Monday, 28 May 2012

Real Integration & The Political Shadow Of "Multiculturalism"

 I am all for multiculturalism.

What i'm opposed to is the government and, more relevantly, the media, led by the BBC, forcing a politically-motivated "brand" of multiculturalism down our throats.

I come from Leicester, and i'm hugely proud of the city's reputation as a multicultural capital of sorts. We've got people from all over the world living here - and all pretty much in harmony. Take the Belgrave area, home to the "Golden Mile." I can think of few other places in the world, let alone Britain, where Hindu and Muslim communities live side by side with next to no trouble whatsoever. And these communities don't just "tolerate" each other, they actively interact with one another. The road has the odd honour of having the largest number of Asian restaurants per square mile in the western world - i'm not sure there are many places where a Halal butcher and a vegetarian Indian restaurant can be found side by side. There has even in the past 10 years been an influx of Polish and Lithuanian migrants to the area - and again, there has been no trouble. And this is coming from an area in the world spotlight right now for rampant racist, anti-semetic and fascist behaviours. The culmination in Leicester is probably the Diwali and Eid celebrations on Belgrave Road itself. The festivals always draw people from across the city and county and are both great spectacles. The people come from all walks of life.


 But why has "multiculturalism" worked in Leicester while it has seemingly failed in places like, say, Barking, where we saw that pitiful BNP sideshow at the last general election? I think, basically, it is due to the time during which Leicester became a multicultural city. The majority of immigrants to Leicester came here during the late 50's and early 60's. They were, on the whole, welcomed to the city, which isn't that suprising given the city's reputation as a liberal and/or "progressive" place in the 60's (though the less said about the decision to build the ring road the better.) Most came from India and came to the UK as families who still remembered it being part of the UK's empire, and shared some sense of British identity as a result despite the independence drive. But it was the ensuing years that caused the close-knit community to develop. Leicester's multiculturalism developed largely under the radar between the 60's and 90's as families grew up in the city, came to identify with life there and developed a pride in their hometown. By the time the third generations were growing up, the first real "Asian Brits" were growing up - people proud of their home country. To called said country adopted would be ignorant when somebody has spent their whole life there.

Had this wave of immigration come even fifteen years later, the story could be very different. During those dark days of the 70's recession and the failures of Wilson and Callaghan's governence, which make today's economic problems look rosy by comparison, the Skinhead became king on the backstreets, and those job taking "aysyunz" were the target. It would have been very difficult for any new migrant to feel at home or develop any connection with their new host country when going outside, even in broad daylight, could result in savage beatings at the hands of Doc-Martin toting hooligans. In places like Leicester, where the Asian community was already established and had actually helped drive a local economic boom - the hosiery industry in Leicester experienced an Indian Summer (excuse the pun) of trade boom in the late 60's while factories closed in surrounding cities thanks to an increased labour pool willing to work at lower wages - which lowered council tax and put more money in the pockets of everyone, regardless of skin colour.

Now, call me a cynic, but given that it was Labour's hideous mismanagement of the 70's economy (sound farmiliar?) which led to the rise in hooliganism and racially-motivated attacks thanks to unemployment amongst the white working class, I feel that New Labour's policy of "Multiculturalism" was a thinly-veiled attempt to score political points with the liberal centre ground and give the illusion that these communities across the country were now somehow closer-knit in spite of the social divisions their own party had been instrumental in creating. Is it not odd that places like Leicester or Camden, where there were never any real problems with race divisions, are rarely cited as beacons of "multiculturalism?" That's because they aren't what governments consider to be multicultural. The very word has become a dirty term for a socially-engineered forcing of communities together through which political parties score cheap points. Nowhere is this more apparent than recently in Bradford, where George Galloway's Respect party have wormed their way into power by throwing out a rhetoric based on this false "multiculturalism." Bradford is notoriously divided, with violence between it's Sikh and Muslim communities. It is Bradford where, amazingly, some Sikhs were publicly shown to be turning to the BNP a few years ago, such were the social divisions of a city where - you guessed it - the majority of immigration took place between the late 70's and early 80's.

 And y'know, it saddens me to say this, but now this political dark side of multiculturalism is invading Leicester, too. Many of you will know Keith Vaz, that muppet who chairs the Home Affairs Select Committee and is a well-known crony of Ed Miliband. This man is the very face of political multiculturalism, that thing I hate so very much. At any given oppurtunity, he will launch into a tirade of politically correct babble about how his party have helped people to integrate more. More and more, he cites Leicester as a city where "multiculturalism has worked."
 
