Web Commonerpolitics, social commentary, and ramblings on pop culture

While young people took to the streets of London and beyond this week, politicians and the news media appeared blind to the irony that the rhetoric chosen to describe the events seemed reserved only for the young class of criminals looting shops and not for the thugs at the top of the food chain looting the world’s currency.

Speaking to the House of Commons, Prime Minister, David Cameron said, “Responsibility for crime always lies with the criminal, but crime has a context, and we must not shy away from it. I have said before that there is a major problem in our society with children growing up not knowing the difference between right and wrong.”

Since the global economy’s near collapse several years ago, corrupt bankers, politicians, police authorities, media owners, and other establishment officials have been prioritizing wrong over right, demonstrating consistently bad and mindless behavior. There should be little surprise when young people, with little hope for the future, pray on the vulnerability of others, especially given the example set by those who, conveniently out of CCTV range, hold the reigns of power.

“The potential consequences of neglect and immorality on this scale have been clear for too long, without enough action being taken,” said Mr. Cameron. “To the law abiding people who play by the rules,” he continued, “and who are the overwhelming majority in our country, I say the fightback has begun. We will protect you. If you’ve had your livelihood and property damaged, we will compensate you. We are on your side.”

To date, of course, very few corporate criminals have been brought to justice or even taken responsibility for their roles in the global economic disaster, and their victims continue to lose their homes and livelihoods. In fact, most of them continue to reap the financial benefits of their actions in the form of tax giveaways and corporate bonuses while government cutbacks take their toll on the poor and less privileged.

Acting with little difference between themselves and the people that they like to label as “mindless criminals” and “thugs,” a small minority of increasingly wealthy individuals, who often looted their way to the top by taking from others, create the conditions that lead to such strife in the streets. “It is criminality pure and simple,” as the Prime Minister put it, “and there is absolutely no excuse for it.”

As homes and buildings burned, merchandise vanished, and livelihoods changed, too many people were quick to point out the criminal nature of youths rioting on the streets of London while ignoring the criminality of people who set the socioeconomic order in the first place. Fortunately, we have politicians like David Cameron to filter through the noise, find the “criminals,” and make empty promises to ensure that “they” get what’s coming to them!

“And to the lawless minority, the criminals who’ve taken what they can get, I say this: We will track you down, we will find you, we will charge you, we will punish you. You will pay for what you’ve done.”

Riot Noise

New evidence of Michael Jackson’s influence is popping up throughout the Internet in the form of tributes to the deceased entertainer. Friends and fans alike are passing along links to websites like Eternal Moonwalk, where a continuous loop of home videos shows people performing Jackson’s signature move. Other homages highlight his artistic genius, and one particular YouTube user is publishing video mash-ups that combine Jackson’s music with old footage of song-and-dance icons perceived to be his artistic inspirations from entertainment’s past. Check out the following series of clips that chronicle evidence of a historical evolution behind what eventually came to be Michael Jackson’s “Moonwalk.”

Other videos on the page carefully combine edited clips of “West Side Story” with Jackson’s “Beat It” and “Bad,” or clips of Fred Astaire and Cyd Charisse dancing to Jackson’s “Smooth Criminal,” all skillfully crafted to demonstrate the entertainer’s obvious affinity towards show tunes, and their influence on his music, dance and videos. The significant difference between those historical gems and Jackson’s own art are the media that presented them, the silver screen versus MTV and the boob tube, which invariably led me to ponder how artistic influence gets recycled over time and through different mediums. As technology evolves and cultures change, valued art from the past gets passed on to succeeding generations, and shared influence continues to turn the wheels of inspiration, progress, and innovation.

Recently, Coldplay’s smash hit, “Viva La Vida,” sparked controversy over whether or not the British band lifted their song’s signature tune from an earlier recording of Joe Satriani’s “If I Could Fly.” The Internet and, more specifically, YouTube, became a sort of advanced interactive medium for fans to compare the music, discuss its transference, and indirectly share its inspiration and influence. To make matters more interesting, convincing compositions by other musicians including Enanitos Verdes and Cat Stevens got thrown into the mix, spanning almost twenty years of artistic works that seemingly influenced other works. Much of the matter’s discussion seems reminiscent of conversations that took place at the turn of the century when advances in production technologies brought Hip-Hop culture from block parties to the recording studio as artists began sampling old recordings to create entirely new music compositions.

In a society that sets high standards on the use of copy-written material, technology is once again testing the limits of artistic progress, and rekindling conversations that take place over the influence of past works. In the United States, arguments over copyright material are historically settled within the confines of America’s courtrooms, but new ideas fostering the free sharing of information via the Internet threatens to blow the hinges off the system’s doors. In the not-so-distant past, peer-to-peer sharing showed signs of destroying the business of record companies, which held a monopoly on music distribution, and lawsuits only gained them enough time to restructure their business models. Today, social networking sites like YouTube are excellent examples of mediums that allow for gross sharing of artistic property and ideas. Meanwhile, a new generation of entrepreneurs is setting aside outdated practices of intellectual protectionism by embracing a culture of sharing, most notably in open-source software development.

Regardless of which way the wind blows on future copyright law, shared influence among artistic works remains a powerful force that inspires human progress and innovation through time, a sort of transference of such subtle references to the past that they can quickly and easily be forgotten. Throughout human history, the past is what shapes our future and, since the day we learned to stand upright and speak, that yearning to share what we know and how we came to know it lingers within, like the blood flowing through our veins. It’s generally accepted that you cannot get something from nothing, especially within the spectacular realm of the shared human experience. So, without Copernicus, there would be no Galileo. Without Greek philosophy, no Roman democracy. Without Chuck Berry, no Beatles and, of course, without Fred Astaire, no Michael Jackson.