LIFE DURING WARTIME: From the 2003 diaries of DAVID BYRNE (Arthur, 2003)

Originally published in Arthur No. 5 (July 2003)

Life During Wartime

From the journals of musician-artist-activist David Byrne…


These are excerpts from a journal/diary. Obviously I’ve taken out all the personal stuff and left only the notes referring to the war, or rather, the invasion of Iraq. This makes me seem like a bit of an obsessive-all the rest of my life has been edited out and only the anger and paranoia remains. I’d prefer a life with the anger and paranoia edited out, but it seems that won’t be in the cards this year.

Feb 9 

Dinner at GM’s birthday at Savoy-lots of New York Times, New Yorker and other writers present whom I didn’t know—Don DeLillo at least I knew. A situation where I couldn’t jump up and leave easily, so I guess I wasn’t going to manage to sneak out and see those Icelandic bands downtown. Surprisingly, after some chit-chat with my surrounding diners the topic inevitably turned to the war and soon got very heated. The New Yorker writer next to me, for example—a young, attractive woman-said, “the French are always a problem, they’ve CAUSED this problem; so many of these Arab intellectual problem people studied there, and their philosophers, Derrida etc., are all sympathetic”—this is a paraphrase, but you get the idea. It just went on from there. A surprising number surrounding me were gung-ho for the war. None are dummies, but it’s surprising how they toe the Bush propaganda line and don’t see it as propaganda at all. I actually shouted at one point (saying it wasn’t just the French—if you’re going to slander those who disagree with this policy then you’d better deal with the Russians and Germans too at this point) Their position is that the success of the U.S. intervention in Bosnia justifies the use of military intervention, but that took place after how many years of vacillating, and with at least a few other nations backing, no? Milosevic and co were actually still involved in their ethnic cleansing campaign when NATO began bombing. Korea and Turkey are now additional powder kegs in the conversations, both of them confusing issues and mostly avoided. Yikes, what’s going on here? 

It is amazing that this topic dominates bourgeois dinner conversation–as it should–but still, it’s a strange new world. Again, I don’t feel comfortable here. Yikes. 

Feb 12 

Well, I guess I felt pushed over the edge by last night’s dinner. Decided to see if I can take out a New York Times full-page anti-war ad and recruit other musicians to lend their names and cash, as the thing might cost as much as 80 thousand!! Josh at Luaka Bop has been helpful, thanks to his experience with the Beasties’ Tibet efforts. Danielle and I did a rough layout, and Josh brought in a coordinator, a guy named David Fenton who’s done lots of political ads–and in this case Fenton had just met with Russell Simmons, who guaranteed that he, Jay-Z, Mos Def and Puff Daddy are in. Move On (the organization that has organized some of the marches) has agreed to cover half the cost if need be, which is a relief. 

Osama is using the impending war to his own advantage (despite his undisguised dislike for Saddam) and is calling for more attacks on the U.S. Our government’s response is to suggest that we stock up on water and duct tape.

Feb 19 

The anti-war ad is coming together nicely. Russell Simmons brought in a bunch of rap and R&B artists; my favorite is Missy Elliot, but many are impressed that 50 Cent has joined, as he has the #1 record in the country at the moment. Massive Attack and Blur fell in at the last minute. We’ve almost got enough…I suspect that by the Monday morning placement deadline we’ll have a few more, and that will be enough. Almost got enough money, too. Odd that the rappers have declined to contribute cash (they who sell more records than the rest of us combined), claiming they have other Black causes that they also support. Well, OK. Some others, not surprisingly, claim shortage of funds, but most pledge something or other. I’m thrilled, truly, that this has come together.

Feb 21 Göttingen, Germany 

I’m here overseeing the printing of an art book. This evening some of the folks involved have dinner together at a local Italian place, Gerhard, Pascal, Amy and I. The talk turns to politics as I mention that my Times ad is going ahead and that I’m thrilled about the list of names. I say that while it all may seem obvious here in Europe, in the U.S. dissent has been stifled and ignored so it is a bold move for many of the musicians to speak out and to add their name to the list. Gerhard notes that this is the first time his parents’ generation, one that has remained staunchly pro-American since WWII, has broken with that unspoken alliance. Evidently that generation feel they have had a lot to thank America for-from the guilt over the war, then the Marshall plan and the post-war miracle–but now it seems they feel America, or at least Bush, has stepped over the line. Bush has broken a trust that has existed for generations and was worth untold millions in economic stability and goodwill. Whooops. Pascal, who is a fashion retoucher and is supervising a picture book by Roni Horn, is anti-war as well, but although he’s French he’s even more vehemently anti-French. He maintains that the French aversion to the war isn’t due to humanitarian qualms but rather it’s because they have business dealings with Iraq and hope to expand those deals in the future. They’re afraid that U.S. troops entering Baghdad will find and reveal contracts, deals and more relations with the French.

