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useless-catalanfacts · 3 years

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Why is Pablo Hasel justifying and praising terrosist groups??

I’m not sure if you’re asking why Pablo Hasél is accused of praising terrorist groups or why he said what he said. So I’ll answer both things lol.

He got sentenced to jail because of different verses from his rap songs and some tweets. To be precise, the judges have considered that he published 64 tweets that were either against the Spanish monarchy (yes, “offense against the Crown” is a crime in Spain) or praising the armed organisations GRAPO and ETA. These are the tweets that caused more scandal:

“Los parásitos de los Borbones siguen de trapis con los decapitadores de los homosexuales”: “the Bourbon parasites are still doing business with the ones who decapitate homosexuals”

This is a reference to the fact that the Bourbon family (the dynasty of the Spanish monarchy) are, in fact, doing business and being friends with the monarchy of Saudi Arabia, where human rights are not respected at all.

It is a fact that Saudi Arabia condemns homosexuality as a crime: gay people caught for the first time are flogged or jailed and if the “offense” is repeated they are sentenced to death penalty (source). It’s also a fact that King Juan Carlos I has had a long friendship and business relation with the Al Saud dynasty. In 1979, the Saudi monarchy gave Juan Carlos I a yacht as a gift (which he accepted and used for his holidays for years), when the king Fahd of Saudi Arabia died in 2005 the president of Spain José Luis Rodríguez Zapatero (from the PSOE party) declared a national day of mourning for the Saudi king as was suggested to him by the Spanish monarchy, in 2008 king Juan Carlos I received 100 million euros from Saudi Arabia, in 2007 Juan Carlos gave Abdullah bin Abdulaziz Al Saud (brother of the current king of Saudi Arabia) the collar of the Order of the Golden Fleece (the highest chivalry honour that the King of Spain can give), in 2011 Juan Carlos intervened to the king of Saudi Arabia to get the contract of the high velocity train to Mecca (which is valued in 7,000 million dollars) assigned to a Spanish business, in 2019 the Panama papers revealed an offshore foundation that the Saudi monarchy had used to give the Spanish monarchy 100 million euros... Just a few examples that prove this relation. (Source). And now Juan Carlos I is living in the United Arab Emirates, another country with harsh punishments for homosexuality (among other human rights violations).

So Pablo Hasél was just stating the facts in that sentence.

“El mafioso de mierda del Rey dando lecciones desde un palacio”: “the fucking mafioso King giving lessons from a palace”

Given the many cases of corruption that the king has been involved in, as well as his intervention in the economy (such as profiting from big businesses that had profited from Franco’s dictatorship) and pressure in politics, it’s not so crazy to call him (and his family clan) a mafioso. In fact, the French TV news literally called Juan Carlos I a “gangster” once.

As for the “giving lessons from a palace”, that’s what he does in his Christmas speech or any other time he addresses the citizens, as if we all had it so easy as living and owning multiple palaces with hundreds of maids and not having to work while getting all kinds of luxuries payed for with public money. Not just Juan Carlos, Felipe VI is the same (remember when he went to Cuba to give them lessons on democracy, but then pretended everything was perfect in the visit to Saudi Arabia?).

Once again, Pablo Hasél was not being far from the truth.

“Guardia Civil torturando o disparando a emigrantes”: “the Civil Guard [Spanish military police force] torturing or shooting migrants”

The Civil Guard literally shoots rubber bullets at migrants who are trying to get on Spanish soil in Ceuta (source). By shooting them rubber bullets, the migrant people fall back on the water, and many drown. The Civil Guard murders and tortures migrants. And everything that takes place inside CIEs (migrant detention centers) can also be called torture with no doubt.

Again, these are facts.

Those were posts on social media, he has also been sentenced because of the lyrics of his songs. Here are some sentences from his song “Juan Carlos el Bobón” (the title is a pun with the words "Borbón”-Bourbon- and “bobo”-stupid-).

“Me cago en la marca España explotadora y casposa”: “the exploiter and braggart brand Spain can go fuck itself”

That’s self-explanatory. A personal opinion you can agree or disagree with, but given the things we’ve mentioned in this post and so many more, it’s perfectly understandable that he would feel like this. And he should be free to say it.

“Si Froilán se disparó en el pie siendo menor de edad igual ahora que es mayor de edad va a disparar a toda la Familia Real”: “if Froilán shot himself in the foot when he was underage, maybe now that he’s an adult he’ll shoot the whole Royal Family”

For those who don’t know, Froilán is the son of Infanta Elena, and so the nephew of the current king Philip VI. This line is a reference to 2012, when he was shooting in one of his parents’ possessions and he accidentally shot himself in the foot. It was illegal for him to be shooting in the first place, because Spanish law prohibits kids under 14 years of age to hold firearms, but of course nothing happened to his parents for doing illegal things because they’re the royal family.

Unsurprisingly, this line is considered “offense to the Crown”. It’s not a threat from Hasél, it’s just wishful thinking that I’m sure many people share.

And lines from other songs by Pablo Hasél:

“Siempre hay algún indigente despierto con quien comentar que se debe matar a Aznar”: “there’s always some homeless person awake with whom to talk about the need to kill Aznar”

José María Aznar was president of Spain between 1996 and 2004 with the right-wing party Partido Popular (PP). He was a shit president, during his presidency the labour rights decreased and left thousands of workers with way less protection than before, he focused a lot of his work as president on making the economy more neoliberal and left thousands of workers with unfair salaries and harsh working conditions by allowing the owners to fire and decrease pay at will. He also gave support to the USA in the occupation of Iraq, even when the population had been protesting against it (I was only 4 or 5 years old at the time and even I remember one of the general strikes against it).

“¡Merece que explote el coche de Patxi López!”: “Patxi López’s car deserves to explode”

“¡Que alguien clave un piolet en la cabeza a José Bono!”: “Someone stab an axe on José Bono’s head!”

“No me da pena tu tiro en la nuca, 'pepero'. Me da pena el que muere en una patera. No me da pena tu tiro en la nuca, 'socialisto'. Me da pena el que muere en un andamio”: “I’m not feeling sorry for the shot in the back of your neck, pepero [member of the PP party]. I feel sorry for the ones who die in dinghy boats. I don’t feel sorry for the shot in the back of your neck, socialisto [member of the PSOE party]. I feel sorry for the ones who die in a scaffold”.

“Prefiero grapos que guapos”: “I prefer GRAPOs to handsomes” (a pun). GRAPO was a communist and anti-imperialism armed organisation.

“Mi hermano entra en la sede del PP gritando ¡Gora ETA! A mí no me venden el cuento de quiénes son los malos, sólo pienso en matarlos”: “My brother goes in the PP’s headquarters shouting ‘Gora ETA!’. They won’t sell me the tale of who are the bad guys, I’m only thinking of killing them”

“Es un error no escuchar lo que canto, como Terra Lliure dejando vivo a Losantos”: “It’s a mistake to not listen to what I sing, like when Terra Lliure left Losantos alive”. Terra Lliure was a short-lived communist organisation that wanted to fight for the independence of the Catalan Countries through armed struggle. Jiménez Losantos is a fascist radio host who tells all kinds of lies and manipulates information to spread right-wingism, hatred towards national minorities, homophobia, etc.

“Los Grapo eran defensa propia ante el imperialismo y su crimen”: “GRAPO were self-defense against imperialism and its crime”.

“Quienes manejan los hilos merecen mil kilos de amonal”: “those who pull the strings deserve 1000 kg of ammonal”

“Pienso en balas que nucas de jueces nazis alcancen”: “I think of the bullets that would reach the nazi judges’ back of the necks”

None of these sentences are serious threats / plans at the moment. On the contrary, when the politicians he mentions make policies that directly cause deaths (of migrant people at the borders, suicides in migrant detention centers, of workers in their workplace, of people whose heat and gas is cut off or who are evicted, of women murdered by their husbands because they didn’t have anywhere to go for help, etc), now those are real crimes, aren’t they?

Pablo Hasél has been very vocal about being a communist. So I’ll copy-paste Friedrich Engels’ definition of “social murder”. I don’t know what Pablo had in mind when writing those lyrics but I think this fragments helps understand where he’s coming from.

When one individual inflicts bodily injury upon another such that death results, we call the deed manslaughter; when the assailant knew in advance that the injury would be fatal, we call his deed murder. But when society places hundreds of proletarians in such a position that they inevitably meet a too early and an unnatural death, one which is quite as much a death by violence as that by the sword or bullet; when it deprives thousands of the necessaries of life, places them under conditions in which they cannot live — forces them, through the strong arm of the law, to remain in such conditions until that death ensues which is the inevitable consequence — knows that these thousands of victims must perish, and yet permits these conditions to remain, its deed is murder just as surely as the deed of the single individual; disguised, malicious murder, murder against which none can defend himself, which does not seem what it is, because no man sees the murderer, because the death of the victim seems a natural one, since the offence is more one of omission than of commission. But murder it remains. (Engels, The Condition of the Working-Class in England, 1845)

So we can agree or disagree with Pablo Hasél and what he says or his way of saying it, but that doesn’t mean he should be jailed because of it. And it’s incredibly hypocritical to consider saying (not doing, just saying!) that “there’s always some homeless person to talk about the need to kill Aznar with” is violence, but to ignore that Aznar’s involvement in the Iraq helped kill thousands of civilians (for a lie, because Iraq did NOT have weapons of mass destruction!) and caused the misery and indirectly the death of so many workers.

If your question was why did Pablo Hasél say these things, I think two of the sentences we said sum it up:

“I’m not feeling sorry for the shot in the back of your neck, pepero [member of the PP party]. I feel sorry for the ones who die in dinghy boats. I don’t feel sorry for the shot in the back of your neck, socialisto [member of the PSOE party]. I feel sorry for the ones who die in a scaffold” and “GRAPO were self-defense against imperialism and its crime”. Pablo Hasél was highlighting how the current situation we live in is already violence. Violence inflicted by capitalism, imperialism and hatred, so he would consider his words self-defense.

#pablo hasél #ask #anonymous #actualitat

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psygull · 3 years

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Tagged by @hootenanie

Rules: Answer 30 questions and tag 20 blogs you want to know better.