No, Mr Vaz. Don't you DARE tarnish my city's history and reputation with the evil shadow of political multiculturalism. The situation in Leicester has nothing to do with you, or your political party's odious attempts to score cheap political victories on the basis of social engineering. Leicester's Asian and Afro-Carribean communites developed and integrated with the rest of the city by themselves, over time, without any intrusion from politicians or councillors. By the time we first heard the word "Multiculturalism" from Blair's government, our city was already getting on with it's life and not bothered by the religion or colour of a person. Now your party are trying, succesfully, to create a national stereotype of "apathetic integration" which is sadly being accepted by many as true. It's not, Mr Vaz. As someone who grew up in Leicester, who knows what REAL multiculturalism is, it's shocking that you'd pander to this ideology for the sake of political brownie-points. I'm afraid that the word multiculturalism is now a political word more than a social one.

I see true multiculturalism every day on the streets of my city, in the celebrations, in the festivals, in the vibrant market where, regardless of ethnicity, everybody has the same Leicester twang to their shouts of "GET YER TEMATOS, PAHND A PAHND!*" Then i switch on the TV and I'm bombarded with politicians and programs trying to give the illusion that everything is okay, and it's all thanks to those lovely people in Westminster. I never hear the man on the street talk of "multiculturalism." They don't care. It's only in the media, in those self-centred political corridors of power, where the poisonous phrase is ever uttered.

If anybody saw the channel 4 documentary "Make Bradford British" - there you have the real face of "political multiculturalism." But the stigmas that the show threw up - asian ladies scared to go into a pub, the segregated communities, the language barriers - were broken down when people simply began to talk and learn more about each other. I don't believe you can ever do that on a community-wide scale with politics involved. It has to be down to the people themselves wanting to try and get along. It happened in Leicester but - as I've said time after time - it takes time.

I love real multiculturalism - but the word is now an insult to what it originally stood for.  

* - Leicester dialect for "Get your tomatoes, one pound for a pound!" Usually followed by something along the lines of "I den wan' ote, m'duck (I don't want anything, my friend.)

images - sun.co.uk, pd3.co.uk

Monday, 7 November 2011

Jal

For those of you who like Chiptune, i reccomend and therefore shamelessly plug Jal, my musical arm as it were. I've been making game inspired music for the best part of a year now, and get a lot of joy out of it. :)

Whenever ive got a few hours to kill, I will often just experiment with different sounds and a lot of them become songs. Probably the best tune I've made is Descent, which was inspired by Zelda. I unintentionally made the descending flourish in Audacity (where I make all my songs) and built harmonies around it. The result was pretty good, and I made sure to try and get a kind of "epic hero" vibe.

So yeah, check me out at:
Youtube (http://www.youtube.com/user/mysteriouskazakh?feature=mhee),
ReverbNation (http://www.reverbnation.com/chiptune) or
Facebook (http://www.facebook.com/pages/Jal/135830649854215)

...if you're interested. Thank you! :D


Monday, 24 October 2011

The EU Referendum

Now, I have on the whole refused to be overly critical of the government since the coalition was formed. After all, Britain faces a huge economic mire caused by a multitude of factors, but one which was exascerbated by the previous Labour government's shocking overspend in pursuit of wars in the gulf and... *ahem* the Millenium Dome.


But one thing that has been clear for a long, long time is that the people of the UK want, nay, DEMAND a Referendum on the UK's involvement within the European Union. It's stripping of sovereignity has angered many, and Gordon Brown's refusal to bow to public pressure and sign away yet more sovereignity in the Lisbon Treaty of 2007 was for many the final straw. The United Kingdom Independence Party (UKIP) gained hugely in the EU Elections two years later as a result, the second biggest party representing the UK in Europe behind the Conservatives, also seen as "eurosceptic."

Polls are regularly taken across the UK which show that around half of the UK want to leave the EU. The calls for a Referendum on membership of the Union have been thrown aside by successive governments, but this year an official online petition for a referendum reached 100,000 signatures which legally binds Parliament to discuss it.

Now let me make this clear - Both members of the coalition, the Tories AND the pro-europe Liberal Democrats supported a referendum in their manifestos. Labour fully oppose it, but then they would; after all, at the rate they like to waste public money, they would soon have to rely on the IMF Bailout funds which are centred in Europe. That said, even some rebel Labour MP's support a referendum.

