This week, we’re sharing an interview with Heatscore and Nuke of sub.Media about their new documentary series, InterRebellium. The first episode, entitled El Estallido Social about the social uprising that flared up in 2019 in lands controlled by the state of Chile featuring anarchist and Mapuche voices on the conditions in which the uprising developed, experiences of it and its aftermath. You can view the film for free at sub.Media/InterRebellium alongside materials for discussion. We also speak about the role of film and media production in radical organizing and critique and upcoming episodes of the series.
- Transcript
- PDF (Unimposed) – pending
- Zine (Imposed PDF) – pending
Another recent documentary about the Estallido Social mentioned, Fell In Love With Fire
Sean Swain’s video deposition: https://www.youtube.com/watch?v=YhbAEYUUeiQ
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Featured Track:
Despacito (Remix) by Luis Fonsi and Daddy Yankee (feat. Justin Bieber)
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Transcription
Nuke: I’m Nuke. I’m with the subMedia collective. I use they or he pronouns, and I’m located in the Northeastern United Snakes.
Heatscore: And I’m Heatscore, he/him. I’m up in Klanada, in so-called Hamilton, Ontario.
TFSR: Awesome. Thank you both for joining this conversation. Can you talk a little bit about subMedia? A little bit about its history, what sort of projects y’all do, the goals of it, everything? Everything, give me everything!
Heatscore: [laughs] Sure, yeah. subMedia is a long-standing anarchist filmmaking collective. We’ve been around for over 20 years now, and during that time we’ve put out a number of different series and videos, hundreds of videos, covering a wide variety of topics through an anarchist and anti-colonial lens. Some of the most well-known are It’s the END of the World as We know it and I FEEL fine and Trouble. We’ve done series called A is for Anarchy, System Fail, and our most recent one is InterRebellium.
TFSR: Y’all just released the first film in a series called InterRebellium. Congratulations.
Heatscore: Thank you.
TFSR: Can you talk about the theme of the series and the release schedule that you’re planning for it?
Nuke: Sure. This being a years-long project, obviously, we plan to interview people from all over the world and make a series of documentaries focusing on uprisings in different countries. The first episode is on Chile, but we have plans to cover Canada, the United States, France, Iraq, Sudan, Hong Kong, Haiti, and Ecuador. This is going to be about the global uprisings from around 2018 through 2020. We see these as sort of an interconnected wave of uprisings. We hope for our social impacts to bring together people in different locales to watch these videos and to really think critically about their local revolutionary movements, to have discussions, take the lessons which the people that we interviewed learned and apply them to their movements at home so that we can relate our histories on a global scale.
Heatscore: Yeah, I’ll just add I think in the past we’ve kind of handcuffed ourselves a little bit with tight deadlines or to have a regular series. With this one, we’re being a little bit more intentional, and the videos are going to be significantly longer than anything we’ve done before. We would like to put out two of them a year if we can. I think that would probably be ambitious. We’ll probably be a little bit less than that, but we do have plans to devote the next five years or so on this project if we want to cover everything. Hopefully, during that time there’ll be new uprisings that we may decide to include.
TFSR: Yeah, maybe some long-lasting, like so [theoretically] how did post-revolutionary utopic Sudan come into being? Let’s talk about the trajectory and all the pain and struggle that people went through, and inshallah you can have some positive outcomes to measure by the end of that.
That’s really fascinating. Having watched the first one, I was planning on mentioning that later, it’s an hour and a half. The Trouble episodes, I think, were about half an hour each, which are nice little bite-sized things to put out on a more regular basis, but it seems only fair to yourselves, with the scope of this first episode of InterRebellium, to give yourselves a chance to take the time that’s necessary to make a really sharp product.
Why does now, or, I guess, whenever you started planning this, seem like a good time to speak about rebellions, their ignition, and their declines? So-called Chile seems like a really rich place to focus on discussion with histories of bleak repression and long intergenerational cultures of resistance. But was there specific timeliness to the inspiration of InterRebellium or just because we’re always kind of between rebellions? Maybe not always.
Nuke: I think we needed to do this at a time when the lessons learned are still within the living memory so that the importance of these rebellions doesn’t get lost in history, because nobody’s gonna document them for us, right? We have to, from within our movements, put together these lessons and think about them.
We had just spent some years working on a piece called System Fail, which would come out every couple of weeks. When we were doing that, we were just married to this news cycle, and I think we wanted to get away from that. We wanted to take some time and really do something that was gonna be a deep, impactful, and analytic type of document series, and to be able to have the time to do that, we have to free ourselves from being married to this news cycle, this constant source of outrage and distraction and ever-changing think pieces. We needed to just do something longer format, deeper, and more introspective for our movements, I think.
Heatscore: I will just add to this. I think that there’s a general feeling that we’re in a period of a lull or a sort of a down period. I think that there’s a lot of demoralization, disillusionment, and despair around the world these days., but I also kind of get the sense that there is another big wave coming, that there’s a lot of early warning signs of this. The idea of this series and the name InterRebellium, being sort of Latin for between uprisings, is kind of looking at, first of all, the connections between these different uprisings that took place in different parts of the world but then also, yes, the period of time in between these big surges of revolutionary fervor.
