>The Art of Persuasion, Part 1: British propaganda posters

>Originally posted June 28, 2007.


Propaganda posters. They are commercials of evil; mindfucking the people, enslaving the masses. They don’t win any wars, these fascinating weapons of destruction, but they certainly play a huge part in creating hostility, fear, national pride and false consensus.
But first and foremost, as with almost any totalitarian art, the posters are beautifully crafted and do indeed hold some ancient power of belief, spirit and fanatism. Their influence cannot be denied, neither in the political sphere, nor in the world of art.

As strategic weapons, propaganda though flyers, posters, radio broadcasts and television serve as a compliment as good as any to military campaigns, diplomatic negotiations and economic sanctions. Back home people are being told to produce more for their country, to keep silent and to hate the enemy. At the front propaganda seeks to strengthen the morale of the troops and to weaken the enemy’s will to fight.
The strategy for propaganda differs between countries and ideologies. The Nazis idealized the Aryan übermensch and blamed Jews, bankers and Bolsheviks for everything bad in the history of the world. USA speaks of democratic values, the trust in God and creates grim stereotypes of the enemy. Britain, during World War II, used the “hate the enemy” themes, and the Soviets invoked the nationalist image of Mother Russia to make its people gain power and confidence.
The war game would not be the same without the art of persuasion.

First out in this small series: The art of British propaganda.













>Att tillåta sig själv att vara dum i huvudet

>Originally posted june 21, 2007.

I’ve started writing for the Swedish paper Tidningen Kulturen. It’s first and foremost a weekly periodical published on good ol’ paper, but some of its content is published online as well. My first text is an attack on mindless reviewers and critics. The whole paper is in Swedish, so… bring out your dictionaries, you people of alien origin.


Att tillåta sig själv att vara dum i huvudet

Lågt vördare idioter.
När man nattetid plöjt Deleuze, kanske beskådat Tarkovskijs Stalker ännu en gång, tänkt till kring världspolitikens dagsfrågor och vurmat för kulturell bildning och fan vet allt bra och nyttigt man gjort under ett dygn, då är det kanske dags att klä av sig naken, inta liggläge i nån gammal maläten fåtölj och placera hjärnan på fotpallen för en timme eller två. Låta förnuftet släppa taget.
Man måste nämligen tillåta sig själv att vara dum i huvudet ibland.

Det är i detta tillstånd, den kravlösa dumhetens tillstånd, man bör recensera vissa typer av kulturella yttringar för att de ska komma till sin rätt. Den allmänhatade förståsigpåaren bör i detta fall regrediera till puberteten och de värkande knotterbollarnas tid, kanske häva en till pojkrummet insmugglad lättöl och spänna sig framför spegeln – allt detta för att kunna insupa vad som komma skall.
Och det som kommer är i det här fallet 300, Zack Snyders film som blivit så sågad av den kulturella eliten, samtidigt som den blivit så hyllad i – dataspelstidningar!
Och det är här förståsigpåarna går bet, för till vem riktar sig filmen? Ja, inte är det till överkulturknullade, rödvinspimplande livsnjutarskribenter i alla fall. Nej, det är hormonstinna fjortisar (jag är en sådan i en 32-årings kropp, när jag lagt ifrån mig Deleuze…) som ska underhållas. De för vilka IRL är lika med online, där kontakter knyts bakom stängda dörrar i anarkistisk frihet.


300 är som ett fett intro till en next gen-konsoll. Hela filmen är så alltså. Fullständigt bisarr. Fantastiskt korkad. För ändamålet dock alltigenom klockren.
Förståsigpåarna jämrar sig över historisk inkorrekthet, krigspropaganda och imperialistiskt inflytande på oss mindre bemedlade. Gällande det historiska: filmen bygger på en serietidning som är allt annat än historiskt korrekt. Slutdiskuterat på den punkten.
Krigspropaganda? USA-flirtande? Måhända. Det är som sagt i ett vidare begrepp mer eller mindre ett dataspel vi snackar om (visst kan USA:s utrikespolitik liknas vid just detta, ett dataspelsmässigt agerande), och den som inte räds sanningen vet att det är välgjorda våldsspel (Grand Theft Auto-serien) som röner större framgång, varar längre och skapar mer givande debatter än gulligulliga pusseldito med moralkakor till frukost. Detta är nuläget. Ni behöver inte gilla det, men ansträng er åtminstone en sekund och försök greppa perspektivet genom era solkiga postorderlinser. Det är trots allt ert jobb, ni lågt vördare recensenter som sågar på IQ-befriade grunder.

