Connect with us

Published

on

Once again, we’re debating about “platforming Nazis,” following the publication of an article in The Atlantic titled ” Substack Has a Nazi Problem” and a campaign by some Substack writers to see some offensive accounts given the boot. And once again, the side calling for more content suppression is short-sighted and wrong.

This is far from the first time we’ve been here. It seems every big social media platform has been pressured to ban bigoted or otherwise offensive accounts. And Substackeveryone’s favorite platform for pretending like it’s 2005 and we’re all bloggers againhas already come under fire multiple times for its moderation policies (or lack thereof). Substack vs. Social Media

Substack differs from blogging systems of yore in some key ways: It’s set up primarily for emailed content (largely newsletters but also podcasts and videos), it has paid some writers directly at times, and it provides an easy way for any creator to monetize content by soliciting fees directly from their audience rather than running ads. But it’s similar to predecessors like WordPress and Blogger in some key ways, alsoand more similar to such platforms than to social media sites such as Instagram or X (formerly Twitter). For instance, unlike on algorithm-driven social media platforms, Substack readers opt into receiving posts from specific creators, are guaranteed to get emailed those posts, and will not receive random content to which they didn’t subscribe.

Substack is also similar to old-school blogging platforms in that it’s less heavy-handed with moderation. On the likes of Facebook, X, and other social media platforms, there are tons of rules about what kinds of things you are and aren’t allowed to post and elaborate systems for reporting and moderating possibly verboten content.

Substack has some rules , but they’re pretty broadnothing illegal, no inciting violence, no plagiarism, no spam, and no porn (nonpornographic nudity is OK, however).

Substack’s somewhat more laissez faire attitude toward moderation irks people who think every tech company should be in the business of deciding which viewpoints are worth hearing, which businesses should exist, and which groups should be allowed to speak online. To this censorial crew, tech companies shouldn’t be neutral providers of services like web hosting, newsletter management, or payment processing. Rather, they must evaluate the moral worth of every single customer or user and deny services to those found lacking. Nazis, Nazis, Everywhere

Uh, pretty easy just not to do business with Nazis, some might say. Which is actually… not true. At least not in 2023. Because while the term “Nazi” might have a fixed historical meaning, it’s bandied about pretty broadly these days. It gets used to describe people who (thankfully) aren’t actually antisemitic or advocating for any sort of ethnic cleansing. Donald Trump and his supporters get called Nazis. The folks at Planned Parenthood get called Nazis. People who don’t support Israel get called Nazis. All sorts of people get called Nazis for all sorts of reasons. Are tech companies supposed to bar all these people? And how much time should they put into investigating whether people are actual Nazis or just, like, Nazis by hyperbole? In the end, “not doing business with Nazis” would require a significant time investment and a lot of subjective judgment calls.

Uh, pretty easy just not to do business with people who might be mistaken for Nazis, some might counter. Perhaps. In theory. But in practice, we again run into the fact that the term is ridiculously overused. In practice, it would be more like “not doing business with anyone who anyone describes as a Nazi”a much wider groupor devoting a lot of the business to content moderation.

OK, but you can have toxic views even if you’re not literally a Nazi. Of course. But you have to admit that what we’re talking about now is no longer ” doing business with Nazis .” It’s about doing business with anyone who holds bigoted views, offensive views, views that aren’t progressive, etc. That’s a much, much wider pool of people, requiring many more borderline judgment calls.

This doesn’t stop at Nazis, the Nazi-adjacent, and those with genuinely horrific ideas. Again, we’re going to run into the fact that sometimes people stating relatively commonplace viewpointsthat we need to deport more immigrants, for example, or that Israel shouldn’t exist, or that sex-selective abortions should be allowed, or whateverare going to get looped in. Even if you abhor these viewpoints, they hardly seem like the kind of thing that shouldn’t be allowed to exist on popular platforms. Slippery Slopes and Streisand Effects

Maybe you disagree with me here. Maybe you think anyone with even remotely bad opinions (as judged by you) should be banned. That’s an all too common position, frankly.

In Substack’s case, some of the “Nazis” in question really may beor at least revereactual Nazis. “At least 16 of the newsletters that I reviewed have overt Nazi symbols, including the swastika and the sonnenrad, in their logos or in prominent graphics,” Jonathan M. Katz wrote in The Atlantic last month.

But you needn’t have sympathy for Nazis and other bigots to find restricting speech bad policy.