1. Name/Nicknames: Rosalind is my full name, but i go by Roz the vast majority of the time

2. Gender: eeehhhhhhhhhhhhhhhhh woman i guess. if you’re asking

3. Star Sign: Taurus i think. if this means anything to you no it doesn’t <3

4. Height: 5′7″ or thereabouts

5. Time: 3:00pm exactly

6. Birthday: April 25, 1998

7. Favorite band: Talking Heads, but King Gizzard and the Lizard Wizard is a close second

8. Favorite solo artist: Can i say David Byrne again or is that cheating. if it is, it’s Weird Al Yankovic

9. Song stuck in my head: Kalyope Driver by Dando Shaft. it’s good

10. Last movie: Psycho III. Psycho II was better and i can actually recommend that one but i liked it

11. Last show: haven’t watched any shows in a bit but i keep thinking about restarting Twin Peaks

12. When I created this blog: August 2015 apparently

13. What I post: i use this blog to collect aesthetic stuff and inspiration/reference a lot but we also like to have fun here and goof around

14. Last thing I googled: the average ocean appreciator image so i could make something convoluted with it

15. Other blogs: i run @weirdo-archive @stingmetaldiaperzone and the rumor come out i’m also @noahbaumbachmaritalstatus

16. Do you get asks: sometimes, but only when i ask for them. i’m kinda bad at answering asks, so they just sit there in my inbox for ages

17. Why I chose my url: i have a character named the Seachiatrist (seagull + psychiatrist) and psygull is just the leftover parts jammed together. it’s also a pun sort of

18. Following: 972

19. Followers: 468

20. Average hours of sleep: it varies. most of the time it’s 6 or 7 hours

21. Lucky number: how do people pick these? do you pick them? or do they just happen to you? 25

22. Instruments: i used to play bass clarinet in high school but i haven’t touched it in years

23. What am I wearing: college alumnus t-shirt (red) with greenish grey pants. i call them han solo pants cos they have a red stripe down the side but in reality they’re not much like han solo pants at all

24. Dream job: concept artist/character designer/illustrator. it’s what i went to college for but comics are also super cool

25. Dream trip: i’d love to visit the winchester mystery house sometime. kinda lame but i do love a big weird house what can i say

26. favorite food: sometimes all you need is a little pasta

27. Nationality: American (derogatory)

28. I’ve been listening to: currently what’s playing on my big grab bag shuffle list is SOS by ABBA

29. Last book I read: oh god probably The Restaurant at the End of the Universe by Douglas Adams. i’ve been meaning to read all of them but i ran out of sequels i owned after just two

30. Top three fictional universes I’d like to live in: hmm. can i live in a Hieronymus Bosch painting? just let me loose in there

Tagging whoever. i’ve already tagged a bunch of people today but if you see this consider yourself tagged. exception is @probably-not-a-duck because i missed you with the last one. you cannot escape

#thank you!#i have to do these immediately otherwise i never get around to doing them #tag game #born under punches just came on. TAKE A LOOK AT THESE HANDS #long post

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askrusschil · 5 years

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ANUNCIO/ANNOUNCEMENT

Me asombra que en este blog no haya llegado hate hacia Chile, me esperaba muchos insultos o cosas así, pero sorpresivamente no llegó nada, y aprecio mucho eso, pero he visto que a otros blogs si que les ha llegado hate, y no entiendo el por qué.

Todos nos enojamos cuando pierde nuestra selección, yo me enojé cuando perdió contra Perú, pero esa no es razón para andar insultando a las personas, en serio, me parece una estupidez lo que hacen.

Quería dar mi punto de vista respecto a esto, porque me parece injusto que además de insultar, se pongan en anónimo y no tengan la capacidad de asumir sus palabras.

Eso es todo lo que tengo que decir respecto al tema, no estoy armando bardo, estoy dando un punto de vista, si no te gusta, bien, ignora esto.

^°^°^°^°^

I am amazed that this blog has not arrived hate towards Chile, I expected many insults or things like that, but surprisingly nothing came, and I appreciate that, but I have seen that other blogs if hate has arrived, and I do not understand the why.

We all get angry when he loses our national team, I got angry when he lost to Peru, but that is no reason to go around insulting people, seriously, I think it's stupid what they do.

I wanted to give my point of view regarding this, because it seems unfair to me that in addition to insulting, they put themselves in anonymous and do not have the capacity to assume their words.

That's all I have to say on the subject, I'm not arming bard, I'm giving a point of view, if you do not like it, well, ignore this.

#saiph weas

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marginalgloss · 4 years

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the republic of heaven

Back in 2000 when The Amber Spyglass came out I feel like there was not so much news in the world. At the turn of the millennium we seemed to be entering a more optimistic time. Tony Blair was elected in 1997 at the head of a liberal Labour government, and while it may be true that Blair would never be so popular again as he was in the opening years of his premiership, the Tories seemed hopelessly outdated by comparison. They were still the nasty party of old, while the country was ambitious, outward-looking, internationalist. Explicit racism and homophobia were no longer tolerated. We were Europhiles, but we weren’t part of Europe. There seemed to be a lot of money about.

At home there were occasional horrors — the murder of Jill Dando, the homophobic pub bombings in London, Harold Shipman — but they were somehow isolated, disparate, inexplicable. They were exceptional. There was the war in Kosovo, which set a template for liberal interventionism in years to come. The economy was trucking along; unemployment was low; for the first time there was a national minimum wage. I skim the headlines today and it seems like such a comfortable time by comparison. Perhaps I am remembering it wrong. But when the years to come would bring a spiral of endless war, recession, and one of the most significant declines in relative generational living standards, I’m not sure there is any need for rose-coloured glasses.

Into this comes The Amber Spyglass, which is basically quite an optimistic anti-authoritarian novel. It was also the book which, for a handful of reasons, really brought Philip Pullman to the world’s attention. It was this which ensured that his name still lurks around the list of authors most frequently ‘banned’ in America, and which in the years after its publication would attract scores of avid cheerleaders and detractors. Inevitably most of those had no interest with engaging with the substance of the book itself. Instead, it became a sort of battleground: on one side, those convinced that religion was under attack from an educated elite; on the other, those who were committed to reducing the role of religion in public life, discourse, education, and so on. It is worth revisiting this typically excitable interview and profile by Christopher Hitchens for an example of how these novels were talked about.

To call the novel ‘optimistic’ might seem surprising, because much of it is shrouded in scenes of gloom and suffering. But when I think of the tone of the novel as a whole, it is pastoral. When the world isn’t tearing itself apart the language seems more lyrical than in either of the two preceding books. Some of that is to do with the perspective, which now has at least three (and sometimes more) main characters to follow. This means that a sense of distance, of floating high above the many worlds of the story, becomes necessary. But it’s also that the reader has a sense that this book is going to be about the promised war against the heavens outlined in The Subtle Knife, and it’s likely the reader will also understand that this is a war that must be won.

It feels like a world of binary opposites. Even characters who seemed villainous in the previous novels are here redeemed (at least in part) so they can be mustered against the ultimate figure of the ‘Authority’. A certain amount of good versus evil is likely in any book for children, but here things are now cast explicitly in terms of these two sides squaring up against each other. And taking sides is a matter of decision, not of belonging. This is a book where angelic figures can decide to fight alongside men, and where demonic harpies can be convinced not to consume the souls of the dead because they want to hear their stories instead. It’s plausible in terms of oldest storytelling traditions, where it is possible to talk one’s way out of anything — where the role of storyteller gives a person the ultimate kind of authority.

Is the capital-A ‘Authority’ in these novels intended to be absolutely synonymous with God? I’m not sure. The book is explicitly anti-religion in the sense of being anti-church, but the forces of the Authority (and the being himself) do not seem to represent any kind of absolute power in the universe. The Authority is not omnipotent nor omnipresent, nor is he very much of a creator or a father-figure any more — he is a despot, but he is also somehow irrelevant. Like a shrivelled relic, he is vastly reduced when we finally meet him. The worst aspects of his regime seem like the calcified remnants of decisions long since made and now barely remembered, like the afterlife that has become a giant prison camp. In fact it’s the abolition of the afterlife, not the death of its creator, that’s the only really significant consequence of the fall of the Authority.

So if God isn’t in the Authority, then where is he? In spite of the tendency for atheists to want to claim the author for one of their own, it seems like the heart of these novels is not in pure humanistic rationalism, but in a broader sort of pantheism. The idea of ‘Dust’ is the closest thing to a true divine presence here. It could be characterised as something akin to a spirit which moves through all things. It is ‘conscious’, and though it’s hard to determine what this means in practice, we know that it is not indifferent to humanity. It’s not like a host of little thinking homunculi (although Mary did have a whole conversation with it on a computer back in The Subtle Knife). But it wants to persist. It would seem to be the force that drives the Alethiometer. It has intentions.

The counter-argument to this would say that Dust isn’t divine at all — it exists at the bleeding edge of science, and has nothing to do with faith. It’s a material thing. It’s not a spirit. But I don’t know that this is especially convincing. The books often try to equate Dust with quantum mechanics, but this doesn’t entirely seem to add up — these are particles which are somehow small enough to slip through gaps between universes, but big enough to see with the naked eye. Everything about Dust seems too convenient from an authorial perspective. It’s as though someone took everything indefinable and unique about evolved human (and non-human) consciousness and made it into a quantifiable thing and then said: there, without this thing we are no longer what we are. It’s an easy solution to the hard problem.

It the article linked above, Hitchens described the Alethiometer and Will’s knife as ‘tools of inquiry and struggle, not magic wands’. This is only half-right. Clearly they aren’t tools like a microscope or an X-ray machine. Both items are bonded to their owners through an innate sensitivity that has little to do with rational enquiry or rigorous method. The Alethiometer is even compared to the I Ching at various points. It seems wrong to mistake ‘inquiry’ here for the scientific method; it has much more in common with ‘negative capability’, a term which is actually quoted in The Amber Spyglass — the ability to pursue truth and beauty via one’s innate sensibility, to ‘see feelingly’ through a fascination with a sort of natural mystery, and not to depend exclusively on reason and knowledge.

This leaves the reader in an odd sort of no man’s land between the armies who supposedly either adopted or despised this novel. A hypothetical arch-rationalist might find it difficult to accept all of what they find here without rolling their eyes at some of it. Negative capability does not sit comfortably alongside the scientific method as a tool, but nor does it have much to do with priests and popery. And yet it is a sort of inspiration, and in that respect I think it comes closer to a religious experience than it does a rational one.

