mashdownbabylon

London Calling

On July 1st, I stepped down from my editorial position at Allvoices. With two months to pack up our home and move to the United Kingdom, I couldn't have had a better reason to punch out. I'll be spending the next eight weeks at home writing and editing a couple of terrific books while we get everything ready. To make the transition back to book editing, after being immersed in the world of blogs and online periodicals is interesting to note, (as a format exercise), given the direction that this kind of work now moves.

Leaving my office in San Francisco's financial district (pictured above) for the very last time, I couldn't resist capturing the signage of the cylinder shaped newsstand that sits at the building's front entrance. Housing not only my ex-employer, but also a Reuters office, and the headquarters of the local Jewish weekly, The J, my former firm's new abode hosts an above average number of news publishers for such a small, albeit significant, American city.

Just before I left, however, I received a call from the very first periodical I ever worked for, in between my freshman and sophomore years of high school, in 1982. Serving as a summer intern for the legendary Mother Jones (whose building, pictured above, is three blocks west of my former office) has earned me a semi-annual email or phone call from what sounds like another MoJo intern, keeping tabs on alumni. "You're a writer, right?" asked the young man who called me. "Yes," I told him. "And an editor, too."

Making News

Nearly a year to the day I left Tikkun to complete my book, I went back to work as an editor again. Not so coincidentally, the gig was online, with Allvoices, an international news and community portal. Tasked with recruiting a team of bloggers to help launch the site's publishing platform, and responsibility for editing and managing the largest collection of international news feeds I've ever seen, I've spent the last five months adjusting to a job that's both new and extremely familiar at the exact same time.

I'm very grateful for the opportunity. Given what a crisis publishing is in, I continue to find myself exceedingly lucky I found any work at all, let alone work in news media. The degree of relief I feel, as you might imagine, remains profound. My biggest concern in quitting my former job in such dreadful economic circumstances was that my book might be my final hurrah to fourteen years in publishing. I'm glad to say its not, though I would have continued to do this irrespective of whether I'm paid or not.

One aspect of my present gig that makes it so fulfilling is familiarizing myself with English language news resources in places I would not have otherwise gotten to know, such as central Africa and the Caribbean, discovering first class, UN-funded news organizations, or independent European agencies that are every bit as good as AP or Reuters. It's all been enormously inspirational to discover, especially at a time when it seems as though the business is going to absolute pot.

The other aspect of my present gig that I've really enjoyed has been working with a crew of twenty-two regular bloggers, such as my longtime colleague and pal Mitchell Plitnick, the Belgrade-based  journalist Amy Miller, Cairo's aBendinTheNile, and Ilana Sichel in Jerusalem, to name a few. Their writing can be every bit as good as anything I read at past gigs, if not more so. I still do a serious amount of traditional editorial work at Zeek to balance it all out, and the perspective it helps provides is something else.

The best anecdote I can impart about all of this is that my co-workers, who hail from India, Europe, and Pakistan, like to jokingly refer to me as the 'Mossad agent.' Though it's not meant to be pejorative, in context, it's still a hoot to hear. Relating this to a relative who queried me about the Arab media I've been having to review, giggling, he responded, " Nu, you know, this stuff could come in useful some day."

Shit You Hear at Groceries

This is our local grocery store. We try not to shop there too often because it's expensive, and offers a fairly unimaginative selection of coffees. But, being four blocks away, it still has it's value. Such as when, fact-checking an article about the al-Aqsa Martyrs Brigade cell in Nablus last summer for a magazine, I ran into a friend who had just spent a month working with an NGO in the West Bank city.

"The author identifies the head of the local 'Brigade crew," I told Rebecca when I saw her, dropping the name given to the commander. "You must have run into those people with some frequency when you were there. Does it ring a bell?" I asked. Laughing, she gently replied, "No, of course not. That's definitely not the guy's name, and besides, I couldn't pin a pseudonym on him if I tried."

Conscientious Objections

France24 has launched The Observers, a new, bilingual citizen journalism initiative. At the behest of staff writer Roi Ben-Yehuda, I became an Observer last week, and gave my thoughts on a new Israeli government drive to encourage teens to do their obligatory military duty.

