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Cake decoration seems like an odd thing to divide a society, but it’s causing a major rift in Northern Ireland.
On Tuesday the Belfast Court of Appeal ruled that the family-owned Ashers bakery discriminated against Gareth Lee, a member of the city’s QueerSpace collective, by refusing to honor his order for a cake decorated with a picture of “Sesame Street” characters Bert and Ernie and a slogan in support of equal marriage. Read the full article
Impress has been recognised as an approved regulator by the Press Regulation Panel under the Royal Charter.
The major concern for Index on Censorship remains Section 40 of the Crime and Courts Act 2013, which sets out that an organisation which does not join a recognised regulator but falls under its remit (through being considered a “relevant publisher”) will potentially become subject to exemplary damages should they end up in court, and could also be forced to pay the costs of their opponents. While that remains on the statute and while there is an approved regulator, there is a significant threat to press freedom in the UK.
Though the current government has said it will not enforce Section 40 who knows what a future government might do.
Index on Censorship has fought for free speech since 1972, and as publishers ourselves, we will not join a regulator that has to be approved by a body created by the state. This means we – and many other small publishers – could face crippling costs in any dispute, threatening investigative journalism or those who challenge the powerful or the wealthy.
Index has called for cheaper mediation in press disputes as we, like Impress funder Max Moseley and Impress chair, Walter Merricks, believe this is better for free speech. Where we disagree is in the need for a regulator to be recognised by a panel appointed via the state – or for law that makes it, in effect, compulsory to join an approved regulator or face punitive costs.
A controversial organisation funded by the former Formula One boss who was exposed for taking part in an orgy was yesterday approved as Britain’s first state-sanctioned press regulator, in a move which threatened to undermine centuries of free speech. Read the full article
Index on Censorship has fought for free speech since 1972, and as publishers ourselves, we will not join a regulator that has to be approved by a body created by the state. This means we – and many other small publishers – could face crippling costs in any dispute, threatening investigative journalism or those who challenge the powerful or the wealthy.
Index has called for cheaper mediation in press disputes as we, like Impress funder Max Moseley and Impress chair, Walter Merricks, believe this is better for free speech. Where we disagree is in the need for a regulator to be recognised by a panel appointed via the state – or for law that makes it, in effect, compulsory to join an approved regulator or face punitive costs.
Yours sincerely,
Jodie Ginsberg
CEO, Index on Censorship[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_basic_grid post_type=”post” max_items=”4″ element_width=”6″ grid_id=”vc_gid:1483970203305-a92d658b-517d-6″ taxonomies=”8996″][/vc_column][/vc_row]
Award-winning Malaysian cartoonist Zunar, who faces up to 43 years imprisonment for tweeting his cartoons criticising his country’s leaders reported on 17 October that he has had a travel ban imposed blocking him from travelling outside the country.
Zulkiflee Anwar Ulhaque, known as Zunar, has faced harassment from the Malaysian government for his political cartoons. Five of his books have been banned in Malaysia and his office has been raided several times, resulting in the confiscation of thousands of his books.
Any bookstore, vendor, printer or publisher who agrees to sell the cartoonist’s books also face harassment from the Malaysian government, receiving threats of having their business licenses revoked or their offices raided. Zunar’s books are now printed without the name of the publisher to protect them. Although this is against the law, he has no choice if he wishes to continue publication of his cartoons.
Zunar is being charged under the Sedition Act, which was originally put in place in 1948 to curb opposition to British colonial rule, but the law has remained part of Malaysia’s legal system. The Sedition Act prohibits any behavior that could be deemed detrimental to the government. This outdated law allows the Malaysian government to censor opposition.
His cartoons have covered a wide range of controversial topics in Malaysia, from unsolved murders to political conspiracies. His motto is proudly displayed throughout his website, “How Can I Be Neutral, Even My Pen Has a Stand” emphasising his unfaltering mindset to stand up to the Malaysian government.
Zunar has challenged the Sedition Act and the Malaysian government multiple times in the past. First in 2010 to fight the banning of his books in the country, then in 2011 against the government and police for unlawful arrest and detention. Unfortunately in both cases the courts ruled against him.
Now with a travel ban placed on him by the Malaysian government, Zunar plans to again file a suit to challenge its validity. The cartoonist discovered the ban on 17 October 2016 at the Kuala Lumpur International Airport, though it has been effective since 24 June 2016.
