License.
Sign Spelling photo courtesy John Lillis's Flickr used under Creative Commons License.

Let’s Get Engaged (or How I Learned to Stop Worrying and Love the Book)

This is the original version of a music guidance blog that I wrote for US site Music Clout HERE and the UK version for Fresh on The Net HERE.

Facebook Pages. For a musician, they are an increasingly frustrating proposition. Their functionality, features and business model are still developing while over forty-two million users can only observe and react to the changes taking place. Month after month, it seems that your Page’s non-paid reach is less and less. The platform has simply become another advertising avenue for acts and businesses with deep pockets to use. It’s easy to become despondent. Complain about this on Facebook and some bright spark on your timeline will quickly point out you’re moaning about the free resource you’re currently using. But while the platform is free, it seems only fair that fans that have taken the time to 'like' you on Facebook should receive your updates and not have the site’s content generator getting between you. So what can we do about it? The truth of the matter is, and I hate to say it, that your annoying Facebook-defending buddy is actually right; complaining about a free site performs isn't going to get anything changed. At the Music Biz 2014 conference this week in Los Angeles, Facebook representatives were less than forthcoming with answers for an angry artist asking them why he has to pay to reach his fans. With no indication that this trend is going to reverse it means that our perspective, techniques and understanding of Facebook Pages needs to change along with the technology. We might not like this fact but unless we’re going to pay for the service, we have to face it.

I manage a Facebook band Page with nearly 24,000 fans. That may sound like a lot, but between albums and promotional pushes, the Facebook Page can actually be a profoundly lonely place. Photographs struggle to get in double-figures of 'likes'. Unanswered questions bounce around the wall like echoes down a ravine. Every now and then, we'll have an unpredictably viral post, be it a photograph of Flea with his bass guitar unplugged or a funny-looking shot of Beyoncé, heavily shared and seeded from our photo upload. While the reach these successes gave our profile was welcome, they were not without their drawbacks. Many strangers to our band met the posts with direct hostility, often engaging with the content but not bothering to read the neutral accompanying messages and assuming we were attacking the artist. Some of our established fans actually 'unliked' us, accusing us of gossip-mongering. While proving that engagement in a hot topic is a route to Facebook Page traffic, unless I was going to change the site to a Superbowl half-time gossip column, these excursions into hundreds of shares weren't adding much to the page’s overall purpose.


BEYONCE. POST WITH CAUTION.

FED UP WITH FACEBOOK
In the face of such emasculation and loneliness I went on the offensive. These are our fans, god-dammit! Why should we have to pay to speak to them Facebook?! As have many bands before me, I sent an image in our mailout asking that fans actively add themselves into the ‘Get Notification’ category for the page. Rather pathetically I also did it on our Facebook and asked fans to share it. It never really occurred to me that for this to have any tangible effect, I’d have to do it at least once a week, cluttering up my feed with more requests for attention and taking up a precious post that could be used for some engaging, original content. I was fed up with Facebook.

It was while I was writing a blog detailing some mistakes that bands make when addressing crowds at gigs (which you can check out on Songeist.com HERE) that it struck me. There I was in my blog, complaining about the bands that stand onstage and tell their fans that they've ‘driven here for hours’ and ‘have no money’ so ‘please buy our CD.’ And yet, there I was doing the same thing on our Facebook page. I was practically telling our fans, ‘you like us’ so please ‘go out of your way to complete this convoluted process’ because ‘Facebook isn’t fair’. I sounded just like one of those whiney bands that always irritated me with their demands on their audience. Looking back, I should think myself lucky that nobody posted a ‘Call the Wambulance’ meme.


PLEASE BUY OUR CD!

A DIFFERENT APPROACH
We can't change what Facebook’s algorithms are doing to our non-paid reach, but we can change our approach. If we want to use our Facebook Page to boost our exposure, and not simply respond to it, it is no longer viable to simply use the page to pass on information and expect a result. We must actively engage and then use the fallout from the engagement to pass information on. For emerging artists and businesses in quiet periods we need to assert ourselves and deliberately stoke the coals of our user’s reactions. With this home-truth realised, I became inspired to see if I could make something happen on Facebook by grabbing some impressions and extending our reach. I came up with a small branded promotional image to test the theory. Just over a week later, the image has had nearly half a million impressions and is still going strong with no boosting and just a small push from me. It truly is just a case of putting a little thought, creativity and work into our Pages and reaping the rewards.