As someone who, when they came of age in 1985, did not do their service, I explain why, as well as criticize a new state-produced video designed to prevent kids from doing the same. Check it out. The following response, by the anonymous Yael, is worth the price of admission alone.

Later on this week, Roi will be running a piece on the first Tel Aviv Sex Festival, which was held a little over a week ago. I'll be reprising my Observer role as part of the proceedings.

Daniel Pearl as Metaphor

The killing of Wall Street Journal reporter Daniel Pearl in 2002 was of particular importance in reinforcing this understanding of Pakistan. A Jewish-American reporter engaged in a multiethnic marriage, Pearl's murder by Islamic militants was promoted as an iconographic instance of the clash of civilizations thesis, transposed to America’s relationship with Pakistan. The ideological tensions inherent in emphasizing Pearl as though he were the US - multicultural, liberal, interfaith - to Pakistan as uncivilized, violent, politically corrupt and religiously intolerant - ought to be clear.

Pearl represented America, and its actualization of the ideals it was promoting on the War on Terror, which Pakistan, with its tribes, its madrassas, and its fundamentalists was in conflict with. This made Pearl a martyr-equivalent to domestic neoconservatives. If Americans wanted more nuance in news coverage of the country than Pearl’s remembrance allowed, they had to seek it out from foreign news sources such as the BBC and The Guardian.

- From a report I recently wrote about south Asian news coverage in the US

Desert Sessions

It was a hard decision to make, but I had to do so. For the last twelve months, I desisted from doing any freelance work in order to reserve all of my energies for Israel vs Utopia.

Now that the book is in my editors' hands, today, my first article since last March was published by Zeek. And, on Tuesday, I conducted my first formal interview since I spoke to Jimmy Carter in December 2006.

Look forward to reading a conversation about Middle Eastern news media with Link TV's Jamal Dajani in Zeek next month. To call it informative would be an understatement.

Blast From the Past

It's finally out, and boy does it look good. Strolling through the Haight yesterday, Jennifer and I stumbled upon the brand new edition of the Punk Planet interview collection, We Owe You Nothing, at the appropriately DiY, volunteer-staffed Bound Together Books.

Featuring several new interviews conducted between 2001 and 2007, We Owe You contains six pieces I acquired for PP back in the day, including interviews with Steve Albini, Sonic Youth's Thurston Moore, Negativland, Team Dresch's Jody Bleyle, Outpunk's Matt Wobensmith and Black Flag.

Toronto's Eye Weekly reviewed the collection on the 9th, together with former Punk Planet Associate Publisher Anne Elizabeth Moore's excellent Unmarketable. Putting Anne's book in the mix not only was smart. It also explains why PP remains essential to understanding the zeitgeist.

An Editor's Whiteboard

The golden road to unlimited content. Beit Schalit, 2008.

The Liberal Arts

   
Ron Nachmann is an Israeli-American journalist based in San Francisco. A close friend and colleague, we've worked together at a number of different periodicals, including Tikkun, where Ron served as music editor. Now a contributor to Zeek, his latest article, a review of Tom Segev's 1967: Israel, the War and the Year That Transformed the Middle East, was published in the December issue. It's not only a marvelous piece of writing on an incredibly complex and politically loaded book. Ron's essay is an excellent introduction to the politics of writing about Israeli history.

The appropriately-titled Continuity has finally arrived. A CD/DVD by the Tokyo-based, Polish sound artist Zbigniew Karkowski (in collaboration with Japanese videographer Atsuko Nojiri), this unorthodox career retrospective is the last project we signed when I was Asphodel's label manager. Already receiving excellent reviews in Europe from publications such as Vital Weekly, given press like this, I have the sneaking suspicion that Continuity will cement Karkowski's reputation as one of the world's most forward-thinking electronic musicians.

Changing Channels

Speaking of Al Jazeera English, if you get the chance, check out  Roger Cohen's excellent op-ed on the Qatari broadcaster in today's New York Times.