The problem with this is that it is not possible to get any sense from this novel of what it means to be religious, or to believe in a higher power, or to be ‘spiritual’ (choose your own euphemism). There is Mary Malone, but while I like Mary’s story here, her account of her early life in cloisters and later conversion/defection is unsatisfying. We have no sense of doubt, of anguish, of guilt — it is an all-too-straightforward seeing of the light. Will is arguably more complicated, more conflicted, but for the most part he never seems to have to make any difficult compromises. If he ever loses out on anything by abandoning his mother to travel through a whole set of alternate universes, we aren’t told about it.

What if Will made the wrong call? What if he weren’t so trustworthy? He is, in a way, the lynchpin of the whole story. For all Lyra’s good intentions and inner strength, if it weren’t for Will, Asriel would have failed and nothing would have changed. So Will must be made to work. Yet it often seems as though he doesn’t want anything for himself, except perhaps to be with Lyra. It’s interesting to wonder what might have happened if Will weren’t quite so faithful (for want of a better word).

But it’s inconceivable in the world of these books that anyone could possess negative capability and then use it for anything other than a pursuit of — well what exactly is being pursued, anyway? What is Asriel’s goal, above and beyond the overthrow of the Authority? There is vague mention of something called ‘the Republic of Heaven’ — a heaven on Earth, as it were — but today that phrase can only make me recall the idea of ‘Outer Heaven’ in the Metal Gear Solid games. It’s difficult to discern any latent irony lying in wait for the reader in this case. Will whatever replaces the Authority be just as bad, eventually? Perhaps, but again, the vibe of optimism in this novel is so strong it feels odd to impose doubt on it from elsewhere.

The paradox of The Amber Spyglass is that while the explicit ‘moral’ of the novel is set against organised religion, it cannot help but describe the world in terms originally set by religion. (A very basic reading might declare the novel invalid for this reason, for much the same reason as a socialist might be declared hypocritical for buying a smartphone.) It isn’t just that there are angels, or that the story of Adam of Eve is central to the thing. It is the journey through the world of the dead and back. It’s the arc of redemption and overthrow.

At times it feels like this book is re-fighting a battle that was begun hundreds of years ago in the English reformation. In the pursuit of humanistic knowledge, a godlike figure is re-cast in the guise of an Authority who can be overthrown, and cast out of our land, and even killed. And all for the sake of nothing especially certain, nothing at all new in political or ideological terms, except a sense that we would be more free — that we would be better off without. Is it better to eject the columns of the dead into a kind of oblivion than to consider any improvement to their position? I don’t know. Perhaps things seemed simpler twenty years ago.

#books #philip pullman #the amber spyglass

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getbiggerbreastsnaturallybl-blog · 4 years

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aion-rsa · 3 years

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Line of Duty: Jed Mercurio ‘We Know There Are People Who Don’t Like the Show’

https://ift.tt/2RHnjDS

Warning: contains spoilers for Line of Duty series six.

When I tell Jed Mercurio that I felt bereft after the end of Line of Duty, he thanks me and jokes “Well, we do aim to leave people disappointed.” I’m talking about missing the communal viewing experience and frenzy of fan theories between episodes; he’s talking about a well-publicised outcry from some viewers that the finale’s ‘H’ mystery reveal was a let-down.

Speaking on Zoom three weeks after Line of Duty concluded – perhaps for good – Mercurio has answered the finale’s critics his way. On Twitter, he shared Audience Appreciation Index stats on the final series – scores out of 100 compiled on behalf of the BBC Audience Research Unit and used as an indicator of how viewers felt about a particular programme. He won’t argue with subjective reactions, he says, but will confront what he describes as a misleading assumption of how widespread those reactions are. “It’s not just about the show, it’s about facts.”

A former hospital doctor turned screenwriter, Mercurio is exacting when it comes to facts and statistics. He’s an exacting speaker all round, never stuttering, fluffing or lacking an answer, and able to call on a vocabulary that includes terms like “potentiate” and “analogous”. He’s understandably sceptical about the way some press headlines about Line of Duty are generated, and has perhaps adapted his interview style to limit the chances of misinterpretation. The overall impression given is of somebody who, in one of Line of Duty’s famous “glass box” interrogation scenes, would fare well on either side of the table.

The finale hubbub is one story (my view: anyone who was expecting Line of Duty to deliver an upbeat ending hadn’t been paying attention) but first I want to ask Mercurio about protest. Not least in its choice of ending, series six was sounding a klaxon…

It felt like the volume of protest against laziness and venality and incompetence in high office kept getting louder and louder in series six. Is Ted Hastings’ exasperation your exasperation?

That’s a really important question, not just for me but for drama at the moment. Look at the trajectory of our country over the last few years. When you’re doing a drama that’s about institutional corruption, you have an important decision to make about whether you acknowledge that the environment has changed, or you plough on doing something that’s set in an entirely fictional, disconnected world?

For me, I was thinking about the fact that we aired season one during the summer of the 2012 London Olympics when we were a very small, unheralded police drama buried in the BBC Two schedule. Looking back to that time, it did feel like the country was a very different place. To quote L.P. Hartley, it’s like a foreign country, how it felt then in terms of our national pride and the shared experience of positivity.

Lennie James as DCI Tony Gates in Line of Duty series one.

To quote your own words back at you then, what has happened to us? When did we stop caring about honesty and integrity?

It’s a really hard one to answer because there’s obviously no point at which that occurred, it appears to have been a progression towards a system now where very senior politicians can visibly be corrupt – and let’s not use any other word – in a way that I think is new in this country. We’re accustomed to seeing it in other countries, we’re accustomed to seeing reports of big civil contracts being awarded in other countries and lots of money just vanishing going into the pockets of corrupt enterprises. We haven’t seen that in this country before, certainly not visibly.

The answer to ‘when’ is hard to say, but it would appear that the pandemic has potentiated the visibility of that through very conspicuous examples, such as the awarding of PPE contracts to companies that were fast-tracked through favourable relations with the government who didn’t have experience of delivering those products. There are examples of defective products being delivered at huge cost to the public purse.

Filming on series six shut down at the start of the pandemic before restarting under Covid-safe conditions. How did the scripts change during that hiatus? You told Mary Beard that the pandemic had been included in the series in an allegorical way…

The specific answer to the question about allegory is about social distancing. It was about the practicalities of filming, so the physical distance between people. There’s more distance between the characters than the intention was. With the key personal relationships that were portrayed in the season, we did look very closely at how impractical it would be to have physical intimacy involving our main cast. That did affect some of the sequences we wanted to do and some of the personal stories we wanted to do.

Are you talking about Jo and Kate?

I’m talking about the trajectory for Steve and Steph, and Jo and Kate. Those were things that had very specific trajectories, and there were limitations on how we could approach them.

Would there have been sex scenes then, between either of those couples?

If we’d known we were able to do it, we might have had more physical intimacy, but we knew that we weren’t able to do it, so that was just something that we weren’t in a position to explore. There’s no point trying to explore something that you can’t do.

Vicky McClure and Kelly Macdonald as DI Kate Arnott and DCI Jo Davidson in series six.

What about script changes in terms of the real-world commentary layered on top of the story? Do you remember the specific circumstances of writing Ted’s line about there being a “bare-faced liar in the highest office”?

That predates the shutdown. The intention to portray the conspicuous corruption that has arrived in our society, and make specific references to individuals who hold high office, or practices that are now visible in high office, was always part of the intention.

How about the ‘Lies Cost Lives’ series tag-line. Did that pre-date the lockdown, or did that come as a reaction to the events of the pandemic?

That came after. The process has always been that we start delivering the series before the marketing campaign starts ramping up. The initial marketing meetings with the BBC post-dated the pandemic, so that’s when we started talking about the possibility of coming up with something which was allegorical in the way that that particular tagline is.

To give you a clear history, we shot four weeks before the shutdown, which was our unilateral pre-empted move. We shut down about a week and a half before the national lockdown, and that was because we saw that we needed to shut down because of Health and Safety. Basically, all the things that were being pointed out to the government and they didn’t act until that later date were things that we were seeing at ground level. Those four weeks related to the first couple of episodes. Then we had the shut down and the scripts were pretty much finished, the only re-writing was about creating a safer environment for the cast and crew, moving more things to exteriors and reducing physical contact between characters.

There was almost a Reithian educational motive in series six’s use of real-world corruption cases. Most viewers might be familiar with the Stephen Lawrence and Jill Dando murder cases, but names like Christopher Alder, Daniel Morgan and Daphne Caruana Galizia would be less familiar. Did you want to use the series as a platform to urge viewers to go away and read up on these cases to find out more?

I’d be very pleased if they did. In terms of how we portray police corruption, it’s hugely important to us that we find ways of relating it to the real world. Otherwise, people will claim that this corruption doesn’t exist, so to be able to identify specific real-world correlates is something that’s been very important on Line of Duty all the way through.

With this season, what we wanted to do was show something about the shape of the careers of public officials in high office, and the fact that people can be involved in things that very clearly involve misconduct and error and negligence and yet still continue into high office. So that was why we looked at things like Alder and Lawrence, Charles De Menezes – who is obviously the Karim Ali connection. There was also a little bit of Blair Peach in the ‘Lawrence Christopher’ case with the murder weapon being lead piping. The police officers who killed Blair Peach had illegal weapons like lead piping in their lockers. And in the identity parade, they all grew beards, which is the opposite of what the identity parade did in our fictional version, where they all shaved and cut their hair.

If you’re looking at the most conspicuous cases of real-world corruption or police failings, we did touch on the most high-profile in the last generation, with Lawrence and Savile and Dando. It’s really about reminding viewers that while Line of Duty is entirely fictional and at times lurches into a very fictional world and a very fictional portrayal of police operations, but the basic idea that corruption exists in our society is not a fiction.

It’s kind of a riposte to [Commissioner of Police of the Metropolis] Cressida Dick’s critique of the show then? A way of saying, ‘you can’t deny corruption exists, here’s the evidence’.

Yeah, I would say that Cressida Dick’s analysis of Line of Duty is analogous to her analysis of corruption in the real world.