With the court proceedings for Zunar set for 22 November, he faces a maximum of 43 years in prison for tweeting his cartoons. The cartoonist has been imprisoned twice in the past; once for two days in 2010 and again for three days in 2015, both times for violating the Sedition Act. Three of Zunar’s assistants were also arrested in 2014 for selling his cartoons.
Zunar is currently out on bail but is stuck in Malaysia with the threat of 43 years imprisonment ahead of him. Despite this, he remains dedicated to exposing the corruption of the government, stating in an interview with Index on Censorship in 2015, “I will never stop, it is my right as a citizen to express my view and my responsibility as a cartoonist to give alternative views.”
This article is from the autumn issue of Index on Censorship magazine, which focuses on anonymity.
I have a name. I am not anonymous. But what if I didn’t have a name? What if I could enjoy the luxury of being safe at home in Bangladesh, and not far away in Germany?
I could have distanced myself from my identity, adopted a pseudonym and continued to write in Bangladesh. Had I done so, my family wouldn’t have to spend each moment in fear and anxiety. My sister wouldn’t have to wake up from nightmares about rape threats. But I am not anonymous. I carry my name and history with me. And so the possibility of an unnatural death haunts me.
Since 2013, my name has surfaced on multiple “hit lists” targeting Bangladeshi bloggers and other activists. I still regularly receive death threats from religious extremists on Facebook and other social media. One simply told me, “It’s your turn now.”
My words often create problems for others. I see myself as writing for the freedom of various groups, for the rights of oppressed communities, for women, for the sexually marginalised. In my debut book Chastity Versus Polygamy, I addressed the patriarchal notion of purity that is assigned to women’s sexuality; this was considered controversial and it enraged many.
I strongly believe that all human beings possess an equal right to express themselves, to assert their ideas and to be recognised for who they are and what they want to be. When the identity of the writer is out in the open, along with a certain level of insecurity comes a burden of responsibility that commits the writer to his or her words. This is why anonymity never appealed to me. I had faith in the democratic setup of my country, Bangladesh. But the state failed to uphold our freedom by suggesting we should stop writing, rather than that terrorism should stop. So I left.
Anonymous bloggers and activists in Bangladesh come from all parts of the ideological spectrum. They include religious radicals, communists, liberals. Unfortunately, certain sections of this anonymous community aim to create chaos, rather than a constructive democratic debate. A number of them publish hate speech, or post videos which are meant to incite violence.
Generally, however, the bloggers are on the receiving end of aggression. Sometimes, even anonymity is no protection. Those who would silence them are often incredibly adept at technological espionage, and can all too easily crack their identities. In March 2015, anonymous atheist blogger Washiqur Rahman Babu was traced and killed in broad daylight outside his residence. Even I didn’t know his identity at the time.
In the face of threats, therefore, going anonymous is hardly a foolproof solution. However, it may not always be feasible to declare one’s identity under dire circumstances, which is the case in many places across the world right now. Anonymity might turn to be one of the necessary shields in the larger, longer battle for free speech.
This article is from the autumn issue of Index on Censorship magazine.
Ananya Azad, a Bangladeshi writer and blogger, is currently in exile in Germany. His father, author Humayun Azad, was the victim of assassination attempts, and later died in mysterious circumstances.
You can order your copy of the latest issue here, or take out a digital subscription via Exact Editions. Copies are also available at the BFI, the Serpentine Gallery, MagCulture, (London), News from Nowhere (Liverpool), Home (Manchester), Calton Books (Glasgow) and on Amazon. Each magazine sale helps Index on Censorship continue its fight for free expression worldwide.