Discussing the difficulties that the service has had trying to find national distribution from America's cable and satellite providers, the Times' International-Writer-at-Large extols the network's virtues, noting, in reference to the same polarized context invoked in Friday's posting, that Al Jazeera is carried (by Yes) in Israel, where it replaced the BBC last winter.

Incidentally (and much discussed as of late) Al Jazeera English was also slated to replace CNN on Israel's largest cable service, Hot, but was outbid at the last minute by Fox News.

Covering the Coverage

His curiosity piqued by a recent article in Haaretz discussing the relative merits of the New York Times' coverage of Israel, a colleague asked me if I could point him to what I think are the best studies of Western media reporting on the Arab-Israeli conflict. For those who understand the subtext of such inquiries,  the editor couldn't have asked a more loaded question. To make such a request in today's environment means that you first have to ask why the question is important, and second, for whom.

Since September 11th, domestic coverage of the Middle East has obviously become more significant. Not just because the attacks on New York and Washington signaled the beginning of a conflict  between America and West Asian Islamists. But, also because of how it placed far more editorial requirements on a news media already struggling - and, in the US, largely failing - to meet the complex cultural demands already required of Mideast coverage by the country's Jewish and Muslim Diaspora communities.

US news agencies haven't done the best job of striking this balance yet either. However, there is more English-language, Mideast-based media to rely on than ever before to make up for it. Take for example, Israeli publications like the English edition of Haaretz on the one hand, and Al Jazeera's English broadcasting service on the other, not to mention all of the translated editions of regional sources in between. Americans now have every opportunity to read news that's potentially more informative.

Though "local" is not always a synonym for "better", irrespective of partisanship and the limitations international media inevitably find themselves subject to, in comparison, few domestic sources, including the ethnic press, deliver the same quality goods.  Does that mean that American periodicals should hang up their hats? No. Because of this country's obvious ties to the region - economic, cultural, and military, to name a few - US news outlets are morally obligated to continue reporting on the Mideast.

The question is how. Obviously, one answer would be to create content that was complementary with a foreign reporting that is better privileged for information. Another angle would be to concentrate on commissioning work on the numerous ways in which Americans deliberate about their involvement in a particular country's affairs. Thus, you emphasize domestic political discussions at, say the State Department, or, amongst Americans with cultural ties to said state, instead of the other way around.

As many editors at American news periodicals will tell you, the two biggest complaints about Mideast coverage are always that its either anti-Semitic, or similarly compromised by a desire to satisfy special interest groups. The problem with such criticisms is that they're not only frequently incorrect. But, most importantly, that they help divert editorial attention away from very real ethical problems, like learning how to properly tailor international news for a cosmopolitan, multicultural readership - during wartime.   

- From my notebook, Nov 1.

Left of the Middle East

From an unpublished conversation with a Jewish magazine editor

We have a terrible disjuncture at present, where the critical coverage that we increasingly rely on in this country comes from progressive sources that aren’t as discriminating in their approach to the Middle East as they should be. Being rightly committed to criticizing imperialism and colonialism, they frequently make the mistake of seeing all of the disparate crises afflicting the region as being different versions of the same political problem. It’s like saying that all Jews or Arabs are identical.

Take a look at how the occupation of Iraq has impacted a lot of progressive reporting on Israel: As the occupation has worsened, it has increasingly conditioned a way of covering the country that has assimilated Israel's conflict with the Palestinians with the situation created by the Americans in Iraq. The problem is that if this is the general disposition of the left press in covering the region, it therefore makes it difficult to explain the very real differences that distinguish the Iraqi refugee crisis from the Palestinian, Kurdish, or Armenian refugee crises which preceded it.

The Middle East is a very big place. Even within the space of short distances, such as that which exists between Gaza and Ramallah, the cultural and political distinctions can be extraordinary. The irony is that this is partially a product of territorial divisions first introduced by Europeans to the area. We ought to encourage the journalists we work with to strike a better balance between understanding the Middle Eastern experience of the West with the domestic differences that the outside world seems so oblivious towards.

