Credit where credit is due

Unfortunately we cannot take credit for creating our blogs header image nor claim ownership of it. It was found by google:ing the words “new media activism”, which lead to the image on New Left Project. It was the image for a post about an event called Rebellious Media Conference, which used the image as their logo. This only goes to show how easy it is to borrow an image from one site to another, and to yet another. And as with the “whispering game”, the intended meaning of it changes along the way. Copy and paste are probably one of the most useful tools when doing culture jamming. However we want to give credit where credit is due. And also explain why we chose this image:

First of all, the image is of a hand holding different communication tools, both digital and analog – an ink quill, a pen, a paint brush, a microphone, a mobile phone, a USB cord, and what appears to be pamphlets. The hand is sticking out of a television or computer screen, as if it punched through it from the other side. This picture captures the essence of new media activism in a great way. The tools used in new media activism are many and basically limitless, old and new mediums are mixed. This links to our blog title tagline: “Changing the World with Unlimited Creativity”.

Secondly, the hand is clenching the items in a fist, which can be related to the image often symbolizing activism. The iconic image of a raised fist brings us back to gold medalist, Tommie Smith and bronze medalist, John Carlos, during the 1968 summer Olympics, who each raised a black-gloved fist on the podium as a silent but radical “human rights-salute” (it is often attributed to be a “black-pride salute”, but according to wikipedia Tommie Smith wrote in his autobiography that it was rather a “human rights salute”). The image of the fist has ever since then been adopted and used by different movements, for example feminist movements, to symbolize struggle and activism. All this symbolism made the image a perfect choice for this blog about culture jamming.


“Got my little space and am happy. That’s all it takes. Leave me happy now. (Seen)”

Suddenly we all felt like insiders because even though Pop was everywhere…to us, it was the new Art. Once you ‘got’ Pop, you could never see a sign the same way again. And once you thought Pop, you could never see America the same way again.” – Andy Warhol, 1963

Both “legal” scriptures under the name graffiti and rebellious messages expressed on public surface can be dated back to the time of the Ancient Greeks and the Roman Empire. Also the fines that the “illegal” sneaking painters had to pay for their “crimes”. In modern times,  history seems to repeat itself, but the circumstances, possibilities and the tools of the process have changed in many aspects.

The first graffiti pieces are from the sixties’ New York, namely from Brooklyn and the Bronx. Young kids began to leave messages to each other on neighborhood walls as well as wrote their tags, or to be more precise, nicknames instead of their real ones. A seventeen year-old fellow calling himself Cornbread used this tag already in 1965, in Philadelphia, though. At the same time, gang members marked their territories a similar way, too.

After a while,  there were so many names and messages on street surfaces that people of the streets had difficulties with reading any of them because of the crowded mass of signatures. This led to the large competition among the messengers for space and sticking out even experienced today. The positive effect of the race is the beginning of a new era in art and urban expression as the competing writers tried to develop different techniques as well as using paint and aerosol sprays to be remembered resulting a large variety of colorful images. At first, they only bombed their nicknames, but later on, thoughts were also expressed and became more complicated.

The most famous pioneer with African descent, Jean-Michel Basquiat alias SAMO started his graffiti career in 1977 and succeeded as an art painter after being discovered by Andy Warhol. From that time, graffiti art moved even to the galleries, giving more possibility for a serious development process from the shady suburban spots to the bright lights of the inner city. Sad thing to notice, that many representatives of street culture, like SAMO lived in highly terrible circumstances, which contrast remained even after becoming a recognized artist.

Subway cars and trains coming and going between the city and the suburbs gave an arsenal of amazing places for throwing up the new form of art pieces. Not only new spots, but new ways of lifestyles has developed by the beginning movement – painters started to do their planning in own sketchbooks or “piece books” and watched the trains looking for the best moments and spots to catch, and people travelling by train and subway trains read or tried to figure out the colorful messages while found that an amusing  activity.

