Live review: BIGSOUND Live – Brisbane – Night three (5/9/19)

With livers running at 200% capacity and the memories of a normal routine feeling distant and fuzzy, it’s time to dust ourselves off and give it another crack at Bigsound’s third official night of live music.

First up at Crowbar Black is Towns, playing their twelfth show since Saturday. The Adelaide duo immediately set the scene for a tip-top evening with a charismatic, funny and skilful set of punk/pop/rock numbers. “I’m so fucking happy!” says frontman Aston Valadares, grinning ear to ear, before throwing a bunch of t-shirts into the audience, Oprah-style. A medley of television themes, including ‘Home and Away’, ‘Round the Twist, ‘Fresh Prince of Bel-Air’ and ‘Friends’ provide a fun counterpoint to their admittedly “little sad” track, ‘Bleach’.

towns bigsound live brisbane 2019

Towns

Over at Black Bear Lodge, Sunbeam Sound Machine’s Nick Sowersby and his band are making a gentler, more blissed-out sound, including tracks from new record, ‘Goodness Gracious’. ‘Talking Distance’ goes over particularly well in a venue that is perfect for the intimate feel of the group’s music.

At the Elephant, Reliqa vocalist Monique Pym is more into demanding intimacy from her enthusiastic audience. “Tell someone you love them – the person right next to you!” she suggests, to awkward glances from strangers taking in the Gosford collective. Pym is a powerhouse of energy with a towering voice that must place Reliqa as one of the most exciting young metal bands in the country.

Reliqa Bigsound Live Brisbane 2019

Reliqa

Mermaidens are certainly not the demanding types at the Ivory Tusk, saying they “don’t want to get in trouble” if they play over their timeslot, although they do mention their new album being out tomorrow (6th September) several times. They do exactly as their bio describes, and do it extremely well – all dreamy vocals, hypnotic guitars and more charm than you can poke your hangover at.

Mermaidens Bigsound Live Brisbane 2019

Mermaidens

At the Outpost, Teen Jesus and the Jean Teasers are simultaneously expressing their gratitude for the presence of a sizeable crowd, generating considerable industry buzz, displaying their Canberra home-town pride and playing a collection of rock and alternative numbers like its some of the best parts of the ’90s all over again. ‘I Like That You Like That’ is their best song and marks them as serious contenders.

Teen Jesus and the Jean Teasers bigsound live brisbane 2019

Teen Jesus and the Jean Teasers

Following a solid first-night show, the draw towards Laura Imbruglia at Black Bear Lodge is almost irresistible, and going against some imagined principle/protocol/ethic/whatever of Bigsound and seeing the same artist twice suddenly doesn’t seem in any way criminal. The Melburnian and her band, the Bin Chickens, are, quite simply, a class act. ‘Tricks’ and ‘Carry You Around’ allow lead guitarist Alex MacRae to flex his considerable chops as the quartet settle into a potent groove for another evening-winning set.

Laura Imbruglia Bigsound Live Brisbane 2019

Laura Imbruglia and the Bin Chickens

What a bloody great three nights of live music.

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Live review: BIGSOUND Live – Brisbane – Night two (4/9/19)

Dusting off hangovers, minor/major exhaustion and the shadow of day jobs brings the second night of BIGSOUND back into focus, and with another outstanding line-up of bands to get the teeth into, the appetite is big for night two of the showcase.

First up at Crowbar is Sydney quartet The Buoys, who blast through a high-octane, “emotional rollercoaster” of a set, with frontwoman Zoe Catterall getting among the audience and getting into the mood by snagging a bite from a punter’s Bloody Mary celery stick between bouts of highly impressive shredding.

The Buoys Brisbane Bigsound 2019

The Buoys

Over at Ric’s, Egyptian-Australian Mariam Sawires is impressing in a somewhat more serene fashion; her voice on songs like ‘Together’ – inspired by missing her sister when living in Japan – soars high and marks the nomad vocalist as not only one to watch, but probably deserving of a classier setting than the milk-crate-adorned surrounds of the beloved Valley venue.

Mariam Sawires Bigsound Brisbane 2019

Mariam Sawires

Meanwhile, at The Wickham, Sydney rap queen Lauren. riles up an enthusiastic audience by getting in their face before claiming, “I only smoked one bong today!” to a huge roar of appreciation.

Lauren Bigsound Brisbane 2019

Lauren

At the Brightside, Brisbane’s First Beige have packed out the room and melt into an instantly engaging jam, including a guest trumpeter, while at the Elephant’s crammed back bar, English quartet The Amazons run through a set of polished pop tunes on their first ever Australian gig, and Ainsley Farrell is winning hearts and minds with a classy, lilting and uplifting set at Black Bear Lodge, including new track ‘Dark Spell’.

First Beige Bigsound Brisbane 2019

First Beige

Downstairs at Crowbar, Melbourne metallers Outright are loudly-and-proudly anything but polished, with powerhouse singer Jelena Goluza taking the classic foot-on-monitor stance between explosions of noise, before Sydney post-punk outfit 100 put in a solid and loose shift in front of an appreciative audience.

100 Bigsound Live Brisbane 2019

100

Seeing Mambali – from Numbulwar in the Northern Territory – is the perfect way to finish the evening; the Indigenous collective play an exciting, captivating show to a wildly engaged crowd as the evening draws to a close.

Mambali Brisbane Bigsound 2019

Mambali

Is anyone ready to pass out yet?

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Live review: BIGSOUND Live – Brisbane – Night one (3/9/19)

Like Christmas, your birthday, or the dread of filling out another tax return, BIGSOUND rolls around again in no time; although it’s significantly more welcome milestone than many.

First up at Crowbar, singer-guitarist Siobhan Poynton introduces Scabz as “the shittest band at BIGSOUND” before opener ‘What You Stand For’ – a song about Anthony Albanese and false promises. “Told you we were shit,” she follows – a patently untrue statement. ‘Brett Lee’s Got no ID (And He Can’t Get Into World Bar)’ tells the story of Poynton’s encounter with the cricketer at a former place of work; a close call as he “likes Tony Abbott”, as it turns out.

Scabz Bigsound Brisbane 2019

Scabz

Over at Woolly Mammoth, Concrete Surfers are conducting a more polite, but equally impressive and somewhat ramshackle, affair. “We’re here to hopefully rock your socks off,” claims frontman Jovi Brook, softly, while bassist Trent Courtenay – looking like the throttled young caddie from ‘Happy Gilmore’ – slaps his instrument like a master.

Concrete Surfers Bigsound Brisbane 2019

Concrete Surfers

Only a lucky handful of people are present to witness Black Rock Band at the Woolly Mammoth, and what a delight they are treated to by the West Arnhem collective. They aren’t the only band giving an acknowledgement of country tonight, which is encouraging to see and hear, but are likely the only singing in Kunwinjku – addressing both a depth of cultural and social issues and making a rapidly growing audience dance their asses off, too.

Black Rock Band Bigsound Brisbane 2019

Black Rock Band

Reija Lee, playing outside at The Wickham, promises to “amp it up a little” at the beginning of her set. The musical chameleon delivers a varied collection of pop and electro numbers, switching between bass and vocals and winning over a seated audience in no time at all. Her voice and performance deserves a bigger stage.

Reija Lee Brisbane Bigsound 2019

Reija Lee

Over at The Foundry, Dianas are shaking the walls with the tightest performance so far this evening – the Melbourne-via-Perth group make a hell of a sound for a trio, despite complaints of an incredibly sticky stage. Powerhouse drummer Anetta Nevin steals the show with a skin-thumping masterclass, leaving her kit beaten and defeated as the cymbals ring out on the final tune.

Dianas Brisbane Bigsound 2019

Dianas

At The Zoo, Laura Imbruglia and her band the Bin Chickens immediately prove to be the best act of the evening so far as they run through songs from new album, ‘Scared of You’. Opener ‘Tricks’ and follow-up ‘Carry You Around’ set the tone for a classy, skilful set that looks like it will be hard to top this year.

Laura Imbruglia Bigsound 2019 Brisbane

Laura Imbruglia and the Bin Chickens

BIGSOUND veterans Bad//Dreems go about their business with the loose, vaguely off-kilter aesthetic they are known and loved for, playing songs from their upcoming third album, including new tune ‘Piss Christ’. Older tracks ‘My Only Friend’ and ‘Mob Rule’ still sit well among the new songs, while “oldie but a garibaldi” (frontman Ben Marwe’s words) ‘Hoping For’ remains some of their finest work.

Bad/Dreems Bigsound Brisbane 2019

Bad//Dreems

Approachable Members of Your Local Community are the perfect end to the evening at the Ivory Tusk. The “deep south” Melbourne quartet, dressed in ludicrous, matching red Adidas shirts and shorts, are fun, upbeat and silly in all the best ways. New track ‘The Internet’ sounds like a winner while ‘Semiotic Vision’ is perhaps their best song, but it’s the performance that makes it a killer show.

Approachable Members of Your Local Community Bigsound Brisbane 2019

Approachable Members of Your Local Community

Bring on nights two, three and four.

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Live review: Alice Ivy + Miss Blanks + DVNA – The Foundry, Brisbane – 7/6/19

Fun and positive vibes were the name of the game at a bouncing Foundry in Fortitude Valley on Friday night (7th June).


Alice Ivy

In town to promote latest single ‘Close to You’, Melbourne beatmaker Alice Ivy was to play the penultimate show on a nine-stop tour in style, but if she was tired from yet another sizeable national tour, it certainly didn’t show.

First up was Gold Coast producer DVNA, who played a fun, earnest and endearing set to a filling Foundry, while taking time to thank her audience for coming along. Among a swag of smooth tracks, ‘Girl on the Move’ stood out as a soulful, glistening pop gem.


DVNA

Next came Miss Blanks, who dialled the sass up several hundredfold and truly got the party started in her typically brash and entertaining fashion. Between tracks the Brisbane rapper, and former Alice Ivy collaborator, was genuinely funny and self-deprecating, with set highlight ‘This Bitch’ bringing together everything good about her act: lyrical savviness, humour, profanity, and solid hip-hop chops.


Miss Blanks

This gig, however, was all about Alice Ivy. The Victorian producer and multi-instrumentalist was on top form from the get-go, as the audience increasingly let loose on a Friday night.

Switching between guitar, bass, electronics and more, she showed off her range across a swag of tracks from her debut album I’m Dreaming, but it was single ‘Close to You’ that we were here to witness in the flesh. The track, a poised and slick electronic pop number, went down a storm.

The good vibes increased with Alice Ivy thanking and expressing her love to everyone for coming, with fans returning the love many times over as the set came to a climax and a night of celebratory electronic pop came to a close with a sea of smiling faces spilling onto the street.

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Live review: Mini Simmons + The Stilts – Greaser Bar – 24/4/19

‘Hey Hey It’s Another Public Holiday’ isn’t just a television program dreamed up during the writing of this review, but the perfect excuse to get out and see some great live music on Anzac Day Eve (24th April).

Deep in the belly of Fortitude Valley’s Greaser Bar is as good a place as any to indulge, and a suitably safe space to let loose with some old-school rock ‘n’ roll, albeit spewed forth by Auckland newcomers Mini Simmons; this being their debut Australian show.

But wait a minute.

The quartet’s look and sound are so firmly steeped in ’60s and ’70s classic rock that, on paper, there’s a risk of it all getting a bit Greta van Fleet, if ya know what I mean. That unthinkable scenario never happens, thank Hendrix, and the resulting triumphant show can surely only be the start of a long love affair between Mini Simmons and Australian rock audiences.

First up is Brisbane ramshackle racket-makers The Stilts, who include a shabby cover of ‘Home Among the Gum Trees’ in their fun set, and get a growing crowd pumped for the headliners.

From the second they hit the stage, the members of Mini Simmons are one hundred percent into their performance. Physically, it’s all hips, hair and handclaps; frontman Zak Hawkins is part-Jagger, part-Jim Morrison, part-awkwardly-flailing-stick-insect, while guitarist Brad Craig and bassist Jesse Hawkins are all zip and style, and drummer Yoni Yahel proves to be a powerhouse behind the kit.

By the band’s melodic and instantly-catchy third single, ‘A Way With Murder’, also the third song in tonight’s set, the audience is sold on everything the band is selling. Fifth number ‘Kids off Broadway’ is another highlight, as the band boogie and shake through tracks from their debut album, set for release next month.

For those who can’t get no satisfaction from the original material, they’ve got an ace up their sleeve with a version of the Stones’ ‘Midnight Rambler’, done in the Get Yer Ya-Ya’s Out style, complete with extended breakdown and all the necessary groove and filth. “I want to go down on… YOU!” spits Hawkins, to whoops from somewhere in the throng.

As the light and sound fade, the lingering feeling is that these four fellas deserve a bigger stage on which to show off their chops. Let’s hope they get it.

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Fowler’s Live Closes: The End of an Era

Fowlers Live Adelaide South Australia music

When a social media post announced the impending closure of Fowler’s Live on October 3rd, the outpouring of love for the beloved music venue left operator Peter Darwin staggered.

“The support we’ve received has been unbelievable,” he said. “We had thousands of comments and messages on there. The overwhelming reaction was that people felt safe here, they enjoyed the community, and they felt that it had a genuine family feel. For a couple of days there I was really quite gobsmacked and found it difficult reading a lot of the heartfelt comments and feeling the love for the place.”

After 15 years spent fighting government red tape and upheaval to keep the 500-capacity venue afloat, Peter finally had to admit defeat when Arts SA announced they would be seeking to expand the use of the space at a significantly increased rent.

“Essentially, for that entire period we’ve only had two-year leases or occasionally a little bit longer,” Peter said. “There have been probably two other occasions when government policy was looking to revert the space into theatre or general art space, and on both those occasions that changed again. They then advised on September 30th that there was another operator coming in and we wouldn’t be able to continue. Clearly I’m unhappy about the situation, but I also am a realist in that I’ve known that, ever since I’ve took the place on with two-year leases, it was clear that it was going to end. To get to 15 years of operation and not be bankrupt is a reasonable achievement.”

The venue is well known as a national touring spot and as a place for local bands to cut their teeth, and leaves behind countless memories for those who have passed through its doors. While Peter could probably tell stories about the venue for days, two in particular stand out.

“We had the Mark of Cain, obviously a great Adelaide heavy-rock band, playing here one night some years ago on a stinking hot Adelaide summer night. It was about 42 degrees outside and must have been 60 inside by the time we had 500 people under the hot lights. It was just one of those nights when 500 people were operating as one person, rocking out to the band. Everyone was dripping in sweat, the place stank, and we were handing out water everywhere – it is still so clear in my mind.”

“Another time, [Californian punk band] Unwritten Law had played a gig here that night and some of Keith Urban’s crew and band came back to the venue, and the Unwritten Law guys were hanging out having a beer. For the next two hours, there was this bunch of punk guys drooling over the experiences, the stories and the knowledge of the crew and musicians of the Keith Urban band. The monitor engineer had been around for about 30 years and was reeling off stories. These guys were just beside themselves with the experiences and stories. You would not think those two groups of people would any recognition of each other at all.”

While the Fowler’s Live community is left with only memories, Arts SA has announced that Five Four Entertainment bid successfully for the lease, and aim to operate it as a live music and arts venue from January.