Line of Duty: the Best Crime Thrillers to Watch Next

By Jamie Andrew

Designing Line of Duty: “Buckells’ Office Décor Reflects His Shallowness”

By Louisa Mellor

Have you read [Michael Gillard and Laurie Flynn’s] The Untouchables book about police corruption in Scotland Yard in the 1980s? Was that an inspiration for Line of Duty?

No, I haven’t read it.

How about the Daniel Morgan podcast that’s referenced in series six? Did you listen to that?

I did.

I don’t expect you’re surprised by home secretary Priti Patel delaying the release of the Daniel Morgan murder independent report?

I am surprised actually, I didn’t see that coming. Obviously in hindsight it does fit with the fact that the repeated failures to properly investigate the Daniel Morgan murder do relate to quite murky relationships involving the press and police officers.

Series six had a valedictory feel, welcoming back so many familiar faces. What explains that sense of doing a final lap, saying goodbye and tying up loose threads?

I think it was because we were looking at the H story. The fact is that it’s something that’s gathered momentum over the seasons and a lot of the things that were fed into it did relate to past characters. The most efficient and vivid way of showing that is obviously to include those characters in the present.

There were some people we didn’t see return. Though we went to HMP Brentiss, there was no sign of Thandiwe Newton’s Roz Huntley, for instance. Were there ever plans to bring back other characters?

No. We’d sometimes talk about it, but we never got to the point of actually writing a script involving past characters and then not being able to include them.

The last time we spoke after series five, you said that “familiarity would potentially be our undoing”. I also read in an interview you gave to Mark Lawson in the Radio Times where you compared the series to an astronomical event whereby something’s gravitational force gets heavier than its mass? Has Line of Duty passed those points now?

I think those are two separate things. The idea of familiarity just relates to the fact that if there’s a lot of Line of Duty, so a lot of episodes and it’s on every year… I’m not saying it wouldn’t be successful, but I think you would see a normalisation of the ratings. People would just know it’s out there and they wouldn’t necessarily make time to watch it. We would then migrate to being more like one of those other shows that are on umpteen seasons that do well but aren’t talked about very much.

The Mark Lawson thing was about the Chandrasekhar Limit, which relates to stellar evolution, stars above this limit will eventually collapse under their own gravity. There’s a lot of legacy with Line of Duty, a lot of past stories and past characters, as we’ve just discussed. You could end up in a situation where there’s a lot of intricate navel gazing about the past rather than dynamic forward storytelling.

So series six could be considered either a finale, or a clearing-out of the past, ready for a fresh start?

I’d say it’s too soon. It’s too soon to draw that conclusion. It could be either of those, or it could be something different.

Martin Compston and Shalom Brune-Franklin as DI Steve Arnott and DC Chloe Bishop in series six.

It felt like this series indulged obsessive fans more than previously. A lot of that’s to do with marketing, such as the trailer treasure hunt, but even in the episodes, things like the magnetic letters in Steph Corbett’s kitchen, it felt like there was more of a game than usual being played with a particular tranche of Line of Duty viewers.

We’ve always had an attention to detail and we try to put little Easter Eggs in. You can go back to season two when Lindsay Denton is scrolling through files of missing persons and she sees a brief glimpse of Jackie Laverty and just moves on. The balance we have to strike is rewarding the loyal fans who know the past and the Line of Duty legacy but also serving the new viewers who are watching it in the present with no pre-knowledge.

When you named the character of Chloe Bishop though, you did it in full knowledge that fans would leap to the “preposterous” conclusion – as you described it on Craig Parkinson’s BBC Sounds podcast – that she might secretly be Chloe Gates, the daughter of Tony Gates from series one?

There are some things that might lead you in that direction, but then there are very obvious markers that it’s wrong. It’s just adding to the entertainment value. One of the things that we know about the way the loyal fans respond is that they enjoy the process of analysing and discussing and re-watching. We have a lot of information telling us how re-watched Line of Duty is, so think about how to make that experience rewarding. There are plenty of dramas that don’t bear up to re-watching.

We have embraced the fact that the way that people watch TV now has changed. In the past, people just had one opportunity to watch and writers like me were often discouraged from putting too much detail in because we were warned that the audience would miss it all, whereas now, the audience has the opportunity to go back – if they care, and I’m not saying that they should. Some members of the audience care enough that they go back and re-watch and it gives them a new perspective, so being able to reward them for doing that is part of our responsibility on the show.

When we first heard the phrase ‘runs of homozygosity’ in episode four, it was there and gone. Was that one for the more obsessive fans to pick up on, before it featured in a more accessible, explained way further down the line?

Yeah. We did actually script that scene as going on to reveal what the runs of homozygosity meant. We do that a lot. We make a final decision in the edit, because you can easily take things out but it’s very hard to add them in if you decide after the event that you needed them earlier. There were some people arguing within the editorial team that we shouldn’t have mentioned the runs of homozygosity at all, but I was pleased that we went the way we did.

It gave more obsessive fans something tantalising to consider between episodes while it wouldn’t have impinged on an ordinary viewing.

Yeah, and that was the reason. Because people now have access to online searches, they can look that up straight away. Rather than being something that’s frustrating for people, those who are minded to look them up have the opportunity to do so.

Nigel Boyle as DSU Buckells in series six.

So. Jimmy Nesbitt’s got a good sense of humour then!

[Laughs] Yeah! It was great. The first conversation I had with Jimmy is ‘The whole point of this is you have to lie through your teeth and misdirect’. We thought if that picture is just someone who’s a random guy in Belfast, then the audience isn’t going to get as invested as they would be if it’s a big star. They’ll think, well of course that means that he’s H and he’s going to arrive all guns blazing. Again, it was another misdirect, built around the fact that the intention with season six was that it would be about mystery more than about the jeopardy. The audience’s investment was in the H enigma and not knowing who it was, rather like a closed circle mystery, a country house detective story, revealing who the person is in a way that was most surprising and I would argue most unexpected and subversive.

Job done. You totally got me with Buckells. All the way through I’d been telling everybody he was just a stupid pawn. I remember writing that Buckells only had half of what it takes to be a useful idiot. He wasn’t even on our list of Bent Coppers… When did you know he was the one typing those ‘Definately’ messages in series five?

That was part of our thinking all the way through. You only ever really push the button when you actually come to make sure the actor’s available and you’re going to be shooting. Steps were taken to keep that as alive as possible through season five, because we wanted to be able to point the finger credibly at other people. Going into season six, we made the decision that we were going to reveal H, and then it was a case of how do we make that the most surprising reveal?

There were obviously two ways to go. We could have just created lots of confirmatory information so that by the time we got to it, it was inevitable that it was going to be a certain person, and then the drama would work in a different way. It wouldn’t be so much about who it is, it would be ‘Are they going to catch them?’, which was kind of what we did over two to three seasons with The Caddy. My main thinking was, it was important that we didn’t go the same way that we did with The Caddy and just do a repeat, which is, we make it pretty clear who the bad guy is, and then it’s all about the tension and jeopardy around whether they’re going to get caught or not.

It felt that we’d succeeded so well in maintaining the H mystery that people honestly didn’t know who it was – they had lots of great theories, but nobody was ever able to produce absolutely convincing evidence for one candidate or another. So we went into six feeling that it would function more in terms of the H mystery than the jeopardy around knowing who it was.

Are you a Private Eye subscriber?

I’m not.

Have you kept up with their Remote Controller columns about Line of Duty?

I saw the last one. Someone sent me a screenshot of the last one in two halves. The first half was about references to Johnson and the government and the second half was just a load of complete nonsense about the BBC. It just made me think it’s no wonder these muppets get sued so much.

That column was irked that viewers had roundly taken Buckells to be a straight avatar for Boris Johnson, while the writer thought that your correlates were usually much more specific than that. What’s your reaction to that assumption?

I think he’s a type. Buckells is a type that you can see in a lot of institutions. The person who fails upwards. That’s something we’ve been careful to draw with Buckells all the way through his involvement with Line of Duty. Every time Buckells has to make a decision, he doesn’t make one. The characters who put their heads above the parapet and show their values and say that they are going to make a definite decision end up being diminished by it, whereas Buckells has succeeded by just avoiding taking responsibility for anything. That’s something that is clearly a problem in some of our institutions.

The fact that Buckells leads this double life is not necessarily related to that, it’s more about the fact that we present someone whose corruption has been mistaken for incompetence, and that is something that we are seeing a lot of. As you said earlier in the interview, in terms of more direct references to senior political figures, there are others within the show. The fact that the Chief Constable makes public statements on the record which are outright lies is not what Buckells is doing.

Adrian Dunbar as Superintendent Ted Hastings in series six.

Why did CC Osborne put trackers on AC-12’s cars?

Because as Carmichael said, they don’t trust them.

It’s as simple as that.

[Laughs]

You’ve left CC Osborne as a kind of potentially… he’s like Schrodinger’s corrupt officer, he both is and isn’t bent depending on whether we observe it?

Yeah. I think that if there is more Line of Duty then clearly there’s potential there. He’s someone who retains high office who is an outright liar and has been involved in corruption in the past in terms of the Karim Ali case and the Lawrence Christopher case. Clearly there would be potential there if we wanted to explore it, but it’s too early to say whether we ever would.

Did series six leave you in any tight spots, writing-wise? By making some of those cliff-hangers as exciting as they were, did you burn any bridges?

I think that goes with the territory in Line of Duty. It’s about delivering different things at different times, so the audience doesn’t know what’s going to happen next. There are times when we do set things up and we know there’s an expectation that there’s going to be an action sequence involving lots of jeopardy and we have to deliver on that, and then there are other times where we feel that it’s too predictable and if we keep doing it, it’s going to become kind of like The A Team. You just know they’re going to get locked in a shed with a lot of equipment and then they can just work their way out of it by building an armoured personal carrier with a rocket launcher attached to the top!

It’s about keeping the show fresh. What that does mean is you run the risk of frustrating people who have developed certain expectations about what’s going to happen next. But we’ve been doing that since series one, and some people got frustrated by that, it turned people away and they stopped watching. We understand that it’s not to everyone’s taste and they will stop watching, but what the data shows is that we must be getting something right because the viewing figures and the loyalty of the audience is pretty solid.

You obviously feel quite strongly a need to correct assumptions and misunderstandings about things like viewing figures and audience appreciation figures and so on. What drives your need to explain those things on Twitter? What kind of criticism are you unwilling to take on board?