So surely, with a majority government formed from the Coalition partners, the Referendum is sure to go ahead?

Uh, no. The party leaders have gone back on themselves and now oppose the motion. They are threatening their party members that do vote in favour of the motion with demotions and sacking from their parties altogether.

So, the bottom line is that all three main parties are refusing to give the people a say on an issue that strikes a chord across the country. As much as I despise Labour, at least they're keeping to party policy - whereas the Conservatives and Liberal Democrats are shutting out the millions who voted them into power, and denying them a say on one of the very few manifesto policies they actually agreed on!

Expect UKIP to gain massively again.

Friday, 14 October 2011

Youtube's ACDC Fans

Looking around youtube, there are a couple of big bands who have covered ACDC's songs from time to time. Green Day play Highway To Hell and there's an old clip of the Chili Peppers shredding Back In Black.

What makes me laugh is the slew of negative comments from "fans" of ACDC.

Take the RHCP Back in Black vid for example. Yes, theyre clearly taking the piss, which makes the angry comments even funnier, but even good covers get dozens of "OMG U FAGZORZ CAENT CUVA AYSEEDEESEE DEY AR IMMORTAL DA BEST!"



They were trolling 17 years before trolling even began. Well played Peppers.

Music's free, assholes. Get used to it.

Thursday, 6 October 2011

Six Months On - My Views on the 3DS




The following is a piece i wrote for the ONM Forums a few days ago:

"So guys, I've now had my 3DS for half a year (6 months and 12 days to be precise) and i thought i'd give my tuppence on my experiences and thoughts of the system and the games I've played and am anticipating.

Release and First Impressions
I was one of those who refused to have a go on demo units and instead opt to discover it straight out of the box. After college that March afternoon, I opened it up, booted the system up and turned the depth slider up. I was blown away from that first glance - nothing more than a menu screen, yet even here you could see the clarity and depth of the 3D. Most exciting to me was knowing that if the menu screens were mind-blowing, the games must look even more so.

So I worked my way through the in-built software, and was impressed with the depth of entertainment one could get without even owning a 3DS game. Face Raiders was hilarious and is still great in short bursts, the AR games were on a par with the 3D effect for their initial "wow factor" and i garnered a lot of joy from getting my friends to make a mii, and seeing the look on their faces when i turned the slider up.

The first games
I got my system with Samurai Warriors: Chronicles, which I had decided to purchase long in advance after seeing the impressive graphics and having enjoyed the few fleeting glimpses I had had of playing Dynasty Warriors. Again, the 3D effect was mindblowing, not least the first time I saw the expanses of the battlefield stretch out with such depth - to me, a moment comparable to the first time one runs out onto hyrule field in a new Zelda game. The cut scenes were graphically superb, great for silencing the 3DS' detractors, though admittedly they got dull after a while. However, overall the game was a decent starting title and one I reccomend if you can find it for £20.
I had soon bought Pilotwings Resort and Street Fighter too. While many slated the shortness of the former, I truly fell in love with it from the first play, and it is another title I come back to whenever I want to chill out. Street Fighter was snapped up to have a go online, but I found myself frustrated by too much spamming, and so it probably ranks as my least favourite 3DS title.

eShop, New Channels and Zelda
Once the eShop became available, it finally felt like the system was becoming a complete entertainment experience. A criticism of nintendo was that they had rushed the system out - pretty much true, but now we could download all manner of games and channels at will. Excitebike 3D was a great blast of nostalgia, and the introduction of a save feature (one that works, that is) for custom tracks was most welcome! I downloaded some Gameboy games, and was soon playing 3DS in some way or another for many hours a day.

Here was where I thought it would be neccessary to look into the complaints about battery life. The reports were that the system could only bottle 3 hours of juice in it's normal running state, so I thought I'd have a go at proving the critics wrong. My results spawned the "3DS Battery Marathon Thread" and I managed to squeeze 7 hours out of my console before the red light came on - not bad at all to be honest, and way better than a lot of tech on the market now - my HTC phone needs charging every day for crying out loud!

Then I got Ocarina Of Time. It was very good. Though I still hate Jabu Jabu's belly. Stupid Ruto...

A quiet summer...

To be honest, i didn't play my 3DS much during summer at all. I was too busy doing other things - namely, getting out and about and, when at home, playing the Gamecube version of Animal Crossing like a wired up heroin addict. The times that i did play were largely characterised by a few weeks spent playing Photo Dojo at parties, and rolling around laughing at the stupid recordings my friends had made. Nintendo Video came, and i got some joy out of it, but wasn't too fussed. The OK GO videos were a refreshing break from crap magic tricks and Oscars Oasis, though.