Peter, who will keep busy with the upcoming Keith Urban tour and looking after live music for the Adelaide 500, among other things, reluctantly admitted he can look back with pride.

“I’m extremely thankful for the opportunity and proud of what we’ve achieved,” he said. “Somehow I managed to make things go from A to B without fucking up. I just hope the new tenants keep a strong, original live music content here.”

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Cher: Here We Go Again

It’s time to dig out your dancing shoes, dust off your shiniest frock, and get ready to believe in life after love once again with the news that the Goddess of Pop, Cher, is coming Down Under.

Cher Here We Go Again 2018 Australian tour Cher Facebook singer actress

The ‘Here We Go Again Tour’ shows will mark the first time in 13 years the 72-year-old will tour Australia, with stops in Sydney, Melbourne, Brisbane, Newcastle, Adelaide, Wollongong and Perth.

If she could turn back time to 2005, the singer and actress might not have toured under the ‘Farewell Tour’ banner when she played her last headline shows here, but if anyone has earned the right to do just about whatever she wants in show business, it’s the cultural phenomenon born Cherilyn Sarkisian.

Fifty-three years after her debut single – a cover of Bob Dylan’s ‘All I Really Want to Do’ – reached number 15 on the Billboard chart and the world was introduced to her via the international smash ‘I Got You Babe’ with first husband Sonny Bono, Cher is ready to delight Australian audiences once more.

And a delight it’s sure to be.

Pop, film, fashion, television, and a whole lot more: there’s not much the native Californian hasn’t packed into her lengthy and hugely varied career. Add to that numerous Vegas residencies, business ventures and even starring roles in a string of infomercials, Cher has never been one to shy away from a challenge.

“All of us invent ourselves: some of us just have more imagination than others,” is a quote often attributed to her, and to say she’s done it all and won it all is an understatement.

She has bagged an Academy Award (for 1988’s Moonstruck), a Grammy, an Emmy, three Golden Globes, and the Best Actress Award at the Cannes Film Festival, among many more, making her one of a select few to have swept the board in such a way.

But don’t think that means she’s planning to slow down. Not content to still be selling out arenas and stadiums globally in 2018, she also stars in box office smash Mamma Mia! Here We Go Again now playing on a big screen near you.

And that’s not all she’s been up to this year. She unwittingly caused a stir in March after appearing at the Sydney Gay and Lesbian Mardi Gras and posing for a selfie tweeted by Malcolm Turnbull.

A gay icon posing with the Prime Minister responsible for a hugely harmful and unnecessary same-sex marriage survey reeked of hypocrisy, and after many on social media questioned the PM’s PR stunt, Cher had the decency and forthrightness to address her fans directly via Twitter.

“Am so sorry,” she wrote.

“Guess that’s why I have few friends who are politicians. He seemed very open and excited about Mardi Gras and LGBT community.”

With that cleared up, and extra shows recently added in Brisbane and Wollongong, the love affair between Cher and her Australian fans is burning as brightly as ever.

“My visit to Sydney’s Mardi Gras reminded me how unique and beautiful Australia is,” she said in a statement.

“It’s been 13 years since I toured there so I thought ‘let’s do it one more time.’”

Known for much more than performance, Cher has been a fashion icon since the 1970s, when she was first celebrated for wearing elaborate and original stage outfits in her various television shows and appearances after navigating a messy divorce from Sonny Bono and emerging as a solo star.

Between 1972 and 1975 alone she appeared on the cover of Vogue five times, and has been described by Time magazine as a “cultural phenomenon who has forever changed the way we see celebrity fashion”. With such impeccable fashion credentials, it’s no wonder she has been honoured by the Council of Fashion Designers of America for her enduring impact on the fashion world.

While she’s been successful in many roles over several decades, she is perhaps most well known by a younger generation for the single ‘Believe’ from the 1998 album of the same name – the 22nd LP of her career. After a relatively unsuccessful couple of pop-rock albums, musical wilderness was beckoning, but the Queen of Reinvention struck gold with her next move.

The switch to a more dance-oriented sound fitted perfectly with the late-1990s clubbing Zeitgeist, the album went on to sell over ten million copies, and Cher was tasting musical highs perhaps even she had never experienced before. The single topped the Billboard chart 25 years after her last number one, setting a record for the longest time between first-place finishes, and it made her the oldest woman to reach number one – a record she still holds. The song was also one of the earliest examples of auto-tune vocal effects on a successful pop record (a time long before it became risible).

The song and album gave her music career a much-needed shot in the arm, introduced her to a new generation of fans, provided her with the eternal encore, was described as recently as 2016 as “the biggest club record ever” by Vice, and perhaps sealed her spot as the Goddess of Pop for all time. Since then, she hasn’t looked back, performing in front of huge audiences globally. Her 2014 ‘Dressed to Kill Tour’ grossed $54.8 million and sold more than 600,000 tickets, despite ending prematurely due to the singer’s health issues.

“I’ve always taken risks and never worried about what the world might think of me,” she’s been quoted as saying.

“Some people’s feathers are just bigger and brighter than others.”

Cher’s 90-minute Australian shows will feature songs from her entire, six-decade career, and now that she rarely tours outside the US and could probably be offered another Vegas residency at the drop of a hat, Australian fans should jump at the chance to see her while they still can.

Cher plays:

Newcastle Entertainment Centre
Wednesday 26th September

Brisbane Entertainment Centre
Friday 28th September
Saturday 29th September

Rod Laver Arena, Melbourne
Wednesday 3rd October
Friday 5th October

Adelaide Entertainment Centre
Tuesday 9th October

Perth Arena
Friday 12th October

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Live review: Kimbra + Exhibitionist – The Triffid, Brisbane – 16/7/18

“Very meaningful,” is how Kimbra Johnson coolly describes her first gig in Australia in four years about midway through the first stop on her Primal Heart tour at Brisbane’s The Triffid on Monday night.

Kimbra Brisbane The Triffid Primal Heart 2018

Yep, meaningful. Yep, four years. Yep, Monday night. It’s not the most obvious choice for a triumphant return to a country to which she has ample musical links, but that didn’t stop a large and enthusiastic crowd gathering to collectively fend off the winter bite and enjoy some top tuneage under the arched roof of one of Brisbane’s finest venues.

Exhibitionist – aka Brisbane’s Kirsty Tickle and band – set the tone with a half-hour set of sometimes smooth, sometimes brooding, sometimes dark pop. “Sorry, guys,” she smirks, as she introduces ‘Sally’s Song’ – written with Sally Seltmann with music industry misogyny firmly in the crosshairs. Meanwhile, French drummer Jonathan Boulet is grinning from ear to ear as he basks in Les Bleus’ recent World Cup triumph, before closer ‘Being a Woman’ is introduced as “a little bit aggressive”, and is widely appreciated for being exactly that.

Now for something a whole lotta meaningful. New Zealander Kimbra takes to the stage amid a cacophony of vibration and expectation, taking her position stage-centre with the assurance of someone who has appeared on many of the biggest stages worldwide in the last few years.

An early one-two of ‘The Good War’ and ‘Black Sky’ showcases the strength in depth on the Hamilton native’s third album as the singer strides across the stage surveying her domain, while singles ‘Human’ and ‘Like They Do on the TV’ get big responses from an audience finally starting to relax.

‘Settle Down’ keeps the mood high, before the sparse ‘Past Love’ breaks it all back down. After ‘Two Way Street’, Kimbra challenges her crowd to dance when ‘Sweet Relief’ brings the funk in spades. It’s a veritable musical smorgasboard with no obvious flaw or failing.

All in all, when you look past the electicism, seemingly effortless style, and retina-threatening lights, it’s the 28-year-old’s powerful, soaring voice that’s the star of the show. Who knows what sort of meaningful stuff Kimbra can come up with in the next four years?

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Live review: Mojo Burning Festival – Hamilton Hotel, Brisbane – 14/4/18

The fifth annual Mojo Burning Festival proved that it continues to be a local musical force to be reckoned with at the Hamilton Hotel on Saturday night (14th April).

Positioned as an ‘outside-the-box’ blues, rock and stoner festival, the gathering has gone from strength to strength since its comparatively humble beginnings at the New Globe Theatre in 2014.

Thirty excellent bands over three stages and ten hours is an embarrassment of riches by any festival standard, and almost instant turnaround times between acts kept the momentum going throughout the day.

The Zed Charles Hendrix Experience in the psych room proved to be an early-evening highlight: the balance of showmanship and homage to the songs was just right, and a perfectly blazed ‘Hey Joe’ was a solid closer.

Over at the blues stage, Hat Fitz and Cara let loose a barnstorming set of country/blues numbers, working up a sweat before a baying audience, and climaxing with the stomping ‘Power’.

It was clear that Jeff Martin was a big reason for the presence of many at the festival, and not without good reason. The Tea Party singer-guitarist upped the ante with a solo set of style and class, with some humour thrown in for good measure. ‘Coming Home’, ‘The Bazaar’, ‘Stars in the Sand’ and ‘Line in the Sand’ were mashed up with NIN/Johnny Cash, the Doors and Martin’s heroes Led Zeppelin to make a hard-rockin’ audience happy.

Jeff Martin Mojo Burning Brisbane 2018

After the intensity of Martin, the light-hearted Henry Wagons was a fun point of difference. The Melburnian, with trademark leopard-print jacket and headband, jokingly teased the audience between alt-country numbers, before getting among them during final song ‘Willie Nelson’.

Henry Wagons Mojo Burning Brisbane 2018

Then came Wolfmother and bedlam. Stockdale and co. still know how to rock, and HARD, and as the rock stage became a barrage of headbanging, big riffs and bigger hair, keeping track of anything became increasingly difficult. ‘New Moon Rising’ and ‘Dimension’ were highlights, as were Stockdale’s wardrobe changes. Everything else was lost in a haze of noise and exhilaration.

Wolfmother Mojo Burning Brisbane 2018

Throughout the evening there was a rail-thin and somewhat bookish-looking guy moving among the crowd, fixing a dark-eyed, intense stare on anyone crossing his path while sipping on a schooner with an almost un-Australian restraint. Seconds after Wolfmother was finished, he (Rafael Cohen, as it turns out is his name) was onstage, having shed his glasses and all restraint in his role as guitarist for Elephant Hive – an Israeli power duo who rocked as hard as anyone at the festival. Cohen and drummer Tom Bollig were spotted by chance by the festival director at a show in Tel Aviv, and will have won many new fans on their first Australian jaunt.

Elephant Hive Mojo Burning Brisbane 2018

That left Money For Rope (with two drummers in their four-piece setup) and Hobo Magic, switched from the psych room to the larger blues stage, to kill off any remaining eardrums and complete a festival the organisers can be proud of. Consider all mojos well and truly burnt.

Money For Rope Mojo Burning Brisbane 2018

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Andrew WK: Philosophising with the King of Partying

Andrew WK

“A professional partier and an amateur human being.”

How Andrew W.K. would introduce himself to someone who doesn’t know anything about him reveals the depth behind the hard-rocking, party-anthem-wielding force of nature his fans have come to adore since he blew up internationally with single ‘Party Hard’ in 2001.

The reveal is appropriate.

Since 2010, the 38-year-old American has stepped back from recording to explore motivational speaking, writing, authoring an advice column, and collaborating with other artists. His work has recently seen him named person of the year by suicide prevention group the American Association of Suicidology.

Now, he’s back with You’re Not Alone: his first album of new songs in nearly twelve years. It’s a typically triumphant collection of rock tracks featuring his trademark big riffs, infectious hooks and buoyant choruses.

While he acknowledges he is lucky to have made another album at all, the finished product was only ever going to have one goal: make the listener feel better.

“I only want to put good vibes out into the world, and I’m very focussed on that mission,” he says.

“I imagine we have a perpetual need for positivity. The best things in life give us the strength and resilience to face the challenges that are worth solving.”

For the King of Partying, partying can mean a whole lot more than just getting drunk with friends.

“I’ve had a lot of experience with getting drunk, but it’s not limited to that,” he says.

“First and foremost, it’s a decision to break away from the torturous debate over whether life is good or bad, and it’s an acceptance of the possibility that it is intrinsically good. Then it’s finding the wherewithal to celebrate all that goodness. It’s basically looking at life as a celebration of not being dead, and trying to find the value in the difficult parts of that experience.”

Taking a philosophical approach to partying is fairly unique among hard-rocking musicians, but Andrew W.K.’s power of positivity reaches further, into all areas of his life. His remedy for feeling low is a common one.

“Music never fails. There are people out there, and they’re few and far between, who don’t get the power of music. I could be in a completely defeated frame of mind and turn to music, and it will instantly change not just my thoughts and mood, but the way my body changes physically. It changes the way it feels to exist for the better. Like so many people, we can just imagine a song, and it sounds so much better in our heads than it does being played. It permeates the best part of our soul, and if we can hold onto that in the face of difficulty, it will see us through.”

Another uncommon thing for a hard-rock musician to do is to include spoken-word pieces in an album, of which there are three on You’re Not Alone. Again, the themes are positivity and overcoming doubt.

“Including those was suggested to me by someone in my management team, and it never would have occurred to me,” he says.

“It’s a very exposed and vulnerable contrast to very dense and celebratory music. I didn’t allow my own fears or trepidation to sway me from recording them. I recorded them at the very last second – I literally could not have delayed putting them off any further. I recorded them in the mastering phase – you’re supposed to be completely done with all your recording by that point. The engineer was very generous, and I recorded them quickly and spontaneously. I didn’t realise it at the time, but when I transcribed them for the lyric book, those words were what I was telling myself through the recording of the album and what I tell myself in everyday life. I thought maybe someone else could relate to them as well.”

While he is reinvigorated and empowered by his new album and seemingly feeling freer than ever, Andrew W.K. is sticking firmly to his stated mission – albeit with 17 years more experience and maturity since ‘Party Hard’ made his name.

“I’ve not yet done most things, as far as what I would like to do,” he says.

“I would like to get better as a person and serve this calling. That’s really all I should allow myself. There were times in the past I felt pressure to be ambitious, to think bigger and broader, and do all sorts of other things. I’m not cut out for those things – I’m barely cut out for this. I just want to get better and better at delivering on the promise that I have committed myself to, and that’s party power.”

Australia, known internationally for its party power, is firmly in mind for a visit.

“We have been talking about coming over for concerts and I’m extremely excited about that,” he says.

“Australia has never faltered in not only appreciating party power, but conjuring it up. It would be great to be re-energised and refuelled with a Down Under trip. Hopefully it will happen this year.”

You’re Not Alone by Andrew W.K. is out Friday 2nd March 2018 via Sony Music Australia

For The Brag

Live review: Fatboy Slim – Electric Gardens Festival, Brisbane – 25/1/18

It’s Australia Day Eve, it’s hot as hell, and thousands of thirsty Brisbanites are looking to cut loose.

Fatboy Slim Brisbane January 2018 Electric Gardens

Sunnyboys are at the Tivoli and Foo Fighters’ brand of bro-rock is across town at Suncorp Stadium, meaning Fatboy Slim, aka Norman Cook, has some big-hittin’ competition for the collective attention of Brisbane’s gig-goers at Electric Gardens Festival at the Showgrounds.