300 är en IQ-befriad rulle. Det är väl ingen som förnekar detta? Tar man den för vad den är och placerar den i sin rätta kontext bör man också skapa sin kritik därefter. Få av förståsigpåarna har gjort detta. De har mestadels gjort sig lustiga över den där Jean-Pierre Barda-bögen i guldkalsonger. Man kan undra om de läser serier, spelar dataspel eller någonsin gjort en omvärldsanalys. Kanske är de bara kåta på uppmärksamhet och vill synas i media?
Det går att jämföra äpplen med päron (300 med Casablanca), men det är inte smart. Det är IQ-befriat. Vi fjortisar skrattar alltså åt er idioti och drar vidare längs den virtuella allén.

300 – March to Glory
har i dagarna släppts till Playstation Portable. Varje vettig varelse som har spel som sitt intresse och levebröd har givetvis sågat skiten, men jag ger mig fan på att om en sådan där pseudoviktig förståsigpåare recenserat spelet hade det blivit full pott. ”Wow, det här är inte illa jämfört med mitt gamla Game & Watch!”
Vänligen gräv er egen grav och tillåt mig knuffa er däri.
Put up or shut up.
This is the end.

Mattias Indy Pettersson

Published in Tidningen Kulturen #16/2007, June 12th

>Great movies of the 80’s: Threads

>Originally posted June 10, 2007.

You’re in for something really dark and depressing here. Mick Jackson’s Threads (1984) really got to me the first time I saw it, and by reading the reviews it seems I wasn’t the only one having a hard time sleeping for a couple of nights. Some say they still have nightmares twenty years after watching this movie.

So what makes this film so horrifying? Obviously because it’s so very real.
It’s set in Sheffield, England, in the mid 80’s during the Cold War, and in short shows what might happen if the world would face a nuclear war. It brings society to its knees, forcing us to go back to our very basic principles and needs. There’s no comfort to be found anywhere. Everything is bleak and hopeless, still the people are fighting for survival. Survival for what? one might ask. Survival to face even more death and destruction? There’s no electricity, no clean water, hardly any food and all hope is gone. Outside the world is dying as rulers of the earth wage their pretty little video game war.
What would you do?


The documentary style along with the grim scenes makes for some truly memorable moments. The fact that it could happen any day, without warning, adds to the realism. You won’t find any over the top Hollywood special effects in this movie, just the disturbing truth of what would really happen living in a radioactive environment while there’s a war going on outside no one is safe from (hi Mobb Deep!). There’s no second chances here.

When will we push the button?
When will the warheads hit?
When will the madness end?


Keep in mind that there are many thousand nuclear weapons ready to be fired at any time aimed at any place in the world within minutes. Look at the US and the Soviet Union at this very moment, june 2007:
USA is planning to place missile defence systems in eastern Europe (according to the US: “to counter the threat from Iran”), and Putin (who fears USA is planning to aim their missiles towards Russia, since he argues that the threat from Iran is non-existent) will respond by aiming his nuclear arms towards Europe!
Holy fuck, this surely is a video game to those asshole leaders!
Seems like there’s a new arms race around the corner… Read about it in Swedish here, and in English here.

You really should watch this film on a proper system, but for those of you who can’t get a hold of the DVD it’s available online here. Please, do NOT fast forward – you’ll miss out on the whole thing, you dumb fuck.

But then again, mushroom clouds and fireballs can look pretty beautiful…



Afterword: Square Leg was a British government project made in 1980 that estimated what would happen in Britain in the event of an actual nuclear attack. It projected the mortality rate at 29 million, serious injuries at 7 million and short term survivors at 19 million.

>Oswald Spengler – The Decline of Cultures

>Originally posted June 03, 2007.

Excerpt from the Sick Of It All song Just look around (1992):

The question they keep asking me
How can one so young be so bitter and angry
Well, the answer is plain to see
Maybe if they weren’t so blind they’d see what I see
I see the homeless livin’ out on the street
on every corner they’re asking for money
I try to help them whenever I can
but sometimes I can’t afford to help myself
I see diseases and modern plagues of our times
The greed of our leaders has made them blind
to our problems, they spend millions overseas
people right here are fightin’ wars everyday

I see the whites that hate the blacks
blacks against the jews
race against religion
and they’re all too blind to see

So you digest that for a moment. Take a look around. What do you see? It shouldn’t come as a surprise that the world is marching towards death in the fast lane, speaking of morals, art, spiritual beliefs and the environment.

Oswald Spengler
(1880-1936), german philosopher and historian, took this look around and came to some mighty fine conclusions. He summarized those in 1918 in his book Der Untergang des Abendlandes (The Decline of The West – Form and Actuality), which later on was completed by a second volume, Perspectives of World History (1923).