An excellent old school writer who even showed his talent in social welfare by getting requests for redecorating school walls and other gray panels, giving hope for urban children to become somebody, is known by the name Seen. (See for more: Stocktown, S01, Ep9, SEEN). This period was also a start for legal spots, legitimizing a modern form of art. Photographing got a constitutive role by immortalizing pieces on moving train and subway cars, as the artists could maybe never see their paintings again. That way, art photographing went through an evolution, so we can definitely state that the graffiti movement was a step stone in pushing forward other forms of art as well. Journalism and photographing were both parts of the mentioned blooming, a Native American member of the hip hop community called Ernie Paniccioli is another titled representative of the pioneers who did tremendously much for the society on the field by capturing graffiti art presenting both sides of the camera. His beautiful shot were not only published in art albums, but even in the most renowned magazines like Rolling Stone  or papers like Newsweek and television channels like MTV or VH1 (Famous People, The Universal Zulu Nation).

Youngsters expressed their thoughts both individually and by creating groups or so called “crews” possessing certain initials and names, like the early Brooklyn group called “The Fabulous 5”. Female artists could come out with their ideas, too – many times overwhelming their male mates.  One of them is Claw being most active during the late eighties, since, owner of a design and fashion shop with her authorized trademark, ClawMoney. The messages have developed to a high level of bombing events of the streets and more global ones which were maybe left out from the media reports. Political views, opinion about what ever happening in real life got a main role of expression.

Even the use of a correct grammar became important, not only the elements of aesthetics like style and the knowledge of drawing. The evidence for this is the appearance of several major items in the developing vocabulary of graffiti, namely “toy”,  wak” or “def” (Cooper & Chalfant). Painters are also evaluating each other’s artwork by writing remarks on the pieces they see the same way teachers give grades to their students. ‘Toy’ credits an incompetent writer while the word  “wak” comes from the expression ‘out of whack’ and is used for an incorrect or substandard piece (Cooper). An absolutely positive evaluation is “def” which is originated from the word “death” with a meaning of excellent work (Cooper). This new wave of vocabulary shows an urging need for changes in urban society as well as a tendency of cultural development of youth culture, also related to other parts of urban living. “Death” and its adjective form “deadly”, for example, are slang words (recommended source: URBANDICTIONARY) with historical roots referring back to the time of slavery when African American slaves were thought to be deadly and dangerous by their white masters (Forman & Neal), also used in hip hop lyrics. In addition to the etymological reference, subcultures and movements in any relation to hip hop – so graffiti, too, – are not only for the African American audience, but to each and everyone, moreover the members and the performers of any activities connected to them have different ethnic backgrounds in both gender classes. This factor gives the backbone of the elements of urban culture which is important to point out.

Now you may raise the question how graffiti painters are coming to the picture in the complex image of hip hop. How did they become connected?  The answer lies at the same place where the popularity and fame of graffiti began – in the late seventies and the early eighties when the old school artists and founding fathers of hip hop, Kool DJ Herc (aka Clive Campbell), Afrika Bambaataa and Grandmaster Flash started giving live performances and concerts. First of all, while traveling from state to state, graffiti crews visited the shows as well. Secondly, one of the performers mentioned above had tight connections to the graffiti movement – Herc , who had a graffiti friend, asked him to do his flyers since he liked and appreciated graffiti flyers.

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Today, the appellation “street art” is in everyday use for a wider range of urban art, like stencil art, decals, paintings and graffiti pieces. The name gives a better image to these activities as they differ from vandalism and even large companies, corporate moguls recognized the possibilities in these forms of expression. The funniest is that IBM for example also had to pay a huge sum of fines after holding out masses to draw signs and symbols in the streets in 2001. However, graffiti art can be seen in magazines, albums, books, professional art films about the topic, on sports equipment and hand-outs for events and in public advertisements of corporations.