The question of whether Cook is able to top his triumphant performance at Riverstage exactly two years to the day is another uncertainty hanging over the gig – that was a hell of a show.

Needless to say, the night proves to be business as usual for the EDM renegade master – complete with a typical array of hits, mesmerising visuals, tantalising sonic snippets, air horns and high energy.

After sets by Tim Fuchs, Motez, MK and Gorgon City, panic sets in at the drinks line when ‘Eat, Sleep, Rave, Repeat’ kicks off a couple of minutes before the slated 8:30 start time. After ten minutes of high-quality Fatboy, however, the party is well-and-truly underway.

From here, the master is in control of his disciples.

Brief blasts of ‘Eye of the Tiger’, ‘Seven Nation Army’ and ‘Get Up (I Feel Like Being a) Sex Machine’ get huge responses, as do ‘Renegade Master’ and ‘Star 69’. Two years ago it was Bowie featuring in a brief minute-or-so tribute, and this time it’s Prince; the Purple One’s image on the big screen is a nice touch.

Fatboy Slim Brisbane January 2018 Electric Gardens Prince

Much like Foo Fighters were probably doing over at Suncorp, Fatboy drops some Queen into his set with a bit of ‘Radio Ga Ga’, as the audience claps when he demands it. It’s not quite Freddie at Live Aid (nothing is), but it’s a lot of fun.

By 9:50pm another hit is well overdue, and ‘Praise You’ does the job, evoking an atmosphere somewhere in the region of bedlam. It only takes ‘The Rockafeller Skank’ mixed with ‘(I Can’t Get No) Satisfaction’ to put the icing on this sweaty, leg-weary cake.

For Scenestr

Fatboy Slim: Stormin’ Norman Heads Down Under

Longevity in the entertainment business is an elusive concept. Slippery as an eel. Statistically pretty bloody unlikely.

fatboy slim 2018-1

Evidence shows that lengthy success requires an artist to either (a) regularly reinvent their showbiz persona and take a punt (see: Bowie, Madonna, Prince), or (b) find something they do particularly well and just keep hammering away (see: AC/DC, The Rolling Stones).

For every rule there are exceptions, however, and it could be argued that Fatboy Slim is pretty unique in that he has done a bit of both.

On one hand, the Englishman has spent over 20 years honing an instantly-recognisable DJ-ing style and hasn’t put out a studio album since 2004. On the other, he’s the guy with an armful of aliases, a continually-evolving method of effecting euphoria, and a back story as interesting and varied as most.

With appearances locked in at the third Electric Gardens festival in Sydney, Brisbane, Perth and Adelaide through January, the bonafide EDM legend is bringing his unique party-starting style (and trademark Hawaiian shirts) back to Australia just two years after his last shows here.

It’s safe to assume he’ll be bringing his A game, as always.

“Australian crowds, they’re not shy,” he told Red Bull last year.

“And that’s always my favourite kind of crowd. It’s also a beautiful country to visit.”

While music-lovers now have a pretty good idea of what to expect from a Fatboy Slim show, it’s been a long journey for the 54 year-old to get to where he is today.

The man also known as Norman Cook has come a long way, baby, since being a skinny, pale Housemartin singing a cover of Isley-Jasper-Isley’s ‘Caravan of Love’ on Britain’s Top of the Pops in 1986 or reinventing The Clash’s basslines for Beats International’s smash ‘Dub Be Good to Me’ at the turn of the ’90s (and the coming of ecstasy).

In 1996, his world changed. The Fatboy Slim moniker was born (a name plucked from “thin air” he told NPR in 2001), he released the triple-platinum-selling You’ve Come a Long Way, Baby album a couple of years later, and a swag of awards and international recognition in the process.

A superstar DJ was born.

The transition required a new persona, meaning he became “like James Brown without the band,” he told The Guardian recently.

“I started cheerleading the crowd and showing off. Whenever I play, I kick off my shoes, put on my Hawaiian shirt and revert to being a 17-year-old who’s had one too many ciders.”

More hit records and a never-ending whirlwind of parties, festivals, gigs, travelling and even more festivals, gigs and parties lead to him not only becoming one of the biggest names in dance music worldwide, but also alcohol-dependent – a situation he didn’t address until 2009.

Sobriety called for further transition so the Fatboy Slim party didn’t suffer. He says a genuine love of the music and his audience keeps him as keen as ever.

“The people I play the music to … keep me inspired and amused,” he told Time Out this year.

“Last year was fun and I fully intend to deliver more of the same. I just try and makes sure there’s a little bit of everything for everyone.

“If you wanna party, age doesn’t matter!”

“It’s strange, especially when you travel around, [but] I always have a look at the crowd before I go on to see roughly how I’m going to approach it,” he told Noisey.

Naturally the transition to a sober life was a more serious affair than simply adjusting his approach to a show.

“I kind of lived the life of Fatboy Slim 24 hours a day for about a decade, and it nearly killed me,” he said in an interview with Digital DJ Tips.

“It’s untenable to try and live like that all the time, you’re not a responsible citizen, and you shouldn’t be left in control of children.

“So I kind of figured that the only way I’d do it was quit drinking, for starters, just to give me a bit more longevity, and also just to separate the onstage person from the offstage persona.”

Fans old and new are benefiting from the change too.

“[Sobriety has] prolonged my DJing life,” he told Noisey.

“And my actual life. It’s nice to be 54 and able to jump around at 5am. A lot of that is through being fit. But seriously, the whole thing is just vanity; self-preservation.”

Now a veteran of EDM and a stalwart of the music business, he’s in a good position to assess the scene – with the help of a clear head.

“A lot of the old school DJs are properly weird characters, whereas the new school are young, good-looking, but not hugely interesting,” he told Noisey.

“A lot of them are interchangeable.”

With fire still clearly in his belly and a desire for playing shows stronger than ever, Fatboy Slim is not in the mood to hang up his headphones just yet.

Retirement is an impossibility when he’s only just successfully learned how to separate his onstage and offstage personae, he recently told The Guardian.

“For me, Pete Tong, Carl Cox, we are the first wave of big DJs so there’s no precedent [to retirement],” he said.

“As I get older, Norman’s increasingly obsessed with fridge management and being a responsible dad and husband. He only lets Fatboy out of the box on stage now – Fatboy’s still a lunatic hedonist.”

For someone who has been there from the start to still be at the top of his game more than 20 years later is more than unlikely; it’s almost impossible, and Fatboy Slim’s long and eclectic contribution to music has arguably earned him the right to dictate his own future.

“I’ll step down when either the crowds or I stop enjoying it,” he told The Guardian.

“Neither of which has happened thus far.”

Fatboy Slim plays Electic Gardens Festival:

Friday 19th January
Red Hill Auditorium, Perth

Thursday 25th January
The Marquee, Brisbane

Friday 26th January
Centennial Parklands, Sydney

For Scenestr

Interview: Tommy Stinson

As a founding member of legendary alt-rock pioneers the Replacements, Tommy Stinson cemented his place in music history and had a hand in influencing artists as diverse as Green Day, Wilco, the Hold Steady and Lorde.

tommy stinson the replacements

Described as both the “best band of the ’80s” (Musician magazine) and “the greatest band that never was” (Rolling Stone), the Replacements were critical darlings during their lifetime, yet achieved little commercial and mainstream acclaim.

After their 1991 implosion, Minneapolis native Stinson added an 18-year stint as bassist of Guns N’ Roses to his rock and roll résumé, becoming a bonafide rock stalwart in the process, while appreciation of the Replacements’ discography grew steadily.

Following a much-lauded and somewhat tumultuous Replacements reunion in 2013-15, a new line-up of Bash & Pop, a band vehicle for Stinson’s solo work, was formed last year. The group’s first album in 24 years, Anything Could Happen, was released in January, and marked a return to the spontaneous recording methods that were a feature of early Replacements records.

Now 51, the amiable and down-to-earth Stinson is enjoying making music as much as ever.

What’s life been like since the new album came out?

We’ve been touring a lot. We’ve just done a five-week tour with the Psychedelic Furs here in the States and we had a rip of a time. However you would categorise the Psychedelic Furs, their audience was really sweet to us – a rock and roll band – and we had a really good run. I look forward to hopefully doing that again some day.

Is Bash & Pop back for good?

We’re going to keep fuelling it and moving forward. The reason it became Bash & Pop was that we made a band record. On the first Bash & Pop record, I played more instruments than I wanted to play and it ended up being me, the drummer and sometimes the guitar player making that record. This was more of a group effort. We would hash out the songs and do them in five takes, tops. We kind of took the template from how we used to do things in the ’80s.

When we started the Replacements, we would record in a particular way. Paul would show us the basis of a song, either in our basement or in the studio. He would say “Hey, Bob [Stinson, lead guitar], play the melody like this,” and we would record it, getting the best recording we could in as few takes as possible. Back then, tape was expensive for us, so we had to do it quickly. I took that template and applied it to my new record and I think people understand why and I think they can feel that in the record.

Do you prefer being in charge of making your own record, as opposed to being at the whim of a Westerberg or an Axl?

I like all different kinds of things. I like producing and I like playing a role in a band – all of those things I’ve done over the years. With Bash & Pop, the songs we write together end up guiding us instead of us trying to guide the song into being something it’s not. That’s why I like playing with these guys – we’re not trying to reinvent the wheel.

With the advent of all these computerised recording devices, people can get so bogged down. And I’m not saying I’ve never done that, because I did two solo records on digital devices that I maybe spent too much time thinking about. You can overthink a whole lot of things with them. But when you’ve got a whole band in the room, and they’re there for a weekend only, they’re sleeping in your house with you, and you’re getting all stinky together, you can maybe capture something in one great moment.

Were you generally happy with how the Replacements reunion went, and would you have liked it to be longer?

To be honest with you, I think we could’ve stretched it out a little bit longer. I don’t know if Paul wasn’t having fun with it, you know about that whole T-shirt thing? [Westerberg wore T-shirts with a single letter spray-painted on them over a number of shows, which, in order, spelt “I have always loved you. Now I must whore my past”.] Dude, if you’re so not into it, then why the fuck did we do it? I’ll be super frank with you about that.

When we did the Mats reunion, I thought it would make people happy, it would be super fun, and we’d maybe make some money. We did it, and I thought it was fun, but if it wasn’t fun in [Westerberg’s] head, then why the fuck did we do it? I don’t know if that was directed at me, or who it was directed at, but he kind of made a statement with his shirts that meant the tour finished up with a negative purpose and we should have stopped when we were ahead.

I say this candidly because I think that, at this point in our lives, whatever message you are trying to get across, this is not the best way to do it. The best way to do it would be to play until you don’t want to play, then move on and do something else. That’s what I do – call me kooky for calling it what it is. We only live here once, and when you get in your 50s, why would you do that you feel that you have to do, instead of what you want? Neither one of us had to do any of it, and it was fun for a while, but the T-shirt thing bummed me the fuck out.

Will you play together again?

Not if he pulls out another T-shirt message – fuck that [laughs]. I’m kidding a bit. I never say never, but it would have to happen only if the stars align in the perfect way, where we thought we could have fun with it and not get caught up in the bullshit.

Are you happy with the amount of respect the Replacements got in the band’s lifetime?

I never look back like that. We’re from Minneapolis – the music community in Minneapolis when we were kids in the ’80s rivalled, in my opinion, any music community in that era, or in any other era I’ve even seen. We had Hüsker Dü, the Suburbs, there was us, and lots of art-y bands. We all hung out together, played shows together, travelled together, and it was a real community.

Back in the day, Minneapolis was like the World Series for bands. Whatever bands we played with, we wondered who was going to win the game tonight – it was very competitive, but in a healthy way. I haven’t seen it yet. I lived in L.A. for over 20 years and only saw it in some ways, but completely different. It was a very special scene and I would love to converse with anyone who thinks they lived in a similar kind of music community.

What’s your favourite Replacements album?

I can’t listen to any of them, but if I were going to be straight-up honest with you, the one I can listen to the most is All Shook Down. It didn’t sell as much as Don’t Tell a Soul, but I think that’s when the Replacements were appreciated in a greater realm because of the songwriting. Paul wrote some great songs on that record.

If you listen to that record, and it was hard enough for me to listen to it to even remember the parts I played, that’s a great record. He did what Paul is best at – he basically produced that. Some of is is perhaps a little over-thought, but that whole record stands up completely, from top to bottom. It’s dark as fuck, though. You don’t know want to throw on your headphones on a sunny day and go for a walk in the park with that one on, because you’ll want to fucking slit your throat. But whatever.

Will you play with Guns ‘N’ Roses again?

I never say never about that either. I’d say it’s about as likely as doing the Replacements again. I think they don’t need me – they’ve got Duff and Slash and they’re doing their thing. They’re all my friends and I’m glad they’re all out there, working their butts off and having a good time. I’ve got nothing but good things to say about them. Unless Duff quits, and he was the last man standing the last time, there’s a pretty good chance they’re not going to need my fucking bass-playing skills any time soon [laughs]. Just sayin’.

You’ve been in bands since you were 12, 13. How do you stay grounded and stop yourself going crazy?

I’m still working that out [laughs]. It isn’t easy. A lot of people think that because you’re on stage, everything is great, but a lot of hard work goes into that at every level, whether you’re playing a club, theatre or stadium. It is a hard thing, and I’m not going to boo-hoo about my woes or anything like that, but it’s hard to balance that life and have some semblance of normality for yourself.

Any chance of a trip Down Under?

I’ve been talking to [You Am I guitarist] Davey Lane about it a lot, and trying to get You Am I to be my backing band [laughs]. We’ve been talking for years about it. Maybe I can go over go myself, although I hate doing the solo acoustic thing by myself – I like to have someone I can spitball with, and make shit up or whatever. I’ve always had a good time in Australia, so never say never. I can do a whole bunch of things that’ll either be fun or completely fucking disastrous [laughs].

Anything Could Happen by Bash & Pop is out now.

Check out all things Tommy Stinson here.

For The Brag

Enrichment and Exploitation: How Website Algorithms Affect Democracy

Abstract

This essay discusses the role algorithms in websites, social media and search engines play in the democratic processes of Western societies. As the political mechanisms of Western societies rely increasingly on the Internet for communication of information and to encourage voter participation, the way algorithms are configured to present information to the public is of great importance. Manipulation of search engine rankings or social media news feeds – intentionally or organically – can have a huge impact on what voters see and think about. Facebook and Google have a monopoly on news feeds and online search respectively, meaning any bias in the way their algorithms function can have ramifications on national and international levels. Evidence exists that manipulation of algorithms in Facebook and Google has participated in influencing the outcomes of elections on several occasions. Examining how algorithms can affect elections and other civic processes is crucial for the future of healthy democracy in Western societies.