Spengler makes two clear points:
• That histories of various cultures can be shown to follow a similar pattern
• That all aspects of a culture – arts, politics, mathematics, science, etc– have related underlying principles, which differ from culture to culture

Spengler looks upon history as an organic cycle, rather than linear, that has to pass through the stages of birth-development-fulfillment-decay-death. In the West we tend to look upon history as something always moving forward, evoluting to the better. This, according to Spengler, is the result of the Western man’s ego, thinking that everything in the past pointed to him, making him the center of the world and so on.
The cyclical movements of history are not those of nations, states, races and events, but of High Cultures, each and everyone of equal importance. So when Spengler speaks of the decline of the West, he speaks of the decline of its culture. Thus, the people live on, but their culture is destroyed.

The eight High Cultures so far are:

• Babylonian
• Egyptian
• Chinese
• Indian
• Mexican (Mayan/Aztec)
• Classical (Greece/Rome)
• Arabian
• Western (European-American)

These eight cultures have all had a life span of 1000 years.

Spengler uses seasons as an analogy to elaborate:
Spring is the birth of religion and where the basic principles of this culture are being formed.
Summer is when acts of lasting value and great accomplishments are being made. This is the peak and the cultural prime.
Autumn is when all this start to break down and turn into Winter. We’re there already.
Politics is motivated by money and moves through imperialism. Science no longer reaches certainties. There is much cultural confusion. The arts do not speak from or to the soul of the people, but rather follow materialistic fashions with lots of changes of styles, not asking much from neither the artist nor the people. After a moment of atheism the people will turn to a renewal of religion and spiritual faith, based on the religion developed in the spring of the culture.


Spengler also uses a “prime symbol” for every culture. For example, the ancient Egyptian culture had the “Way” or the “Path” as symbol, pointing to their preoccupation in art, religion and architecture and its symbolism – the passages of the soul.
The prime symbol of the Western Culture is the “Faustian soul” (soul meaning “mentality”), symbolizing the upward reaching for the infinite, which in itself is an impossible feat (which we all know), and thus we will soon face the final doom and the end of our culture.

And so we’ve entered the Civilization phase which is – as opposed to the Culture phase we’ve just left behind – occupied with materialism, continual wars, mass movements of people, environmental crises, rootlessness and lack of vitality, strenght and intellect.
The history of High Culture is the only history that counts, according to Spengler, because pre- and after-Cultural man is simply without history: as man plunges into materialism and advocates the degeneration of his mentality he loses his historical weight.

Spengler speaks of cities, mega-cities, “megalopolis”, huge urban and suburban centers that breed a mindless mob and suck the life and vitality out of the countryside. Religion starts in the open, moves in to the cities where it loses its gist and then dies in the world-cities, engulfed in the flames of materialism.


Spengler is, just as Nietzsche, seen by some as an intellectual precursor for National Socialistic ideas. However, Sprengler didn’t see any bright future for Europe and his motherland, and he defied the Nazi ideas of racial superiority and anti-semitism until the very end. His thoughts on these subjects can be explored in his work The Hour of Decision (1933).
As for the term “race” used by Spengler, he is quoted saying: “race that one has, not a race to which one belongs. The first one is ethos, the other – zoology”. Apparently not the narrow definition as used by the National Socialists at the time.

On another note, in his book Man and Technics (1931) he is occupied with the development and usage of the technical, a development which is unique to the West. His prediction read that coloured people of the Earth will use the very technology of the West to destroy the West.

Public Enemy said it on Fear of A Black Planet (1990):

Breakdown, 2001
It might be best to be black or just brown
Countdown!


For further reading:
The Oswald Spengler Collection
On The Decline of The West from Wikipedia

>Great movies of the 80’s: Manhunter

>Originally posted June 02, 2007.
Of all the Hannibal Lecter movies, this is the one I like best. Sure, Silence of The Lambs is ace, but the follow-ups are just pure crap. Michael Mann’s Manhunter (1986) captures something special, though. It’s got that 80’s touch that I adore.

Lecter, or Lecktor as he’s named in this movie, doesn’t play a very big part here. He’s in there for a few minutes, looking cool and acting smart, and that’s about it. The main character in my eyes is definitely the killer, Francis Dollarhyde, played to perfection by Tom Noonan.


He’s just amazing! Look at his haircut. Look at the way he has his pants way up to his armpits. And his “mask” is pure perverted genius. And of course he’s harelipped…
Important: Make sure you get the version where his chest tattoo is left out! I think that’s crucial for the experience, since his tattoo is a bit over the top and just diminishes the character.

As for the 80’s vibes, you get some really cheesy, totally unmotivated slow motion sequences, the men are wearing ugly as fuck ties, and it all ends with a typical freeze frame as the end credits starts to roll.
The end credits have this typical modern 80’s song, you know the one where they’ve bought their first keyboard and totally overuse it. The sounds just go “KLANG!” and “BAM!” and it comes out kind of futuristic, dark and depressing. It’s like if Howard Jones tried to compose the score for Terminator or something. The same stuff goes on in Scarface and the first Rocky movie. It’s just weird.
The soundtrack is in itself truly amazing in this sense. There’s some really memorable tunes in there.