The idea came to me one afternoon when I happened upon a ‘What’s Your MC Name?’ Facebook post from a radio station and saw the colossal amount of shares it had accrued. It was a simple variant on the old ‘first letter of first name / first letter of last name to denote a new name’ gimmick. It wasn’t anything mind-blowing but here it was with millions of impressions. I considered the post’s success and I realised that this worked on a similar principle to another viral post I’d shared days before. A video which promised that 95% of people, after completing a maths problem, think of ‘red hammer’ when asked to think of a colour and a tool had duped me into sharing it. The amount of people who answer ‘red hammer’ is actually significantly lower than 95%, but it's enough that people like me, who did think of ‘red hammer’, are amazed by the video’s ability to read their minds. And so they share it. The penny dropped that a key to engaging people is providing the user with a post experience where they feel their own result is worthy of discussion. A list of rappers is mundane until you include the user's own name in the process. When the image reveals the distinctive MC name it seems unique, original and worth a share, even when, in reality, the same names come up again and again.


What’s Your MC Name? MINE’S DEADLY MONEY. So is many other people’s.

WHAT’S YOUR SKA NAME?
I went home that night and did a Sonic Boom Six variant on the name generator. After making sure that the idea was original by doing a quick Google search, I threw together my own ska name generator. I added a small band logo and hashtag at the bottom of the image, careful that the branding wouldn't get in the way of the content. The process of devising it was simple enough. I broke down around forty-eight names of old ska singers, making sure to never include a first name and surname that could together result in an actual ska act’s name, i.e. for ‘Prince Buster’ I would only use either Prince or Buster, ultimately meaning that every name was original. I added a few vector graphics of dancing ska men, neatly processed the image using Adobe Illustrator and posted the image on our Facebook. I then messaged a handful of the ska sites around the world just to get the ball rolling. While I did post it on Twitter and Tumblr pages, I was careful to prioritise the Facebook post in my efforts. The image was conceived to promote the Facebook Page and there would be no point cannibalising my audience. After two days the sharing really began to take off exponentially across other act's and promotion's pages.

One thing to remember is that it’s important to stay on top of the shares and track the places where your viral image appears. With any successful image, it is inevitable that some people will re-upload it without sharing it directly from your site but you don’t have to stand by and do nothing. The SB6 Page was deprived of impressions when one of the leading ska bands in the world innocently re-uploaded the image and posted it. Rather than ignore this, I messaged them and politely pointed out what had happened and they were good enough to re-share it direct from the Sonic Boom Six Facebook Page. By the end of the week, in a large part due to the band re-posting it, my page’s reach was over 800% further than the week before with hundreds of thousands of users 'talking about' the band. For days afterwards, my new photos were hitting double the 'likes' than they had previously. My little experiment proved that we don’t have to pay to get our Facebook posts out there, but we do have to work.


What’s Your Ska Name? Daft but half a million people have seen the name of our new album.

It is now over a week ago that I posted the image. Slowly but surely the engagement is creeping back down to the level it was at before posting it. Am I upset about that? Whether I am or not, there doesn’t seem to be a lot I can do about it. This blog isn’t an attempt to justify Facebook’s commercial decisions; it’s an attempt to face up to them. Ultimately, I would never advise that a band puts all its eggs in the basket of another site. I’ve seen bands spend years concentrating solely on building up their Myspace, Facebooks and now Tumblrs only to lose all that equity once those sites outstay their moment of popularity. It’s a hare and the tortoise analogy; bands should maintain their own website and mailing list to have an independent platform protected from the whims and decisions of the ‘hot’ sites of the day. What this exercise did prove is that if you need a boost from your Facebook page you can realise that challenge with a touch of creativity and a little hard work. Every day I’m thinking of different ways to engage and it’s had a knock-on effect on my attention to detail on our own website, improving interaction between us and our fans beyond Facebook. If the silver lining of their campaign to monetise our interaction is that we all have to reconsider how we communicate with fans and give them a better user-experience across the net, that’s something. I’ve proven that something as simple as an engaging image can extend our reach. Now I just have to come up with the next one.

Think of a colour, and a tool…

Barney

The Daley Dozen.

It's been another one of those days on Facebook and Twitter. It might appear like my psyche is currently entirely reserved for disdain towards the everyday trends that pop up on our social networks, but if you'll just indulge me this one more then I promise I'll leave it alone for a few weeks.