From Here to Epitome

Exhibit A

Exhibit B

In July, we started to receive a complimentary 'subscription' to The San Francisco Examiner. By featuring musicians like Nick Cave and Yo La Tengo on its cover, this historically conservative (and now free) tabloid appears to be intent on capturing my specific demographic: post-punk professionals who came of age in the early 1990s. In other words, the Nirvana generation.

I find such explicit overtures annoying because American news periodicals always over-emphasize their music coverage when they don't know who their readership is. I can't tell you how many editorial meetings I've attended over the years where an editor has asked the staff to "up" the coverage of cool bands when they're worried that they're not reaching a younger audience.

Just look at the headlines above to see what I mean. Fifty-year old Nick Cave "Gets Rowdy", fourty something Yo La Tengo "Still Has It." Its the kind of self-conscious headline writing that speaks reams about what the editors are really worried about: the vitality and worth of their newspaper.

Goodbye to All That

Yesterday's announcement that Punk Planet was closing its doors did not come as a surprise. Still personally close to the magazine that I helped edit for over seven years (between 1997 and 2004 I served as the periodical's associate editor and books editor, in addition to writing a column), I was entirely clear about PP's situation. That does not mean, however, that the news was not upsetting. Yes, I was intellectually prepared for it. But emotionally, I was not. I've spent the better part of today dragging, going grocery shopping instead of writing. Coming home from Trader Joe's an hour ago, I even missed my exit, and had to drive several extra miles to rectify the error.

Over the course of the last 24 hours, press coverage of Punk Planet's closure has been intense. From an  SF Bay Guardian piece (GW Schulz waxing about the days when Annalee Newitz wrote for us) to the Village Voice (a critical overview of the magazine's history, by Tom Breihan) the entire alt.press world seems to have gone into mourning with us. It all very much reminds me of the fact that Punk Planet was really a writer's magazine - staffed by serious, young writers, and admired by left-of-center journalists in the rest of the U.S. press. As a young editor, that always meant an enormous amount to me. The journalistic focus on the magazine was a deep and lasting complement that helped us all get by under less than ideal economic circumstances.

But that's only half the story. Punk Planet was a cultural event as much as it was a magazine. Unlike other similar events associated with youth culture, it was a product of immense ingenuity and tireless, hard work too. Thus, when its talented writers started to get offers from other periodical and book publishers, and record labels saw Punk Planet as an important place to break artists, the reason was obvious: Because the work PP was commissioning was insightful, well-written and passionate. During an era in which every 'punk' career move was considered suspect, imagine what a wrench this threw in the so-called works. For once, or so we felt, our subculture was being recognized for non-musical achievements, like political writing, which there was no point in feeling conflicted about.

Punk Planet allowed us to live 'punk' lives without the fear - or the anxiety - of selling out. Sure, we might end up working for a New Times periodical, or sell in excess of 60,000 copies of a novel. But in the grand scheme of things, that's still chump change compared to the 'sinful' kinds of music-derived incomes that punks always complained about. What giving its staff such opportunities entailed was a right to be equally culturally influential without any of the ideological excess associated with the so-called culture of careerism. By itself, that is an absolutely immense achievement, particularly considering how we defined success. The proof is in the pudding: thirteen years of successive issues, a first class book imprint, and thousands of ex-contributors in every wing of publishing.

I could write more about PP, but I've done it before, and I think I've said enough. If you'd like to read an earlier piece about working at PP, which details a bit more about what I personally think about the magazine, check out Punk Planet Forever in Stylus. Written after the first IPA-induced storm clouds began to gather in late 2005, it does a much better job of saying what I've already said above, if not a bit more.

Field Recordings

From an essay in progress

Turn to any progressive periodical in the United States today, and in all likelihood, you'll find at least one article about the Israeli/Palestinian conflict. From large circulation monthlies such as Z Magazine, and the American Prospect, to weeklies like The Nation and online dailies such as Counterpunch and Salon, reporting on the region tends to reflexively match events on the ground, either in the form of investigative articles or opinion editorials. 

Coverage of the Israeli/Palestinian conflict by America’s left press has traditionally focused on the occupation of the West Bank and Gaza, and the plight of Palestinians living under Israeli military rule. This emphasis was sharpened during the course of the two intifadas (1987-1991 and 2000-2005) and the peace process of the 1990s, when settlement building actually increased, and the Israel Defense Forces inaugurated its policy of geographical bisections and closures in the 'territories.