Keywords: algorithm, democracy, Internet, news, search engine, social media, website, Facebook, Google, Instagram, Snapchat, Twitter

Introduction and Research Questions

In 2017, it is estimated that over half of the world’s population are regular Internet users (Kemp 2017, online), and around the same percentage are regular users of social media (Chaffey 2017, online). With such vast amounts of data moving through cyberspace constantly, it makes sense that algorithms should be employed to sort, sift through, and make sense of it all. On the face of things, it would seem logical for algorithms to be used to present to users of websites, social media and search engines a selection of information which may be relevant to what the user is looking for, and from which the user can make informed decisions. The problem with this is that it’s often impossible to know how an algorithm has arrived at a decision or set of search results, and many users aren’t aware that algorithms even exist, never mind how they come to the conclusions they do. With democratic processes now relying so heavily on information shared online, algorithms in websites, social media and search engines have the potential to play a crucial role in democracy. This essay will investigate this issue, and seek to answer the following questions:

-To what extent do algorithms in websites, networking services and social media have a negative effect on democracy in Western societies?

-To what extent, if any, can users of new and digital media be manipulated by algorithms to think or act in certain ways?

-To what extent, do search engine algorithms affect democracy in Western societies?

-Which website, networking service or search engine is most likely to affect democracy through its use of algorithms?

Methodology

Search engines, social media, and the algorithms that operate them are now firmly embedded in the everyday fabric of Western societies, and increasingly in their democratic processes, with no indication that this is likely to change at any time in the future. Algorithms used in Facebook and Google have been extensively studied individually, but there has been less research on the overall effect of algorithms in democratic processes in Western societies. This research essay aims to fill that gap.

The essay examines the use of algorithms in websites, networking services and social media, and aims to answer the question of whether they have a negative effect on democracy in Western societies. A detailed literature review of the subject of online algorithms is followed by an examination of algorithms used in Facebook, Google, Twitter, Instagram and Snapchat, with the likely effects of each of their algorithms discussed, most especially in relation to democratic processes in Western societies.

Real-life examples of algorithms affecting democratic processes are examined, and the extent to which algorithms have influenced recent political outcomes discussed. The essay will also discuss how algorithms are likely to affect democracy in the coming years.

Suggestions regarding the way future democratic processes must interact with, and incorporate, algorithm-driven websites, social media, and search engines are made, and conclusions on the future of the algorithm in democracy are drawn.

Literature Review

Origins

In their most basic form, algorithms are defined as “an automated set of rules for sorting data” (Oxford Reference 2017, online), and, in their online form, are concerned with “settings where the input data arrives and the current decision must be made by the algorithm without the knowledge of future input” (Bansal 2012, p.1). Algorithms are “dependent on the quality of their input data and the skills and integrity of their creators (Devlin 2017, online). By definition, data is historical, and the result of which is that algorithms predict the future based on actions taken in the past, hence their actions can be repetitive and flawed.

The first use of algorithms in an online sense occurred in the early 1970s and was used for bin-packing problems in early software programs, or organising and fitting items into a set space (Fiat & Woeginger 1998, p.7). This evolved in 1985 when Sleater and Tarjan constructed competitive algorithms to solve mathematical problems known as the list update problem and the paging problem (Fiat & Woeginger 1998, p.7). In the early 21st century, as the variety and use of digital technologies exploded, algorithms were still relatively harmless. Search engines offered personalised recommendations for products and services, and helped Internet users find what they wanted quicker. Information was collected from personal meta-data – information gathered from “previous searches, purchases and mobility behaviour, as well as social interactions” (Helbing et. al 2017, online). From these humble beginnings, algorithms have evolved to know everything about us – where we are, what we are doing, and what we are feeling (Helbing et. al 2017, online).

Algorithms in the Digital Age

The ubiquity of Internet access and the huge number of ways by which it can be accessed means it is now a “principal pillar of our information society” (Dusi et. al 2016, p.1805). Online communities have become hugely important and complex places in which people seek and share information (Zhang et. al 2007, p.221). A result of this is that online algorithms play a huge part in so many aspects of our lives. Ellis (2016, online) explains how three factors shape the online lives of citizens of digital societies: “the endless search for convenience, widespread ignorance as to how digital technologies work, and the sacrifice of privacy and security to relentless improvements in the efficiency of e-commerce”. The more our lives become reliant on digital technology, the more we are likely to be influenced by algorithms, from everyday tasks like online shopping to our political participation in elections, referendums and other civic activities.

Algorithms still carry out the same relatively harmless tasks as they have done since the Internet’s earliest days, including giving online shoppers advantages in making choices (“People who bought this book also bought this…” recommendations), helping match an online dater with a partner more suited to them (Sultan 2016, online), and retrieving search engine results more suited to the user, depending on past searches. Retail websites such as Amazon also use algorithms to keep pricing competitive – prices can drop sometimes several times a day until an item is the cheapest on the market and is sold, and then the price goes back up again (Baraniuk 2015, online).

Algorithms have evolved hugely from their humble beginnings, and can now “recognise handwritten language, describe the contents of photos and videos, generate news content, and perform financial transactions” (Helbing et. al 2017, online). Some can recognise language and patterns “almost as well as humans and even complete some tasks better than them” (Helbing et. al 2017, online). Today’s widespread use of algorithms online has been described in a range of ways, from having small advantages to Internet users and to making online communities smarter, to the more sinister end of the spectrum, entailing “capturing people and then keeping them on an emotional leash and never letting them go” (Anderson & Horvath 2017, online).

Despite huge advances in technology since the dawn of the Internet, even while conducting relatively simple tasks, algorithms can go wrong in spectacular ways. An algorithm used to generate wording for a company selling t-shirts to be sold online with the English World War II-era slogan “Keep Calm and Carry On” printed on them generated thousands of alternative options, with one result being “Keep Calm and Rape a Lot” (Baraniuk 2015, online). The company faced public condemnation and folded as a result. In 2011, a Massachusetts man who had never committed a traffic offence in his life had his driving licence revoked by an algorithm-generated facial recognition software failure (Dormehl 2014, online). Similar, and more serious, faults have meant that voters have been removed from electoral rolls, parents mistakenly labelled as abusive, and businesses have had government grants and contracts cancelled (Dormehl 2014, online). Even more problematic is the way in which algorithms can falsely profile individuals as terrorists at airports, which happens at a rate of about 1500 a week in the United States (Dormehl 2014, online). Reduced budgets in law and order services have a large part to play in this, as staff cuts lead to a greater reliance on automated services.

Entering the Democratic Space

Algorithms offer many benefits to the democracies of Western societies, but often in a way that have many more advantages for institutions than they do for individual users of digital technologies (Ellis 2016, online). The convenience so hungrily sought by end-users is a commodity many online businesses are eager to sell, and the hidden clauses are often “unknowable and entirely beyond users’ control” (Ellis 2016, online). Understanding algorithms’ lack of neutrality is low among end users, and while disclosure policies can help somewhat, many of the long-winded privacy policies which have become standard on the web are seldom read (Ellis 2016, online).

An example of a society heavily controlled by online data is Singapore. What started as a program set up with the aim of protecting its citizens from terrorism “has ended up influencing economic and immigration policy, the property market and school curricula” (Helbing et. al 2017, online). China is similar. Baidu, the Chinese equivalent of Google, incorporates a number of algorithms in its search engine to produce a “citizen score” (Helbing et. al 2017, online), which can affect a citizen’s chances of getting a job, a financial loan, or travel visa. This type of monitoring of data using algorithms is certain to affect everything about citizens’ lives, from everyday tasks to political contribution.

In the world of politics, digital technology and the algorithms they conceal are becoming increasingly popular as tools for ‘nudging’: a behavioural design concerned with trying to steer or influence citizens towards thinking and acting in a certain way (Helbing et. al 2017, online). A government can use this method of ensuring the public sees information that supports their agenda – the British government has “used it for everything from reducing tax fraud to lowering national alcohol consumption [while] Barack Obama and several American states have used it to win campaigns and save energy” (The Nudging Company 2017, online). The biggest goal for governments to influence people in this way is known as ‘big nudging’, or the combination of big data and nudging (Helbing et. al 2017, online). While the effectiveness of such methods are difficult to calculate, it has been suggested that could have the ability to control citizens by a “data-empowered ‘wise king’, who would be able to produce desired economic and social outcomes almost as if with a digital magic wand” (Helbing et. al 2017, online). During elections, political parties can use online nudging to influence voters in a major way. In fact, it has been argued that whoever controls this technology can “nudge themselves to power” (Helbing et. al 2017, online).

Critics of the use of online algorithms in Western democracies have pointed to how they can reinforce the ‘filter bubble’, or the way in which end users of search engines and social media get “all their own opinions reflected back at them” (Helbing et. al 2017, online). The result of this is a large degree of societal polarisation, resulting in sections of society who have little in common and have no method by which to understand each other’s beliefs. This form of social polarisation by the supply of personalised information can lead to fragmentation of societies, especially in the political arena. Helbing (2017, online) explains that this kind of divide is currently happening in the politics of the United States, where “Democrats and Republicans are increasingly drifting apart, so that political compromises become almost impossible”.

Algorithms and Data Mining

Data mining is the method by which large amounts of raw data is turned into useful information, and is increasingly becoming a useful influencing tool online. The practice has been described as “creat[ing] greater potential for violations of personal data” (Makulilo 2017, p.198) via the rise and use of big data, meaning the vast amounts of statistics in the public domain about people’s lives, money, health, jobs, desires, and more. The availability of all this data means algorithms are increasingly being used to sort and categorise it all, as well to make public policy and other decisions (O’Neil 2016, p.1). In Western democracies, the amount of online data produced is doubled every year, and in every single minute of every day, hundreds of thousands of Google searches and Facebook posts are made (Helbing et. al 2017, online), meaning more potential violations of personal data if used for immoral or criminal purposes.

Companies now use algorithms to help them decide who they should hire, banks use them to work out to whom to provide loans, and, increasingly, governments use them to make major policy decisions. Devlin (2017, online) contends that those working in the big data and analytics industries are perhaps the least likely to be surprised that political figures or parties would try to use algorithms to influence public behaviour in their favour, saying that “the application – both overt and covert – of technology to affect election outcomes was arguably inevitable” (Devlin 2017, online). O’Neil (2016, p.1) says that “some of these models are helpful, but many use sloppy statistics and biased assumptions; these wreak havoc on our society and particularly harm poor and vulnerable populations”.

Dormehl (2014, online) explains that not only is the use of algorithms in data mining open to misuse, but that it is foolish to believe all tasks can be automated in the first instance, and points to data mining as a method of uncovering terrorist attacks as an example. Dormehl describes finding terrorist plots as “a needle-in-a-haystack problem, and throwing more hay on the pile doesn’t make that problem any easier. We’d be far better off putting people in charge of investigating potential plots and letting them direct the computers, instead of putting the computers in charge and letting them decide who should be investigated” (2014, online).

Algorithms and Real-Life Events

Real-life examples of how algorithms can affect major world events are plentiful. Evidence has emerged that algorithms and their associated digital technologies have been used to bring about political outcomes in various countries in recent years, and it it likely that such methods will be an element of many future political campaigns. It has been alleged that online algorithms were deployed to influence voters’ decision-making in the 2016 US presidential election, the 2016 Brexit vote, and the 2017 French presidential election (Devlin 2017, online). Problems arise – and mistrust is created – when algorithms are used in such ways due to a lack of transparency and democratic control. The digital methods used to transmit messages and influence audiences evolve quicker than any regulatory framework can keep up with them.

An example of this is the alleged influence of online advertising which affected the outcome of the Trump-Clinton election, the result of which shocked many in the United States and around the world. The innovation of algorithms, according to some analysts, means “even our political leanings are being analysed and potentially also manipulated” (Arvanitakis 2017, online), and a prime example of this was undertaken by Cambridge Analytica, a data mining organisation that relies on artificial intelligence with the goal of manipulating opinions and behaviours “with the purpose of advancing specific political agendas” (Arvanitakis 2017, online), in this case in the favour of Trump. Facebook was the platform on which much of the alleged manipulation took place, with an estimated US$90 million spent on digital advertising to generate US$250 million in fundraising for the eventual winner (Shoval 2017, online). In September 2017, Facebook agreed to provide to United States congressional investigators the contents of 3000 online advertisements purchased by a Russian advertising agency, alleging to contain information on supposed digital interference in the election (ABC News 2017, online). Matthew Oczkowski, Cambridge Analytica’s Head of Product, told a recent interviewer: “We have elections going on in Africa and South America, and eastern and western Europe” (Kuper 2017, online).

Additionally, search engine algorithms and recommendation systems “can be influenced, and companies can bid on certain combinations of words to gain more favourable results” (Helbing et. al 2017, online). These methods have been defended by some, as Helbing (2017, online) explains, who say that political nudging is necessary as people find it hard to make decisions, and it is, therefore, necessary to help them – a way of thinking known as paternalism. He also refutes this by suggesting that nudging is not actually a way of persuading people of a particular opinion, but a method of “exploiting psychological weaknesses in order to bring about certain behaviours” (2017, online). Another critic of the use of algorithms to affect voters’ choices is Gavet (2017, online), who argues that the only results of such methods are self-reinforcing bias, and that digital technology of this nature are vulnerable to attack to agencies with potentially harmful agendas, and concludes by saying that all forms of artificial intelligence are a threat to democracy in some way.

In the same way that accurate information can be presented to the public to influence the way they think or act, incorrect information can do the same thing. The Digital Disinformation Forum, held in California in June 2017, stated that deliberate misinformation is the “most pressing threat to global democracy” (Digital Disinformation Forum 2017, online). Smith (2017, online) agrees, noting that “The insidious thing about information pollution is that it uses the Internet’s strengths,  like openness and decentralization, against it”, and that misinformation is a potential “global environmental disaster” that impacts everyone. Immediately after the 1st October 2017 Las Vegas Strip shooting, in which a gunman killed 58 people during the deadliest mass shooting committed by a lone gunman in US history, news spread by Facebook and Google falsely named a suspect, describing them as a “far-left loon” (ABC 2017, online) when the gunman had no known political affiliations. A pro-Trump Facebook page incorrectly named a person as the shooter, and the story became the first result on Google’s search page on the subject (ABC 2017, online). “This should not have appeared,” a Google spokesperson later said, as the information was removed from its search results (ABC 2017, online). Both Facebook and Google came under scrutiny from a variety of political sources for their slow response to requests to remove the information from their platforms (ABC 2017, online).

Adding algorithms to this mix can be dangerous, Smith notes, pointing to the way in which predictive policing algorithms in the United States increase patrols in high-crime areas, but can induce a cycle of violence between police and angry or disenfranchised residents as a consequence (2017, online). O’Neil (2016, p.1) explains that “this type of model is self-perpetuating, highly destructive, and very common.” Perhaps the most damning statement on the use of algorithms in societies based on data comes from Devlin (2017, online), who says that while societies which operate in this way “may seem appealing in the light of current political dysfunction worldwide … it is also deeply inimical to the process we call democracy”.

The Future of Algorithms

What does the future hold for algorithms and their place in Western societies and democracy? Floridi (2017, online) argues that the increasing proliferation of algorithms in digital technology will continue to threaten many aspects of our daily lives in increasing numbers of ways – employment, most especially. Floridi explains that because digital technology has replaced many tasks traditionally performed by us, “algorithms can step in and replace us”, and the consequence “may be widespread unemployment” (2017, online). It has been estimated that in the coming ten years, around half of jobs will be threatened by algorithms and up to 40% of the world’s top 500 companies will have vanished (Helbing et. al 2017, online). Algorithms may increasingly “take care of mundane administrative jobs, do the analysis of markets and roam through thousands of pages of case law”, as well as creating our news feeds (Stubb 2017, online).