Cultural Representation in American Hip Hop

Let me introduce American hip hop in a nutshell. Why is that the movement gives an essence of the whole world’s population? How do we learn from each other in the context of cultural heritage while cooperating not only in the arts, but for a cause as I will represent that in an other blog post about music, movements and politics? Gender, religious belief, ethnicity, geographical area and the narrow living environment are all parts of kickin-off ideas and their exchange. In brief, hip hop is a great example of mosaic pieces falling together in every way, from cultural, family and personal values to the collaboration of djs, emcees, musicians of several genres creating a whole fresh performance and style. As Dilated Peoples zooms out from the Los Angeles-view: “I got worldwide family all over the Earth”.

If I say Irish, you say Boston, or Philly, right? In hip hop, the answer is no. Los Angeles and the West Coast is the key to the Irish-American crew, House of Pain. Formed by principle rapper Everlast, who had already released a solo album ‘Forever Everlasting’ in 1990 that featured collaborations with Ice-T , with fellow MC Danny Boy and DJ Lethal (of Hispanic descent) released their self-titled album in 1992. Shamrocks and Shenanigans and Fed Up are two highly telling pieces of artwork from the group.

Desi hip hop was born from the ownership of culture while asserting the distinctness of South Asian American identity in music and performance as a cultural art form. A highly talented and intelligent example in the field is Chee Malabar.

The first hip hop artist of Italian descent coming up in my mind is Vinnie Paz. No, not The Pazmanian Devil Vinny Paz, who is an American-Italian former boxer and world champion surprisingly coming back from a car accident. Jedi Mind Tricks and Army of Pharaos Vinnie Paz I am thinking of, who has dedicated his lifetime work by choosing a similar pseudonym to his greatest childhood idol, simply of honor. Both groups, as Vinnie, too, are located in Philadelphia. Army of Pharaos is formed of numerous outstanding underground lyricists and producers, with telling names, many times referring to social/class differences, Native American, and other ancient cultures, conflicts, stance to life and its purpose, spirituality which are linked to their themes appearing in their music and lyrics, too: Apathy, Celph Titled, Chief Kamachi, 7L & Esoteric, Planetary & Crypt the Warchild (Outerspace), King Syze, Faez One, Jus Allah, Doap Nixon, Reef the Lost Cauze, Demoz, Block Mccloud, and Des Devious. A quite remarkable thing to notice is that both Everlast and Jedi Mind Tricks Vinnie Paz were born and raised Catholic but converted to Muslim belief, referencies about these changes can be found in their lyrics as well. Many of these artists are working at one and the same independent label, BabyGrande Records, regardless of cultural background. Among the first international groups, German Snowgoons (rapping mainly in English) has been supported by the BabyGrande collective.

Another person, Evidence of Dilated Peoples was born to an Italian father and a Russian-American mother. Evidence was a graffiti artist before getting into emceeing and record producing.

Puerto Ricans are not at all unknown in hip hop, as they are actively participating both in the music and the b-boy and b-girl scene. Son Doobie from the Los Angeles group Funkdoobiest is a very famous example here. The Hip Hop Hoodíos ( wordplay, judíos in Spanish= Jews) is an interesting crew, because they are partly Puerto Rican and partly Jewish. Puerto Ricans from NYC are called New York Ricans and one of them is Gloria Rodríguez, a female hip hop artist whose stage name is Hurricane G.

Latino or Hispanic groups are Delinquent Habits and Cypress Hill, individual artist is political activist Immortal Technique.

Chicano hip hop is a collective of Mexican-American descent. The term Chicano itself became adopted by many Mexican-American leaders in the 60s as an affirmation of their Indian past and as an expression to a rejection of European-American values. Kemo the Blaxican and a group formed by Eazy-E in 1994, Brownside can be given as examples here.

Filipino American West Coast deejay and member of the group Dilated Peoples, DJ Babu is an example for respectable Asian Americans in hip hop. Babu is also working with the Canadian motocross-hip hop group, Swollen Members among others.

Many people complain about hip hop being extremely masculine but this phenomena comes from earlier years. The American social imagination of masculinity included violence and guns already in the expansion of frontiers. Both literary works and Hollywood movies provided  the picture of the outlaw or rebel defending his family. The violent manhood image was part of the American identity, since Cooper‘s Indian novels including the image of a hero defending the innocent female from any outside-world violence. Maybe this process had an influence on the hip hop scene as well, along with the struggles with commercialization of the music scene (but not the movement).