Feb 23 Frankfurt 

At the TAT [an alternative performance center] I listen to an artist named Thomas Bayern do a wonderful but somewhat nonsensical talk about highways that twist into Mobius shape and run upside-down and about how to model such things in cardboard. As if it’s the most natural problem in the world. As if everyone has been scratching their heads wondering “how the hell can we get the cardboard to bend this way?” He is an older man who speaks like a sensible lunatic. 

A few people here ask me how things are in NY and the USA, with the implication that the USA has lost its mind; they wonder if it is true, as it seems from here, that the country is blindly going along with George Bush and his fascist pals. I talk briefly with Bill Forsythe, director of the ballet here, who says he recently called his sister or some family member in Colorado and that they are all gung-ho for the war, and Bill said, really? And they also said that they’d just cancelled their trip to NY, as they are afraid of getting gassed, wary of the code orange alert that was issued a week ago-Bill said, “Really? Have you seen Bowling For Columbine? You live in Littleton, after all. They’ve got you, you know? Scared, irrational, hiding–that’s where they want you.”

The Times ad has run today, and it looks great. 

Feb 27 NYC 

Did a press conference with Russell Simmons, Lou Reed, Roseanne Cash and Tom Andrews, the ex-senator from Maine who is leading the Win Without War movement. I’m optimistic; though we are a pathetic showing, I sense that we’re the tip of the iceberg, and that the rest of it will heave into view sooner rather than later now that we’ve broken ground.

Feb 28 

Did a phone interview with USA Today.com, in which readers write in their questions and comments. It was about the antiwar movement and the Musicians United ad. Most questions were aggressive and challenging: “What gives YOU [me, the sort-of celebrity] the right to speak out and foist your opinion on us? What makes YOU the expert?” Sort of a reasonable question, if aggressively put.

The interviewer/moderator was nice, and in the end said she didn’t forward me some of the nastier ones that said, “move to France!” Nice to know that the “love it or leave it” concept is back after ducking its ugly head post-Vietnam. Later, as the venom sank in, I got a real chill, realizing I was actually hated out there, not just hated or despised as an arty pretentious musician, which I’m used to, but hated in a high school bullying kind of way–a mean, vicious and potentially violent way. I might have been scared of gas attacks and terrorist stuff directed against NY in recent months, but now I’m scared of Kansas even more. Easy Rider all over again.

Columbia Maryland

My parents watch two hours of news on TV every night! It’s incessant and interminable, depressing and mind-numbing. I listen and endless news networks play and replay Bush’s speech in which he claims he has a “road map” for the situation in the Mideast, referring mainly to a concrete policy plan for Israel and Palestine. This plan was supposed to have been revealed a week ago (I read in the Guardian, I think) and he promised that he would show a real plan for the region before acting on Iraq. A sense of a map of the road ahead is important to both the Arab world and to the EC, and both were mightily disappointed when he changed his mind and decided that this document would not in fact be released (maybe it doesn’t exist is what I think.) 

But here he is making a speech announcing that this “road map” will not actually be released now, as promised, but some time in the indeterminate future–and this is presented, and accepted, as good news. What is shocking is that none of the American news services reveal that this is actually a change of plan which creates a major problem for much of the world. Instead it’s presented as the administration hopes it would be, as news that something positive will be announced in the indefinite future. An announcement regarding a non-existent document is accepted as good news? Is regarded as any kind of news at all?