The Ambassador Program got me back into playing my 3DS in a big way - now that I have 10 NES games sitting on my menu, i've got plenty of content to keep me occupied. Once again, I found myself playing it every day, and still i'm in awe when I turn the slider up.

Current impressions and the future...
The 3DS has been Jekyll and Hyde for me so far. I've had moments of pure joy, yet other features have left me underwhelmed. The library of 3DS physical software so far has been very limited, but the games I have bought have been very good. Add to this a great selection of downloadable games, most of which I didn't have to pay for, and I'm pretty content for now.

It is in these next few months that I really picture things picking up for the 3DS. I for one am most psyched about Animal Crossing, but that isn't out until next spring. Not that it's a problem - before then we're expecting plenty of good games. With christmas season coming, I firmly believe sales will increase. I'm looking forward to 2012 now - despite the launch of the Vita, it'll be the 3DS i'll be playing for many seasons to come."

Wednesday, 5 October 2011

Red Hot Chili Peppers - I'm With You Review

The following is a review I posted to Amazon a few weeks back for the new Red Hot Chili Peppers album, I'm With You.




"Well, after the underwhelming, drawn out filler-fest that was Stadium Arcadium, fans were left wondering what to expect from the new album. John Frusciante's fan club were distraught to see him depart (again) and it was left to backing guitarist from the band's last tour, Josh Klinghoffer, to fill the void. The result is a more subtle guitar performance, but one that truly lets flea kick loose, making this a much better balanced album than their last and a joy from start to finish.

Things kick off in spectacular fashion with Monarchy Of Roses, a barnstorming rocker, half Warped, half disco rock. No sooner have you had chance to catch your breath that Kiedis' spoken rap melds perfectly with Flea's funky bass on Factory Of Faith, which includes an infectiously funky outro that conjures memories of the late Hillel Slovak and reminds listeners that Klinghoffer can lead from the front too.

Next comes Brendan's Death Song, the first ballad on the album. Fans have drawn comparisons with perhaps the band's most famous track, Under The Bridge. And they would be right, with the swelling guitar licks and acoustic rhythm building into a powerful chorus. By the end of the track, it's a goosebump-triggering stadium classic remeniscant of King's Of Leon's Use Somebody - and Kiedis gives a stunning vocal performance with the chorus of "yeahs" in the track's conclusion. In my opinion, this is the most powerful 5 minutes and 40 seconds of music RHCP have ever recorded - it's simply breathtaking.


No sooner have we regained our composure and wiped the tears than we're propelled back into the funk rollercoaster with Ethiopia. Flea once again drops a great bassline, and Chad Smith's inspired 7/8 beat keeps the listener on the edge. Anthony's lyrics are so-so at first, but as the groove builds they fit the jam perfectly. Midway through, we're treated to some chorus-heavy guitar washes from Klinghoffer that once again signal that he is open to the styles of Slovak as well as Frusciante, but we're soon back into farmiliar territory for the Peppers with Annie Wants A Baby, with a bassline reminiscant of "This Is The Place" but little else to get excited about. It's perhaps the weakest track on the album, but even this is a good song, if slightly underwhelming.

Of course, the Chili Peppers are at their best catching you off guard, and the album is then abruptly thrown into an explosion of uptempo funk rock with Look Around. This is sure to be a crowd favourite - Kiedis returns to his Rhythmic rapping for the second time while Klinghoffer's mixture of power and melody in the opening creates one of the best combinations between Flea and his guitarist since the Uplift Mofo Party Plan album. The chorus, for all it' simplicity, will be stuck in your head from the first listen.

Next up is lead single The Adventures Of Raindance Maggie. Again, Flea is in fine fettle, and Klinghoffer's guitar washes and Claptonesque soars in the chorus work well and suit the minimalist style that the Chili's sound best when exercising - something lost in the guitar heavy Stadium Arcadium. Kiedis is in his comfort zone, but again the chorus is catchy - "hey now, we've got to make it rain somehow" - and his scat singing in the outro is infectious. Plus, massive kudos for Chad Smith having the nerve to add cowbell after all his comparisons to Will Ferrell!