Sometimes, hip hop treated women badly as most artists in the field are men and it is very hard to get into the world of emcees as a female. A new emancipation has arisen, however. This happened first in hip hop, as a part of the movement; as now, women got also a slice from the cake of expressing themselves in music and through creative lyrics, introducing feelings, talking about worries, frustrations in everyday life, describing struggles and problems from the female perspective in a modern world, instead of only singing love songs and touching on pre-scribed issues (jazz, Motown, soul, doo-wop; forming female vocal bands or appearing only as vocal adds to songs, or re-creating/performing older songs). The female image has also begun to stand on many different feet, as a part of the further progress in the sexual revolution of the 1970s; a central pre-told and censored picture has become now longer to be hold on to. Furthermore, feminist ideas and gender-role changes started to influence the “genre”. In the 80s, a few women succeeded to get into the music business such as Salt ‘n’ Pepa, Queen Latifah (latter meaning “kind/gentle”,  from Arabic), and Mc Lyte. Then, in the 90s, Bahamadia, Foxy Brown, Lauryn Hill, Erykah Badu and by today, Jean Grae became recognized representatives of hip hop.

To summarize, as you see, all artists’ work can be found on You Tube; with the help of this channel, I could demonstrate the colorful palette of cultures and the re-mix of cultural heritage and socio-political, ideological changes – but all this can be also thanked to the emergence of music channels on television, like for instance, Super Channel or the early (at least first ten-fifteen years of) MTV (Music Television) which craved for more viewers and them to be represented, especially during the eighties and nineties. Sticky Fingaz, actor, movie producer, director, and the frontman of Onyx takes a look back to these years and gives a memorable comparison between today’s commercialization trends and the bright years of the hip hop scene with earlier generations before the “business world” in the movie soundtrack of Crossover. In an interview about an other movie of his, all told and written in rap form and style, “A Day in the Life“,  he is talking about how Michael Jackson (also as first Afro-American appearing on MTV) influenced and taught people to keep on giving inspiration to others.


Using jokes to make the world a better place

I have been a huge fan of comedy in any form ever since I can remember and I have for a long time tried to figure out a way to joke without offending anyone, which is harder that one might think.  My personally belief is that it should be alright to joke about anything as long as it isn’t something directed to an individual. Making fun of one person specifically is way too easy and it could be considered bullying, and nobody likes a bully.  I strongly believe that you can joke about anything but not all things are funny. People need to understand that difference. I often hear that you can´t make a joke if it´s not funny for everyone, but where is the logic in that? Has anything ever been funny to everyone?  I also hear a lot “you should not say that” which in a way limits the freedom of speech that many of us are so privileged to have. Sure it might “just be a joke” which is not as important as an opinion or a belief but on the other hand “it´s just a joke” and as Swedish comedian Özz Nujen once said: “If we cannot joke about everything, then we cannot talk about it seriously either.”  Most of the times however, the people being offended are the same people the joke talks about.

The late Stand up comedian George Carlin took a huge risk by performing his act “Seven words you can never say on Television” “The message was directed at not just the corporate control of the entertainment industry, but also the sterile society that refused to rethink its own attitudes and values toward language.” (Timothy BellaA few years earlier Comedian Lenny Bruce had been suspended to perform anywhere in the U.S for the rest of his life due to his harsh language in his act, so when Carlin said his seven words on stage: “Shit, piss, fuck, cunt, cocksucker, motherfucker, and tits.”  42 years after we are still debating what we can or cannot say in public or on Television, cause it might be “offensive to someone”. George Carlin started out in an era where jokes about religion, harsh language and sex were considered taboo, and yet to this day jokes about these controversial topics are often advised to be avoided, in daily life as for the comedy stage. Greg Dean writes in his book, “Step-by-Step to Stand-Up Comedy” that one should avoid harsh language and controversial topics. The comedians who do joke about controversial things are the ones that already have a fan base who won´t get offended.