A 2016 Pew Research Centre study found it likely that algorithms will “continue to have increasing influence over the next decade, shaping people’s work and personal lives and the ways they interact with information, institutions (banks, health care providers, retailers, governments, education, media and entertainment) and each other” (Ellis 2016, online). The flip side to the advantages algorithms are likely to have, the same study found, are the fear that they will “purposely or inadvertently create discrimination, enable social engineering and have other harmful societal impacts” (Ellis 2016, online).

In April 2017, a House of Commons committee in the United Kingdom published the results from its ‘Algorithms in Decision-Making’ inquiry, with the overall conclusion being that human intervention is almost always needed when it comes to trusting the decisions made by online algorithms (House of Parliament 2017, online). Some of the major points to be taken from the findings include algorithms are “subject to a range of biases related to their design, function, and the data used to train and enact these systems”, “transparency alone cannot address these biases”, and algorithmic biases have “cultural impacts beyond the specific cases in which they appear” (House of Parliament 2017, online). The inquiry also recommended greater regulation of online algorithms, as transparency alone “doesn’t necessarily create trust” (House of Parliament 2017, online).

A solution to the possibility of algorithmic errors, as suggested by Floridi, is to “put human intelligence back into the equation” (2017, online). This can be done by “designing the right sort of algorithm” (2017, online), making sure not all decisions are left to machines, and making sure humans oversee all decisions made by machines. In the political sphere, some politicians might be jubilant at the decline of journalism, but should remember that “algorithms will soon be better at legislation than they are” (Stubb 2017, online). Some commentators and experts have gone further with their predictions, with technology visionaries including Bill Gates, Elon Musk and Steve Wozniak warning that algorithms and associated artificial intelligence-based technologies are a “serious danger for humanity, possibly even more dangerous than nuclear weapons” (Helbing et. al 2017, online).

Case Studies

Facebook

“There was no tool where you could go and learn about other people. I didn’t know how to build that so instead I started building little tools,” Mark Zuckerberg said (Carson 2016, online) about the origins of the website that would turn into a 300 billion dollar company. In 2004 he launched the social networking site Facebook, and its popularity quickly spread across several universities before becoming Facebook.com in August 2005 (Phillips 2007, online). The site’s use grew exponentially, it now has two billion active users per month (Facebook, online) and has recently unveiled its new mission statement as: “To give people the power to build community and bring the world closer together” (Facebook, online). According to the site’s own statistics, an average user spends 50 minutes a day on Facebook, Facebook Messenger or Instagram and has 150 Facebook friends (Facebook, online). Until 2012, the site kept advertisements separate from its users’ personal content and did not share any information with marketing agencies. Then, floatation brought greater demands from investors for advertising revenue, and its methods changed (Kuper 2017, online).

Perhaps one of the more notable changes to democracy this brought is the way Facebook is controlling how citizens consume news. Most under-35s rely on Facebook for their news, both personal and world (Francis 2015, online; Jain 2016, online; Samler 2017, online), and its algorithms can control what information is seen by its users, and, hence, what is thought about democratic or political issues based on this information. In changing the fundamental methods by which people receive information on such a scale, Facebook is disrupting democracy like nothing the Internet has produced before. As Samler (2017, online) explains, Facebook is “one of the Internet’s most radical and innovative children”. The result has been “a loss of focus on critical national issues, an erosion of civil disagreement, and a threat to democracy itself” (O’Neil 2016, online).

As a result of more people getting their news from an algorithm-driven news feed, traditional journalism has been greatly affected by the rise of Facebook. The impact of increasing use of social media as a way of sourcing news, real or otherwise, is of concern to the traditional role of the media as the Fourth Estate. Facebook has been called a “social problem” (Francis 2015, online) that breeds shallowness that is sweeping Western societies, while creating a “world view about as comprehensive as was found in the high school cafeteria” (Francis 2015, online). Global leaders are taking advantage of its directness to bypass the media and speak directly to the public, and operators of Facebook and Twitter are enthusiastic about this behaviour as it increases engagement with their sites. Journalists are still attempting to report factual stories, but are under increasing pressure (Shoval 2017, online), and the disproportionately high financial awards made against newspapers in the courts threatens press freedom on an industry level (Linehan 2017, p.11).

With Facebook now having such a high degree of control over the way in which people consume news, traditional media companies are struggling to reach the public with legitimate news (Shoval 2017, online). After the 2016 US presidential election, Facebook announced its “Facebook Journalism Project” – a project with the aim of forging stronger ties with the journalism industry, including working more closely with local news outlets (Shoval 2017, online). With the number of news consumers who get their news from Facebook’s news feed on the rise, it is difficult to see how this is little more than an empty platitude.

While Facebook is described as ‘social media’, it is important to remember that its success it premised on using increasingly sophisticated techniques to target users by predicting the content they’ll want to read and watch, “along with the stuff they’ll want to buy from advertisers” (Ellis 2016, online). Facebook is now a “monumentally influential force in the fabric of modern life” (Statt 2017, online), and there now exists Facebook electioneering by major political candidates like Canadian Prime Minister Trudeau and French President Macron, of which algorithms play a huge part. Facebook’s algorithm generates a “plethora of ordinary effects” (Bucher 2015, p.44) from the hunt for ‘likes’ to asking the questions “Where did this information that has suddenly popped up come from?” (Bucher 2015, p.44). Francis (2015, online) suggests that the only antidote to relentless Facebook misinformation is to “do some serious fact-checking and research”, while Pennington (2013, p.193) says that while Facebook can be an excellent tool for political participation, the key for the individual user is to “keep an open mind to others instead of falling down the rabbit hole of narcissism”.

Fake news can be defined as “a political story which is seen as damaging to an agency, entity or person” (Merriam Webster Dictionary 2017, online), and the concept and its proliferation on various platforms, including Facebook, has been forced into the public domain by President Trump and the election from which he emerged victorious. Fake news has the power to “damage or even destroy democracy” (Jain 2016, online) if not regulated. During a 2016 press conference, then-President Obama noted that “If everything seems to be the same and no distinctions are made, then we won’t know what to protect” and “Everything is true and nothing is true” (Jain 2016, online) on a social network such as Facebook. Simply sending out Facebook advertisements to see how they are received can help a political party shape its manifesto (Kuper 2017, online). If a large number of users ‘like’ a story about a crackdown on immigration, a party or candidate can make it their official standpoint. Then those people can be targeted with more advertisements and for appeals for funding.

The unexpected election of Donald Trump is said to “owe debts to … rampant misinformation” (Heller 2016, online). During the last stages of campaigning by Trump and Clinton, it was obvious that Facebook’s news algorithm was not able to distinguish between real news and completely fabricated news: “the sort of tall tales, groundless conspiracy theories, and oppositional propaganda that, in the Cenozoic era, circulated mainly via forwarded e-mails” (Heller 2016, online).

Zuckerberg rejects the idea that his company played a role in spreading ‘fake news’ about political candidates, by saying in an interview: “Voters make decisions based on their lived experience” (Newton 2016, online). At the same time, a study found that “three big right-wing Facebook pages published false or misleading information 38% of the time during the period analysed, and three largely left-wing pages did so in nearly 20% of posts” (Silverman 2016, online). Zuckerberg then committed to his company doing more to fighting the spread of fake news and vowed it would be an “arbiter of truth” (Jain 2016, online), while also stating that he runs a “tech company, not a media company” (Samler 2017, online). He also denied that Facebook confounded the problem of its users living in an information ‘filter bubble’, even through his own company quietly released the results of a study in 2015 which showed exactly the opposite of which was true (Tufekci 2015, p.9), and another study has shown that users are much less likely to click on content that challenges their beliefs (Tufekci 2015, p.9). Western democracies have a liberal left and a conservative right, with “neither being exposed to the reasoned arguments of the other” (Samler 2017, online). Indeed, only 5% of Facebook users and 6% of Twitter users admit to associating themselves with people on these platforms who have differing political opinions to themselves (Samler 2017, online). Critics of how social media giants generate their users’ news feeds have said that these organisations need to accept the fact that they are no longer solely technology platforms, but media platforms too (Samler 2017, online).

Interestingly, on 30th September 2017, Zuckerberg made a post on his personal Facebook page for the end of Yom Kippur, apologising and seeking forgiveness for any of the ways that his organisation has been “used to divide people rather than bring us together” (Facebook 2017, online). This has been described as a “wholly surprising admission of guilt from someone in the tech world” (Barsanti 2017, online).

The key to Facebook’s ongoing success is to keep its users engaged. Bucher explains that “examining how algorithms make people feel … seems crucial if we want to understand their social power” (2015, p.30), if, indeed, users are even aware of the power of the algorithm at all. Facebook’s data teams are almost solely focussed on finding ways to increase the amount of time each and every user remains engaged with the platform, and they are not concerned with truth, learning, or civil conversation (O’Neil 2016, online). Success is measured by the number of clicks, ‘likes’, shares and comments, not the quality of the material being engaged with. The greater the amount of engagement, the more data Facebook can use to sell advertisements (O’Neil 2016, online). This seems like a fairly obvious business model, but research has shown that many users are unaware of this. In a 2015 study, more than half of Facebook users were unaware of how their Facebook news feed was put together (Eslami et. al 2015, p.153). This is problematic, as ignorance of how the site’s algorithm works can wrongly lead some users to “attribute the composition of their feeds to to the habits of their friends or family” (Eslami et. al 2015, p.153). This can reinforce the idea of the ‘filter bubble’ and lead many users to believe the information they are seeing is trustworthy and correct, as well as tracking behaviour in order to profile identity.

While finding news that fits a user’s news feed, Facebook’s algorithms can create other problems, including the “voracious appetite for personal data” (Ellis 2016, online) ad-supported services such as Facebook need to keep their predictions going. The consequence is an undermining of personal data and the increased likelihood of the site being used for data mining purposes by individuals, organisations or entities with potentially nefarious motives, and possibly leading to more “government by algorithmic regulation” (Ellis 2016, online). The potential for abuse is high when algorithms are unregulated and can be used by anyone with the money to invest in them.

Another major problem Facebook’s algorithm creates is one of repetition, and it has the potential to prevent democratic processes and decisions evolving over time. While real life allows the past to be in the past, “algorithmic systems make it difficult to move on” (Bucher 2015, p.42). This is the “politics of the archive” (Bucher 2015, p.42), as all decisions an algorithm will make on the information it allows you to see in the future is based on what you did in the past. What is relatable and retrievable from the past shapes the way Facebook’s algorithm works in the present, and will potentially affect the user’s decisions in the future.

Despite the many negative effects on democracy Facebook can have, it can be a positive force for it too. During elections in the United States in 2010 and 2012, the site conducted experiments with a tool it called the ‘voter megaphone’ (O’Neil 2016, online). The idea of this was to encourage users to make a post saying they had voted, which would, in turn, remind and encourage others to do the same. Statistics showed 61 million people made such a post, with the likely result of increasing participation in democratic processes, especially among young people (O’Neill 2016, online). Additionally, movements can be organised on social media, including women’s marches in 2017, which saw about five million women march globally as a result of online organisation (Vestager 2017, online).

Facebook is determined to show that the information and feed its algorithm creates and controls is an ever-changing and independent tool for good, but the reality is it is a vital part of its business model. The Facebook algorithm is “biased towards producing agreement, not dissent” (Tufekci 2015, p.9). After all, if its users were continually presented with information they didn’t appreciate, they would simply go elsewhere. And that’s not a successful business model, by any definition. How the filter bubbles, in which Facebook users’ news feeds exist, affect democracy is as simple as it is destructive. Electoral laws are outdated, and “regulators aren’t big or savvy enough to catch transgressors” (Kuper 2017, online). Drawing conclusions from this alone, we can say that Facebook has changed democracy. Perhaps author and mathematician Cathy O’Neil put it at its simplest and best when she said “Over the last several years, Facebook has been participating – unintentionally – in the erosion of democracy” (2016, online).

Google

In 1998, university drop-outs Larry Page and Sergey Brin founded Google with the stated aim of hoping “to organise the world’s information and make it universally accessible and useful” (Google, online). Its search engine helped unlock many of the so-called ‘walled gardens’ of the Internet, including sites like AOL and Yahoo. Since then, it has organised every single piece of information on the Internet, and it continues to add many millions more to its searchable database every day (Vise & Malseed 2005, p.3).

After going public in 2004, its value and influence grew exponentially, and it began to challenge Microsoft’s dominance in the online world (Vise & Malseed 2005, p.3), overtaking it as the most visited site on the web in 2007 (Strickland 2017, online). The company owes its success to its search engine’s ability to search so well and in lightning-quick time. It now has over 50,000 employees globally, and has expanded its business interests into the fields of artificial intelligence and self-driving cars (Frommer 2014, online), and its search engine is used globally over 6.5 billion times every day (Allen 2017, online).

Google has been called “the keeper of web democracy” (Howie 2011, online) and its search engine is a very powerful and vital component to 21st century Western democratic life, yet its influence is not widely understood or researched (Richey & Taylor 2017, p.1). With 150,000,000 active websites on the Internet today (Strickland 2017, online), it performs an important role in the lives of millions of people. Google has 88% of the market share in search and search advertising (Hazen 2017, online), and combined with Facebook, has more than a billion regular users. It is partly because of the colossal amounts of users and data with which it operates that Google’s algorithms are so complex.

The company markets its algorithm-driven search engine as a tool which will “result in finer detail to make our services work better for you” (Google 2017, online), and, in theory, the first results from a search should be the ones which are most relevant to the keywords searched. This seems, on the face of things, to be a simple and incredibly convenient tool for all its users. Yet critics of its methods and its effects on democracy are plentiful.

“Unregulated search rankings could pose a significant threat to a democratic system of government,” says Forbes writer Tim Worstall (2013, online), while Hazen (2017, online) explains how Google’s “relentless pursuit of efficiency leads these companies to treat all media as a commodity”. The real value of the platform lies not in the quality, honesty or accuracy of information it produces, but the amount of time the user is engaged with the platform. Hazen goes on to describe how these methods have pushed Page and Brin into the top-ten most wealthy people in America, each with a personal fortune over US$37 billion, and suggests the way by which these methods have affected democracy haven’t seemed to have been taken into account at any point in the company’s evolution.

Much like Facebook, Google has been criticised for data mining, and, on several occasions, taken to court for mismanaging users’ data (Smith 2016, online). Following United States government whistle-blower Edward Snowden’s leaks, Google’s users have become more savvy to how the site collects and users their data, and critics have labelled the company’s data mining methods as “purely to benefit Google” (Miller 2012, online). Yet the practice continues. The collection of data, and the profits of around $40 billion a year it makes from these practices, is concerning to many users of Google, despite the fact the company claims it uses data mining techniques to “find more efficient algorithms for working with massive data sets, developing privacy-preserving methods for classification, or designing new machine learning approaches” (Google 2017, online).