March 19 Valencia, Spain

The War, or more accurately, the Invasion of Iraq by the USA has begun. It’s a sad day–the U.S., as suspected, has had this on the agenda for years, and, having been unable to bribe, cajole, pressure and intimidate the nations of the Security Council to pass a resolution legalizing this invasion during the last couple of months, has decided to go it alone–alright, with the U.K., Spain, Australia and our close ally–Bulgaria–but these other nations are mainly there for symbolic purposes and their support is minimal. The reporting, from almost every TV network (CNN, BBC, MSNBC, etc.), is all controlled and manipulated by the US military and their spin doctors. The Invasion is variously called, on different networks, Operation Freedom for Iraq or War in Iraq. The videogame effects, the logos and graphics, the pounding theme music are all relentless and stupid, as they were during Gulf War I; they turn the reportage into a videogame for teenage boys, which it is, I guess. I ask myself, how can I write songs in this climate? It’s not that I am afraid, it’s more that I feel profoundly alienated-from the country in which I live, a country that I admire immensely for the many things it has brought the world and the mad creativity and invention that has issued from this place. I feel like an outsider, something I haven’t felt since my adolescence during the Vietnam War. But at least at that time resistance was cool, hip, exciting and connected to a whole new outlook on life. Now one is constantly surprised by who is actually for the war. Friends who one assumed were intelligent and independent thinkers seem to have been swayed by the waves of hype, lies and propaganda. [Of course, since I myself disagree with them, they can’t be using their intelligence, can they?] I wish all the actors would boycott the upcoming Oscars; a parade of glitter and of the global power of Hollywood that is hardly appropriate now. But I doubt that will happen. If I were a rabid Islamic fundamentalist I would find a way to disrupt the Oscars, since it is such a symbol of both the cultural bankruptcy and the powerful global influence of the US. I ask myself, what can I do now? Granted, there are continuing and immense demonstrations-in every city all over the globe–but can I do more than lend my body to the ranks of the undercounted?

Mar 24 Back in NYC 

It is a little odd, after all the No A La Guerra signs in Barcelona, to be confronted by flags and logos that say simply FREEDOM, when you know the implication of these signs is NOT freedom, they’re actually saying “ OUR WAY, which we call freedom, or the highway.” On the other hand, this is still a country where dissenting views can be spoken…but as they said about Russia, when nothing is permitted, everything (which I take to mean everything that’s said) is important, and when everything is permitted–as it sort of is here– nothing is important. The sheer force of marketing, graphics, salesmanship, propaganda and embedded journalism makes dissent, even thought itself, seem irrelevant. It’s negated by negligence.

Josh, Yale’s assistant at Luaka, tells a story over our common lunch about some friends of his who were having dinner at an Indian restaurant in NY. They were just ordering when a bunch of guys from the Dept. of Homeland Security burst in, guns drawn, saying they needed to search the place as it was suspected of assisting terrorist organizations. Josh’s friends watched for a while as the employees were grilled and questioned, and some were handcuffed. The guns were still out. One of his friends asked if the employees were allowed to call a lawyer; a gun was then pointed at Josh’s friends and they were told no, that under the Patriot Act it’s not required or necessary, and that if his friends had any more questions they’d be joining the employees downtown. They took the hint and left the restaurant, ate somewhere else and walked by later, and saw that the Homeland Security guys were still in there.

The Middle East looks like Western Cowboys vs. other (Eastern) cowboys to me, and the vibe I get, having just returned from Europe and having spoken with friends who work internationally is that the rest of the world is now contemplating how to balance the might and arrogance of the U.S. Sadly, it has little to do with whether we might be right keeping Saddam in line or not; rather, it’s the sense that the U.S. has no right to unilaterally decide who shall rule their own nations. Hell, Bush wasn’t really elected either, so the U.S. can hardly be said to represent the democracy they claim to be bringing to the oppressed of the world.

I go to see a recent Chinese film called Unknown Pleasures and before the film begins there are a pile of ads for several upcoming TV mini series–one I remember is Rudy, starring James Woods, the life and times of ex-NY-mayor Rudy Giuliani. I’ve never seen TV try so hard to get people out of the movie theater and back onto their sofas. The middle-aged woman a couple of seats down from me asks when the Rudy TV movie starts and I tell her, “tonight, at 8…if you leave in the middle of this film you can still catch it!” She didn’t think my comment was funny.

Then comes a hip hop music video–or at least that’s what it looks like at first, until one spots the fire engine red Coke cans prominently placed in our line of sight. The “It’s the real thing” line figures repeatedly in the tune, a play on the “keeping it real” philosophy ubiquitous in hip hop. The “video” is interrupted by a dramatic comedy scene in which Common, a Chicago rapper known for being “conscious,” issues-oriented and credible, is seated at a conference table across from a (white) record executive who tries to persuade him of the value of a Common action figure and other tacky merchandise. Common, of course, turns it all down, because, like the man of integrity he is, he’s “keeping it real”…with Coke. The video kicks back in. With Coke?! 