It’s purely about facts. During the pandemic, amid the tragedy of the incompetent handling of the crisis, we also had the phenomenon of disinformation. We had mainstream media outlets platforming people who were telling outright lies about the virus. Journalists on the payroll of these organisations were lying about the pandemic. I saw how far we’d come in terms of disinformation.

Of course a person can have their own personal opinion about whether a drama worked for them, of course they can, that’s just basic common sense. But the way in which some of that argument works now is to combine that with disinformation or misinformation. Someone puts forward their opinion in a very strident way, and then they add to that misinformation or disinformation by saying ‘everybody agrees with me’. They are both strident and misinforming or disinforming. There’s nothing that I can say or do, or would want to say or do, about their stridency about their own subjective opinion, but if they’re putting forward the idea that their opinion is held by everybody, or nearly everybody, then that is manifestly untrue, and there’s data to prove it. By disclosing that data, I’m just putting it out there and saying that reasonable people will look at that data and it will give them food for thought.

I’m not saying it will convince the hardliners, because then they’ll just come back and start arguing about statistics in a way that makes me think they weren’t really listening in GCSE Maths. That is part of the problem we have in our society. It’s like the guy on Question Time having a rant about what he earns – the guy who earned £80K a year who was just ranting that it didn’t mean he was in the top five percent of wage-earners or whatever percent it was. He just didn’t understand statistics. All he kept doing was ranting that it wasn’t true. That is something that I find frustrating.

As I said, if a person subjectively has a reaction, then of course that’s acceptable and I recognise it and I’m not going to argue with it. We know there are people who don’t like the show, because [laughs] the data tells us there are people who don’t like the show, but what is misleading is the assumption of how widespread that is, and it’s distorted by the way in which people present that information on social media. It’s not just about the show, it’s about facts.

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

Line of Duty Series 6 out now on digital. Series 6 DVD & Blu-ray + Line of Duty Complete Series 1 – 6 DVD Box set released 31 May.

The post Line of Duty: Jed Mercurio ‘We Know There Are People Who Don’t Like the Show’ appeared first on Den of Geek.

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#aion-rsa #Den of Geek

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formulaonedirection · 2 years

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pls discuss

LISTEN. I'm trying to be CALM on this sacred 1st July morning but. SOZ. BABE. TOOK IT LIKE A CHAMP. Listen. LISTEN.

'Babe' lore is SO important. In the past 4 years how many 'babes' were dropped that we don't know about.........I NEED to know.

And my most important question: what else has lando norris taken like a champ....

#'babe'..................#kill me about it #just finished reading ch 1 of vegas au I'm literally at peak dando nation strength #what do we say everyone? 🎤#dando nation never lost not once #that's right.#dando chats #amanda tag

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jumphq · 6 years

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Part Nine: Welcome to Hootieville

We had never heard of Hootie and the Blowfish until we moved to Charleston, SC. We can be forgiven; in 1994 they were just at the point of catapulting past being a "regional band" into being a national one. Also, we had been listening strictly to Irish music and country blues for the past few years, and straight-up classical music before that, so we were very much out of the rock and roll loop. I started listening to Nirvana right after Kurt died, and the radio station in Boston had been playing Beck, Juliana Hatfield, G Love and Special Sauce, and whatever boring band Evan Dando was in.

When we got to Charleston, there was a lot of "pop punk" on 96 Wave: the Offspring, Green Day, Everclear, and then some Smashing Pumpkins and a lot of Alanis Morissette. We fell in love with Bjork and Radiohead, ourselves. But the bands that were popular with the majority of boys and girls in Charleston in '94-95 were groovy. Bands you could do the "itchy scratchy" to. Jam bands were back, but maybe had never left this coastal town? Dave Matthews was somewhat interesting because he had a fiddler and saxophonist. Widespread Panic was carrying the torch of the Dead. And if you wanted something to sing to, frat-rock was the perfect thing for people that wanted to have a good time, celebrate being in college or romanticize about your days in college, and not think too much about…anything. Besides beer. "It's all about the beer," Darius Rucker once told me, and it certainly seemed like he truly meant it.

One of the most popular bands in the country in '95 was claiming South Carolina as home. Everyone in Charleston had a Hootie story. How the band ate at this and that restaurant all the time. Someone saw Soni doing his laundry at the corner laundromat. The guy that sold us our first touring vehicle, a 15 passenger blue van, told us that not too long before he had sold a similar vehicle to someone with a "sweet, soulful voice". Our blank stares encouraged him to add: "Darius Rucker!".

I was surprised to find that the guys in Hootie had grown up worshiping bands like R.E.M.: Southern rock bands that weren't Southern Rock bands and had almost literally created many of the venues that we were wanting to play in the South. I, too, worshipped R.E.M., for many reasons (and still do). Their original sound, their fight for creativity even after getting signed to a major label, Stipe's flair for the dramatic. Knowing that the Hootie guys liked one of my favorite bands endeared them to me, even if I coudn't get behind their music. Hootie was exceptionally supportive towards all things Southern, and especially bands. They wanted to give back to the scene they had helped to create, like R.E.M. did in Athens, GA. This would prove to be very good for us, later, and then very bad for us, much later. But we'll get to those chapters eventually.

Thanks in part to the nation's eye on Hootie's ascension, and the aforementioned indie-power of 96Wave, it was a good time to be a touring band in South Carolina. And then around both South and North Carolina. And then Georgia, Tennessee, Virginia, Florida, Alabama, Maryland…we took it slow and steady, and tried to be smart about touring. We had bought a van from Darius's dealer and hit the road. But we didn't do what a lot of our peers did. We followed the Golden Mean: "the desirable middle between two extremes, one of excess and the other of deficiency." In other words, while fellow bands living in GA would take gigs in Ohio just because they existed, and then Los Angeles, and then maybe the Carolinas, driving all over the place for one gig that probably didn't pay and was hard to get to over and over to build a crowd, we worked in more of a spiral. We figured it was better to say "no" to the venue far away until we had made fans in towns in-between Charleston and that venue, first.

We didn't have dimes to our names (we refused to let each other get jobs, remember?) to even pay to get to the gigs, at first. We auditioned at a NACA conference to try and land more college gigs, and were "wooed" (they took us to Applebees and bought us jalapeño poppers) by husband-wife team the Rosens, who became booking agents that tried to find us places to play in college settings for a larger sum of money. These places ended up being frat houses, cafeterias at lunchtime, pep rallies. These gigs were almost entirely disappointing, but there were a few benefits to starting our touring career this way. First and foremost, we were learning about all the kinds of shows we would never want to play again. We discovered that we were not a band that was comfortable playing "in the background", and would rather play to three fans than a roomful of inattentive bodies. Secondly, the larger sums of money let us pay for gas to the shows we wanted to play that didn't pay that much at first. We could get to Columbia to play Rockafellas, the Moon Room in Charlotte, the 40 Watt in Athens, opening up for larger bands that would give us a chance.

And we were able to put together our first album of original music.

Next: Everything is Greaaat, Champagne Studios, Tears at La Quinta Inn

#charleston #bluevan #stopandsmelltherosens #historyofjumplittlechildren

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itstheunstoppablegirl · 7 years

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Venezuela, un país en peligro.//Venezuela, a country in danger.🇻🇪

por un momento pensé que por esta red social no se hablaba de la situación actual de mi país, Venezuela. solo soy una chica, una joven de casi 18 años de edad dando su opinión al respecto, Venezuela acaba de ser tomada totalmente por el gobierno por el poder de la asamblea nacional constituyente, lo que implica que viviremos en dictadura.

gente, gracias por sus palabras de aliento, por ponernos en oración, y por ayudarnos, también quiero decir a todo aquel que lea esto que por favor, difunda lo que REALMENTE esta pasando en Venezuela, no se que pueda pasar de hoy 04/08/2017 en adelante, les ruego que nos sigan apoyando a nosotros, la juventud y futuro de Venezuela que esta muriendo en la calle desde hace mas de 4 meses.

se que muchos creen que lo que vive Venezuela es un juego, una mentira, pero no es así, quiero que realmente se sepa lo que pasa. gente muere por falta de alimentos, medicinas, suministros, otras comen de la basura, cada día Venezuela, por desgracia esta mas pobre, pero gente de afuera (no todas) cree que es mentira y que exageramos todo.

por favor, abre los ojos, un país hermano/amigo, esta en peligro, significaría mucho que lo apoyaras así sea mentalmente positivo.

Venezuela es fuerte, los venezolanos somos fuertes, unidos lucharemos por un país mejor, Venezuela saldrá de este peligro que afronta, tengo fe.

muchas gracias por leer, att: una venezolana.

/////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////

For a moment I thought that for this social network was not talked about the current situation of my country, Venezuela. I am just a girl, a girl of almost 18 years of age giving her opinion about it, Venezuela has just been totally taken by the government for the power of the constituent national assembly, which implies that we will live in dictatorship.

People, thank you for your words of encouragement, for putting us in prayer, and for helping us, I also want to say to everyone who reads this please spread what is REALLY happening in Venezuela, I do not know what can happen today 04/08/2017 onwards, I beg you to continue to support us, the youth and future of Venezuela that has been dying in the street for more than 4 months.

I know that many believe that what Venezuelan lives is a game, a lie, but it is not like that, I want you to really know what happens. People die for lack of food, medicines, supplies, others eat from the garbage, every day Venezuela, unfortunately this poorer, but people from outside (not all) believe that it is a lie and that we exaggerate everything.

Please open your eyes, a brother/friend country, is in danger, it would mean a lot that you would support it so be mentally positive.

Venezuela is strong, we Venezuelans are strong, united we will fight for a better country, venezuela will come out of this danger that faces, I have faith.

Thank you very much for reading, att: a Venezuelan.

Sorry for my bad english, little by little I'm polishing it.

#venezuela #pais #sosvenezuela #venezuela en crisis #ve #venezuelaenresistencia #venezuelaenlacalle #venezuelasindictadura #venezuelasosnow #venezuelaserespeta

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markwatkinsconsumerguide · 5 years

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Consumer Guide / No.82 / Roy Of The Rovers & Tiger group editor Barrie Tomlinson with Mark Watkins.