[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_custom_heading text=”From the Archives”][vc_row_inner][vc_column_inner width=”1/3″][vc_single_image image=”91922″ img_size=”213×289″ alignment=”center” onclick=”custom_link” link=”http://journals.sagepub.com/doi/pdf/10.1177/030642208701600613″][vc_custom_heading text=”Testimony of an ex-censor” font_container=”tag:p|font_size:24|text_align:left” link=”url:http%3A%2F%2Fjournals.sagepub.com%2Fdoi%2Fpdf%2F10.1177%2F030642208701600613|||”][vc_column_text]June 1987
Once a censor in the Syrian Ministry of Information, the anonymous source details the invasion of privacy and censorship the government employs.[/vc_column_text][/vc_column_inner][vc_column_inner width=”1/3″][vc_single_image image=”80637″ img_size=”213×289″ alignment=”center” onclick=”custom_link” link=”http://journals.sagepub.com/doi/pdf/10.1177/0306422015591456″][vc_custom_heading text=”Blogging in Bangladesh” font_container=”tag:p|font_size:24|text_align:left” link=”url:http%3A%2F%2Fjournals.sagepub.com%2Fdoi%2Fpdf%2F10.1177%2F0306422015591456|||”][vc_column_text]June 2015
A series of murders of secular bloggers by religious fundamentalists in has presented clear warnings for bloggers to watch what they say.[/vc_column_text][/vc_column_inner][vc_column_inner width=”1/3″][vc_single_image image=”89164″ img_size=”213×289″ alignment=”center” onclick=”custom_link” link=”http://journals.sagepub.com/doi/pdf/10.1177/0306422010362466″][vc_custom_heading text=”Egyptian gate to freedom” font_container=”tag:p|font_size:24|text_align:left” link=”url:http%3A%2F%2Fjournals.sagepub.com%2Fdoi%2Fpdf%2F10.1177%2F0306422010362466|||”][vc_column_text]March 2010
Mohamed Khaled reports that the Egyptian government continues to harass bloggers, but they’ve become a vital source of information even for the state media. [/vc_column_text][/vc_column_inner][/vc_row_inner][vc_separator][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_custom_heading text=”The unnamed” font_container=”tag:p|font_size:24|text_align:left” link=”url:%20https%3A%2F%2Fwww.indexoncensorship.org%2Fnewsite02may%2F2017%2F09%2Ffree-to-air%2F|||”][vc_column_text]The autumn 2016 Index on Censorship magazine explores topics on anonymity through a range of in-depth features, interviews and illustrations from around the world.
With: Valerie Plame Wilson, Ananya Azad, Hilary Mantel[/vc_column_text][/vc_column][vc_column width=”1/3″][vc_single_image image=”80570″ img_size=”medium” alignment=”center” onclick=”custom_link” link=”https://www.indexoncensorship.org/newsite02may/2016/11/the-unnamed/”][/vc_column][vc_column width=”1/3″][vc_custom_heading text=”Subscribe” font_container=”tag:p|font_size:24|text_align:left” link=”url:https%3A%2F%2Fwww.indexoncensorship.org%2Fnewsite02may%2Fsubscribe%2F|||”][vc_column_text]In print, online. In your mailbox, on your iPad.
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For the good of society, American cartoonist Mike Diana was jailed without bail in 1994. So ruled a jury at the Pinellas County court in Florida, taking just 90 minutes to find him guilty of obscenity following a week-long trial in March of that year.
Diana was the first – and to date, only – cartoonist to be jailed for his work in the USA.
His ordeal began when one of his Boiled Angel comics – with the stated aim of being “the most offensive zine ever made” – ended up in the hands of a law enforcement officer in California in 1991. The shocking (and often funny) depictions of sex and violence reminded him of a series of then-unsolved murders in Gainesville, Florida. He passed his suspicions on to counterparts in the Sunshine State who took a blood sample from Diana. The cartoonist was found to have had absolutely no links with the crime but prosecutor Stuart Baggish took one look at the comic “and knew right away what [he] was looking at was obscenity”.
Boiled sold only 300 copies by mail and the only issue sold in Dian’s hometown was to an undercover police officer. Although quickly released, Diana was given three years probation, ordered to pat a $3,000 fine, given 1,248 hours community service and ordered to avoid contact with minors.
A new documentary is in the works about Diana and the limitations of the right to free speech in the face of outrage and cries of obscenity. The Trial of Mike Diana, created by cult filmmaker Frank Henenlotter, has launched a Kickstarter campaign to raise funds to finish the film and to cover the costs of a legal review typical of a project which deals heavily with the American court system.
The documentary features many of those who were there during the 1994 trial, including Baggish, as well as interviews with Diana fans and supporters Neil Gaiman, Peter Bagge and Stephen Bissette.
Diana will contribute original animation to the film.
For a medium that lends itself so well to the light-hearted, cartoons have frequently fallen victim to censors. More than two decades on from the sentencing of Diana, they still face prosecution, persecution, death threats and abuse worldwide. Last year’s attack on the offices of Charlie Hebdo was the most high-profile example of just how dangerous the medium can be.