What a bit of mind-warping business this ad was! It’s not only cool now to sell out and endorse, of all things, Coca-Cola, but somehow selling out is NOT selling out, because it’s Coke, after all. Huh? Can we see that again? Did I hear that right? Have we entered some kind of mirror universe, where things are actually their complete opposites? Now, I don’t care if Common decides to sell out and play for Coke or not–but actually I’m surprised and a little shocked, as he’s one of the last people I’d expect to do this, which is probably why he was approached. Lil’ Kim would sign on for a sexy “action” dolly in a NY minute, but we wouldn’t expect to see this guy doing it. Which is exactly the point, eh? But I still don’t get it. How does seeing someone with integrity selling out imply that selling out now demonstrates a form of integrity? Does cheating on your girlfriend mean that you’re actually faithful to her? Does imposing foreign domination mean that you’re actually bringing democracy?….

War Porn: The lovely diagrams of high-tech missiles and bombers that fill the back pages of the Times like Playboy centerfolds, the charts detailing the inevitable advance of the troops. Deep into enemy territory. Thrusting across the desert sands….

After dropping my daughter at her Hip Hop dance class on upper Broadway I go across the street to a Starbucks for a tea and to read my book on Post-structuralism for dummies, or something like that. When I finish and I’m preparing to leave, a soldier, or someone dressed like one, comes in wearing full battle gear, a camouflage outfit (to blend in with what, I wonder?), slinging a machine gun. Haven’t seen the likes of this since my last trip to Israel, JFK airport security or South America. I stand next to the soldier and ask the Starbucks man if the toilet needs a key and I notice that the soldier is baffled, flummoxed-he can’t seem to decide which kind of caffeinated beverage option he prefers. It’s as if he’s never been in a place with so many weird coffee options before–not surprisingly. I myself still refuse to call small tall. The other customers sort of gawk in amazement. I also wonder to myself if anyone, myself, for example, in an Army surplus camouflage outfit with a few badges sewn on, could carry a machine gun out in the open around New York City. I guess the answer is yes, as he was alone-there was no troop vehicle waiting outside while he got all the jarheads their macchiatos and cappuccinos.

I see pictures of these guys in the daily papers, advancing heroically into Baghdad, pictured giving candy to some pathetic Iraqi children (whose parents they may well have just blown up.) These guys feature in all the embedded newspaper propaganda these days-in the Times, the Post and the Daily News. On CNN and especially Fox TV. These young soldiers, like NY cops, are loaded down with all sorts of gear: backpacks, gas masks, sunglasses, maps, satellite positioning systems, helmets, night vision stuff, a few guns, satellite telephones and maybe even walkie-talkies. These one-man command posts are slow lumbering dinosaurs compared to the Iraqis, the Vietnamese and the Chechens. They are America’s Knights, fighting men in the current high-tech version of medieval armor (which was equally high tech, sexy, heavy and expensive in its day), using the best yet simultaneously inappropriate technology to fight an enemy that doesn’t even wear a uniform half the time–the cowards.

Yesterday the Americans in Baghdad had a photo opportunity featured all over on the US media: pulling down an Iraqi statue of Saddam. It began with the Iraqis doing the job, but that was not fast enough for the U.S. TV crews, so a U.S. tank heaved in, shoving the Iraqis aside (a little metaphor here) and after draping a U.S. flag over the statue’s head (another little metaphor here) hooked up a chain and pulled it down. The lack of sensitivity by the U.S. jarheads and media is shocking-here lies the real shock and awe.

[This photo event it appears was carefully stage managed- according to a reporter form El Pais who was there. According to him the Iraqi enthusiasts were bussed in by the US military and there were only 50 of them, so they had to be moved around to make all the news shots look good]

April 13 

I read in a book review about a lynching in San Jose in the ‘30s in which fever and passions of the crowd who strung up and abused the victims (they were indeed guilty) had been whipped up and excited by the coverage in the local paper. I am reminded of the recent war and pre-war coverage in the U.S. media and press-the similar fanning of primitive animal flames until a conflagration is inevitable and unstoppable. The glorification of the technology, the single point of view, the rampant patriotism and the imagery that is geared to motivate and excite-the logos, the rapid editing with pulse-pounding music and the print attitude and it’s tech-y graphics-it makes the media as responsible as the Bushies for the death and future misery that will befall a people and a region….not to mention the US, when the blowback eventually occurs. 

April 14 

An Op-Ed piece in the Times mentions that the House of Representatives recently passed a resolution to “support” our troops in Iraq…and then minutes later they vetoed a bill for veterans’ benefits.

Another Op-Ed piece compares Bush’s saying the inclusion of the U.N. in post-war Iraq is “vital” to the way a upper-class person considers their butler to be vital, implication being that Bush sees the U.N. playing much the same role as a servant. 