Another way in which the vast amounts of data channelled through Google could be used is in making political predictions, although the usefulness of this is unclear. This can be demonstrated with a real-life example: Google data showed that searches for ‘Donald Trump’ accounted for almost 55% of views in the three days before the 2016 presidential election (Allegri 2016, online), when the majority of polls predicted a Clinton victory, and its data predicted his final total electoral college votes number to within two of the actual number. This made analysts, tech writers and journalists take notice, with the general consensus that it was time to “start taking the electoral prediction powers of Google much more seriously” (Kirby 2016, online).

Consistent accusations of tampering with results have plagued Google throughout its lifetime, and such actions have the potential to affect democracy negatively if true. The company’s Vice President Marissa Mayer appeared in a 2011 YouTube video telling an audience how her company regularly, and unashamedly, puts its own services as the top of search results (Howie 2011, online). In 2017, public trust in Europe of Google’s algorithm reached an all-time low, following the proliferation of fake news stories and clearly-engineered results. The European Commission advertised for a company to police Google’s algorithm to determine the extent to which results are deliberately positioned favourably to those who have paid for it, and how much Google was abusing its market dominance (Hall 2017, p.17). The Commission also launched an investigation into the extent to which Google banned competitors from search results and advertisements, with the promise of keeping the issue “on our desks for some time” (Hall 2017, p.17). The way in which Google “uses its dominant search engine to harm rivals” has led to critics like Derrick (2017, p.1) examining how the concentration or monopolization of services in this way “threatens our markets, threatens our economy, and threatens our democracy”. It is difficult to see how Google’s self-serving behaviour can have anything but an overall negative effect on democracy in Western societies.

Despite many criticisms of Google’s algorithm and its negative effects on privacy and democracy, its data mining practices have produced some positive outcomes. In 2014, Google found evidence of child pornography in one of its user’s e-mail accounts and reported the person to the National Centre for Missing and Exploited Children in the United States, resulting in an arrest (Matterson 2014, online). Google Maps’ ability to identify illegal activities such as marijuana growing and non-approved building have also been noted as positives (Google Earth Blog, online).

The future of Google is likely to see it maintain its virtually unchallengeable position at the head of Internet search engine use and advertising revenue generation. The site’s ability to change its algorithms at any time mean it can evolve to control the market in any way it wishes, and can control the impact it has on websites, its competitors, and entire industries. The company’s future is not likely to be one with a reduced involvement with algorithms, but something quite the opposite, says Davies (2017, online). When once upon a time Google’s algorithm had a relatively basic structure, it is now much more complex, and becoming more so. Its methods of pushing forward artificial intelligence and machine learning are happening at an “amazing if not alarming rate” (Davies 2017, online), meaning its influence on what data we see is likely to grow. “Not since Rockefeller and JP Morgan has there been such a concentration of wealth and power in the hands of so few” explains Hazen (2017, online).

Twitter

Twitter began as an idea that co-founder Jack Dorsey had in 2006, who originally imagined it as an SMS-based communications platform (MacArthur 2017, online), hence the 140-word character limit. Fast forward five years later, and it was one the biggest communication platforms in the world. Now it has over 200 million active monthly users and it is considered vital, along with Facebook, that every public figure who wishes to engage with their audience, have an account (MacArthur 2017, online).

Studies have shown that political candidates who use Twitter as a means for engaging with voters significantly increase their odds of winning (LaMarre & Suzuki-Lambrecht 2013, p.1). The platform stimulates word-of-mouth marketing and increases audience reach significantly (LaMarre & Suzuki-Lambrecht 2013, p.1), and live information being of particular importance and influence. Sustaining a live connection, via Tweeting, through an election cycle has been shown to result in a positive reaction from supporters (LaMarre & Suzuki-Lambrecht 2013, p.1), which has the potential to translate in positive results on election day. President Obama’s use of Twitter during his two campaigns is a good example of this.

However, not all use of Twitter is as open and honest it may seem. During the 2016 US presidential election, 20% of all political tweets made during the three televised political debates were made by bots (Campbell-Dollaghan 2016, online), or a piece of software designed to execute commands with a particular goal. It was unclear where many of the bots came from or who created them, making it easier to spread fake news stories and potentially influence public opinion. There is also evidence to show that during the UK Brexit campaign, huge numbers of “fake news stories, false factoids, and absurd claims were passed over social media networks, often by Twitter’s highly automated accounts” (Howard 2016, online). Bots and automated accounts are very easy to make (Campbell-Dollaghan 2016, online), and can amplify misinformation in a political campaign. Twitter allows news stories from untrustworthy sources to “spread like wildfire over networks of family and friends” (Howard 2016, online).

These examples of how Twitter is being used to spread information or misinformation strongly suggests that it should now be regarded as a media company. However, much like Facebook, Twitter is not legally obliged to regulate the information passed over its network for quality or accuracy. In fact, it has been given a “moral pass” (Howard 2016, online) when it comes to the obligations professional media organisations and journalists are held to.

As Twitter has rolled out a 280-character trial in October 2017 (Hale 2017, online), it is arguably positioning itself to be an even more influential transmitter of information, accurate or inaccurate, in future democratic processes. It remains to be seen whether the increase will increase engagement with the platform, but the potential is there for it to be an even bigger player in the political arena (Hale 2017, online).

Other Platforms

While algorithms used by Facebook and Google are the dominant forces in controlling what many people see and think about democracy, other platforms are playing increasing roles. With Facebook and Google now firmly part of the established mainstream, there is space for other social media to fill their previous roles as the newcomer or disruptor on the scene. A politician or political party can share images directly to their followers, and can engage directly with them while doing so.

The way in which these photo-sharing social media have been used in recent elections suggests they will have a huge role to play in future similar contests. The recent UK Prime Ministerial election saw both Theresa May and Jeremy Corbyn use Instagram to a small degree, with surveys showing Corbyn’s use was more effective, although this could also be explained by the fact that younger people are more likely to vote Labour (Kenningham 2017, online). French President Macron used it heavily and swept to power (Kenningham 2017, online), and Indian Prime Minister Modi has a huge eight million followers. In the UK alone, Instagram has 18 million users and Snapchat 10 million – both significant portions of the 65 million total population, so political parties and figures need to be using it to be successful in the ever-competitive mediascape.

Instagram’s and Snapchat’s core demographics are much younger, on average, than that of Twitter and Facebook, and the platforms have an ability to reach groups of people who feel permanently disengaged with the political process (Kenningham 2017, online). Ninety percent of Instagram’s users, for example, are under 35 years old, and it is increasingly becoming the platform of choice for image-fixated millennials (Kenningham 2017, online).

While Instagram may be an excellent tool for reaching a younger demographic, its algorithm can be used and abused, as well as negotiated. Much like the Facebook news feed algorithm, Instagram’s algorithm has been described as being “mysterious, yet ingenious and brilliant at showing the best content to the best people” (Lua 2017, online). Its algorithm is driven by seven key factors or elements of a post, including engagement, relevancy, relationships, timeliness, profile searches, direct shares, and time spent (Lua 2017, online). A 2016 Instagram study (Instagram 2016, online) found that, when posts were listed chronologically, users missed up to 70% of their feeds, and the platform changed to an algorithm-driven method of ordering. Despite some initial opposition to the move, feedback has been generally positive (Lua 2017, online), and the relatively simple nature of Instagram’s algorithm, compared to that of Facebook, means it is easy for users to work with or even “beat” (Chacon 2017, online).

Snapchat is behind Instagram on users, but crucially, it has high levels of engagement, with the average user spending up to 30 minutes per day on the platform (Kenningham 2017, online). Its algorithm, similar to that of Instagram, places certain posts to the top of its feed, which leaves it open to misuse, but it offers a “way to engage with people who normally switch off at the very mention of the word ‘politics’” (Kenningham 2017, online). Jeremy Corbyn used the platform extensively in the 2017 UK election with some success, and all three French Presidential candidates used it, most especially the eventual winner (Kenningham 2017, online).

While Instagram and Snapchat have not yet played defining roles in political processes anywhere in the world, and the extent to which their algorithms can be used or manipulated in doing so is yet unclear, they are needed to “become a central part of the democratic process to ensure more people have a say and stake in the future of [political processes]” (Kenningham 2017, online). It is likely that Instagram and Snapchat have only had a positive effect on Western democratic processes thus far.

Summary of Findings

After such a detailed examination of the use of algorithms in social media and search engines, it is important to summarise findings, with reference to the original research questions.

The first research question asked: To what extent do algorithms in websites, networking services and social media have a negative effect on democracy in Western societies?

When the effects on Western democracies of algorithms used by Facebook, Google and others are examined, it can be said that, in a general sense, these algorithms have a negative impact on Western democracies.

Facebook’s algorithm is probably the biggest offender in this regard. Its aims are not to promote or encourage quality content being uploaded or shared on the platform, but to get as much personal information about its users and keep them engaged for as long as possible, in order to better target paid advertisements to them. Its success does not rely on the ability or need to distinguish between quality, truthful information and dishonest, fake information – as long as users are engaged regularly and for lengthy periods, it can sell a large amount of advertisements and its financial success is certain. Facebook’s algorithm also perpetuates the ‘filter bubble’ method of news feed generation, in which users are rarely, if ever, exposed to information that is contrary to their personal beliefs. Its algorithm can, and has, been manipulated to promote news stories with false or misleading information in order to gain political advantage.

Similarly, Google’s algorithm has many negative effects on democracy. Its search engine’s algorithm is designed to produce results based on a user’s previous searches, which, similar to that of Facebook, perpetuates the ‘filter bubble’ and is designed to soak up as much information about the user in order to target advertisements and generate revenue. Google claims it uses data mining to improve its services for users, yet makes US$40 billion a year from these practices, so it is difficult to accept that it is not a self-serving activity. Additionally, the monopolization of data and advertising services by Google drives competition out of the market, and the site also regularly manipulates data and search results to place particular results higher than others.

The second research questions asked: To what extent, if any, can users of new and digital media be manipulated by algorithms to think or act in certain ways?

Algorithms used by Facebook and Google can control what information users have access to in their news feeds, and hence, what issues they are exposed to and are likely to think about (Francis 2015, online). While a small number of writers have argued that technologies like web search and social networks reduce ideological segregation (Flaxman et. al 2016, p.298), there is much evidence showing otherwise (Francis 2015, online). The repetitive nature of how web-based algorithms work means that information engaged with by users affects their future search results and the content of their news feed, and similar search results or information is likely to appear again, perpetuating the ‘filter bubble’. Facebook continually removes or hides news that it believes might offend users, including many investigative journalism pieces (Ingram 2015, online). When the filter bubble and easy proliferation of untruthful or misleading information are combined, users can be manipulated to think certain ways about political or other subjects. The monopolization of news distribution is arguably not of Facebook’s own doing, as such a high number of people use it globally, and media companies have no real choice but to use it as a way of interacting with news consumers, but the way that Facebook feels about how news feeds are generated can differ from one day to the next.

The third research question asked: To what extent do search engine algorithms affect democracy in Western societies?

The answer to this question is, quite simply, a huge extent. With a virtual monopoly on search, Google “has the power to flip the outcomes of close elections easily – and without anyone knowing” (Epstein 2014, online). The company has the ability to identify a candidate that best suits its needs, identify undecided voters and send them customised search results tailored to make the candidate look better, while nobody – candidate, voter or regulator – is any the wiser (Epstein 2014, online). There is no evidence for such direct manipulation, but favouritism can happen ‘organically’ on Google’s search engine – this is what the company claimed was the cause of Barack Obama’s consistently high rankings in the months just before the 2008 and 2012 elections (Epstein 2014, online). A 2010 study conducted on a group of Americans’ preferences for either Julia Gillard or Tony Abbott (people the test subjects were unfamiliar with) as the ideal candidate for the position of Prime Minister of Australia found that they made their choice based on search rankings (Epstein 2014, online). In future elections, as increasing numbers of undecided voters get their information on political matters through the Internet, the way that Google’s algorithm works will have international ramifications. Google is not ‘just’ a platform, it “frames, shapes and distorts how we see the world” (Arvanitakis 2017, online).

The fourth research question asked: Which website, networking service or search engine is most likely to affect democracy through its use of algorithms?

The answer is Facebook, and this can be seen in many real-life examples. Recent real-life examples include its algorithms manipulating data to gain political outcomes in the Brexit referendum, the Trump-Clinton election, the French presidential election, and the UK general election. The most notable case of algorithm-driven influence in politics is the Trump-Clinton election contest. President Trump’s Digital Director, Brad Parscale, admitted that Facebook was massively influential in winning the election for Trump (Lapowsky 2016, online), by generating huge sums of money in online fundraising, a large proportion of which went back into digital advertising. Analysts and writers have also pointed to “online echo chambers and the proliferation of fake news as the building blocks of Trump’s victory” (Lapowsky 2016, online) – echo chambers created by Facebook’s algorithm. Trump’s online team took advantage of Facebook’s ability to test audiences with ads, running 175,000 variations of ads on the day of the third presidential debate alone (Lapowsky 2016, online). Cambridge Analytica pulled data from Facebook and paired it with huge amounts of consumer information from data mining companies to “ develop algorithms that were supposedly able to identify the psychological make-up of every voter in the American electorate” (Halpern 2017, online).

The Future of Democracy in an Algorithm-Driven World

Increased use of algorithms and artificial intelligence can have many benefits to societies. New systems can identify students who need assistance, and data be can used to identify health hazards within a population (Arvanitakis 2017, online). However, a diminished human role in decision-making may have many negative consequences for democracy.

The innovation of algorithms means “our political leanings are constantly being analysed and potentially also manipulated” (Arvanitakis 2017, online), and opaque algorithms can be “very destructive” (O’Neil 2016, p.4). Citizens of Western democracies have always thought that they knew where their information was coming from, but that is no longer the case (Arvanitakis 2017, online). The sources we have come to trust to bring us information have fallen under the influence of powerful, self-serving website whose algorithms make no distinction between truth and lies, or high quality information and nonsense. When a list of search results appear upon searching for something using Google, it is not clear where the results have come from or why they have appeared in such an order, and this is what is concerning for healthy democracy. In fact, it’s almost impossible to work out where information in a search ranking has come from or ended up that way. A professor at Bath University explained that “it should be clear to voters where information is coming from, and if it’s not transparent or open where it’s coming from, it raises the question of whether we are actually living in a democracy or not” (Arvanitakis 2017, online).

In order for anything to survive for any length of time, it has to adapt, and the future for democracy is increasingly looking like one of constant technological adaptation. Newly emerging social media, which have not been sucked into the mainstream where the sole purpose is to collect data for advertisement placement, are, along with other online platforms likely to be crucial to political participation for future generations. It is vital that young people are civically engaged (actively working to make a positive difference to their communities) in order to define and address public problems (Levine 2007, p.1), and social media has the potential to play a huge part in this. As the variety of methods it presents for information sharing and interconnectivity increase, social media has the potential to encourage more people to engage with democratic processes.

It is also vital for algorithms to be transparent and accountable (Arvanitakis 2017, online) in order for users of websites, social media and search engines to know how their personal information is being used, and to ensure the information they are seeing is accurate and balanced. “Algorithms are designed with data, and if that data is biased, the algorithms themselves are biased,” explains O’Neil (2016, p.4). Algorithms could be transparent, accountable and objective, but, in most cases, are nothing more than “intimidating, mathematical lies” (O’Neil 2016, p.4). Overcoming this fact is the key to fair and balanced algorithm use in future democratic processes.