MW : Where do you live and what do you enjoy doing in the area?

BT : We moved to Yorkshire at the end of 2018. It’s my wife’s county and I’m really enjoying it here. I like walking but I can only manage short distances these days. I like eating out and there’s a great selection of pubs and restaurants in this area.

MW : How did you get started in the world of comics?

BT : I saw an advertisement saying ‘Beginners wanted for children’s comics’. I was seeking a job in journalism and this seemed a good opportunity. I found I ﬁtted in to the world of comics and the rest, as they say, is history.

I started as a sub-editor on Lion, then moved to Tiger. I eventually became editor of Tiger, then launched Roy of the Rovers as a separate title and became group editor of the sport and adventure department at IPC Magazines.

I launched the new Eagle, Scream, Speed, Wildcat, Mask, Teenage Mutant Hero Turtles and worked on lots of annuals and specials.

A comic editor’s job is to decide on the format of a title and the sort of stories to be included. Then the editor has to choose his team of writers and artists. I was very lucky that I had the use of a very successful and experienced team of contributors and it was the editor’s task to select the team and then work closely with them on story developments and what happens next. In my case, I liked to include events which would get us good publicity in the media. That was a very important and I had a particularly good relationship with newspapers, radio and television.

MW : Explain IPC and Fleetway…

BT : When I ﬁrst joined the comics in 1961 it was at Fleetway Publications. This later became part of IPC Magazines but the Fleetway name was retained. IPC standing for International Publishing Corporation.

MW : Roy Race first appeared in Tiger in the 1950's. How did you and others pull of his ageless effect and over several decades?

BT : The great joy of being a hero in a comic is that the hero doesn’t have to age. (Unlike comic editors!). But Roy did age a bit at ﬁrst, starting as a lad straight from school, then growing up and getting into the ﬁrst team. When I decided that Roy would have a life off the football pitch, as well as on it, he became the ﬁrst boys’ comic hero to get married and became a dad. - that aged him a bit!

MW : How did the name "Melchester Rovers" come about?

BT : I don’t know the answer to that. In 1954, Tiger editor Derek Birnage and Roy writer Frank Pepper would have thought that up, before my time on comics. I do know that the name 'Roy of the Rovers' was ﬁrst suggested by Lion editor Bernard Smith.

MW : Name your favourite Melchester Rovers team…

BT : That’s a bit impossible. All the players were my favourites but I guess the side would have to include Roy, Blackie Gray and Tubby Morton, as well as the real life players I signed: Emlyn Hughes, Bob Wilson, Steve Norman and Martin Kemp.

MW : Tell me about some of your star writers...

BT : When England goalie Gordon Banks won the Tiger sports Star of the Year competition, I presented him with the trophy and asked if he’d like to write for Tiger. He quickly agreed and I introduced the idea of top sports stars writing for Tiger. Jackie Charlton, Mike Channon, Malcolm Macdonald and Trevor Francis were some of the other footballers who wrote for Tiger over the years.

In fact, “Trev's” contributions to Tiger were always popular. I visited him and his wife in the USA when he was playing for Detroit Express and got some memorable Tiger photos.

MW : Did they write their own columns?

BT : The sports stars provided their own copy. Most times, I left the choice of subject to them but on special occasions I would suggest a theme for a special article. That worked very well. Fortunately, all the stars who wrote for us were enthusiastic fans of Tiger, which helped a lot.

MW : Tiger covered a range of sports, including cricket with columns from Tony Greig and Geoffrey Boycott..

BT : Yes, Geoffrey Boycott was the ﬁrst cricket star to write for Tiger and we had a long, happy association with him. He eventually became Chairman of Melchester Rovers and I edited The Geoff Boycott annual for Fleetway.

Other big cricket names who became Tiger writers included Tony Greig, Ian Botham, David Gower and Dickie Bird.

Talking of cricket in Tiger, I’m rather proud that it was my idea for Billy Dane, star of the brilliant Billy’s Boots story, to start playing cricket in the summer!

MW : Tell me about the time when two pop stars signed for Roy's team...

BT : Spandau Ballet was a massively popular band at the time and the Roy circulation was just starting to be in line with the general trend of falling circulations in the comics world. I thought the extra publicity we got by signing Steve Norman and Martin Kemp was well worth it. And remember, of course, they were actually very good footballers!

MW : Tell me about Mike Read’s involvement with The Eagle...

BT : Listening to Mike Read on the radio, I knew he was a big fan of comics so when I launched the new Eagle, he was a natural to write for us. I felt this was a good move as it not only gave us a popular writer but it meant we would get the occasional mention on Mike’s radio show. It was always my policy to involve star names in my titles and it’s something I did on Eagle until I was told by management that I was too starstruck and told to remove all the big names who wrote for us. I was not a happy group editor!

MW : How did you usually plan the content for your comics?

BT : It was my job as editor to work out the format of each title. How much feature material and how many picture-strips. With new titles I quite often thought up each story and sometimes wrote the ﬁrst instalments myself. I was given great freedom to do what I wanted. For PR events or major developments I would always consult the editorial director and usually got great support from him.

When I produced Scream from my group that all changed and the editorial contents were challenged by management, which made it a very difﬁcult title to edit. Previously all my titles had been safe family buys but Scream was a bit different. Despite having a short life, I think we produced a good title which is still well remembered.

MW : Did any celebrities on the covers at Christmas become your friends?

BT : Yes. Ernie Wise was a good friend and he always attended Tiger functions. Geoffrey Boycott is also a good friend and we still keep in touch. Big Daddy the wrestler was also a mate and I worked closely with him on The Big Daddy Annual. Travelling around with him, it was clear to see how much the public loved him. I once gave him a lift in my car and the front seat was never the same again!

MW : Were Shoot! rivals?

BT : When Tiger editor David Gregory became editor of Shoot!, he recommended that I took over Tiger. Shoot was much more of a feature title so it wasn’t really a rival. But I was delighted when we beat them to get the scoop of ﬁrst printing colour photos of Gordon Banks’ amazing save from Pele, in the 1970 World Cup.

MW : Tell me about (Shoot!) cartoonist Styx...

BT : Styx was another very good friend of mine. I ﬁrst met Leslie Harding when I ﬁnished my national service. He taught me a lot about humour and I was delighted when he started drawing cartoons for my titles. He went on to Shoot! and worked as their regular cartoonist.

MW : Were Fleetway annuals mostly new material created for the Christmas market, or utilising leftover features from the year?

BT : The annuals were mostly new material. With regular contributors busy working on the weekly titles, it was a good chance to try out new contributors in the annuals.

We had to plan the annuals well in advance and it was sometimes difﬁcult to include topical items, as the annuals would go to press many months in advance of their publication date.

I enjoyed editing the star names feature annuals, such as The Geoff Boycott Annual, The Big Daddy Annual and The Suzie Dando Annual. They were a bit different from the things I normally worked on.

MW : Tell me about your new books on sale now…

BT : There are two books on sale now: ‘Real Roy of the Rovers Stuff’ tells how I made Roy a star. There are lots of photographs and it’s the real, true story of all the big events in Roy’s career.

‘Comic Book Hero’ is about all the other titles I edited. Again, that’s full of photos and ideal for anyone who read my titles as a youngster. I’m working on my third book which will be life story, including another big section on comics.

MW : What are your other interests?

BT : I should do more reading! I still enjoy listening to the old big band music and Ruby Murray songs (always my favourite). Of today’s stars, I like listening to Eliza, Bruce Springsteen (my wife insisted I included him) and radio shows like Mike Read’s on United DJs Radio.

https://www.uniteddj.com/

https://twitter.com/MikeReadUK

I’ve taken up painting and we have joined a local group. I ﬁnd painting very relaxing but I’ve got a lot to learn! I still enjoy writing.

I also like keeping in touch with people on Twitter. It’s good to chat to people who were readers of my comics.

https://twitter.com/BarrieEditor1

MW : BBC 5 Live or Talksport?

BT : BBC 5 Live, because that’s the station which wakes me up in the morning and I sort of stay with that.

MW : If Roy Race was on Desert Island Discs, what would be his book, record and luxury item choices?

BT : I’m talking about the old Roy here. His book would certainly be 'Real Roy of the Rovers Stuff' by Barrie Tomlinson! His record would probably be something by Mariah Carey. Luxury item would be a radio, so he could listen to commentary on Melchester Rovers matches.

MW : What are your greatest achievements?

BT : Making Roy the most famous footballer in Britain! Persuading the Duke of Edinburgh to write an article for the ﬁrst issue of Roy of the Rovers. Persuading Sir Alf Ramsey to take over as manager of Melchester Rovers after Roy was shot. Achieving my ambition of relaunching Eagle and seeing it last 11 years. Taking Teenage Mutant Hero Turtles comic to over 700,000 copies per issue, at a time when most circulations were struggling.

MW : What did you do after working on comics?

BT : I was very lucky that just as the comics were being taken away from me, I was asked by the Daily Mirror to produce a football strip for them. ‘Scorer’ was the title of the strip and it featured the adventures of footballer Dave Story and his many girlfriends. The strip was a combination of football and glamour and it proved very popular, starting as a single strip, then a double strip, then a treble. It appeared six days a week for 22 years. That’s over 6,000 instalments. I wrote and produced every episode of the strip, selling it to the Mirror as a ﬁnished job. I worked with contributors I knew from the world of comics, including artists John Gillatt, David Sque and David Pugh.

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sonicreverb · 4 years

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dictar de discusión

https://www.art-agenda.com/features/332992/artists-in-quarantine-public-intellectuals-and-the-trouble-with-empty-heroics

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yarpiebrit · 7 years

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During the Second World War, South African Navy personnel – known at the time as the “South African Naval Forces” (SANF) were seconded to serve on ships in the Royal Navy. This is a story of one such ship in His Majesty’s service the HMS Barham, she was a 31,100 ton, Queen Elizabeth-class, Battleship of the Royal Navy and she was sunk during the Second World War by a German submarine off the coast of Egypt.

THE BATTLE OF THE ATLANTIC, 1939-1945 ((MOI) FLM 1984) HMS BARHAM explodes as her 15 inch magazine ignites, 25 November 1941. Copyright: © IWM. Original Source: http://www.iwm.org.uk/collections/item/object/205022049

Prior to this HMS Barham visited Durban, South Africa, in June 1941 for extensive repairs at the Victoria Graving Dock. The repairs where due to damage sustained in the Crete bombing. She sailed from Durban on the 31st July 1941 with a number of South African naval force members seconded to the Royal Navy on board.