April 27 

Two articles in today’s Times Magazine: The cover is a lurid cartoon of teenagers escaping from North Korea, an ominously dramatic replay of the mythic image of Berlin Wall jumper dramas. The escape to freedom, the desperate desire for the West.  The timing seems possibly ordained by the U.S. government-isn’t North Korea next? And isn’t this a perfect way to “explain” to the chattering classes another oppressive regime and the obvious need to change it? Does the Bush administration suggest what the Times focuses on, and when, or are these coincidences all part of the national zeitgeist?

Another article, entitled The Empire Slinks Back, is a book review of an apology for empire-a common stance now that Emperor Bush II is on the throne. The book claims, as many other recent articles do, that the Victorian empire, their chosen example, established law, democratic institutions and education in its outposts around the world. Whether it’s true or not, the unsubtle subtext is that the American empire will be a good thing for the cultures it obliterates and dominates. 

DAVID BYRNE on Fela Kuti (1999)

DavidByrne

This article was originally published in Mean Magazine (October 1999), which I was editing at the time, with art direction by Camille Rose Garcia. The piece was accompanied by a set of sidebar interviews and an overview of Fela’s catalog by Michael Veal [who was finishing his work on the manuscript that would be published as Fela: The Life And Times Of An African Musical Icon]. The main article text, and sidebars, were later reprinted in full in the Da Capo Best Music Writing 2000 book (thank you Douglas Wolk and Peter Guralnick). Main article text is online here: http://www.arthurmag.com/2009/11/02/fela-king-of-the-invisible-art

DAVID BYRNE
by Jay Babcock

David Byrne is a founding member of Talking Heads. When Fela was jailed by the Nigerian government in the mid-’80s, Byrne was one of the well-known American artists who worked with Amnesty International in an attempt to get Fela freed. Today, in addition to his solo career, Byrne runs the New York-based Luaka Bop record label.

Q: You first heard Fela in the ’70s, right?

Continue reading

FELA: KING OF THE INVISIBLE ART by Jay Babcock (1999)

felasmokes1

This article was originally published in Mean Magazine (October 1999), which I was editing at the time, with art direction by Camille Rose Garcia. The piece was accompanied by a set of sidebar interviews and an overview of Fela’s catalog by Michael Veal [who was finishing his work on the manuscript that would be published as Fela: The Life And Times Of An African Musical Icon]. The main article text, and sidebars, were later reprinted in full in the Da Capo Best Music Writing 2000 book (thank you Douglas Wolk and Peter Guralnick).

FELA: King of the Invisible Art
by Jay Babcock

Fela Anikulapo Kuti: 77 albums, 27 wives, over 200 court appearances. Harassed, beaten, tortured, jailed. Twice-born father of Afrobeat. Spiritualist. Pan-Africanist. Commune king. Composer, saxophonist, keyboardist, dancer. Would-be candidate for the Nigerian presidency. There will never be another like him. This is the sensational story of Fela, the greatest pop musician of the 20th century, featuring the words of Fela’s friends, fans and the Ebami Eda himself.

“What can I say? I wasn’t Hildegart!”
Fela always knew the power of a name.

If you are African—and especially if you work with music, which shares a link of common invisibility with the spirit world—you must have a spiritually meaningful, beneficial name. Without the correct name, Fela explained, “a child can’t really enter the world of the living.”

He didn’t like the name he was given when he was first born, in 1935: his Nigerian parents had followed a local German missionary’s suggestion. So Fela died and was born a second time, on October 15, 1938; this time his parents called him Fela.

“Bear the name of conquerors?” he asked Carlos Moore, author of Fela: This Bitch of a Life, in 1981. “Or reject this first arrival in the world? The orishas [spirits] they heard me. And they spared me. What can I say? I wasn’t Hildegart! It wasn’t for white man to give me name. So it’s because of a name that I’ve already known death.”

In 1975, at the height of his popularity and power, Fela changed his middle name. “I got rid of ‘Ransome.’ Why was my name ‘Ransome’ in the first place? Me, do I look like Englishman?” Fela’s full name was now Fela Anikulapo-Kuti, which meant in whole, ‘He who emanates greatness, who has control over death and who cannot be killed by man.’

That same year Fela also started to cheekily call himself Black President, eventually releasing an album bearing the same title in the midst of a thwarted campaign. And sometime in 1986, following his release from Nigerian prison after serving 20 months on trumped-up charges, Fela began to call himself the Ebami Eda, which translates roughly as “the weird one,” or more delicately, as “the one touched by divine hand.”