With a 2017 survey indicating that two-thirds of schoolchildren would not care if social media had never been invented and 71% admitting to taking “digital detoxes” (The Guardian 2017, online), there is the hint of a possibility that social media use may decline as the next generation of school-aged children reaches adulthood. Many respondents of the survey believed social media was having a negative effect on their mental well-being, with advertising, fake news and privacy being particular areas of concern (The Guardian 2017, online). Some positives were mentioned, including memes, photo filters, and Snapchat stories, reinforcing the theory that new social media platforms, not Facebook, Twitter or Instagram, may be the future for mass information sharing and for healthy democracy.

Conclusion

It is indisputable that search engines and social media increase the number of ideas, viewpoints, opinions and perspectives available to citizens taking part in democratic processes. An incredibly varied collection of information is available to Internet users at any time, which, on face value, would suggest that citizens should be more informed about political issues than ever before. The Internet is also an effective tool for carrying out successful political campaigns, offering an efficient method by which political groups or individuals can reach audiences with public relations and policy messages.

With these things in mind, it could be easy to move steadily and unquestioningly forward with the idea that software makes our lives more convenient and enjoyable. However, the algorithms controlling data in some of the most popular and widely-used social media and search engines are designed not with the user’s best interests in mind, but the websites themselves – they are businesses, after all. This is a direct and immediate threat to democracy.

The ability to manipulate information online, similarly, is a threat to democratic processes. Evidence and real-life examples show that the control of information and misinformation through search engine and social media manipulation can help bring about desired political results, and the algorithms controlling information in these platforms are not able to discern between real and fake, or truth and dishonesty. Algorithms functioning to target users with advertising material instead of presenting a fair and balanced variety of information perpetuate the division of society based on political beliefs, and engineer information ‘filter bubbles’. Algorithms operating in this way are a threat to democracy.

It is partly this online environment that has created a divisive populist sentiment that now defines many Western societies, and has left many citizens lacking the full range of knowledge needed to make informed democratic decisions. Thomas Jefferson once proclaimed that “a properly functioning democracy depends on an informed electorate” (Samler 2017, online), but when algorithms are manipulating news feeds and search engine results without regulation, free will in the political arena no longer seems so free.

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Framing, Faith and Flawed Portrayal: How the Australian Media Reported the July 2017 Foiled Sydney Terror Attack

July 2017 foiled Sydney terror plot

Abstract

Mass media have become the primary source of information for the vast majority of, if not all, members of Western societies. Thus, the way in which mass media organisations convey information is extremely important as it has the potential to influence what a large number of people see, and what they think about what they see. Media has the power to not only control what its audience sees by setting the news agenda, but how it sees it by framing news stories in a particular way, and these choices can have real-life consequences. In the Australian news coverage of the 29th July 2017 foiled Sydney terrorist attack, the traditionally left-leaning media outlet The Age and national broadcaster the ABC covered the story in a largely fair and balanced manner which was unlikely to contribute to friction or othering between cultural groups within Australia. The traditionally right-leaning The Daily Telegraph covered the same story in a largely unbalanced and sensationalised manner which was likely to contribute to friction between cultural groups within Australia.

Keywords: agenda-setting, Australia, framing, Islam, mass media, media, media audiences, Muslims, othering, Sydney terror attack, terrorism

Introduction

On 29th July 2017, four men were arrested in Sydney, having been allegedly caught in the process of implementing a terrorist attack with the potential to kill a large number of innocent people (Knaus 2017, online). The alleged attack was to involve placing a bomb on an aeroplane and detonating it mid-air (Knaus 2017, online). The plot was foiled and nobody was hurt, and the story was widely reported in the media in newspapers, television, radio and the Internet (The Age 2017, online; The ABC 2017, online; The Daily Telegraph 2017, online). The story was reported using a variety of angles, descriptions, and images, and placed in context of other stories involving similar issues, including so-called ‘Islamic-inspired’ terrorism and religious tension at home and overseas. The way in which Australian media organisations report stories of this nature is important, as they have the potential to contribute to friction between cultural, racial and/or religious groups in Australia. This essay will examine the manner in which three media outlets reported the story of the alleged plot, and seek to answer the following research questions:

– To what extent has the Australian media’s coverage of the foiled July 2017 Sydney terror plot been balanced and informative, and to what extent is the media’s use of language in reporting on this story likely to divide, or cause friction between, different cultural and/or religious groups in Australia?

– Do media outlets in Australia engage in agenda-setting and framing of news when reporting on terrorism and religious extremism in Australia?

– To what extent does a media outlet’s traditional political alignment affect how that outlet reports on a story involving terrorism or religious extremism in Australia?

– To what extent can media outlets’ use of language in describing religious groups in stories involving terrorism or religious extremism contribute to ‘othering’ of religious groups by the media-consuming Australian public? Othering is “any action by which an individual or group becomes mentally classified in somebody’s mind as ‘not one of us’” (Norriss 2011, online), and can be divisive and potentially harmful or destructive to a society, nation or community.

Methodology

In order to find out whether the Australian media’s coverage of the July 2017 Sydney terror plot was balanced and informative, it is important to examine how the story was reported by media organisations with a variety of traditional political leanings on the left-right spectrum. How the story was reported by one left-leaning (The Age), and one neutral (the Australian Broadcasting Corporation), and one right-leaning outlet (The Daily Telegraph) will be examined. Elements including the language used in describing the plot and the alleged would-be terrorists (their backgrounds/alleged links to terror groups), how the outlets examine or describe any alleged links to religious fanaticism, and to what extent, if any, they engage in othering (and, if so, the methods by which they do this) will be examined. Conclusions will be drawn, using academic research and studies as reference and supporting evidence, as to the likely effects on the outlets’ audience and the Muslim community in Australia.

The Age was chosen to be included in this study as it has “a slight to moderate liberal bias” (Media Bias/Fact Check, online). It has been described as having “shaped major social and political issues” (Bonfiglioli 2015, p.15) in Australia with “progressive values and ideas” (Hills 2010, p.298) for decades.

The Australian Broadcasting Corporation (ABC) was chosen as its editorial guidelines state that the company has “a statutory duty to ensure that the gathering and presentation of news and information is impartial according to the recognised standards of objective journalism” (ABC, online). Its reporting of the story should theoretically be as impartial, and as free from political or ideological influence as it is possible for a media organisation to be.

The Daily Telegraph has traditionally been a publication which has expressed right-wing political views, and has “utilised loaded words (wording that attempts to influence an audience by using appeal to emotion or stereotypes) to favour conservative causes” (Media Bias/Fact Check, online). It has been described as doing this through the use of “disclaimers, mitigation, euphemism, excuses, blaming the victim, reversal and other moves of defence, face-keeping and positive self-presentation in negative discourse about minorities, immigrants and (other) anti-racists” (van Dijk 1992, p.87). The newspaper has published many anti-immigration articles over a number of years, perhaps most prominently in November 2011 when the Australian Press Council concluded the paper had published material including many misleading messages, including: “Thousands of boat people will be released into Sydney’s suburbs as the government empties detention centres” (Australian Press Council, online). It has also published stories with racist slants, perhaps most prominently during the 2005 Cronulla riots when it published a call for “every Aussie in the Shire” to join in a protest against Lebanese-Australians (Poynting 2006, p.85).

Agenda-Setting and Framing in the Islamic Sphere

The idea of using writing to influence public opinion has been around as long as writing has existed, and writers as far back as Aristotle have described writing as fundamentally “the political art of persuasion” (Varisco 2011, p.96). While it has existed for a long time, agenda-setting by mass media was only studied extensively and its effects analysed for the first time in the late 1960s. McCombs and Shaw conducted a study during the 1968 American presidential election and published the results in their seminal 1972 text ‘The Agenda-Setting Function of Mass Media’ in Public Opinion Quarterly, suggesting that the media sets the public agenda, not by telling you what to think, but what to think about. By explaining that “readers learn [about] how much importance to attach to [an] issue from the amount of information in a news story and its position” (1972, p.176), they showed that mass media determine which issues are important and which are not, and thus set the agenda of the news. Newspapers and television provide a host of cues about the salience of news topics, including where stories are positioned, the size of headlines, length of time devoted to the story, and language used in telling the story (McCombs 2003, p.1). Significant to this essay is the way in which McCombs (2003, p.2) describes how the public agenda is assessed – that is, by asking the question “What is the most important problem facing this country today?” The question of whether the media is simply reporting on a ‘problem’ or perpetuating it is an interesting one to ask.

Media framing is closely linked to agenda-setting and has been defined as “selecting some aspects of a perceived reality and making them more salient in a communicating text, in such a way as to promote a particular problem definition, causal interpretation, moral evaluation, and/or treatment recommendation” (Entman 1993, p.52). Scheufele’s 1999 work on framing, ‘Framing as a Theory of Media Effects’, is important, as it examines how media framing and agenda-setting are similar and are often used for the same purposes by mass media. Scheufele explains that a story presented to an audience in a ‘framed’ fashion can influence the way the audience uses the information and makes decisions based on it. Alongside the work of McCombs and Shaw (1972), Scheufele’s explanations of what constitutes framing are useful in deciphering the motivations behind the way in which stories are presented in mass media today.

The history of the way in which Muslims have been portrayed in Western media is complex and murky, and the relationship between the West and East in media must be examined on such a scale to get an idea of historical background and context. In his influential 1978 book, Orientalism, Palestinian-American author Edward Said examined the history of the West’s attitudes towards the East, and considered orientalism as a way by which writers, politicians, and colonists have historically come to terms with the ‘otherness’ of Eastern culture, and have been forged their opinions through interference, patronisation, imperialism and racism. The context of the East in Western culture is, to Said, an “arena of continual imperial ambition” (Scott 2008, p.64), and his work is very much relevant today, in that he describes how relationships between West and East can deteriorate due to “circumstances of time, distance, or oppression” (Scott 2008, p.64). The West’s ongoing view of the East, in Said’s description, is one that has been constructed to provide the West with an identity that a “superior one in comparison with all the non-European peoples and cultures” (Williams & Chrisman 1993, p.133).

In the contemporary arena, Western media has been described as “aggravating anti-Muslim sentiment” (Kabir 2007, p.313) since the 1990-91 Gulf Crises. Since 9/11, intense media coverage of Islam has brought it to the attention of millions of people across the world. Despite this, it has been said that most Westerners know little about the faith itself (Rane et. al 2014, p.15). In Western media, Muslims tend to be described as a single, homogeneous mass, when the reality is there is a huge range of culture, ideology and religiosity within Islam.

Many reports of atrocities carried out in the name of Islam since 9/11 are true, including those which have seem particularly shocking to Westerners, such as beheadings, murders of children, and so-called honour killings (Ferre 2015, p.516). Atrocities of this nature received widespread media attention, but what is much less commonly reported in Western media is the fact that the overwhelming majority of Muslims reject these abhorrent practices, even in the defence of Islam (Ferre 2015, p.516). Indeed, Gallup and Pew polls have shown that the majority of Muslims wish to uphold the religious freedom of non-Muslims, and favour democracy over totalitarian rule (Ferre 2015, p.516).

In Australia, studies have investigated the issue of how Muslims view they way they are represented in media, and have found their responses to be largely negative (Ewart et. al 2017, p.147). The reasons for this have been listed as being the lack of Muslim news sources, the way in which Muslims are stereotypically represented, their portrayal as the ‘enemy within’, and the consistent linking of Muslims and terrorism in stories (Ewart et. al 2017, p.147). Waves of prejudice against Muslims preceded 9/11 and there exists a climate of distrust around many Muslim communities, which many believe has been perpetuated by a number of Australian media organisations (Ogan et. al 2013, p.28). Many writers have described the feeling among Western Muslims since 9/11 as one of being “under siege”(Cherney & Murphy 2016, p.5). These elements and others combine to induce a negative reaction to Australian news media by Australian Muslims (Ewart et. al 2017, p.147), and Muslims have voiced concern over the divisiveness Australian media perpetuates, as well as expressing the belief that “prevailing media attitudes towards them and their religion disadvantages them both economically and socially” (Kabir 2007, p.313). Indeed, in 2017, the 33% rate of unemployment among Muslims is six times higher than the national average (Australian Bureau of Statistics 2017, online; Bita 2017, online).

As they are in all Western societies, Muslim Australians are an ethnically-diverse group of people, yet many media reports “imply that all Muslims are the same” (Kabir 2007, p.313). Reasons for framing stories in such a way have been suggested, and these include to marginalise Muslim people as the “uncivilised ‘other’ in the dichotomy between Western and Eastern culture” (Kabir 2007, p.315), or for blatantly commercial reasons – sensationalised stories sell newspapers and generate website ‘clicks’.

Despite many noted problems, Rane et. al (2014, p.154) suggest that, while there is much that Western media need to do to make its representation of Islam fairer and more balanced, there are some signs of hope. They note that, on the tenth anniversary of 9/11, much of the Australian media focussed on remembering victims, as opposed to discussing Islamic-inspired violence. It has also been widely recognised as essential that Australian police and security forces work with the Muslim community to mitigate the risks of terrorism arising from violent extremism (Cherney & Murphy 2016, p.1).

Findings

The Age broke the story under the headline ‘Sydney Terrorist Plot: Bid to Smuggle Bomb Through Airport Thwarted at Check-In’ (2017, online), labelling the plot ‘Sydney-born’ in its opening paragraph. Religion is mentioned in the second paragraph, with the words “Islamic State-inspired terrorists” (2017, online). The fifth paragraph mentions the names of the men arrested as Khaled Merhi, Khaled Khayat and Mahmoud Khayat, and restrained language is used, such as “suspected weapon”, “alleged plotters”, “alleged earlier attempt”, and “alleged Sydney terrorist cell” (2017, online). There is one mention of a terrorist group, when one of the men arrested is described as knowing someone who was “once viewed as an active recruiter for IS in Syria” (2017, online).

A story quickly followed on 1st August with the headline ‘Men Arrested Over Sydney Plane Bomb had Links to Syria’ (2017, online). Again, careful use of the word “alleged” in describing the plotters and their plans is evident, and, despite the story going into a significant amount of detail about alleged links to Syria, at no point is religion or a terrorist group mentioned. Some speculation is present in the story, when a terrorism specialist is quoted as saying the group “might have had multiple targets and back-up plans beyond a plane attack” (2017, online).

A story on 2nd August with the headline (which includes quotation marks) ‘Man Arrested Over “Sydney Terrorism Plane Bomb Plot” Released Without Charge’ (2017, online) similarly makes no mention of religion or terrorist group, and quotes one of the alleged plotters as saying he was “simply in the wrong place at the wrong time” – the first time one of the men arrested is given a voice. On 3rd August, The Age ran a story with the headline ‘Charges to be Laid Over Sydney Terrorist Plane Plot as Airport Threat Downgraded’ (2017, online) in which the alleged plotters are described as a “Sydney terrorist cell”, and, similarly, there is no mention of religion or terrorist group.

