Content-minded, A Brief Reflection on the 2017 Content Emmys.

Dear Readers,

We find ourselves in strange times on the Internet indeed. So strange is the alternative and fringe reaction-spheres and sub-culture twitter ecosystems, so nuanced and Gordian-knot like is their Genealogies, memes and general trajectories. A lot of development has happened online, and a lot more people are genuinely interested in alternative political and cultural worldviews. To me, it seems it started with Gamergate, culminated in the mainstream attention given to the “alternative right” (in which Frog twitter finds itself in the mix) the rise of Trump-mania, etc. But alas, these are trends, limited trends. Trends die, get stifled by rigid ideological shit-testing, become skinner box observatories for the globalist Bugmen class. Those at the top of every cathedral institution, who have far more influence, professional resources and knowledge in the field of cultural, psychological and political subversion than a rag-tag lot of shit posters on Twitter. These are limitations on us in content-minded online circles can almost go without worrying about. Why worry about these things when it becomes blatantly obvious that all the supposed “leaders” of the alternative media, the online dissident right, or whatever label you choose to use, are mostly unserious types, brand building charlatans, self-interested sociopaths, or in some cases, possible feds. I am referring to those at the “top”: American conservatism Inc. Who sell their books in Walmart, the “anti-SJW skeptics” with millions of YouTube views and massive reach, but have little in terms of solid principles or political efficacy. And of course, the so-called leaders of the Alt-right and Alt-lite, who suffer from obvious limitations too numerous to rant about here.

The top is a frightfully vapid place indeed, but underneath lies those genuine figures, those in what we colloquially refer to as the “content farm," those whom the Content Emmys venerated; hosted by The Autistic Mercury and Honeypot studio’s TV-Amerikwa, the novel idea of the Content Emmys is to (at least in my view) Hijack the fakery, the self-congratulatory and sickeningly glitzy styling of the mainstream Emmys, and highlight some of the best content creators working in their fields of interest. The Content Emmys gathered the quixotic and mercurial categories of discourse among our spheres of alternative samizdat content and let the fans nominate the top choices in each. Ranging from such categories as “nicest boy”, “hottest takes”, “best aesthetic”, to “most black-pilled” (a personal favorite of mine), the Content Emmys provided a uniquely edited peek into the various, memes, thematic motifs and clandestine sharing of counter-think happening now in the hidden corners of social media.

But what unites all the nominees and indeed, everyone who ventures into the online crevices of alternative political and cultural discourse? Us very strange eccentric types, all of us jaded malcontents who see grave problems with the modern world, but can’t quite put our collective finger on exactly what the issue is. The answer is content of course; Producing unique ideas, creating live performance acts that are half-ironic, half-sincere, and have the potential to influence mainstream perceptions, or at the very least rustle the feathers of establishment media hacks. Parallel intellectual and artistic communities have always been the modus-operandi for the politically and socially disconnected, and it seems the development of things on the internet has demonstrated this time and again. I personally have interacted with and have read people who in the not-so-distant past, would have the intelligence and insight to receive full academic institutional legitimacy, but are now forced to operate outside large institutions like academia for fear of retribution over wrong-think. It is a shame really and is a testament to the growing disconnect between Academia and reality if those who should be apart of it feel that they will be chased out almost immediately. Good content is the way of the future when direct political action and operating within institutions are losing games. Therefore, the Content Emmys, if it steadily grows and is done with the same level of passion and professionalism annually, can be a milestone in garnering a wider appeal, and solidifying the strength of genuine and subversive ideas.

All who produce regular content, be it articles, books, music, art or even hot tweets, know that we live by our reputations for delivering fresh and meaningful insights into the world we find ourselves in. at this point, everyone instinctively knows that if we are to be blackballed by every “legitimate” venue of discourse in society, then we ought to think long and hard about establishing platforms, publications and even institutions. Ones that can sneak past the gatekeepers and operate free of those reterritorializing forces of globalist neoliberal Bug plant that wishes to crush, or at the very least sanitize and neutralize, all that falls outside of its frame of allowable discourse; Where there is irony, we must all crave sincerity. Where there is the drab, life-deadening and soul-starving trash that passes for popular art today, we must demand an authentic aesthetic that services life and inner being. Where there is the endless droning on of narrow, freeze-dried and predictable political narratives, we must see through such news-speak and doublethink. Where there are terrible ideas we are told are the only logical and acceptable ones, we must forge ahead and craft better ideas, we must be witty and stage elaborate feats of culture-jamming from the underground. These are clichés I am sure, but in a world so thoroughly dominated by nonsense and simulacra, perhaps these simple procedural suggestions for changing one’s own consciousness and the consciousness of others might be what is the most effective.

In closing, the Content Emmys by observation, is a half tongue-in-cheek awards show that gives focus to the oddball conjectures and memeplexes that have germinated from a strange brew of Chan-culture, futurist fused with traditionalist aesthetics, reactionary politics, and various other fringe (largely net-based) movements. Perhaps if provocative and creative voices are directed in a proper manner, given goals to achieve, have a long-term view of things, and even have small things to look forward to like a yearly awards show, then perhaps we may see changes in the rhetoric of contemporary discourse and be better equipped to face the infiltration and subversion tactics of the Neoliberal establishment. To an extent, it is already happening.