Fela was touched, alright. But he was not only a visionary musician who created a whole new style of music—Afrobeat—and left behind an incomparable body of recorded music. No. Fela also simultaneously spoke truth to power, and then recorded it as a 12-minute dance-funk song, with a title like “Government Chicken Boy” or “Coffin for Head of State.” He endured brutal physical punishment and constant imprisonment. In the end, he died from complications associated with the AIDS virus. His heart was broken: he had sung so much, fought so hard, amassed such popularity, and still, hardly anything changed for the better in his beloved, heart-shaped continent of Africa. So: following is the story of that big generous, humorous, creative, divine heart that Fela had: from its early heartbeats, to Afrobeat, to the beatings it took, to its final, slow heartbreak.

Continue reading

PDF: Arthur No. 5 (June 2003)

ARTHUR NO. 5 (with David Cross on the cover as crazed jingoist god-blessed S.U.V.-driving soccer mom) IS SOLD OUT.

This was the issue we published back in June 2003 when 90% of the USA was in favor of invading Iraq.

Well Arthur No. 5 is now gone forever, peacenik fanboy.

BUT! you can download the entire issue in PDF (11mb) here:

FILE GONE MISSING

Contents:

Photographer Lauren Klain captures DAVID CROSS on his way to a Clear Channel war rally…

KRISTINE MCKENNA on the Tower of Protest, a Vietnam-era action on Sunset Blvd by celebrated artists. With photos by CHARLES BRITTIN…

Jonathan Shainin speaks with CHRIS HEDGES about the truths not being told about war…

ALAN MOORE comments on what the US and UK governments have been up to lately….

DAVID BYRNE writes about his life during wartime.

Righteous poetry by MICHAEL BROWNSTEIN, CHARLES POTTS and AMY TRUSSELL…

Art and comics by Steve Andersen, Tauno Blisted & Mac McGill, Robbie Conal, John Coulthart, Godspeed You! Black Emperor, Bill Griffith, Megan Kelso with Ron Rege, Peter Kuper, David Lasky, Sharon Rudahl, Patti Smith & Jem Cohen, art spiegelman and Carol Swain.

MICHAEL MOORCOCK on the fate of empires

DANIEL PINCHBECK on why he’s glad George Bush is president

Arthur film columnist PAUL CULLUM asks “Is George Bush addicted to cocaine?” as he examines “Horns and Halos,” “Journeys with George,” “Uncle Saddam,” “What I’ve Learned About U.S. Foreign Policy: The War Against the Third World” and “Unprecedented: The 2000 Presidential Election.”

And — the fabulous GLAMericans are spotlit by Steffie Nelson…

Arthur feature in The Nation

Arthur: The Little Magazine That Could

You thought Arthur was gone for good? The indie magazine beloved for its music coverage and antiwar politics will resume publishing this summer.

by KEVIN MCCARTHY

THE NATION — July 16, 2007 issue

In 2002 a free counterculture music magazine, Arthur, came onto the underground scene and won readers in just about every city where young people (and some older ones) still flouted local noise ordinances. Edited by LA-based music journalist Jay Babcock and published by Philadelphia-based independent media veteran Laris Kreslins, it was distributed by volunteers across the nation who delivered issues to coffee shops, record stores and bookstores. With contributors like Thurston Moore of the legendary punk/noise band Sonic Youth; T-Model Ford, the elder blues statesman and Arthur advice columnist; and writer Trinie Dalton, the magazine specialized in long stories and interviews on wide-ranging subjects, from ’60s “White Panther” leader and MC5 manager John Sinclair, to ambient music pioneer Brian Eno, to novelist J.G. Ballard, to contemporary folk musician Devendra Banhart–each representing a segment of the counterculture.

Arthur’s music coverage has been among the most influential of its era, but the magazine was never just about music–it was from the beginning fiercely political. Babcock, who studied political science at UCLA, had at one time worked for Congressman Henry Waxman and drafted Waxman’s anti-NAFTA position paper. As the magazine was launching, the war in Iraq was being sold, and Arthur defined itself as a virulently antiwar publication; the magazine dedicated its fifth issue to a critique of the war. (The cover of that issue depicted comedian David Cross as a soccer mom cheerleading the war surrounded by the words “Hooray for Empire” and “USA #1 with a Bullet.”) The editors never stopped questioning the war and military recruitment. In 2004 Arthur teamed with the American Friends Service Committee (AFSC) to run a PSA for antirecruitment campaigns in its pages. Then in May 2006, in an issue of Arthur, Babcock challenged Sully Erna of the rock band Godsmack for licensing his music to the military for use in recruitment ads and for using military images at concerts. The magazine’s pages were a regular space for artists and writers like Talking Heads frontman David Byrne and Kyp Malone, of the indie band TV on the Radio, to speak out against the war and President Bush.