Here’s the thing: Once you start saying tech companies must make judgment calls based not just on countering illegal content but also on countering Bad Content, it opens the door to wanna-be censors of all sorts. Just look at how every time a social media platform expands its content moderation purview, a lot of the same folks who pushed for itor at least those on the same side as those who pushed for itwind up caught in its dragnet. Anything related to sex work will be one of the first targets, followed quickly by LGBT issues. Probably also anyone with not-so-nice opinions of cops. Those advocating ways around abortion bans. And so on. It’s been all too easy for the enemies of equality, social justice, and criminal justice reform to frame all of these things as harmful or dangerous. And once a tech company has caved to being the safety and morality arbiter generally, it’s a lot easier for them to get involved again and again for lighter and lighter reasons.

Here’s the other thing: Nazis don’t magically become not-Nazis just because their content gets restricted or they get kicked off a particular platform. They simply congregate in private messaging groups or more remote corners of the internet instead. This makes it more difficult to keep tabs on them and to counter them. Getting kicked off platform after platform can also embolden those espousing these ideologies and their supporters, lending credence to their mythologies about being brave and persecuted truth-tellers and perhaps strengthening affinity among those otherwise loosely engaged.

There’s also the ” Streisand effec t” (so named after Barbra Streisand’s attempt to suppress a picture of the cliffside outside her house only drew enormous attention to a picture that would otherwise have been little seen). The fact that Nazi accounts may exist on Substack doesn’t mean many people are reading them, nor does it mean that non-Nazis are being exposed to them. You know what is exposing usand, alas, perhaps some sympathetic types, tooto these newsletters? The Atlantic article and the Substackers Against Nazis group continuing to draw attention to these accounts. Substack’s Ethos

In their open letter, Substackers Against Nazis don’t explicitly call for any particular accounts to be banned. They’re just “asking a very simple question…:Why are you platforming and monetizing Nazis?” But the implication of the letter is that Substack should change its policy or the writers in question will walk. “This issue has already led to the announced departures of several prominent Substackers,” the letter reads. “Is platforming Nazis part of your vision of success? Let us knowfrom there we can each decide if this is still where we want to be.”

Substack executives haven’t publicly responded to critics this time. But thy have laid out their moderation vision before, and it’s commendable.

“In most cases, we don’t think that censoring content is helpful, and in fact it often backfires,” Substack co-founders Chris Best, Hamish McKenzie, and Jairaj Sethi wrote in 2020, in response to calls for them to exclude relatively mainstream but nonprogressive voices. “Heavy-handed censorship can draw more attention to content than it otherwise would have enjoyed, and at the same time it can give the content creators a martyr complex that they can trade off for future gain.” They go on to reject those who would have Substack moderators serve as “moral police” and suggest that those who want “Substack but with more controls on speech” migrate to such a platform.

“There will always be many writers on Substack with whom we strongly disagree, and we will err on the side of respecting their right to express themselves, and readers’ right to decide for themselves what to read,” they wrote.

If the accounts Katz identified are making “credible threats of physical harm,” then they are in violation of Substack’s terms of service. If they’re merely spouting racist nonsense, then folks are free to ignore them, condemn them, or counter their words with their own. And they’re certainly free to stop writing on or reading Substack.

But if Substack’s past comments are any indication, the company won’t ban people for racist nonsense alone. Keep Substack Decentralized

Plenty of (non-Nazi) Substack writers support this stance. “Substack shouldn’t decide what we read,” asserts Elle Griffin. “We should.” Griffin opposes the coalition aiming to make Substack “act more like other social media platforms.” Her post was co-signed by dozens of Substackers (and a whole lot more signed on after publication), including Edward Snowden, Richard Dawkins, Bari Weiss, Greg Lukianoff, Bridget Phetasy, Freddie deBoer, Meghan Daum, and Michael Moynihan.

“I, and the writers who have signed this post, are among those who hope Substack will not change its stance on freedom of expression, even against pressure to do so,” writes Griffin.

Their letter brings up another reason to oppose this pressure: It doesn’t work to accomplish its ostensible goal. It just ends up an endless game of Whac-A-Mole that simultaneously doesn’t rid a platform of noxious voices while leading to the deplatforming of other content based on private and political agendas.