As far as Facebook goes, today's treatment of the news about Tom Daley coming out has been great as far as I can see it. There have been a lot of sarcastic tweets with people spelling out how his sexuality is of no consequence to them and quite a few congratulatory tweets lauding Tom for leading the way for other sports personalities. Of course, converse to the observations on my last blog (which I won't mention again today...) that's exactly what you'd expect of the circle of friends of the faux-punk, lily-livered liberal that I've been repeatedly assured I am over the last few days. If someone posts homophobic, or indeed overtly racist or misogynistic things, I'll generally just un-friend them. But of course, I know this behaviour exists. I see and hear it across the internet and across real life.

We all know it's there.

Do we really need 'best of's?'

Tom Daley, winner of today's internet.

Is it just me that is getting suspicious of these blogs that make compilations of the 20 worst tweets then post them to Tumblr as an example of all the bad things that are being said? I'm sure this phenomenon started well-meaning enough. First time I was really aware of it was the litany of disgusting tweets supporting the boys in the Steubenville High School rape case showcased on a webpage. The tweets were truly disturbing and a worthwhile window into a culture that castigates victims of rape if the social circumstances are convenient enough. It was eye-opening. But from there these tweet compilations moved into other territory such as sexist responses to Miley twerking to teenage idiot girls tweeting how they'd still like to shag Chris Brown after all the bad things he did. I clicked through one today, offering to lift the lid on all the awful things the UK public had to say about Tom Daley and was left feeling slightly confused about the practicalities of a list that basically comprised of a Twitter search for the words 'Daley' and 'fag'. And I was also left feeling slightly had.

Because you click and look at them don't you? It's a bit like rubbernecking at a car crash. If a car crash was a faceless pillock using text speak to present their bigoted worldview on their phone while they wait for a bus. But these aren't the kind of people who are going to be overly concerned about appearing on a Tumblr list of this sort. Quite the contrary. If someone's throwing the word 'fag' about on Twitter, chances are they're only going to be too happy to appear on that kind of a wall of shame. And I know, because I've just ten minutes looking at people attacking them on Twitter and they're just laughing at then AND getting retweeted by other bigots to boot. Whatever we're doing, it isn't working.

Maybe I'm getting cynical in my old age but now I can't work out whether the people who make these lists are genuine... or just going for clicks, publicity and the chance of some filthy lucre for their own website in the name of social consciousness. Maybe a bit of both? I think we're just sharing them on our Facebooks without even wondering about the motives of those who have compiled them. And even if the motives are sound, I think they are, judging by today's response, misguided.

All those saying homophobic things on social media about Tom Daley deserve to be called out. The culture of Facebook and Twitter and other sites should be muscular in its disapproval and express outrage and anger at these outmoded schools of thought. I absolutely support the idea that this behaviour should be challenged and social media is a place where that's not only appropriate, it's the right thing to do. But whereas a criticism or challenge from someone you know, follow or speak to online might make you change your mind, a mass social attack from a faceless group of vengeful strangers who have seen your post displayed on another stranger's blog is likely to be much less persuasive. Frankly, they'll probably just tell you to fuck off.

We don't need webpages re-presenting this dirge on a list to know it goes on, furthering the oxygen of publicity and attention these daftpots crave. And so, I'm not clicking any of these bloody 'look at all the shit things they said on Twitter' lists any more.

Until The Sunlight Comes...

Barney x

p.s. Don't ask for a link to the list. For obvious reasons!

...And Justice For All!

With the verdict of the Ian Watkins of Lost Prophets trial causing waves across cyberspace over the last couple of days, social media has put me in mind of an upturned rock unleashing an army of angry, confused ants. On her Facebook, Laila K described the day as 'intolerable' and I felt much the same. Yesterday, I was moved to have a mini-rant about the concept of 'prison justice' and was alerted to Enter Shikari Rou's BLOG, appealing for calm and the refreshingly sensible suggestion that this could be a chance to understand the pathology of the criminal rather than spilling his blood in a public execution. While I can empathise with the social media outpourings of anger and vengeance, Rou’s angle on the situation is one that I lean towards.

What really started chapping my arse across the day (and the topic of this short blog) was the proliferation of those 'prison justice' Tweets and Facebook posts. You know the ones. They move from the speculative; 'ah well, he'll get raped up the arse in jail', to the hopeful; 'I hope he gets raped up the arse in jail' to the downright jubilant; 'FUCK HIM! DIRTY PERV! He's gonna get cut into pieces then raped up the arse in jail'.