Could history be repeated in the USA? Are the freedoms many Americans take for granted at risk? As Henenlotter puts it: “Freedom of Speech doesn’t mean anything if your art is declared ‘obscene’ and one man’s art could be another man’s obscenity. That’s the battle we explore in this documentary: an improbable collision between comic-book art and the First Amendment.”
Russia’s recent elections have been described as “the dullest in recent memory”. But as Index on Censorship’s Mapping Media Freedom (MMF) project shows there was no shortage of media violations and claims of voter fraud.
On 18 September, the day of the vote, journalists across Russia were denied entry, attacked and arrested while attempting to monitor polling stations.
In Siberia, reporters were obstructed even from entering polling stations. A number working for Reuters were denied entry after officials at the location said they needed permission from local authorities but there is no law requiring this of international reporters. A voter claimed the counter used by a Reuters reporter to keep track of people voting was actually a radioactive device, and the reporter should be removed. This was not enforced.
Denis Volin, editor-in-chief of local news site Orlovskie Novosti, was barred from entering a polling station in Oryol. Volin was attempting to take photos of the polling station but officials demanded he stop. Journalists in Russia have a right to take photos and observe voting.
Journalist Dmitri Antonenkov and an activist with the Public Monitoring Commission, Vasili Rybakov, were both detained at a polling station in Ekaterinburg while investigating the illegal use of the Russian state coat-of-arms in polling stations. The pair were detained for two hours and their identification confiscated without return.
MMF Russian correspondent, Ekaterina Buchneva, said: “In general, attempts to bar journalists from polling stations were very common. We saw a lot of reports from Saint Petersburg and Moscow but the investigation by Reuters (they sent journalists to 11 polling stations across central and western Russia) proves that it was common for the rest of the country too, but, unfortunately, remained under-reported.”
Another of MMF’s Russian correspondents, Andrey Kalikh, said: “What is common is that journalists monitoring elections are often threatened if they reveal voter fraud at a polling station. There were dozens of cases in the 2011-2012 election campaign (state parliament and presidential elections) where registered journalists were kicked out, beaten up or otherwise harassed.”
Vladimir Romensky, a reporter for the independent TV channel Dozhd, for example, was involved in an altercation at a polling station in Moscow. Romensky was visiting the station to verify information about voter fraud. Earlier in the day a member of the polling board told Romensky that certain ballots were marked for the United Russia party. A man who refused to introduce himself denied access to Romensky and his crew. While Romensky was inquiring, a nearby police officer called armed guards from the station. The guards demanded Romensky’s paperwork and, despite having all his documents, the guards forced Romensky and his crew out of the location.
In another incident, Fontanka news correspondent Dmitry Korotkov was investigating the process of “carouseling”, a form of rigging elections where a group of selected people vote multiple times in different polling stations. When asked whether or not carouseling is a recent trend, Kalikh said, “No, it is not. It has existed before, the most cases were registered in 2011-2012. But the [Korotkov] case… is one of the most outrageous ones.”
Korotkov received information that voters with a special passport stamp were given multiple ballots at a polling station in the Kirov district. Korotkov was able to receive the stamp and received four different ballots at the station, even though he was not registered for the district. The polling official allowed Korotkov to sign as another voter.
Korotkov reported the incident and the polling board promised to investigate. Instead, Korotkov was detained by police officers on charges of illegally receiving ballots. The police interrogated Korotkov and his case was taken to court on 28 September. The journalist could be facing charges of using someone else’s ballot in a general election; his case is still under investigation.
Buchneva said: “The Fontanka reported that after questioning Korotkov and a suspect, who acted as an election official and gave Korotkov ballots named after another person, ‘the judge apparently had no more doubt, that Korotkov signed for another person not to vote illegally, as it was stated in the police report’. However, it is too early to say that the journalist will not be punished.”
Journalist Dmitri Antonenkov and an activist with the Public Monitoring Commission, Vasili Rybakov, were also both detained at a polling station in Ekaterinburg while investigating the illegal use of the Russian state coat-of-arms in polling stations. The pair were detained for two hours and their identification confiscated without return.
Winning 54% of the vote, United Russia now has a majority in the Duma, allowing them to change the country’s constitution without the approval of other parties.