They also note that it’s extremely difficult to encounter extremist content on Substack if you don’t go looking for it:

The author of the recent Atlantic piece gave one way: actively go searching for it. He admits to finding “white-supremacist, neo-Confederate, and explicitly Nazi newsletters” by conducting a “search of the Substack website and of extremist Telegram channels.” But this only proves my point: If you want to find hate content on Substack, you have to go huntin g for it on extremist third-party chat channels, because unlike other social media platforms, on Substack it won’t just show up in your feed.

And they point out that (as on blogs of yore) individual creators can moderate content as they see fit on their own accounts. So a newsletter writer can choose to allow or not to allow comments, can set their own commenting policies, and can delete comments at their own discretion. Some can opt to be safe spaces, some can opt to be free-for-alls, and some for a stance in between.

I’m with Griffin and company here. Substack has nothing to gain from going the way of Facebook, X, et al.and the colossal drama those platforms have spawned and the mess they’ve become proves it. Substack is right to keep ignoring both the Nazis and those calling to kick them out.

Continue Reading

Entertainment

Robbie Williams reveals Gary Barlow collaboration on new album Britpop

Published

on

By

Robbie Williams reveals Gary Barlow collaboration on new album Britpop

Robbie Williams has revealed details of several star collaborations on his upcoming album, Britpop – including a track with Gary Barlow.

The former Take That singer teased details at a launch event for the record, which will be his first studio album of original songs in almost a decade.

He also announced he will play his “smallest-ever ticketed gig” as an intimate show for 500 fans, performing both his debut album Life Thru A Lens and Britpop in their entirety, following his current European stadium tour.

Williams and Barlow performing together in 2010. Pic: AP/ Mark Allan
Image:
Williams and Barlow performing together in 2010. Pic: AP/ Mark Allan

Williams listed some of the artists he has collaborated with on the new album, including Black Sabbath‘s Tony Iommi, Coldplay’s Chris Martin, Supergrass frontman Gaz Coombes, and Barlow.

The relationship between the Take That stars famously deteriorated after Williams left the group, but the pair fixed their friendship in later years – and the Angels star reunited with the band for their Progress tour in 2011.

Their song on Britpop is called Morrissey, about the singer-songwriter and former frontman of The Smiths.

Answering questions from comedian Joe Lycett, who hosted the event, Williams said the song was written from the point of view of “somebody that is stalking Morrissey and is completely obsessed and in love with him”, but did not give any further detail.

Coldplay's Chris Martin also collaborated on the album. Pic: Charles Sykes/Invision/AP 2024
Image:
Coldplay’s Chris Martin also collaborated on the album. Pic: Charles Sykes/Invision/AP 2024

Another track, Human, is about AI. “We are being told that we’re all about to be replaced, and we need clothes and we need food, so there’s a chance that we will be removed,” Williams said. “Whether it’s a prophecy, we shall see. But, yeah. It’s a song about what we’ve been told about AI.”

The singer rose to fame in Take That in the early 1990s before quitting and going on to have huge success as a solo star, with hit songs including Let Me Entertain You, Angels, Feel, No Regrets and She’s The One.

In 2023, he reflected on his life and career in a documentary series, in which he spoke about his struggles with the limelight and his mental health at the height of his fame. Last year’s Better Man – a biopic of his life in which the star was portrayed as a monkey – also tackled those issues.

Take That in their 1990s heyday: (L - R) Gary Barlow, Howard Donald, Mark Owen, Williams and Jason Orange. Pic: PA
Image:
Take That in their 1990s heyday: (L – R) Gary Barlow, Howard Donald, Mark Owen, Williams and Jason Orange. Pic: PA

Now, he says he is back with the kind of album he would have loved to have released after he left Take That in 1995 – the “peak of Britpop” and the year of Oasis’s (What’s the Story) Morning Glory?, Pulp’s Different Class, and Blur’s The Great Escape.

“I’ve kind of been musically a bit aimless for a little while because I haven’t known really what to do,” Williams said at the Britpop launch. “I chased yesterday an awful lot. Which happens.”

When you become hugely successful and then “commercial radio, whatever, stops playing you… you think, shit, what was it that I did?” he continued. “I just spent the last 15 years looking backwards. And I think with this album, if I am going to look backwards, I might as well just clear the decks, go back to the start and head off from there.”

Read more from Sky News entertainment:
Grange Hill creator calls for radical TV merger

‘I’m proud’: Noel Gallagher praises Liam for Oasis tour

Williams also spoke about other projects, including artwork and investment in arts education. “I want the entertainment industry to be somebody’s Plan A and Plan B,” he said.