Since the invasion of Iraq in March 2003, this area of coverage has expanded to include analyses of Israel’s relationship with the United States, with a specific emphasis on the role of the “Israel Lobby” in formulating US foreign policy towards the Islamic world. Reflecting ongoing concerns about Israel’s purported impact on the US decision to go to war with Iraq, in the eyes of many progressive magazine editors, Israel is no longer just an occupying power, but an inordinately influential, and frequently manipulative party to US efforts to dominate the Middle East.

When it comes to domestic Israeli politics, progressive periodicals pay little attention to it, except when it holds importance for the country’s peace prospects. Thus, when trade unionist Amir Peretz was elected head of Israel’s Labor Party in November 2005, progressive periodicals welcomed his appointment, hoping that, given Peretz’ leftwing background, he would reinvigorate the peace process. Similarly, when Israel Beitenu chief Avigdor Lieberman was appointed 'Minister of Strategic Threats' in 2006, given his ultra-nationalist politics, Lieberman's appointment was heralded as a threat to peace.

[For my outgoing editor's take on how Tikkun covered Israel, click here.]

Source Material

Not the best time writing-wise this past week. I've been finishing the bibliographical work that I've needed to complete for my book, and have spent a lot of time gathering together any remaining news articles I can find in order to bring myself totally up-to-date. I feel pretty good about what I've pulled together so far, though, as with other book projects I've worked on (this is my fifth), I've had to set severe limits to my source material so I don't find myself overwhelmed.

As a rule of thumb, once I've acquired everything I need to start writing, I focus on covering only the most representative instances of my subject matter and comment on them until there's hopefully nothing left to discuss. If I have material left over that I might find useful later, voila, its always there. I hold on to everything. I can't tell you how many times over the years that I've found myself grateful for my packrat habits. Sometimes I wish I'd become a librarian.

Despite this self-congratulatory pat on the back, there are two standout occasions in which I've failed to live up to my archivist's ethos. The first was during high school, when my then-classmate John Whitson gave me his only copy of a live soundboard tape of a Husker Du show in Walla Walla, Washington. Unmarked, I recorded over the cassette, thinking that it was a blank. Talk about stupid. Even then, in the spring of '86, I knew I'd committed a horrible mistake.

The second time was equally profound. In the fall of 2005, director Julien Temple contacted me, explaining that he was making a documentary about the life and times of his old friend, Joe Strummer. He wanted to know if I could give him a copy of a recording of an interview I'd done with Joe, which had been the cover story of the January/February 2000 edition of Punk Planet, (and had just been reprinted in Let Fury Have the Hour, an anthology of writings about the late Clash frontman edited by Antonino D'Ambrosio.) Temple explained that he wanted to use the recording in his film, and was hoping I would allow him to do so.

Several hours later, as I searched through boxes of cassettes in my basement looking for the interview, I found the tape. Unfortunately, along with a number of recordings of my old radio shows at my alma mater, Reed College, the cassette had been damaged by water, and was in an advanced state of deterioration. Even though Temple's crew kindly offered to try to restore it, the recording engineer that I am knew that the tape was beyond repair.

Clearly, I should have known better. It would have been great to have been able to give the Strummer interview its proper due. It was a terrific recording, and Joe was in absolutely marvelous form. As much as I like the written transcription of the interview, nothing comes close to how charming and witty he sounded on the phone. Even Strummer's coughs (was there a bong nearby?) were hilarious.

Turn on the News

Two years ago, I saw a colleague of mine on the German news program, Journal.  A frequent guest on the show, he always provided the Israeli view whenever there was an important event to comment on in the Middle East. After sending Robert an email to let him know I'd seen him on TV, surprised, he asked what I was doing watching German television. "Television news stinks here in the US," I remember writing back to him. "The offerings are nowhere near as good as what you get in Israel. We try and watch as many European news programs as we can."