Leah A. Lievrouw writes that “humor and outrage can be effective persuasive…” when it comes to Culture Jamming. But at the same time, outrage and humor might have the complete opposite effect. People getting offended or uncomfortable could lead to less support of the actual cause or draw attention from it completely.

An example of this that I would like to bring to everyone´s attention happened in the movie “The Yes Men Fix the World” a movie about two activists playing pranks on huge corporations. Very few people would get offended by a prank directed to “The Man”. However the media twisted the story and reported on how insensitive the prank was towards the people in the Indian village who were made believe that they would receive money from the American Corporation that poisoned their village 20 years before. Funny thing was that nobody seemed to have been offended, on the contrary, people liked that the question was brought to attention again after all these years. The only people who seemed offended were the people who thought that someone else would be offended. I know, there is no logic at all. The story repeated itself with other pranks and jokes that The Yes Men did throughout the movie and the result was the same.  I believed it was very interesting because very little attention was paid to the fact that the big corporation was responsible for the death of 5000 people and nothing was done to help the villagers in India.

Perhaps we have reached the point where it might not be OK to joke about big corporations either?

A study has shown that popular brands with dedicated fans experiences the same euphoria and state of mind as religious people do. In other words going to the Apple store could for some people be equal to a religious experience. It might not be far-fetched to assume that these people would  also react the same way to jokes and pranks directed to their brands the same way jokes about religion have been (and still are) a sensitive topic.

Culture Jammers needs to take these things into consideration when they plan and execute their actions. Not by stop provoking, making jokes and pranks, but to be considerate about if people will stand behind the act and back the up the cause. As we could see in the example of the Yes Men movie the people that should be offended (according to the media) most likely are not, as long as the prank is raising awareness of a greater cause. In the end it’s about fixing the world and it is a lot easier to do that when the people are behind you, not against you.

Who’s Rights?

A presentation of culture jamming is incomplete without at least touching upon the discussions concerning copyright and trademark. Of course companies dislike being the subject of adbusting or subertizing. They have after all paid a price to be protected under copyright and trademark law. So, what is it they need to be protected against?

They have put in a lot of effort and money over the years to build up a brand name that says something to the consumer about their products and quality. Of course they don’t want someone else to be able to use their brand name, logo or slogan, to piggy back ride on their success. No one else should be able to profit from using or misusing their brand. And they wouldn’t want consumers to be confused about who is really selling what and with which quality. So far, so good. You might think, “That makes sense, what’s wrong with that?”

Well, as long as it all has to do with companies v.s. other businesses, maybe it does make sense. You come up with a winning idea or create something people like and want, you don’t want someone else getting the credit for it or otherwise profiting from it in your name. But when it comes to culture jamming, or more specifically subertising, it can be argued that the issue is of a different nature.

To borrow the excellent explanation from Wikipedia: Subvertising refers to the practice of making spoofs or parodies of corporate and political advertisements. Subvertisements may take the form of a new image or an alteration to an existing image or icon, often in a satirical manner. A subvertisement can also be referred to as a meme hack and can be a part of social hacking or culture jamming. According to AdBusters, a Canadian magazine and a proponent of counter-culture and subvertising, “A well produced ‘subvert’ mimics the look and feel of the targeted ad, promoting the classic ‘double-take’ as viewers suddenly realize they have been duped. Subverts create cognitive dissonance. It cuts through the hype and glitz of our mediated reality and, momentarily, reveals a deeper truth within.”

So, what happens when someone pulls off a “well produced subvert”, according to Adbusters, is often that companies get shamed. The embarrassment causes them to call “foul play!”, pointing to the law and claiming their “rights”.  They often try to sue whoever did the “spoof”, but often times they fail. I’ll give you an example of such a case:

Dr. Matthew Rimmer, Senior Lecturer and director of Higher Degree Research at the Australian National University of Law, has written about the case of Laugh It Off Promotions v. South African Breweries International (SAB), and the issue of trademark law v. culture jamming. He presents Laugh It Off Promotions as lampooning “well-known, registered trade marks of large corporations to make a statement about corporate policies or practices. It also seeks to probe issues bearing on broader society; to assert free expression and in so doing to challenge the inordinate use of trade mark laws to silence expressions that are unflattering about brands”.