Earlier this year, Arthur announced that it would no longer continue printing. Not long after, however, Babcock reached a deal with Kreslins and is about to relaunch the magazine as its editor and publisher. The next issue will arrive in record stores sometime in August. The Nation recently spoke to Babcock by phone about publishing a counterculture magazine in the current economic and political environment.

What drove you to start Arthur?

[As a culture/arts journalist] I grew more and more frustrated with the limitation of subject matter, technique and the length of story available to me in the outlets that existed. I realized that many other writers were feeling the same way. I thought the only way to do what I wanted to do was instead of campaigning for somebody to come to their senses, I would start my own magazine.

How did you get the magazine going?

I didn’t come from money, and I didn’t have any money. Laris didn’t come from money. So we pooled our credit cards and were able to start to pay the printer and so forth. The publishing situation in the United States has gotten to the point where you really do have to be wealthy in order to publish. Everyone can have access to a printing press, but hardly anyone outside the wealthy has access to the newsstands. It requires a huge amount of capital to start up a magazine and print it, and then convince the distributors that it deserves to distributed, and then be able to wait for them to pay you. The newsstand distribution system in this country is notoriously inefficient and corrupt…. That wasn’t an option for us. So what we did was, we created essentially an underground, alternate form of distribution.

What is the vision behind Arthur?

The biggest underlying idea is that the culture drives everything else. Culture creates the metaphors and the landscape on which politics and economics and so forth take place. And so then you ask: What kind of culture are you making, or taking part in, or helping to exist? Our idea was to do what all the other underground magazines or publications in America have done over the last 200 years or whatever, which was to attempt to infuse into the culture at large all of the liberatory, progressive and expansive ideas of freedom and values from the traditional underground, and to celebrate them, propagandize for them and push them.

What were your models?

We want to be in the tradition of the American underground press. Especially the twentieth-century underground press. Whether it’s the punk magazines, or the rave magazines, or the amazing underground press that was happening in the late ’60s and early ’70s, or the mimeo scene before that in the ’60s and ’50s, with the Beats and the whole literary poetic scene–there’s a whole tradition you can go back to: anarchist magazines, Wobbly magazines and so forth. And there’s always been artists and poets, and the serious ones have always been political, engaged and very far to the left.

Arthur grew more and more political. The fifth issue is dedicated almost entirely to looking at American imperialism. How did that political consciousness develop?

By the second issue the war stuff was starting to happen, and by coincidence we had a section about [civil rights and antiwar protest photographer] Charles Brittin. We found out that he had a photo of a parade of veterans against the Vietnam War that happened in LA in the late ’60s. It’s an incredible photo from the corner of Wilshire and Vermont that was just mind-blowing for those of us who live here in LA, to see this familiar landscape filled not with cars and billboards but with ex-soldiers protesting the war as far as the eye could see. So we elected to make that a centerfold.

For the third issue we did a back page that said “What War Looks Like,” and it was a picture from a book by [LA punk musician] Exene Cervenka, a photograph of an Iraqi soldier, dead, from the first Gulf War, with parts of his body blown off. It’s an extremely gruesome black-and-white photo that says all sorts of things about what war is, what it does to people, what people who kill have to look at. And you look at what the soldier was wearing–he’s wearing dress shoes, which shows how mighty the Iraqi army was that we were so afraid of. It was nothing–they didn’t even have boots.

And by the time we got to the fifth issue the war had started already and it was getting worse. We went all the way. We solicited special advertising saying we were doing an emergency issue of Arthur. We assembled it in just four weeks. Arthur isn’t exactly the biggest megaphone–but the megaphone that we did have was very carefully directed at this cultural class where things develop and bubble up occasionally into the mainstream consciousness. We wanted to be an incubator space. No other pop culture or culture magazine was taking any stand like that. We did it and we didn’t think we’d have much effect, but we did think we would be a comfort and an aid to those people in the culture who were doing good work but who needed to know that they weren’t the only ones out there, which would allow them to go on with what they were doing and to feel that what they were doing was worthwhile.