Eating dinner last night, I recalled my conversation with Robert as I watched our latest local news import, Russia Today. Hosted by local public television station Channel 32, RT provides an amusing Russian take on international news. Viewing two segments - one on the debate about the establishment of US anti-missile bases in the Czech Republic, the other, the Venezuelan government's granting of sweeping new powers to President Hugo Chavez - I was immediately struck by how nostalgic RT was for the Cold War. Speaking to Czech opponents of the American initiative and Venezuelan supporters of Chavez, Russia Today's reporters made no bones about their biases. Anything that irritated the US was fine by them.

As someone who spent their teens in the US during the 1980s, to have imagined watching a Russian program on American television would have been unthinkable. Let alone, a Russian news broadcaster supportively reporting on the progress an arch-enemy was making in consolidating their revolution. By no means a politically progressive show, (witness RT's endless profiles of successful Russian entrepeneurs) it was still a hoot taking this aspect of Russia's political temperature as I switched back and forth between RT, Larry King Live, and yet another annoying Benny Hill rerun on the BBC.

"I hear that we're going to be getting better programming in the near future," I remember telling Robert in Tel Aviv as we sat together in his apartment watching live footage of Saddam Hussein's trial. " I sure hope so," he replied, pointing to his TV and laughing. "Imagine if you could watch events like this. Its totally unprecedented to see such things, even here, in Israel."

Given the eclecticism of contemporary Israeli media consumption, that, I'm sure of. For example, in December, the Guardian reported that Israel's largest sattelite TV provider, Yes, had dropped BBC World from its roster in favor of the new al-Jazeera English network. Say what? Despite all of the criticisms levelled at the BBC's Israeli coverage in recent years,  an Arab broadcaster beat out a longstanding British news outlet for sattelite television subscribers. How's that for counter-intuitive.

When asked to comment on this, an Israeli relative of mine told me, "All the right-wingers are saying its Arab Israelis who demanded this change. Honestly, I think it was Jews. How else would the Ashkenazim who don't speak Arabic know what the Arab world is thinking?"

Back on the home front in San Francisco, our viewing preference remains BBC World. Every morning, Jennifer and I sit in bed and watch a full hour's broadcast while we drink our coffee and read the newspaper. Even though its only an hour long (and only in the morning,) between this, Deutsche Welle, and even Russia Today, its still a hell of a lot better than relying solely on CNN. Nevertheless, we hear from our cable provider that they'll be adding a dedicated BBC World news channel very soon.

My New Job(s)

Its been nine days since I left Tikkun. Unwinding has not been easy. As I imagined, there would be email and calls to answer, and loose ends to help the accountant and staff sew up. I'd wager that at least three days were devoted to helping the office out, which is actually less time than I anticipated would be the case. Having spent six weeks at the office after resigning on November 22nd, I dedicated myself to wrapping up as much as humanly possible. I'm sure that there will be more calls and emails in the future. But for now, until the magazine hires a new managing editor, its my assumption that my major post-Tikkun work is complete.

Every time I find myself growing impatient with my inability to get going on my next projects faster - a book, a record and two essays - I always look back at my "To Do" list for December to remind myself of why I'm so damn beat. (That does not include the fatigue accumulated from having worked six days a week for two and a half years.) Ranging from IT, distribution and general business tasks to editorial planning, writing, updating the website and employee training, the six week period during which I undertook my concluding work sums up everything that made my former job so draining. I'm really grateful for the experience, but I'm also extremely relieved to be moving on.

The best part about being home is how comfortable it is to write in. Ever since we moved into our new house in San Francisco's Bernal Heights neighborhood two years ago, unfortunately, given my work schedule, I've had a devil of a time finding any real occasion to spend time here. Every weekday morning, when I'd get up to make coffee before work, I'd stare into my beautiful office, wondering whether I'd ever get a chance to enjoy the space and take advantage of what it ideally could afford me. Lined with books and vinyl LPs, and a large desk bearing my home studio set-up, sitting in my decrepit Berkeley office, I'd frequently find myself daydreaming about importing old records bought at foreign flea markets into my rapidly aging computer.