Did I Let You Know lets Flea loose with his french horn again, something we've heard sadly very little of since the Mothers Milk and Freaky Styley albums. It's subtle, and does mean we have an understated bass track here - perhaps so we can see flea play the former in live shows? Klinghoffer puts in a haunting and solid backing vocal here; forums were awash asking questions over who was singing, and even what gender they were - perhaps a slightly embarrasing testimonial for his powerful vocal range! But Klinghoffer is back to his forté in the next track, the uptempo Goodbye Hooray, which sees powerful instrumental performances from all 3 musicians. There's even room for a barrelhouse piano in the backing, and the psychedelic, trancey bridge midway through is an interesting dynamic which serves to make the closing minute, which culminates in a mindblowing rock-out ending, even more powerful.

Next is Happiness Loves Company, which is sure to be marmite to RHCP fans in the same way Cabron and the Zephyr Song were on By The Way. It's infectiously upbeat, and the prominent piano and Flea's rare appearence on backing vocals with bop-de-bop singing make it truly unlike any Pepper's song to date. It's reminiscant of Britpop, but executed much better than the butchering indie of the past decade. If ever there was a second single from the album, this would be it, and I for one really dig it.

Police Station is another Ballad, and another good performance from Klinghoffer. The piano stabs later on are strangely haunting, perhaps because it's not expected of the Peppers to use such an instrument so heavily. Not that it's a bad thing, and they meld nicely with Josh's soaring, minimalist style. Then there's Even You Brutus?, the last burst of rap on the album and a new direction for Kiedis, with him ditching the rhythmic flows for an almost-yelling contemporary 21st century style. I was unsure of it at first - worried, even, that the rap style which made Kiedis unique was going to be lost in favour of the mainstream. But on closer inspection, it's pulled off effortlessly and combines so well with the piano backing that what starts as a suprising departure from convention becomes farmiliar and impressive very quickly.

Into the album's closing strait, and first there's Meet Me At The Corner. It's very minimal stuff, with Kiedis again leading from the front. The lyrics are suprisingly introspective. It will never be a fan's first choice, but it's solid with another pleasant Guitar and backing vocal performance from Klinghoffer. Finally, there's Dance Dance Dance, which perhaps makes the most of the much-touted but little-exploited claims of an afro-pop influence on the album. The drum beat chugs along nicely, with Flea putting in one final shift before the close of the Album. Kiedis' initially grating orders of "Dance! Dance! Dance! Dance!" become more and more infectious as more and more people join in with the song's progression. There's even room for one more sweet bridge from Klinghoffer, although it's over too soon. It's one of those "end of a party songs" - not too taxing for tired revellers, but upbeat enough to convince folks to keep on going. And with that the album recedes into the mist, and you're left feeling like the Peppers are truly starting fresh.

In conclusion, this album is, musically, flawless. Flea has perhaps not been as prominent on a RHCP album perhaps since at least Californication, perhaps Blood Sugar Sex Magik. Josh Klinghoffer, for all the gripes and disguisting scapegoating of a sizable number of so called "fans" who can't accept the departure of John Frusciante, proves himself time and time again, and yet is still subtle enough to let his band members shine instead of stealing the spotlight. Even so, he finds the space to put in a performance on Brendan's Death Song which could push Under The Bridge as one of the most iconic tracks RHCP have ever produced. Chad Smith is incredibly technical on the album, perhaps it's unsung hero who keeps everything rolling and has enough flourishes to grab the listener's attention throughout. Kiedis is the cherry on top, with a vocal ability that continually improves with each new album - again, listen to the stunning high notes at the end of Brendan's Death Song for proof that he is becoming a truly powerful singer. We also see an increased prominence of his famous spoken rap, as well as a new take in Even You Brutus?, which wraps up a solid performance all round from the band.

So I for one am comfortable to declare this the best Red Hot Chili Peppers album since Blood Sugar Sex Magik. There isn't a track on here that truly dissapoints, and you'll soon have your own favourites. Early fans will love Factory Of Faith, Goodbye Hooray and Look Around, while those who admire their contemporary work will love Police Station, Happiness Loves Company and Brendan's Death Song. Experimenters will dig Ethiopia, The Adventures Of Raindance Maggie and Monarchy Of Roses. So sit back and enjoy. The artwork is most certainly apt - you'll be left wanting a repeat prescription when the bug bites you. "

I gave it 5 stars. Hope you can see why. :)

Tuesday, 4 October 2011

Lets find an old photo - Episode 1.

Ladies and gentlemen, I give you this photograph.


I think I speak for all when i say -

"BOOM - Headshot!"