You mention in the editor’s notes in a later issue that you got a lot of mail about the fifth issue, some supportive and some very critical.

When you’re a small magazine, you need every issue that you put out to say the same thing over and over about what you’re doing, so that people who see it for the first time can get an idea about what it is you do. So it was very dangerous for us to completely depart from any music coverage, any arts coverage, and devote almost an entire issue to a radical political position stated in pretty blunt terms. We thought, Are we endangering our relationship with our advertisers? But because what we had done was something no one else was doing, it worked in our favor as a business. It won us a good amount of readers who were just shocked that there was this publication in record stores and coffeehouses for free, where you’re usually supposed to find pretty superficial status quo stuff—instead you’re finding this radical, impassioned and very smart talk about what was going on that you couldn’t find elsewhere. That a tiny magazine, with no budget and no capital, could put that together and nobody else could do that with their vast hundreds of millions of dollars, while the Hollywood liberals were all wringing their hands–that says something, not about how great we were but about how awful everybody else was.

Whom were you trying to reach?

We were very conscious that our audiences, our people, were artists themselves, musicians themselves, the record store clerks of America, and we wanted to remind them that they’re being told to shut up and not have an opinion and not state your opinion unless you are a politician or a Middle East expert. And we wanted to remind them that actually the voice of the poet, and the artist, and the musician is often where the deeper wisdom comes from. Those voices have always been heard, have always needed to be present and have always played a role.

By the time you get to the ninth issue [of Arthur], every artist we’re covering is talking out loud about what’s up. In that issue we ran a whole page put together in conjunction with the AFSC about how to counter military recruitment on campuses, in high schools and colleges. We’d already moved to the next part–you can’t have a war unless you have soldiers, so let’s try to convince kids not to be soldiers. That’s something everybody can do in their own neighborhood. Anywhere you live in America there is a high school.

You got a lot of attention for your interview with Sully Erna of Godsmack, in which you confronted him for allowing the military to use his band’s music in its recruitment ads and for using military images at concerts. That seemed to me to be kind of a cultural turning point–after years of hearing people called traitors and such for speaking out against the war, here’s someone challenged to explain why he supported it, and in the end he tried to distance himself from Bush and the war.

I conducted that interview over the telephone just a couple days after Stephen Colbert did his speech at the White House Correspondents Dinner. I believe that was the real turning point. At the time, the mainstream media didn’t pick up on it. It took a few days before they realized that it was the hottest thing on YouTube. The cultural press had figured out that it was the real story, not George Bush and his doppelgänger doing a comedy routine. Colbert had done something absolutely heroic. And Neil Young was just about to come out with his Living With War record. So there was this sort of surge that happened, and the interview with Godsmack happened right in there. I’d been waiting to talk with that guy for years. When that invitation to interview him arrived in the mail, it was like a gift.

So you had been following him?

Oh, I’d been following him for years. I keep files. I do my best to do what Ed Sanders does–to keep files, and wait and wait. It’s the only way to be a journalist and advocate sometimes–keep track of stuff the best you can, and when the moment happens, seize it. To me it’s fair game to ask someone why they’re licensing their music to a certain cause. I would be derelict in my duty as a journalist to not talk about that in a time of war. When someone’s doing live concerts that are essentially war rallies, that naturally should be a subject of conversation with that person.

In a later issue, you talked to Kyp Malone, from the band TV on the Radio, about his experiences playing shows where the promoter had allowed military recruiters in to sign up kids against the band’s contract. Is this something you’ve seen a lot of with the artists you cover?

Kyp was the main one who would talk about that, but there have been other things that had happened. [The country-soul band] Brightblack Morning Light had some trouble in Tucson, because they have it in their rider that they don’t want recruiting to go on at their concerts. It’s kind of ridiculous that you’d have to say that…. But if word gets out that that’s in your rider…that was a problem for them.

Have you noticed artists that you cover becoming more radical or speaking out on politics or against the war?

I think that most musicians in the underground tend to be antiwar, peace people, and some of them are more open about it than others. Some of them feel more confident about it and have figured out a way to deal with it onstage or in the press in a way that they think is going to get across something valuable. Devendra [Banhart] didn’t have antiwar songs on his early records, but he did on his last album, and that’s clearly because of what’s been going on and because the situation keeps getting worse and worse.

Do we have someone just churning out the anthems like John Lennon was doing? He was writing song after song over a few months that would go from his guitar to being sung by people in protests. There is nobody doing that right now. I think there are people that are capable of doing it, but they’re not high-enough profile yet.