Index on Censorship believes that everyone has the right to express their opinion, no matter how vile or offensive those views, unless their words directly incite violence. For this reason, we believe that the Independent Press Standards Organisation was right to reject a complaint by Channel 4 News about comments made by Sun newspaper columnist Kelvin MacKenzie regarding Channel 4 journalist Fatima Manji.
MacKenzie’s views are offensive. But they were his opinion and he should be entitled to express his opinion – just as are – thankfully – the vast majority of people who have come out publicly to criticise and dismantle his views in open debate.
Introducing the theme of the current issue of Index on Censorship (UK), Rachael Jolley writes that anonymity ‘protects from danger, and it allows those who wouldn’t be able to speak or write to get the words out. … From the early days of Index on Censorship, when writing was being smuggled across borders and out of authoritarian countries, the need for anonymity was paramount.’ Read the full article
Andriy Klyvynyuk (right) and fellow activist Eugene Stepanenko in front of a projection of Ai Weiwei’s freedom of expression symbol in London. Photo: Nicolai Khalezin
Ukrainian rock musician and activist Andriy Klyvynyuk spoke to Index on Censorship about his support for popular film director and pro-Ukrainian activist Oleg Sentsov and the other Ukrainian political prisoners held by Russia.
Klyvynyuk, the frontman of the pop group Boombox, was a speaker at Belarus Free Theatre’s Freedom of Expression in Ukraine event at the House of Commons in London, where he called on the British government to demand Sentsov’s release. Sentsov is serving a 20-year prison sentence on charges of being part of a terrorist conspiracy. He has stated that he was tortured by investigators and that a key witness recanted in the courtroom on the grounds that evidence had been extorted under torture. His lawyers describe the case against him as “absurd and fictitious”.
Sentsov faces another 18 years in jail but Klyvynyuk, who drove an ambulance during the pro-EU Euromaidan protests in 2014, is determined that Ukraine will continue to work towards a future free of Russian interference.
“We used to cry but now we are laughing because we are not afraid,” he told Index. “We are only 25 years old as a country, and we are at the very beginning of a road. We want to be open and don’t want to see a great wall. I don’t want to be a big star somewhere, having everything but not being able to travel, speak with you, and that was the point of Euromaidan. We are not for the money, the wealth, houses and cars – it’s not what we want, it’s not the point of life at all.”
According to Klyvynyuk, it is Russia that is afraid. “They are very frightened to lose their dominance, to lose their money, to lose their superpower, in such a way as our mafia lost their power,” he said. “The officials are so much afraid that they invaded an independent state.”
Other speakers at the House of Commons event included journalist and author Peter Pomerantsev, and film and theatre director turned soldier Eugene Stepanenko. A video was shown including messages of solidarity from artists including fashion designer Vivienne Westwood and actor Will Attenborough.
Klyvynyuk welcomed these contributions. Although he does not mix his art with his activism, he feels strongly that those with a public position have a responsibility to speak out on human rights abuses. Those who shut their eyes to it, he says, are “clowns dancing on the tables of dictators”.
“I’m a patriot of course but I don’t think Ukraine is bigger or better than any other country in the world,” he said, calling on the world’s media to refocus on Russia’s behaviour towards its neighbour. “This is why we talk about political prisoners all over the world and wars all over the world. But to forget about situations like that, then everybody says ‘Oh, how are you? Are you okay?’ three years later. I say ‘Hey, stop, you know nothing’, and if you are a media person, if you’ve got followers on your social media, if thousands of people are waiting to hear from you, you should find some time to tell these important things.”
As for Oleg Sentsov, Klyvynyuk’s message was one of hope. “I hope that he won’t be broken inside, I hope that he, all of them, will find strength to live through, and then after we win, go out and not just sit and do nothing but continue their work, what they are here for.”
Battle of Ideas 2016 A weekend of thought-provoking public debate taking place on 22 and 23 October at the Barbican Centre. Join the main debates or satellite events.
Comedy and censorship: Are you kidding me? Is the fear of offence killing comedy? Jodie Ginsberg, Timandra Harkness, Will Franken, Tom Walker and Steve Bennett with chair Andrew Doyle.
From hate speech to cyber-bullying: Is social media too toxic?
What of the free speech of those harassed into silence by a stream of abuse? And what of the abuse itself, consisting, as it so often seems to, of fantasy punishments and name-calling? Is that speech worth defending?
I remember the happy clowns of my childhood when the family would sit in front of the TV during the festive holidays to delight at the magnificent performances of the colourful pranksters in Billy Smart’s Christmas Circus.