I've just logged in this morning and, for my sins, read a thread on the profile of a Facebook 'friend' (note, someone I don't really 'know') and seen more air fist-pumping with an arbitrary, and frankly terrifying, confidence that Watkin's will get his just deserts. And those desserts will not be served to him through a hatch on a plastic tray. Those deserts will not be delivered by a trial of his peers. They will not be reached through measured, supervised reflection on his crimes, using cutting-edge psychoanalysis and rehabilitation techniques. Oh no. Deserts will be provided by the lumpen fists of a hero from Salford serving twenty-five years for violent criminal affray. Let joy be unconfined!

The comfort that so many people clearly have with this scenario bothers me. There seems to be an accepted consensus that there are these terrific people in jail that are put there for no other reason than to punish wrongdoers for the good of society. It's a fine concept until you consider that someone has to do the abusing. Far be it from me to split hairs about the relative evils between child abuse and blind, ugly, violence involving strangers and the elderly but, by golly, someone has to. 

Don't get me wrong, I'm sure there are loads of great blokes in jail. Top dudes you’d well have a pint with. Benefit cheats, weed dealers, chainstore shoplifters, the Irish, that kind of thing. But, and this is just a hunch,  I reckon the ones given nonce-bashing duty tend to be the ones that are a bit handy with their fists, like. The kind of blokes that beat a stranger into a vegetative state because they looked at their girlfriend sideways in some bar called Rios in a seaside town. I have about as much faith in these men administering society’s justice as I do in Boris Johnson re-distributing the nation’s wealth. 

To me, whilst not as taboo within our Sarah’s Law Society, beating a man's brains into the ground is just as perverse as urinating on a girl. And, yes, the details of what went on in those infamous videos with Watkins go far beyond the pale. But nothing can be bad enough that it's going to make me sleep any easier knowing that Big Barry from Bournemouth’s got it covered. I don't want to give anyone the idea that I'm lying awake at night wringing my hands over the injustice of Jeffrey Dahmer’s prison decimation at the hands of some Peckerwood with facial tattoos. But neither am I looking on that as any real kind of justice and I’m certainly not foaming at the mouth and cheering the idea on, slapping my hands together shouting “and that's the end of that chapta!"

It'll be rate. Let Barry deal with it.

The violent criminal that kills a paedophile does it behind the same cowardly smokescreen of self-righteousness and self-loathing that castigates ‘grasses’ and ‘rats’ within that culture. It’s not justice. It’s a self-serving excuse for more violence and sociopathic behaviour that put them there in the first place. To cheer it on is ugly, pig-headed and, yes, perverse and it demonstrates an elementary misunderstanding on the nature, and proliferation, of violence within our society. You’re cheering fighting fire with fire.  If someone in jail for something as nefarious as beating a stranger to death kills a paedophile, that's simply not something a healthy society celebrates.  End of.

So please stop it, internet.

Yours

Barney x

I just finished the biggest e-interview I've ever done

It's gonna be on Punktastic.com tomorrow i guess. Lots of outlandish talk about mp3s, dodgy bands and America. I hope it isn't boring, cos it took a long time to write.

Easter was nice by the way, I went and saw Donn Letts play records and it was hip-hop, ska, punk and drum and bass all together which warmed the cockles. It was put together mainly by Mind on Fire collective who do loads of good things in Manchester as well as Anarchistic Undertones and some free party crews.

I ate no chocolate eggs though.

Cowabunga x

My first blog!

Hello all y'all out there.

This is the new, proper Boom blog which is gonna be the new place to keep up with us. We're just gonna be posting all sorts of thoughts, goings-on and anything that takes our fancy up in here. We're gonna link it to the other sites and so on but, until Myspace allows external blog feeds, we're gonna have to treat those seperately. So think of this blog as the shenanigans and opinions and following us about and the site news and myspace blog as the boring stuff like ticket buying, cd releases and official announcements. Booooo.

OK then, today we're supposed to be in the States but we couldn't go. Bah. Instead we're up at Ben's recording some vocals which are for another band's record on a duet between Laila and the certain singer of a certain Bostonian ska band. I'm not gonna say exactly who it is in case the song doesn't work out but from where I'm sat it sounds really cool. So that's something to look forward to innit?!

Ogley Dogley.

Barney x