Now that I'm truly here, I can't say enough good things about it. The sun shines through my window for the better part of the day, giving my room some of the best light of any spot in the house. Sitting in my father's old office chair, typing away while my favorite BBC shows stream through my Mac and my two dogs chill on the floor beside me, I can't quite recall a time that I felt so at home. Really, anywhere. Though this definitely will not last forever -  essentially five months from today - it feels like I won the lottery. And I don't feel the least bit guilty about this opportunity either.

As much as this all might seem like its about finally doing what one really wants to do, that's not quite it. It's about having a decent quality of life, and the time to take care of the kinds of things that we ignore, delay, or put off when we work sixty hours a week. Like spending time with one's family, paying bills promptly, returning phone calls from friends (the same day, as opposed to two weeks later), and doing laundry.  And, most importantly, cooking dinner for my wife.  Seeing the smile on Jennifer's face as she sat down to a freshly-grilled flank steak last night summed up exactly why this was one of the best decisions I've ever made. All I can say in response is "Sweetie, there's a lot more meat where that came from."

And We All Fall Down

By now, you've probably heard the news: America's biggest boutique magazine distributor closed its doors on December 27th. By no means a surprise, the closure of the Indy Press Newsstand Services (formerly known as Big Top) remains a big blow to independent periodicals in the US. A significant number of its former clients remain owed substantial sums of money - including my former magazine, Tikkun. While Tikkun will be fine (we left the IPA a year ago), it remains unclear whether many of its former clients are going to survive.

In the interim, the IPA's inability to pay its titles have resulted in the closure of a number of outstanding national magazines, including the award-winning Clamor, and the end of the print edition of one of America's best up-and-coming music publications, Grooves. (Interesting to note that in all of the online discussions of the IPA's closure, no one has said anything about this specific periodical's status.) One of the first  reported casualties of the IPA's financial misanthropy, Grooves stopped appearing on newsstands in 2005. In 2006, it relaunched as a web magazine.

As a publisher, the most important lesson I learned from the IPA debacle is how much it underlined the continuing crisis of professionalization in indie culture. For example, every time I'd go to the IPA's office to attend a sales meeting, I was continually reminded to be 'more professional' regarding design and editorial considerations. For a brief while, I found myself grateful for these talks. I already had a strong background in distribution, and had been hired in part to help shore up the business end of things.

But, as time wore on and the issue was increasingly invoked, I began to wonder whether the subject's continuous reappearance in our business discussions was symptomatic of something far more worrysome. When our regular sales statements and payments  eventually halted, and allegations of poor accounting and distro fee collections emerged, I finally understood what all of this talk about  being 'more professional' was all about. The IPA was failing to perform its most basic functions as a distributor. To put it bluntly, the company could barely tie its own shoelaces.

For any firm, administrative incompetence is always a recipe for disaster. Unfortunately, such imperfections are common to many independent businesses, and have more often than not led to their downfall. What troubles me most is not the fact that the IPA was not an exception to the rule, but the cultural consequences of its failings. Through its mismanagement, the IPA put an entire wing of the American periodical business in crisis. Some would even go so far as to say that the IPA killed it. I'm not just talking about any community either. I'm speaking about the countless number of publications which grew up in the turn of the century indie publishing scene.

For the past thirty plus years, America has witnessed the growth of one of the most creative periodical industries in its history. Despite the fact that this business has weathered numerous ups and downs, it was not until the 'zine explosion of the 1990s that independent periodical publishing in the US fully flowered, creating numerous special interest political and cultural titles expressing the enormous ingenuity and literary talent of an entire generation of artists, writers and designers. Not only did this milieu produce something culturally valid; it also created a market, which despite its small size, was sustainable, significant, and most importantly, politically influential.

And that is precisely the problem. The IPA's ultimate crime was that it never took this milieu seriously enough to understand what it was putting at risk through its administrative incompetence. By failing to live up to its mandate to be a responsible "antidote to media monopoly," the IPA helped irreperably damage a counterculture that was a proven platform for distributing alternative information and ideas. That is a horrible legacy to be responsible for. But it is one which ought to serve as a burning reminder of why the left still has to learn how to do business properly.