Why It's Still Kicking Off Everywhere by Paul Mason Read Free Book Online

Off-camera you hear the repeated thud of truncheons on flesh and more screaming. Then the shot becomes of running feet.
    By nightfall, that video was zipping around the global Farsi networks via blogs, YouTube, Twitter and Facebook. If it had been taken by a TV cameraman, that fifty-eight-second single shot would have won awards. It captures reality in a way you rarely see on TV news: terror, chaos, innocence, the sudden tremor in the policeman’s face as he bottles out of hitting the cameraman again. But the point about the video is that it was not shot by a news crew, nor was it shown in full on any TV network.
    Social media’s power to present unmediated reality has never been better demonstrated. And the Iranian demonstrations produced hundreds of similar videos, both of the protests and the crackdown that confronted them. Thanks to Twitter, these images exploded like a virus onto the screens of young people all over the world. The Washington Times called it ‘Iran’s Twitter Revolution’:
    Hackers in particular were active in helping keep channels open as the regime blocked them, and they spread the word about functioning proxy portals. Eventually the regime started taking down these sources, and the e-dissidents shifted to e-mail. The only way to completely block the flow of Internet information would have been to take the entire country offline, a move the regime apparently has resisted thus far. 18
    Though the Ahmadinejad regime now took down Twitter, Facebook and SMS, it could not prevent the imagery circulating. No revolution in history had been recorded so comprehensively, and in such minute detail. In one video, police pick on a bystander at a bus stop; as they baton him a woman in a headscarf, about five feet tall, karate-kicks the police, two of whom then turn on her. One batons a car bonnet, randomly, in frustration. Then they stop and the woman merges again into the queue at the bus stop. 19
    Future social historians will gorge themselves on evidence like this, the micro-detail of social responses to unrest: but for now, its importance lies in the way it enables participants to judge what kind of history is being made in real time. Banned from reporting in Iran, the mainstream media quickly began to realize the value of this user-generated content, and to run it. The momentum of the protests fed off this cycle of guerrilla newsgathering, media amplification, censorship and renewed protest.
    By the time the death of protester Neda Agha-Soltan was shown on YouTube, on 20 June 2009, the once-forlorn slogan of the anti-globalization movement had become a reality: the whole world actually was watching.
    Bystanders posted three separate videos of Neda’s shooting by a member of the regime’s Basij militia: Time magazine called it ‘probably the most widely witnessed death in human history’. 20 Blood trickles over her face. Her eyes roll sideways. She says, ‘I’m burning.’ Her grey-haired singing teacher vainly tries to staunch the flow of blood. Later, the crowd detains the alleged perpetrator and his security pass is photographed: this too gets uploaded to YouTube.
    Another image resonated across the world that summer from Tehran: the so-called ‘rooftop poems’. As demonstrations were repressed, student dorms invaded and young men handed over to the Basij rape-gangs and torture squads, protesters retreated to the rooftops by night to call out Allah-o-Akbar. On 16 June an anonymous young woman, whose YouTube username is Oldouz84, began improvising poems as she filmed the rooftop cries. In the last clip, taken the day after Neda’s death, she whispers:
    Allah-o-Akbar is no longer about being a Muslim. It’s become a call for unity, whether Muslim, Jew, Zoroastrian, faithless or faithful. The voices are coming from far away: they leave you shaken … Too many children will not hold their parents tonight. It could have been you or me. 21
    It’s