What Laugh It Off had done in this case was that they had taken the beer logo of SAB’s “Black Label” and changed it into “Black Labour – White Guilt”, printed it on t-shirts and sold them on their website.

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Sachs J, South African judge in this case, said, “Does the law have a sense of humor? This question is raised whenever the irresistible force of free expression, in the form of parody, meets the immovable object of property rights, in the form of trademark protection.”  To make a long story short, the judge ruled in favor of Laugh It Off Promotions, stating their freedom of expression.

Rimmer presents Jeremy Philips, who commented on the case, that “brand owners have to realise that trade mark laws have built-in mechanisms which require them to face criticism, even if that criticism explicitly mentions the trade marks upon which it is based.”

Drawing conclusions from Rimmer’s work, the discussions in similar court cases often boil down to questions concerning weather the “spoof” has caused the company any damage, such as profit loss or if it has caused confusion among consumers, weather the defendant profited from the “spoof”, and mainly weather it is a case of freedom of expression. Many have seen the court’s ruling in the case of Laugh It Off Promotions v. South African Breweries International as an example for other similar cases to take after.

The judge concluded with a statement that so well summarises the objective of culture jamming: “What has been relevant in the present matter is that the context was one of laughter being used as a means of challenging economic power, resisting ideological hegemony and advancing human dignity.” And the somewhat ironic statement: “Indeed, if our society became completely solemn because of the exercise of state power at the behest of the worthy, not only would all irrelevant laughter be suppressed, but temperance consideration could end up placing beer-drinking itself in jeopardy.”

Technical issues leaving a comment

It has been brought to our attention that some people are having difficulty leaving comments to our posts because the field for the security code isn’t visible. Well, unfortunately I cannot figure out how to make it visible. BUT,  here below I have posted a screenshot of the comment area and drawn a red circle around the security code field so that you’ll know where it is even if you cannot see it. Because it is there and you can type there! 🙂

Now feel free to blow out minds with your awesome comments!

Making it easier for you to leave a comment! :)
Making it easier for you to leave a comment! 🙂

WE Distort, YOU Abide

EYES >> WE Distort, YOU Abide    EARS >> Hunted

“The world is indeed comic, but the joke is on mankind.”
– H.P. Lovecraft

“Thou Shalt Always Kill” by Dan le Sac Vs. Scroobius Pip, England, 2006

Mr Scroobius Pip: “I am Not a Terrorist”, 2007

Since 1988, had the possibility to watch Sat 1, RTL, RTL2, Vox, and many more among German tv-channels and what we could hear after ten minutes of a film most often was: Zu Risiken und Nebenwirkungen fragen Sie Ihren Arzt oder Apotheker… – for risks and side effects, ask your doctor or pharmacist…

Now, in 2013, the same thing is happening in Hungary, a state where freedom has fallen since 1989, where the big pharma, as to almost all over the world, has broken in. Quite unbelievable, but two businesses do not ever die out from the streets, unlike smaller, local shops with local owners: banks and pharmacies. You know, we usually say in a funny way: when you cannot pay your high rental rates and loans which were in Swiss Francs, until recently (changed by the present government, luckily), then you can always go and buy something for a headache or against a heart-attack. Actually, people do so, as all hospitals are full, and people have to wait a lot in order to get a treatment for a simple illness. Have to add, people you meet on public transport, are mostly over 70, taking at least 6-7 different medicines, tablets, pills and so on at the same time and at the time you meet them, they are surely on their way to one of their doctors, who just looks at his/her pen, notebook, poster, broschure, or any other kind of “free stuff” as sponsorship from large pharma industries, then he begins to write almost before asking what their problem is. For television networks, commercials bring the largest sums as an income, so if you test a day from program opening to closing time your head will be filled with the easiest way to get rid of anything unwished. How to take a pill very quick, how to wash away pain in a second the same way you learn to remove dirt from dishes or clothes with the newest, brightest and most effective chemicals.

