User talk:Harry Potter

• Some talk moved to Talk:Anthony Hancock Paintings and Sculptures: A Retrospective Exhibition

Archive on User:Harry Potter/Archive1

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Hi, can you provide a source for the reenslavement near the end of the war? I'm not sure that the mention belongs at the end of the section talking about the Confederate form of government and constitution which is the main focus of the paragraph.Ark30inf 00:02, 22 Aug 2003 (UTC)

Thanks for the reply. The only thing I found on the net was a Yahoo! message board message. But that message happened to have sourcing on it. It apparently came from a broadside. I'm surprised that the contents of this broadside are not elsewhere on the net. It seems like a pretty important one.Ark30inf 02:55, 22 Aug 2003 (UTC)

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At the anarcho-punk page, you add the final sentence to this paragraph:

"Many anarcho-punk bands were showcased on the Bullshit Detector series of LPs released by Crass Records and Resistance Productions Records between 1980 and 1994. These were commodities sold in the market place albeit with an anti-capitalist ideology as a gloss. "

A few comments on it.

• The phrase "as a gloss" implies that the anti-capitalist ideology was added to the commodity as a selling point, but was not held by the people who produced the commodity. What evidence do you have to support this implication? Is it generally true, or true in some cases but not others?

Reply: Well I certainly felt so at the time. You later recall the price, which was prominently displayed. I think my remarks specifcally refer to Bullshit Detector, though no doubt they also include others.Harry Potter 18:47, 26 Aug 2003 (UTC)

• Also, your observation that punk records are commodities could just as well be made of radical textual commodities, such as "Guy Debord is Really Dead" or "The Philosopher's Stone". Why make this criticism only of punk records? It would appear that your criticism comes from a logocentric position.

Of course it was no more or less possible to disentangle record production from commodity product any more than it is textual reproduction. However the texts you site are ideal to counterpose a rather special difference: The gyration of pop music is to privilege performance over content. Thus it is the performer which is promoted over the song/tune. Compare Sun Ra, whoe produced records with no information on the sleeve and some times you were lucky if teh disc itseklf ahd the name written on in marker pen - (would you want to sit there writing names on). Now compare Luther Blissett and J. K. Rowling: Blissett's texts is explicitly without copyright whereas J. K. Rowling has signed extensive franchising deals. These not only cover her text but the iconic image of such people as Harry Potter. (Please check the issue raised by MammaBear now in Harrypotter/Archive1. The commodity is pamphlet, not the text. Now of course there was Stewart Home's proposal to have multiple name punk bands . . .Harry Potter 18:47, 26 Aug 2003 (UTC)

• Furthermore the whole sentence makes a judgement as though it were the objective truth of the situation. However, others might equally well contend that the anarchist politics were the intended central element of the product and the commodity aspect were an unfortunate necessity. This argument would be backed up by the very low price attached to the Bullshit Detector albums, (I think the first one was one pound twenty-five pence) which prevented them from acting as effective capital-commodities for the producers (I mean that I believe they did not accumulate capital through them). No doubt the shops and distributers made money though.

It would be folly to take a single object out of the context which produced it. The central element of the product is a hole through which a spindle goes so that the record can be played. When bands give away free records with teen magazines, this is not because they have abandonned commodity production, but because they feel that they will benefit from it overall. Harry Potter 18:47, 26 Aug 2003 (UTC)

• Anarcho-punk records, whatever their musical, artistic, theoretical and practical faults, acted in some instances as a method of communication among a "large" group of radical individuals. They can therefore be compared with more traditional forms of radical communications such as pamphlets and posters. The form carries its own problems but does not necessarily nullify the specific theoretical content.

Music has been a traditional form of radical communication long before pamphlets and posters, whether it be songs, drumming or other forms. the song, the rhythm can readily be adopted by others. Likewise texts can be circulated, amended and developed. However the privileging of performance is not a question of form but of a social relation in cultural production. Of course it does not nullify any specific content, whether radical or reactionary.Harry Potter 18:47, 26 Aug 2003 (UTC)

• One significant point about anarcho-punk was that it was political as well as being a popular musical sub-culture. So it can easily be presented in a one-side way as a producer of radical initiatives or alternatively as a producer of commodities. It was both of these.

I hope my addition helped convey this.Harry Potter 18:47, 26 Aug 2003 (UTC)

• The comments on identity seem less problematic.

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Wasn't too hard to find, though I had to re-size it. I'm just glad I didn't get caught in an edit conflict, didn't realize you were doing the article in stages.  :) - Hephaestos 06:35, 27 Aug 2003 (UTC)

Red Clydeside Article

Hi there, in the articel on Red Clydeside you added a bit about racist agitation that Shinwell was involved with. I have never heard of this before and was hoping you could point me in the direction of your source for this information as I would certainly be interested in reading up on it.

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You support Harry Potter? SHAME!!!!!!!!1 Cheers, JDH

Brentwood, Essex

You added info about an Elephant training school in Brentwood. Can you provide any more info or a source for what seems an unlikely fact? A response on Talk:Brentwood, Essex would be appropriate. --Tagishsimon (talk)

Article Licensing

Hi, I've started a drive to get users to multi-license all of their contributions that they've made to either (1) all U.S. state, county, and city articles or (2) all articles, using the Creative Commons Attribution-Share Alike (CC-by-sa) v1.0 and v2.0 Licenses or into the public domain if they prefer. The CC-by-sa license is a true free documentation license that is similar to Wikipedia's license, the GFDL, but it allows other projects, such as WikiTravel, to use our articles. Since you are among the top 2000 Wikipedians by edits, I was wondering if you would be willing to multi-license all of your contributions or at minimum those on the geographic articles. Over 90% of people asked have agreed. For More Information:

• Multi-Licensing FAQ - Lots of questions answered
• Multi-Licensing Guide
• Free the Rambot Articles Project

To allow us to track those users who muli-license their contributions, many users copy and paste the "{{DualLicenseWithCC-BySA-Dual}}" template into their user page, but there are other options at Template messages/User namespace. The following examples could also copied and pasted into your user page:

Option 1

I agree to [[Wikipedia:Multi-licensing|multi-license]] all my contributions, with the exception of my user pages, as described below:

{{DualLicenseWithCC-BySA-Dual}}

OR

Option 2

I agree to [[Wikipedia:Multi-licensing|multi-license]] all my contributions to any [[U.S. state]], county, or city article as described below:

{{DualLicenseWithCC-BySA-Dual}}

Or if you wanted to place your work into the public domain, you could replace "{{DualLicenseWithCC-BySA-Dual}}" with "{{MultiLicensePD}}". If you only prefer using the GFDL, I would like to know that too. Please let me know what you think at my talk page. It's important to know either way so no one keeps asking. -- Ram-Man (comment (http://en.wikipedia.org/w/wiki.phtml?title=User_talk:Ram-Man&action=edit&section=new)| talk)