On 5th August, The Age ran a story with the headline ‘Sydney Terror Arrests: One Week On, One Man Remains in Custody Without Charge’ (2017, online), in which the alleged plot is described as being arranged by an “Islamic State operative in Syria”, and that the accused Australian plotters “assembled the IED with assistance from the IS commander” (2017, online). This is balanced by providing a quote from one of the accused’s lawyers, who states “it’s just unfathomable that he would be associated with anything like this” (2017, online).

On the 6th, The Age described how the fourth and final man accused of the plot had been released without charge in a story with the headline ‘Fourth Man Held Over Terror Plot, Khaled Merhi, Released from Police Custody’ (2017, online), again with restrained language being used (“alleged terror plot”, “alleged suspect”), and there is included a quote from the Australian Federal Police (AFP) Deputy Commissioner Michael Phelan, who describes the alleged plot as “one of the most sophisticated … that has ever been attempted on Australian soil” (2017, online). Thus, The Age‘s cycle of this story was complete for the time being, possibly until further charges are made.

The ABC broke the story on the 29th with the headline ‘Sydney Counter-Terrorism Police Carry Out Raids Aimed at Foiling Attacks, Prime Minister Says’. The facts of the story are described in a non-sensational manner, and no mention of any terrorist group or religion is made. Along with a quote from the Prime Minister’s office describing the alleged plot as one involving “plans to undertake terrorist attacks in Australia” (2017, online), a quote from the mother of one of the arrested men is also included, in which she says “I love Australia” (2017, online).

The following day, the ABC ran a story with the headline ‘Sydney Terror Raids “Disrupted” Plot to Bring Down Plane, Malcolm Turnbull Says’, in which material police seized is described in detail, being described as “items that could be used to make a bomb” (2017, online). Again, restrained language is used in describing the group as an “alleged cell” (2017, online), and the only mention of religion is in a quote from the AFP commissioner, who described the alleged plot as “Islamic-inspired” (2017, online).

On the 30th, a story with the headline ‘Sydney Terror Raids: Airport Delays Expected as Security Increased Over Alleged Plot’ (2017, online) described the changes to airport security in a straightforward manner, with additional checks of cabin and checked baggage being the main points, and possibly a greater number of security staff in some areas. A number of tweets are included containing messages of frustration in regards to airport delays, and a number of passengers have been interviewed expressing similar opinions (2017, online), but no mention of religion or terrorist group is made.

The following day, a story with the headline ‘Sydney Terror Raids: What We Know About Those Held Over Alleged Plot to Bomb a Plane’ (2017, online) details everything known about the men arrested for the alleged plot. Restrained language is used in describing the plot as “alleged plot” and the men arrested as “alleged terrorist cell” (2017, online). The language used to describe the materials discovered at the home of one of the men arrested is also restrained, describing it as “items that could be used to make a bomb” (2017, online). No mention of religion or of any terrorist group is made.

On 4th August the ABC ran a story with the headline ‘Sydney Terror Plot: How Police Dismantled Alleged Islamic State Plan Hatched on Home Soil’. A terrorist group is mentioned in the headline, and the word “alleged” is used in relation to the plan. The terrorist group IS is mentioned again in the story, as are an “IS controller” and an “IS operative” (2017, online), who allegedly helped the men with their plans. The story is quite detailed in going through how the alleged plot came about, but language remains restrained and balanced throughout. The story finishes with the sentence: “Their lawyer Michael Coroneos said: ‘My clients are entitled to the presumption of innocence’” (2017, online).

A story by the ABC on the same day ran under the headline ‘Sydney Terror Plotters “Tried to Blow Up Etihad Plane, Unleash Poison Gas Attack”’ (2017, online). The headline is restrained in that it puts the details of the alleged plot in quotes – that of a senior police figure. Similar mentions of IS and ISIL in the third and penultimate paragraphs respectively are attributed as quotes by police officers, and there is a quote from the accused men’s lawyer, who stated that they are entitled to the presumption of innocence (2017, online). Another story on the same day with the headline ‘Sydney Terror Plot: Why Police and Government Concern Shouldn’t be Dismissed as Hyberbole’ (2017, online) ties the alleged plot to Islamic State terrorist attacks of the past, including 9/11. The story goes into detail about the history and evolution of Al Qaeda’s “bombmakers” (2017, online) and clearly links the alleged Sydney plot to a greater worldwide problem.

On 31st July, The Daily Telegraph broke the story with the headline ‘Sydney Counter Terrorism Raids: ‘Jihadis Plotted Meat Mincer Bomb Attack to Blow Up Flight’. The word ‘jihadi’ is present in the headling, language is unrestrained (no use of “alleged”), and details of the alleged bomb itself are used in the headline. The words “Islamist-inspired” (2017, online) are used several times, one of the accused man’s homes is mentioned in relation to its distance from a mosque, and the Prime Minister is quoted as saying the threat of terror is “very real” (2017, online).

Later that day, The Daily Telegraph published another story with the headline ‘Imminent Attack: The Terror Plots Foiled on Australian Home Soil’ (2017, online). The ‘story’ is essentially a list of unrelated foiled terrorist attacks in Australia since 2005. Pictures at the top of the story include two men of Middle-Eastern appearance dressed in military fatigues, with one holding a weapon and one holding a severed head. The pictures appear to be taken somewhere in the Middle East.

Another story on the 30th was run with the headline ‘Terror Raids in Sydney: Police Storm Homes in Lakemba, Wiley Park, Punchbowl and Surry Hills’ (2017, online). Language is fairly restrained in describing the plot as “alleged” in several places for the first half of the story. A neighbour is quoted as saying he “often saw people in religious robes outside the unit block”, a woman from one of the homes raided is described as being “from Lebanon”, and another neighbour is quoted as saying a “collection of cats” at one of the homes raided “were bringing ticks and diseases into the block” (2017, online). The story notes that “several women wearing hijabs were also at the scene” (2017, online).

A further story on the 30th with the headline ‘Sydney Terror Raids: Security Increased at Airports Around Country After Police Foil Plot to Blow Up Domestic Flight’ (2017, online) describes how airport security is likely to increase in detail, with no mention of religion or terror groups.

On 31st July, a story with the headline ‘Muslim GP Asks Residents to Report Terror Activity Following Foiled Terror Plot’ (2017, online), a leading Muslim community leader is quoted as saying the alleged plot is “extremely upsetting and disappointing”. He also expressed relief that the alleged plot was foiled and stated that the vast majority of Muslims are peaceful people.

On 4th August, The Daily Telegraph ran a story with the headline ‘Sydney Terror: IS Link to Alleged Plot to Bring Down Plane with Explosive Chemical Device’ (2017, online) which immediately links the alleged plot to Islamic State and a wider, international terrorism network. A police spokesperson is quoted as saying the alleged plot “could very well have been a catastrophic event” (2017, online), and the story states that the brother of one of the men arrested is a “senior member of ISIL” (2017, online). A few paragraphs later, the story contradicts itself by saying the ISIL member “is not related to any of the charged men”.

On 5th August, The Daily Telegraph summed up how airport security has been tightened since the alleged plot in a story with the headline ‘Flight Crackdown on Security: The New Rules at Airports Coming After Terror Scare’ (2017, online). The alleged plot is no longer described as “alleged”, rather the “airport terrorism plot”, “one of the most sophisticated plots attempted in Australia”, and “close to a catastrophic event” (2017, online). A brother of one of the alleged plotters is stated as being an Islamic State commander.

Discussion

Overall, The Age generally reported the story with minimal sensationalism and with careful use of language in the way it described the alleged plot and the people arrested in connection with it. The publication broke the story without jumping to conclusions about links to terrorist groups, and was relatively restrained in associating the alleged plotters’ motives with religion.

Interestingly, the breaking story describes the alleged terrorist cell as a “Sydney terrorist cell”, instead of mentioning religion, nationality, or a terrorist group – reducing the possibility of othering as a result. The story ‘Men Arrested Over Sydney Plane Bomb had Links to Syria’ (2017, online) is likely to frame the alleged plotters in a negative way, as links to Syrian terrorism are hinted at, or “ma[de] … more salient in a communicating text”, to quote Entman’s (1993, p.52) definition of media framing.

The story ‘Man Arrested Over “Sydney Terrorism Plane Bomb Plot” Released Without Charge’ (2017, online) on 2nd August allows one of the alleged plotters to have a voice for the first time in The Age, when he is quoted as saying he was “simply in the wrong place at the wrong time”, providing some balance to the story after three days.

The publication continued to refrain from relating the alleged plot to religion or terrorist group until 5th August, when the story ‘Sydney Terror Arrests: One Week On, One Man Remains in Custody Without Charge’ (2017, online) refers to the alleged plot being directed by an “Islamic State operative in Syria”. The Age‘s reporting of the story generally veers away from portraying Muslims as the “enemy within” (Ewart et. al 2017, p.147), and instead refers to the alleged plotters’ origin in terms of their home city, Sydney.

The ABC, for the most part, reported the story with minimal sensationalism and with a fair and balanced approach, as per its Principles and Standards document states (2017, online). All stories until 4th August used restrained language, balanced reporting, avoid linking any religion to a terror group, and avoided framing any particular Australian community in a particular way.

On 4th August, the story ‘Sydney Terror Plot: Why Police and Government Concern Shouldn’t be Dismissed as Hyberbole’ (2017, online) changes this approach suddenly, by linking the alleged plot with a greater worldwide “problem” involving Islamic-inspired terrorists and ties the alleged plot to a list of historical Islamic-inspired terrorist attacks. Australian Muslims are immediately framed in a way that is likely to bring about othering, or seeing them “classified … as ‘not one of us’” (Norriss 2011, online). If agenda-setting is “learning how much importance to attach to [an] issue” by the way in which a story is positioned or presented, as defined by McCombs and Shaw (1972, p.176), the ABC potentially contributed to changing the news agenda with this story, by clearly linking the alleged plot to international problems involving Islamic-inspired terrorists, and directly tying it to 9/11 and other terrorist attacks. The article asks whether the plot signifies a change in tactics for Islamic State, and mentions how “intelligence agencies around the world will be paying close attention” (2017, online) to how Australia deals with the alleged plotters. Linking stories in this way is likely to contribute to othering of Muslims in Australia and perpetuate the idea of Islam in Australian as being “under siege” (Cherney & Murphy 2016, p.5).

The Daily Telegraph, for the most part, reported the story with a clear agenda of linking the alleged plot to the greater international problem of Islamic-inspired terrorism, framing Muslims as somewhat lesser than non-Muslim Westerners, and encouraging the idea that Muslims are the ‘enemy within’. The Daily Telegraph broke the story on 31st July using sensational and unrestrained language, clearly linking the alleged plot to to Islamic-inspired terrorism from the beginning, using the word ‘jihadi’ in the headline, and describing a “meat mincer bomb” (2017, online) for sensationalised impact. Further links to Islam are quickly made, with a mosque mentioned as being near to one of the arrested men’s homes. Later that day, the story ‘Imminent Attack: The Terror Plots Foiled on Australian Home Soil’ (2017, online) links the alleged plot, similarly to the ABC story on 4th August, to a range of foiled attacks involving Islamic-inspired terrorism, and included unrelated photos of ISIS fighters, again given the impression that all Muslims are the same.

The problem of media reports “imply[ing] that all Muslims are the same” (Kabir 2007, p.313) is evident in The Daily Telegraph‘s reporting of the story – particularly so in the story ‘Terror Raids in Sydney: Police Storm Homes in Lakemba, Wiley Park, Punchbowl and Surry Hills’ (2017, online), in which the clothing and pets owned by the Muslim occupants of an apartment are described in a negative way. This also fits with Edward Said’s view of orientalism as framing Western society as a “superior one in comparison with all the non-European peoples and cultures” (Williams & Chrisman 1993, p.133) or the “uncivilised ‘other’ in the dichotomy between Western and Eastern culture” (Kabir 2007, p.315).

The 5th August story ‘Flight Crackdown on Security: The New Rules at Airports Coming After Terror Scare’ (2017, online) again uses sensationalised language to describe the alleged plot and plotters, and links them to Islamic State. The Daily Telegraph, however, then dedicates a story to the statement by a Muslim GP, describing how Muslims and security forces need to work together to defeat terrorism. In the story ‘Muslim GP Asks Residents to Report Terror Activity Following Foiled Terror Plot’ (2017, online), it could be asked whether The Daily Telegraph has provided an opportunity for balanced reporting with the inclusion of a Muslim voice, or contributed to the idea that Australian Muslims are “all the same” (Kabir 2007, p.313) or a single, homogeneous mass, and thus all Muslims should think and act the same, or heed the wishes of a single Muslim quoted in a newspaper.

Conclusion

In conclusion, it can be said that the Australian media’s coverage of the foiled July 2017 terror plot was balanced and informative by The Age, largely balanced and informative by the ABC, and arguably somewhat unbalanced and sensationalised by The Daily Telegraph.

The Age‘s “progressive values and ideas” (Hills 2010, p.298) appear to have shaped how the story was reported in the days following the alleged plot’s uncovering, coverage of the story remains consistently factual, and mostly stays away from linking the alleged plot to any greater national or international problem involving a terrorist group or religion. Despite some minor references to terrorist groups being inevitable, othering is unlikely to occur as a result of the framing of The Age’s story, or of the language or images used in its reporting.

Similar to The Age, the ABC reported the story in a balanced and informative fashion for the most part, as per its pledge to “ensure that the gathering and presentation of news and information is impartial” (ABC, online). On the whole, the story was framed in way that would not be likely to cause othering to occur, until the 4th August story ‘Sydney Terror Plot: Why Police and Government Concern Shouldn’t be Dismissed as Hyberbole’ (2017, online). This story linked the alleged plot to a greater worldwide problem of Islamic-inspired terrorism, in a way that is likely to contribute to the idea that all Muslims are the same (Kabir 2007, p.313). This story has the potential to affect its audience’s view on Islam in a negative way.

Out of the three media organisations studied, The Daily Telegraph is most likely to contribute to othering of Australian Muslims by the way in which in reported the story of the alleged foiled terror plot. It reported the story in the least balanced manner – most likely guided by its traditional political alignment and favoured methods of using “loaded words to favour conservative causes” (Media Bias/Fact Check, online). The Daily Telegraph goes to the greatest lengths to point out what it apparently sees as the ‘otherness’ of Eastern culture, by describing making points of difference like clothes and pets, and includes images of ISIS fighters (one holding a severed head) to allow Westerners to feel, what Edward Said described as, “superior … in comparison with all the non-European peoples and cultures” (Williams & Chrisman 1993, p.133). The Daily Telegraph consistently and unrestrainedly links the alleged plotters to terrorist groups, with the potential result of othering of Australian Muslims. Research shows that if reporting is “ignorant, unethical, sensationalised or inaccurate it can have devastating consequences” (Reporting Islam, online), and if many Australian Muslims are feeling “under siege”(Cherney & Murphy 2016, p.5), from The Daily Telegraph‘s reporting of this story, some of the reasons are evident.

References

The ABC, ‘Principles and Standards’, online, accessed 12th August 2017: http://about.abc.net.au/wp-content/uploads/2012/06/EditorialPOL2011.pdf

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