On the 25th November 1941, HMS Barham forms part of “Force K” hunting for Italian convoys to North Africa, she was supported by the British Mediterranean Fleet along with battleships HMS Queen Elizabeth and HMS Valiant. On the same day, German submarine U-331 was on her 3rd patrol of the Mediterranean along the coast of Egypt, north of Sidi Barrani, U-331 when she came within range of the HMS Barham.

The commander of U-331, Kptlt. Von Tiesenhausen fired a spread of 4 torpedoes towards the group, 3 of which hit HMS Barham’s port side causing it to list heavily and spread fire towards the ammunition storages. Only 2 and a half minutes passed from the torpedo impact until the ship rolled onto its side and capsized as the aft magazine exploded in an almighty explosion, instantly killing 862 out of the roughly 1260 man complement. U-331 took a terrible beating from Barham’s defending destroyers but managed to slip away and return safely on 21th of February 1942 to Salamis, Greece.

Recorded on film by one of the resue vessels, HMS Barham’s calamitous end is often used in documentaries, and nothing drives home the peril of serving on a fighting ship harder than this newsreel footage, it is simply jaw dropping.

This video is made even more poignant for us as South Africans if you consider we are witnessing the loss of the following South African naval personnel in this tragedy.

BAKER, Dennis E W, Ordinary Seaman, 68617 (SANF) GLENN, Paul V, Ordinary Seaman, 68906 (SANF) HAYES, Richard T, Ordinary Seaman, 68499 (SANF) MORRIS, Cyril D, Ordinary Seaman, 68932 (SANF) UNSWORTH, Owen P (also known as R K Jevon), Ordinary Seaman, 69089 (SANF) WHYMARK, Vivian G, Ordinary Seaman, 69024 (SANF)

An eye-witness account by survivor Ronald Dando vividly describes the terrifying last minutes of HMS Barham.

“We were now off Sollum, Q.E. ahead flying Admiral Cunningham’s flag, then Barham, with Valiant astern. It was about 1625 hours when a loud explosion came from somewhere aft, on the port side; then came two more, all in the space of seconds.

Men came scrambling on to the upper decks, getting from below decks as quickly as they could. It was only then that I realised Barham was going over quite quickly on her port side and that we’d been torpedoed, at least three times. We must have been at a 45 degrees angle now with water lapping over the port side. It was of course useless jumping off the port side there being the danger of being sucked back into the ship by water that must be rushing it. The only thing to do was to get up on the starboard side, the only way of doing it now being to drag oneself up on ones stomach. I managed it after a struggle and sat high up in the air together with quite a few more chaps, wondering “what now!”

Then I heard someone say “what the hell are you waiting for, get into the bloody water”, or words to that effect it was Vice-Admiral Pridham Wippell; at once we started to slide down the side of Barham into the sea.

I must have been a few hundred yards astern of Barham when there was a terrific roar and she blew sky high, men, guns, all sorts flying through the air; a great wave, it seemed like a mile high, came rushing towards us, struggling and floundering in the swell. I remember thinking to myself, this is the end; then the wave crashed down on us. I felt myself rammed down then whirled round and round like a cork.

I held my breath for what seemed an eternity then started to strike out wildly, trying to surface.

My heard seemed to be bursting and I thought, “I must breathe, I must breathe”. I opened my mouth fully expecting to swallow water, but it was air. I’d been thinking I was still under the water, it was so dark, but the reason was the thick smoke and fumes low over the water”.

Although over 800 men are lost with her, a remarkable number are saved. Just before this tragedy, Force K has sunk two more Axis supply ships west of Crete. At this stage 60 percent of Axis North African supplies (German and Italian) are being lost to attacks by British aircraft, submarines and warships.

On returning to Salamis after sinking HMS Barham, U-331’s commander, Freiherr Hans-Diedrich von Tiesenhausen, was promptly promoted to Kapitanleutnant and awarded the Knight’s Cross of the Iron Cross. U-331 enjoyed successes on a number of more patrols, but on her 10th patrol in the Mediterranean, on the 17th November 1942, her luck ran out when the main hatch was damaged by an attacking RAF Hudson, which preventing it from diving. It was then finished off by Fairy Albacore torpedo bombers and Grumman Martlets from the aircraft carrier – HMS Formidable. Of her crew 32 were killed and 17 survived, including her commander.

As South Africans it is very important we keep track of this part of South African naval history. Much effort and time is spent by the SANDF on the SS Mendi, and rightly so given it was obscured from the national consciousness for so long, but so too has the history of South African naval sacrifice in World War 2, especially those serving in the Royal Navy – their sacrifice has also been completely obscured from history. Ironically by the same Nationalists who obscured the SS Mendi, choosing political expediency to promote white Afrikaner nationalism ahead of what they regarded as ‘traitors’ serving the crown in World War 1 and 2.

It is time that the full scope of South African service in both The Royal Navy and The South African Navy during WW2 is known, and if this article goes a little way to opening that consciousness so much the better.

Researched and written by Peter Dickens. Video copyright British Pathe. References the HMS Barham Association and Wikipedia.

“She blew sky high”; Recounting South African sacrifice on the HMS Barham! During the Second World War, South African Navy personnel – known at the time as the “South African Naval Forces” (SANF) were seconded to serve on ships in the Royal Navy.

#HMS Barham #Royal Navy #South African Naval Forces #South African Navy

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mangoblackberry · 7 years

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Peace Plan for the Philippines

Martin Luther once said that nothing good ever comes of violence. People would always say that there is no winner in every war. I also believe that whenever there is violence, it is also a lose-lose situation for both parties. Although, if this is the case why do still a lot of group of people try to inflict violence on other people? In today’s society, several political violence is starting to emerge. The violence that was rooted in our differences. Why do we have so much violence today? We experience two world wars, a cold war, civil war, massacres, terrorism, and a lot more. The reason behind this is our differences. That is why I wanted to propose a peace plan that will focus on the Philippines first. This is due to the fact that I believe that a state must first do it so that other states will be able to see the effect and will eventually try to make it as a model for their own state.

Before getting into the peace plan, let us look first who are the ones who are inflicting violence. For this, let us look at the incident in the recent Marawi crisis. It is a battle between the Philippine government security forces and the militants of the Islamic State of Iraq and the Levant that includes the Maute and Abu Sayyaf Salafi jihadist groups. Bombings, air Strikes, exchange of gun shots, and a lot more violence were happening in the Marawi. Not only the lives of these groups and soldiers were put in danger but also the lives of a lot of innocent people. On July 12, 2017, in a report of ABS CBN news, there were 2 soldiers that were killed and 11 others were wounded because of the air strike that happened. Structures also collapsed because of the impact of the explosion and because of this, there were lives that were taken away. Martial Law was even declared by President Duterte in order to solve the crisis that was happening there. On July 25, 2017, a report was made by The Diplomat, the lower house and the Senate approved the extension of Martial Law in Marawi. Duterte explained in his second States of the Nation Address (SONA) that the extension was for the preparation for “future of war-torn Marawi City and the expected counter-retaliation from terrorist supporters” (Cabalza, 2017).

In order for us to further understand what is really the root of terrorism here’s an insight from a documentary about the Marawi crisis. “Ang kaguluhang sumira sa isang siyudad, ang gumulat sa buong bansa”. This is how the documentary entitled “Di Ka Pasisil” that was shown in ABS CBN last August 13, 2017, describes the Marawi crisis. According to Amer Hamzah Lucman, a friend of Omar Maute, Omar was just an ordinary Maranao like them. He is good in school, whenever his classmates had a hard time in school, he was always willing to help. When Omar joined the cadet, he showed his other side of being a caring and funny. Gracia Dando, his teacher, even said that he is a respectful student to his teachers, there were no signs of him becoming a terrorist. In just a day, Gracia and Amer said that they were shocked to see the new Omar. The soldiers do not who will be shot next, or until when they will leave. Every single day, they live in horror, they have to make this sacrifice in order to get Marawi out of the hands of the Maute-ISIS terrorist group. To quote what was said in the documentary: “habang tumatagal padami ng padami ang mga sundalong nasusugatan”. They admitted that the soldiers were not out numbered, they even had modern weapons but the thing that the Maute had an advantage is that they are from Marawi, they know Marawi more than these soldiers know the place. In the documentary, the reporters had a chance to talk to the soldiers, and when one of the soldiers cried, I felt how hard it is for these soldiers to be there fighting for peace while they are away from their families. These soldiers do not know when will be their last day on earth, they do not know if there is a tomorrow for them. For them, it is okay to be away from their families as long as they know that the country will be safe from any horror that these terrorist group will bring. Every day, these soldiers faced a lot of horrors, but it is through this they that learned to fight for each other. They also had an interview with Abdul who is a child fighter of the Maute group. According to him, the Maute recruit children who were not able to study. They have training, in the morning they study the Quran, in the afternoon, they learn how to use and operate the weapons, they clean these weapons and this is lead by their leader who is no other than Omar Maute. What is horrifying is what is written on the blackboard that these kids have to read it is in Arabic that says “patayin nito sila mga Kristiyano”. When the reporter as Abdul if he wanted to kill the Christians he said without having second thought “gusto ko pumatay at gusto kong mamatay kasi kapag namatay ako may regalo ako kay Allah”.

A lot would say that the Maute-ISIS groups are the bad people here. The soldiers and the innocent people are the victims. Although for me, I believe that both parties are the victims here. It does not matter who inflicted the horror, they are still both the victim. Due to the fact that I believe that these terrorist groups are just a victim also of the society. After watching a lot of documentaries, especially those documentaries that interviewed the people who are part of the terrorist groups, I can say that they are people who were victimized by the system.

Indeed, I salute all the soldiers who are willing to risk their lives just to make sure that the Philippines will be a safe place to live in. seeing them, it makes me feel proud to be a Filipino because they proved that Filipinos will always fight for each other even if it means that their lives will be put in danger. I am also hurt to see that a lot of innocent people have to live in horror because of these terrorist groups, especially seeing kids living with fear. It is terrifying to see Abdul, who was once part of the Maute group, can’t go home to his family because of the fear that if the Maute-ISIS group knew that he was still alive, they would kill his family. Above all, no words can explain how I fell towards the Maute-ISIS group. On the one hand, I am angry at them for inflicting the horror in Marawi. On the other hand, I feel sorry for them because I know that they are the victims of the society. They had their ideology and that’s what they are fighting for.