All in all, it’s a great thriller that you need to see.
When you’re done, head over to Manhunter – The complete resource site, it’s extreme in its worship of the Manhunter concept. It’s well over 200 pages of information, and the dude even made a breakdown of the soundtrack!
I love the internet.

>Forget the swan

>Originally posted May 26, 2007.



When I found out that Dinosaur Jr would play a song at last nights Henry Rollins Show I immediately set my alarm clock. When the best band in the world appears on television that’s what you do. When I found out they were going to play Forget The Swan, their best song, the best indie song ever, one of the very best lo-fi tunes I’ve ever heard, I was almost moved to tears.
The song is featured on their first album, Dinosaur, which was released in 1985! This episode of the Rollins Show was aired in 2006…

The performance was flawless! I was down on my knees, all alone in my living room, worshipping the gods. No joke. The lyrics are so dark and twisted, and Lou Barlow’s emotionally haunted vocals were as moving as on the album. Mascis’ solo blew me away, as always, and Murph did his mad scientist style drumming as good as in the old days. Pure poetry.

Who, among similar bands, wrote stuff like this back in ´85?


This spell would be clear in non-tradition
And stepping on these pieces of pain and smirk
And rape goes through to sin my eyes
And shapes know where the heartache will lurk

Forget the swan, the dreams are gone
The pain goes on, they fly at dawn

Get the TV-clip here and download the mp3 here.
If you find it any good, here’s the three albums you should start off with.

>Engravings of symbolism into flesh

>Originally posted May 19, 2007.








Look at these tattoos. They surely represent more than just something nice and cool to look at. These engravings speak of something that matters to the one wearing them. They represent death, life and the madness of it all. That ugly truth staring you right in the face.

For me, to have a tattoo inked forever in the flesh should definitely mean something more than wanting to show it in front of your buddies, looking at yourself in the mirror, wearing that tank top wife beater…
The more shit you show off with, the more unsatisfied you are with your miserable life and looks. If you’re happy sporting the latest fashion tattoo, then fine. It’s your choice and you’ll have to live with it. If you’re in it for looks only then you’re just vain. Nothing wrong with that as long as you’re aware of your vanity and lack of confidence.
That’s how I see it. Or rather, that’s how I’d look upon myself if I had tattoos that meant nothing to me.

The tattoos I have are for me, not for somebody else. They represent something I truly believe in. As cliche as it may sound, that’s what matters. Still, to each his own, as they say.


The Public Enemy symbol

First and foremost, I got this made because Fear of A Black Planet by Public Enemy is one of my top five albums of all times, all genres included. It means so much to me for so many reasons, I’ll probably dedicate a whole post to this amazing work of art someday (the album – not the tattoo), even though it deserves an essay, maybe even a book. It’s that good. But it needs to be remastered! The levels are way too low and it bugs the hell out of me everytime I listen to it.
But anyway…

The symbol pictures a man in a classic hip-hop pose, arms folded, caught in the sniper’s crosshairs. This man is about to be taken down by the people in power, because he’s a public enemy and thus automatically an enemy of the state. (Actually, the man is apparently E Love, L.L. Cool J.’s sidekick at the time, and the symbol is drawn by Chuck D. himself, but that’s another story…)

To me this symbol represents rebellion, courage and the will to power – power to the people, to the individual and to the true folk soul, the spirit in man. To never deny your convictions. No comply!
As for the “will to power” concept, as coined by Nietzsche, it does not mean “a desire for and of power” as – for example – the Nazis interpreted it, but rather a display of creative energy put to use. And a whole lot more. Also, Nietzsche’s Will to Power manuscript was extensively manipulated and falsely edited by his fanatically anti-Semitic sister, Elisabeth Förster-Nietzsche. Go figure.

Nietzsche says:
I do not speak to the weak: they want to obey and generally lapse into slavery quickly. In the face of merciless nature, let us still feel ourselves as merciless nature! But I have found strength where one does not look for it: in simple, mild, and pleasant people, without the least desire to rule—and, conversely, the desire to rule has often appeared to me a sign of inward weakness: they fear their own slave soul and shroud it in a royal cloak.

It’s about respect – a word that’s been extremely worn out and lost its meaning a long time ago in the hip-hop community, where it is commonly used, thanks to soulless, mindless fucks praising the shit that flows on MTV.
Respect and rebellion. Evolution of the mind.

The PE symbol was engraved into my right arm by Mange at Evil Eye Tattoo, in 2001, I think.

To be continued…

by Mattias Indy Pettersson