“You know when you go to your parents, you say, ‘I want to be a singer, I want to be a dancer or be an actor, I want to go into the entertainment industry’. [The response is] ‘You better have a Plan B.’ I want to create the Plan B for people, too.”

Robbie Williams will play at Dingwalls in Camden on 9 October. Britpop is out the following day.

Continue Reading

Entertainment

Kneecap rapper greeted by hundreds of supporters at terror charge court hearing

Published

on

By

Kneecap rapper greeted by hundreds of supporters as he arrives at court on terror charge

A member of rap trio Kneecap has been released on unconditional bail after appearing in court charged with supporting a proscribed terror organisation – as hundreds turned out to support him outside.

Liam Og O hAnnaidh, who performs under the name Mo Chara, is accused of displaying a flag in support of Hezbollah at a gig in London in November last year.

Demonstrators waving flags and holding banners in support of the rapper greeted him with cheers as he made his way into Westminster Magistrates’ Court on Wednesday morning.

The rapper was mobbed by supporters and media. Pics: PA
Image:
The rapper was mobbed by supporters and media. Pics: PA

Supported by his Kneecap bandmates Naoise O Caireallain and JJ O Dochartaigh, it took O hAnnaidh more than a minute to enter the building as security officers worked to usher him inside through a crowd of photographers and supporters.

Fans held signs which read “Free Mo Chara”, while others waved Irish and Palestinian flags.

As the hearing got under way, O hAnnaidh confirmed his name, date of birth and address. An Irish language interpreter was present in court.

During a previous hearing, prosecutors said the 27-year-old is “well within his rights” to voice his opinions on the Israel-Palestine conflict, but said the alleged incident at the O2 Forum in Kentish Town was a “wholly different thing”.

O hAnnaidh is yet to enter a plea to the charge. The case has been adjourned for legal argument and he will appear in court for a further hearing on 26 September.

Bandmates Naoise O Caireallain (pictured, centre) and JJ O Dochartaigh are supporting O hAnnaidh. Pic: Reuters
Image:
Bandmates Naoise O Caireallain (pictured, centre) and JJ O Dochartaigh are supporting O hAnnaidh. Pic: Reuters

Who are Kneecap?

Kneecap put out their first single in 2017 and rose to wider prominence in 2024 after the release of their debut album and an eponymously titled film – a fictionalised retelling of how the band came together and their fight to save the Irish language.

The film, in which the trio play themselves and co-star alongside starring Oscar nominee Michael Fassbender, won the BAFTA for outstanding debut earlier this year, for director and writer Rich Peppiatt.

Last year, Kneecap won a discrimination case against the UK government after Conservative leader Kemi Badenoch tried to refuse them a £14,250 funding award when she was business secretary.

They are known for songs including H.O.O.D, Fine Art, and Better Way To Live, featuring Fontaines DC frontman Grian Chatten, with lyrics switching between the Irish language and English.

Continue Reading

Entertainment

BBC and Channel 4 should ‘merge’ to survive, Sir Phil Redmond says

Published

on

By

BBC and Channel 4 should 'merge' to survive, Sir Phil Redmond says

One of Britain’s most legendary TV dramatists, Sir Phil Redmond, is no stranger to tackling difficult issues on screen.

Courting controversy famously with his hard-hitting storylines on his children’s show Grange Hill for the BBC in 1978, before he switched over to Channel 4 to give it its two most prominent soaps, Brookside (1982) and later Hollyoaks (1995).

He’s been a pivotal figure at Channel 4 from its inception, widely considered to be a father to the channel.

Sir Phil Redmond says the BBC and Channel 4 should team up to survive
Image:
Sir Phil Redmond says the BBC and Channel 4 should team up to survive

While he’s been responsible for putting some of TV’s most impactful storylines to air for them – from the first lesbian kiss, to bodies buried under patios – off-screen nowadays, he’s equally radical about what should happen.

“Channel 4’s job in 1980 was to provide a platform for the voices, ideas, and people that weren’t able to break through into television. They did a fantastic job. I was part of that, and now it’s done.”

It’s not that he wants to kill off Channel 4 but – as broadcasting bosses gather for Edinburgh’s annual TV Festival – he believes they urgently should be talking about mergers.

A suggestion which goes down about as well as you might imagine, he says, when he brings it up with those at the top.

He laughs: “The people with the brains think it’s a good idea, the people who’ve got the expense accounts think it’s horrendous.”