Also,  a second (first: late sixties-seventies throughout the eighties) generation healthy-living snobbish-craze has become “trendy”, you are jogging from morning to night, or, taking yoga lessons, even studying to be a yoga-instructor or a fitness trainer, maybe a life-coach beside your original profession. You eat raw-food only, no meat, no pasta, no fat, no sugar, or no cigarettes, because they are bad for the health, harm the animals, or, you are trying to hold yourself to a low-carb diet, etc. Usually, I think of the twenties, thirties, forties, fifties and sixties, when people began to smoke nicotine with the sense of freedom, as we saw it in Marlboro or Lucky Strike ads, or, in cinematic pieces of the time all over the world – then, all of a sudden, people had to quit smoking. Can you see the business and marketing in this now? In the fifties, conformist-seeming couples in any household began to purchase sex-toys and fetish clothing through post-order catalogs, secretly. During WWI, soldiers began to use ecstasy prescribed by the government. Later on, even during the seventies, girls wanted to be slim, so they took the amphetamines bought at the local pharmacy – these pills were the “losing weight pills” and some people still do not even know what they “dropped in” when they sold their lunch tickets as students at universities. And we are the children, who also have children since then. Any questions about genetics and illnesses? Before tripping with Timothy Leary, LSD was created in order to treat the psyché. Then, many gone crazy as hippies who were over the fence of the bamboo and iron curtains, but after the nice revolt, the rich kids went back to conformism and became worse than the parents of the fifties they criticized. Now, you see how it goes.. stuff the population with legal, who-knows-what drugs, pain will be off, everything will be cured, everything will be better than ever.

“We Want Your Soul” by Adam Freeland, England, 2007

In a modern, globalized world, everything must happen quickly. The real side-effect though is people believing everything will be shiny after running to the place for to consume the product, their meal, their sex, their take-away coffee, their fancy, status symbol cars and they just drop in. Dropping in, taking away and running are fashionable, so as the expressions “hipster”, “guru”, “expert” or prefixes “bio-“, “eco-“, “fair-“, etc.  Should not most of these things be natural instead of re-mixing and recycling them even when formulating a sentence? A trade should be fair and we are all good at something that contributes to society positively – this should be treated with respect. Should we stay in the rat-race of a mutated world lead by chemicals and always being better than anyone? Actually, sugar consumption is tricky, speaking about being always better and maybe stay “single” (a fashionable word, again, many times mistaken for “independent“), but where is the love? Yes, here comes sugar.. sugar, according to psychology and experts, is consumed instead of the missing love. Also passes well (irony) instead of food, according to some. Bulimics, anorectics. Think about cupcakes including all unnatural, united colors of the world.. attracting thousands… or coffee that is consumed five times a day if not more during a long day at work.. with three sugars. But, sugar is best with bubbles, carbon-dioxide. A real vein-killer. Never enough of it, so, many households consume it in more liters per day than they do with milk. Models, who are fifteen/sixteen and adults must look the same young and beautiful as them, regardless gender. Make-up is a cover, so best not to leave the house without it, not even when you drop off to the nearest grocery store.

Now, by this light, we can see the point of the parody: Bei Risiken und Nebenwirkungen verklagen sie ihren Arzt und Apotheker – For risks and side effects sue your doctor and pharmacist…

Another wonderful brainwashing element on tv is aggression that children imitate if they see action and horror movies/ series between two fairytales/cartoons. The parent needs to check wisely whether the child is watching only kids’ programs. The same thing is happening on the internet, where kids are very likely to stumble upon aggressive games. Already in primary school (speaking as an instructor as well), many talk only about action games taking place in different kinds of wars, or “walk in a labyrinth-like corridore and shoot at any moving objects”. Not surprising, when you hear children at the age of 11 and 12 say cutting off someone’s head is a solution for problems, not to mention how much fun it is.

Changing the World with Unlimited Creativity