This sensibility of the clown as the fool, the butt or object of ridicule, loveable but sad, hiding a deep melancholy beneath the exaggerated forced smile was prevalent throughout the twentieth century and was a muse for poets and artists such as Picasso, Bruce Nauman and Uno Rondinone.
The image of the clown changed as I grew older. With glam rock in the 1970s came Leo Sayer’s clown phase and David Bowie’s Lindsay Kemp phase, which re-surfaced in his video for Ashes to Ashes.
But why has the clown now leapt from the realms of the circus, pantomime and contemporary art into our everyday reality? It may the lead up to Halloween but in suburban America the craze of the “creepy” or “killer clown” has reached hysterical proportions. Unsettling, scary individuals dressed as clowns are reported across the media in the USA terrorising the public.
According to Time the craze began in South Carolina in late August where clowns were allegedly spotted trying to lure children into the woods. These reports were unsubstantiated but through meme culture and the media, the frenzy has now gripped the UK. The hysteria has led to lynch mobs hunting down clowns and the banning of clown suits. I have friends and family who told me that school authorities have sent letters, emails and texts to parents warning them about clowns. A policeman even came to visit a school asking secondary school pupils to be on alert.
With the school authorities and the law further whipping up a moral panic about psychotic clowns on the loose, it’s no wonder that children with highly fertile imaginations are spooked and parents are feeling anxious. One twelve-year-old girl daren’t leave the house and sleeps in her parents’ bed. This story has become a familiar one. The panic has even led to the cancellation of a theatre group, The Clown Doctors (the actors wear red noses), who were due to perform in a children’s hospital in Newcastle because “the hospital security said they had been placed on a local hit list for the killer clown craze”.
Fancy dress shops have been asked by the police not to sell clown costumes to anyone suspicious and the NSPCC’s Childline received more than 120 calls from worried children. Instagram, Facebook, Twitter and online news services are awash with impending doom that killer clowns are on the rampage in our communities. What the hell is going on?
Of course, young people love playing pranks on each other but any adult trying to scare children out of their wits by chasing them, or lurking in dark areas, shouldn’t be surprised if they get a punch on the red nose. However, proactively hunting down creepy clowns is stretching the horror narrative a step too far.
Clowns are ambivalent figures where sadness and humour intermingle, but as with most romantic dispositions, there is a dark side to the persona. French Romantic Poets such as Theophile Gautier, Gerard de Nerval and Charles Baudelaire imagined a dark transformation from the happy face/sad visage of the Pierrot to a more tragic figure: “The mask began to give way to reveal a skull beneath, the presence of death.”
The transformation of the clown into the grotesque is indicative of the times we live in. We increasingly feel powerless, disconnected, anxious, paranoid, traumatised, in need of being protected, triggered by certain books, films, art and speech that make some people feel uncomfortable. In this world the clown has become the bogeyman, the outsider, the anti-social, anti-establishment figure of imminent doom, rather like Heath Ledger’s mesmeric portrayal of the nihilistic, terrorist Joker in Christopher Nolan’s The Dark Knight.
This clown’s performance of terror in our everyday lives reveals the growing breakdown of public space as civil, social space. Sociality, the sphere of social intercourse, and sodality – the sense of fraternity and belonging to community in deep and multiple ways – are eroded and replaced by narcissistic attention seeking, exhibitionist tendencies.
The “killer clown” meme is the extreme selfie, demanding that we look at them, that perhaps beneath the grotesque clown mask he or she may have some hidden depths of quality, but sadly that is not the case. They are simply creeps.
Having said that, social media and public space should allow for a multiplicity of expressions. The tiny minority of extreme, aggressive clown’s performing outside of the frameworks of art, theatre, film, circus, the internet and Halloween cannot scream victimhood if they are given a hiding for being deliberately anti-social. However, most of the menace seems to be hyped up via meme culture, the media, hearsay and unsubstantiated stories. It’s how urban myths are created and the craze will eventually die down and fade away.
The greater question we should be asking ourselves is how is it that children, young people, adults and the authorities alike have come to be gripped by this public performance of perceived terror?[/vc_column_text][vc_basic_grid post_type=”post” max_items=”4″ element_width=”6″ grid_id=”vc_gid:1485724639176-d1dda485-42a7-8″ taxonomies=”8826″][/vc_column][/vc_row]
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