Some of the original Grange Hill cast collecting a BAFTA special award in 2001. Pic: Shutterstock
Image:
Some of the original Grange Hill cast collecting a BAFTA special award in 2001. Pic: Shutterstock

A ‘struggling’ BBC trying to ‘survive’

With charter renewal talks under way to determine the BBC’s future funding, Sir Phil says “there’s only one question, and that is what’s going to happen to the BBC?”

“We’ve got two public sector broadcasters – the BBC and Channel 4 – both owned by the government, by us as the taxpayers, and what they’re trying to do now is survive, right?

“No bureaucracy ever deconstructs itself… the BBC is struggling… Channel 4 has got about a billion quid coming in a year. If you mix that, all the transmissions, all the back office stuff, all the technical stuff, all that cash… you can keep that kind of coterie of expertise on youth programming and then say ‘don’t worry about the money, just go out and do what you used to do, upset people!’.”

Brookside's lesbian kiss between Margaret and Beth (L-R Nicola Stapleton and Anna Friel) was groundbreaking TV. Pic: Shutterstock
Image:
Brookside’s lesbian kiss between Margaret and Beth (L-R Nicola Stapleton and Anna Friel) was groundbreaking TV. Pic: Shutterstock

How feasible would that be?

Redmond claims, practically, you could pull it off in a week – “we could do it now, it’s very simple, it’s all about keyboards and switches”.

But the screenwriter admits that winning people over mentally to his way of thinking would take a few years of persuading.

As for his thoughts on what could replace the BBC licence fee, he says charging people to download BBC apps on their phones seems like an obvious source of income.

“There are 25 million licences and roughly 90 million mobile phones. If you put a small levy on each mobile phone, you could reduce the actual cost of the licence fee right down, and then it could just be tagged on to VAT.

“Those parts are just moving the tax system around a bit. [Then] you wouldn’t have to worry about all the criminality and single mothers being thrown in jail, all this kind of nonsense.”

Original Brookside stars at BAFTA - L:R: Michael Starke, Dean Sullivan, Claire Sweeney and Sue Jenkins. Pic: PA
Image:
Original Brookside stars at BAFTA – L:R: Michael Starke, Dean Sullivan, Claire Sweeney and Sue Jenkins. Pic: PA

‘Subsidising through streaming is not the answer’

Earlier this year, Peter Kosminsky, the director of historical drama Wolf Hall, suggested a levy on UK streaming revenues could fund more high-end British TV on the BBC.

Sir Phil describes that as “a sign of desperation”.

“If you can’t actually survive within your own economic basis, you shouldn’t be doing it.

“I don’t think top slicing or subsidising one aspect of the business is the answer, you have to just look at the whole thing as a totality.”

Mark Rylance (L) and Damian Lewis in Wolf Hall: The Mirror And The Light. Pic: BBC
Image:
Mark Rylance (L) and Damian Lewis in Wolf Hall: The Mirror And The Light. Pic: BBC

Since selling his production company, Mersey Television, two decades ago, much of his current work has focused on acting as an ambassador for the culture and creative industries.

Although he’s taken a step away from television, he admits he’s disappointed by how risk-averse programme makers appear to have become.

“Dare I say it? There needs to be an intellectual foundation to it all.”

The Hollyoaks cast in 1995. Pic: Shutterstock
Image:
The Hollyoaks cast in 1995. Pic: Shutterstock

TV’s ‘missing a trick’

He believes TV bosses are too scared of being fined by Ofcom, and that’s meant soaps are not going as far as they should.

“The benefits [system], you know, immigration, all these things are really relevant subjects for drama to bring out all the arguments, the conflicts.

“The majority of the people know the benefits system is broken, that it needs to be fixed because they see themselves living on their estate with a 10 or 12-year-old car and then there’s someone else down the road who knows how to fill a form in, and he’s driving around in a £65k BMW, right? Those debates would be really great to bring out on TV, they’re missing a trick.”

While some of TV’s biggest executives are slated to speak at the Edinburgh Television Festival, Redmond is not convinced they will be open to listening.

“They will go where the perceived wisdom is as to where the industry is going. The fact that the industry is taking a wrong turn, we really need somebody else to come along and go ‘Oi!'”

When I ask if that could be him, he laughs. Cue dramatic music and closing credits. As plot twists go, the idea of one of TV’s most radical voices making a boardroom comeback to stir the pot, realistic or not, is at the very least food for thought for the industry.

Edinburgh TV Festival runs from 19 – 22 August.

Continue Reading

Trending