After what happened, a lot of lives were taken away already. Due to this, I would like to come up with a peace plan. I know that it is hard, but I also know that with the right system and attitude we will attain the peace that we all wanted. Seeing the story of Omar and how he was as a kid, I believe that there is still goodness deep inside his heart. That is why for my peace plan, the government, schools, churches, and families are all important. These are my proposed plans:

1. The government must go into an agreement with these groups. They must have a compromise of what they want. I believe in the give-and-take system.

2. At least once a month, Catholics and Muslims must come together to eat and pray. This has to a collaborative work between the church and the government of the state.

3. Schools must teach the children to learn to respect the difference and it must not be a hindrance in order for them to become friends.

4. Families must learn to nurture their children to grow with respect to their fellow men and also fear towards the Higher being that they are worshipping

5. The church, both the Catholic/ Christian and Muslim churches, must teach their congregation that they must learn to respect all the different religious groups.

6. These terrorist groups who inflicted the terror will be given pardon by the government, they can live peacefully again and have a fresh start and they have to sign the contract that they will not do anything to start a war again. Any violations of these rule will mean a death penalty for them.

With this, I believe that little by little, we will be able to learn to accept our differences and live harmoniously. Not only, we will live in peace but also the future generation will have a brighter future. I believe and I am very positive that there still a chance for us to live in a world where there’s peace and harmony.

Reference:

· Documentary: Di Ka Pasisiil (August 13, 2017)

· Cabalza, C. (2017). “Duterte’s extend martial law and the future of Marawi”. The diplomat. Retrieved August 12, 2017 from http://thediplomat.com/2017/07/dutertes-extended-martial-law-and-the-future-of-marawi/. <July 25, 2017>

· 2 soldiers dead, 11 injured as air strike misses target in Marawi. (2017) ABS-CBN News. Retrieved August 12, 2017 from http://news.abs-cbn.com/news/07/12/17/2-soldiers-dead-11-injured-as-air-strike-misses-target-in-marawi. <July 12, 2017>

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msymphony · 7 years

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Parkway Drive + Stick To Your Guns + Darkest Hour – Jueves 27 de Abril ’17 – Sala La Riviera (Madrid)

Que los australianos de Parkway Drive son unos de los mayores referentes del Metalcore a día de hoy es un hecho. Que han alcanzado un grado de personalidad dentro del mencionado estilo que los proporciona una distinción necesaria, otro. Indiscutible es también que cada vez que pisan la península su legión de seguidores es mayor.

Texto: Alberto López Fotos: Mario López

Además, es una banda que su presencia ha sido reclamada por los seguidores del Resurrection Fest. multitud de veces, así que ante la incompatibilidad de fechas, los organizadores del festival decidieron, con su buen criterio de siempre, montar un Route Resurrection con ellos, Stick To Your Guns y Darkest Hour. Casi nada. Tras algunos problemas para acceder al recinto, subsanados con rapidez y eficacia, llegamos con el tiempo justo para coger sitio, preparar las cámaras y que Darkest Hour empezaran a conseguir los primeros circle-pits de la noche. Y es que fue apagarse las luces, comenzar con “Knife In The Safe Room” y empezar el movimiento. Bien es cierto que el público todavía era escaso, pero sin duda lleno de energía, lo cual convirtió el centro de la sala en un auténtico hervidero ya durante toda la noche.

Los de Washington continuaron descargando temas, con un sonido que no llegaba a ser del todo satisfactorio, pero aun así obteniendo una grata respuesta por parte del respetable, que había acudido a pasarlo bien y no iba a dejar que nada se lo empañase. El comienzo había sido agotador y “No God”, “Rapture in Exile” o “Savor The Kill” no lo fueron menos, pero si es cierto que fueron virando su set list desde su onda más agresiva hacía su lado más melódico, abarcando así buena parte de su carrera en poco más de media hora. “Those Who Survive”, “With A Thousand Words To Say But One” y “The Sadist Nation” cerraron un concierto que no fue malo, que divirtió a la gente en su justa medida, pero que no pasará a la historia, ni mucho menos. Cumplieron expediente y poco más.

No podemos decir lo mismo de Stick To Your Guns, quienes con su mezcla de Hardcore Punk y Metalcore, pusieron la sala patas arriba nada más comenzar con “Bringing You Down”. Una banda bien engrasada, una actitud agresiva e imparable y un frontman como Jesse Barnett, sobre el que recaía todo el peso de cara al público fue lo que nos encontramos en los casi cuatro minutos que duró su primera aparición, y que ya no decaería de ahí en adelante. “Empty Head”, “Nobody” y “Such Pain” volaron cabezas sin respiro alguno. La gente botaba, coreaba los melódicos estribillos, se animaba con circle-pits cuando desde el escenario se requerían y se empezaron a ver los primeros crowd-surfings de la noche.

El sonido estaba siendo notablemente mejor que el de Darkest Hour, y además, desde la batería, donde tenían un pad para disparar diferentes sonidos, lanzaban subgraves en ciertos momentos que daban una contundencia brutal. Un recurso que utilizaron muy bien, en cuando a los momentos escogidos para ello, pero del que quizá abusaron un poco. Con “What Choice Did You Give Us?” fue la primera vez que se dirigieron al público, cosa a la que le debió coger el gusto el bueno de Barnett, ya que antes de comenzar “We Still Beleive” soltó un buen discurso con todas sus proclamas políticas y anti todo, que la mayoría de los asistentes jaleaban como si de un mitin se tratase aunque por sus caras quedase más que claro que no sabían ni por donde les daba el viento y no estaban entendiendo absolutamente nada.

“I Choose Nothing” y “Nothing You Can Do To Me” demostraron que están en un estado de forma admirable, ya que no habían dejado de correr, saltar, subir y bajar de las plataformas puestas a ambos lados y el centro del escenario, y ahí seguían, dándolo todo con absoluta precisión. Y la audiencia disfrutando de lo lindo. “Amber” y “Against Them All” pusieron el punto y final a un grandísimo concierto, de los mejores grupos invitados (a ver si desterramos la palabra teloneros) que he podido ver últimamente.

Tras un cambio de escenario algo más largo de lo normal, pasados pocos minutos de las nueve y media de la noche el ambiente se caldeaba al máximo cuando las luces se apagaban y comenzaba a aparecer humo en el escenario. El nerviosismo y las ganas eran patentes, y tras encenderse tres focos azules, por nuestra derecha aparecía Jeff Ling interpretando las primeras notas de “Wild Eyes”. La respuesta no se hizo esperar y el público coreo hasta dejarse la garganta esa melodía que acompaña durante buena parte del tema. Mientras fue saliendo el resto de la banda, recibiendo mayor reconocimiento Winston McCall, como no podía ser de otra forma, quien en seguida se plantó sobre su plataforma al frente del escenario y encandiló a todos con su presencia y carisma, además de demostrarnos que vocalmente estaba en perfecto estado. Y para perfección, o casi, porque yo diría que estaba un pelín alto, el sonido. Una auténtica barbaridad como arrasaron sonoramente los de Byron Bay desde el primer momento.

La primera incursión en “Ire”, su último álbum, llegó pronto con “Dedicated” y fue muy celebrada. Había quién nos mirábamos entre incrédulos y admirados por la calidad, la potencia, la agresividad y la energía que nos llegaba desde el escenario. Quizá los fans de la banda que la siguen desde “Deep Blue” en adelante no tengan tan interiorizado un disco como “Horizon”, pero sí que está más que asumido un tema como “Carrion”, muy utilizado en directo, y que McCall puso al público a cantar el estribillo antes de comenzar.

El single estrella de “Ire”, “Vice Grip”, fue la siguiente en caer, y aquello fue una locura. Botes, Headbanging, brazos en alto y cerca de mil gargantas coreando “Get Up! Get Up!” o “Hope is for a hopless…!”. Uno de los momentos de la noche, sin duda, y es que aunque muchos hayan criticado este tipo de temas en concreto, donde juegan más con la melodía, lo cierto es que son perfectos para el directo, y así quedó demostrado. “Dark Days” fue otro gran momento, muy esperado. El set-list estaba siendo de infarto, sin respiro alguno, sin casi pausa más que para unas loas al público y unos breves saludos. En este momento La Riviera era una caldera a punto de estallar, las ganas que había de verles y el conciertazo que estaban dando, tenía al público al borde del colapso entre botes, circle-pits, crowd-surfings, coreos y demás actividades propias de un concierto de estas características.

“Idols And Anchors” sirvió para volver a echar la vista atrás y enfriar mínimamente el ambiente, que volvió enseguida a la locura con “Karma” y “Sleepwalker” de aquel magnífico “Deep Blue”, que parece mentira que ya tenga siete años. “Writings On The Wall”, su tema más extraño y diferente hasta la fecha, rozando el medio tiempo y cargado de intensidad, con solo de batería incluido, nos trajo otra vez al presente y esta vez sí que se relajó bastante más el ambiente. Pero es que lo que quedaba por delante no iba a dejar lugar a respiro alguno. “Swing”, “Destroyer” y “Boneyards” cayeron como tres bombazos, uno tras otro, y sin apenas darnos cuenta nos vimos ante un escenario vacío y reclamando más y más. McCall y compañía salieron de nuevo con “Crushed”, otro momento inolvidable, encarando así los bises de la noche.

Tras el primero llegó el momento de decidir, Winston se dirigió al respetable para que eligiésemos entre “Romance Is Dead”, de su primer álbum y que contiene ese tapping maravilloso a dos guitarras, o “Bottom Feeder”, otro de los temas estrella de su reciente “Ire”. Aunque por aclamación popular se eligió el primero, acabaron tocando ambos, cerrando de esta manera un concierto absolutamente impresionante.

Texto: Alberto López Fotos: Mario López

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Parkway Drive Arrasaron Madrid Parkway Drive + Stick To Your Guns + Darkest Hour – Jueves 27 de Abril ’17 – Sala La Riviera (Madrid)

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