I do think that is a time when we need to be studying the limits that previous uprisings encountered, so that our movements can be prepared to make interventions, to avoid these pitfalls, and to push future rebellions even further. We think that anarchists in particular have a catalyzing and important role to play in uprisings. We’re not able to carry off revolutions by ourselves, but we can provide an important spark and help them to push them further. And so this series is intentionally aimed at trying to cultivate that level of preparation for the next wave, which we do see coming soon.
TFSR: So Episode One, entitled “The Estallido Social,” is about the uprisings in so-called Chile, beginning in October of 2019. Could you tell listeners a bit about the film, the background, what you covered, and whose voices and experiences you featured?
Heatscore: “The Estallido Social” was a roughly six-month-long popular insurgency in the territories controlled by the Chilean state. We did this film in collaboration with a number of anarchist individuals and collectives based in Chile and in the Chilean diaspora. I think we interviewed seven people, including mostly anarchists. There was one person we interviewed who does not identify as an anarchist who’s a Mapuche activist. We worked with a videographer from Santiago who helped to conduct the interviews, and then we were in collaboration with a bunch of these people throughout the editing process, working with them, running things by them, and trying to navigate the dense world of Chilean slang.
So essentially they tell the story, particularly [through] an anarchist lens of the Estallido Social and the ultimate repression and recuperation of the movement before it was finally quashed, as many of these other uprisings were, by the COVID-19 pandemic, the lockdowns, and everything that came along with it.
TFSR: To encapsulate the histories of repression and memories of repression in the country, there’s a spike in the cost of public transit fares that leads to student and other working-class protests that generalizes in response to the broad dissemination of images and video of police reaction and repression and blows up into this amazing, amazing, and absolutely huge social popular uprising.
I think you all did a really interesting job of bringing in these different elements of what influenced the shape and development of that uprising, the Estallido Social. I think it was really fascinating. It’s very good storytelling, and that’s really great and it makes sense that you were able to check in with folks on the ground, folks who were there and experienced it, about the way that you told the story. It comes out in the final product, I think.
Heatscore: Chile has long been an inspiration for members of subMedia, and I think for a lot of anarchists. It’s arguably the strongest anarchist movement in the Western Hemisphere, and the Estallido Social was really bringing together a kind of a tapestry of different popular movements. We focus on the student movement, which had a lot of overlap with the anarchist movement in Chile, the feminist movement, and then the Mapuche struggle against the Chilean state. That doesn’t cover the entire scope of the social movements in Chile, but those are the main ones that we saw as constitutive forces of this broader social uprising.
Nuke: And we see just how far the state is willing to go. It will literally mutate itself and transform itself to hold on to power. They held elections for a new president. They were ready to totally rewrite their constitution, whatever ways in which they could recuperate and maintain their own power and hegemony over the people. It’s really interesting because Chile is one of the first places where the system of neoliberalism really took hold, and the US had a lot to do with that, of course, but it really was a laboratory in repression. I guess it was Yza who said that long histories of repression often are coupled with these long histories of resistance. Definitely a lot to cover in this. We could have gone over 90 minutes.
TFSR: Yeah, I’m so glad that you didn’t try to do it in a 30-minute Trouble episode, and you couldn’t have, but that’s awesome. Speaking on this same topic, I really appreciate the discussions of the aftermath and the hindsight by the guests. Counterinsurgency, recuperation by the Social Democrats to save the capitalist state. Discussion of the emotional impacts of those who were on the ground and who had lost. Prison sentences, police retribution, the eye injuries from less lethal munitions aimed at activists’ heads. This film tells a story of how the past doesn’t pass, and that the survivors carry the scars, memories, and relationships to the next stage and struggle. Would you talk a bit about memory and what the film shows about rejecting the state and the media’s periodization of rebellion?
Nuke: We’re seeing now the state and media’s response to this. It basically amounts to gaslighting at a societal scale, right? They don’t want this to happen again. They don’t want us to remember that we have the power to threaten the foundations of the state, and they’re gonna do whatever disinformation, misinformation, narrative changing that they can to put bookends on this revolt.
We saw a little bit in Chile what we saw in the US: Conflating anarchists with the far right is a big one, right? When Trump supporters tried to do the January 6 insurrection, they were like, “Oh, well, those are anarchists,” when nothing is completely further from the truth. Those people just want to morph the state into their own thing. They don’t want to destroy it.
It’s up to us to keep the memories alive because the state’s gonna try to change things and tell it in a way that directs people towards working within bureaucracy and working within the system, and we know that’s not the path for liberation for anyone.
Heatscore: Our goal with this really is to chronicle some of the movement’s history, because there is so much of it that is lost by the twin forces of repression and recuperation, by either killing, maiming, or imprisoning those who actually are the living embodiment of these struggles, who carry those lessons with them. So for us, that is a big driving force behind this project, to chronicle these stories and be able to be a thread that connects these different uprisings to one another or across time and space. It’s something that’s very much encoded and intentional within the project, and it’s something that we do see as a necessary contribution that we’re trying to make.
TFSR: Weighing in at a hefty hour and a half in length, the documentary is cinematically striking, has an engaging soundtrack, and tons of amazing footage. It also, as you warn at the beginning, has a lot of really depressing and shocking images and descriptions of police and military violence.
Can you talk about producing this film, the connections that you made to folks on the ground or cinematographers, if travel was required, and the sort of the nitty-gritty of it? Also, how long did it take to complete this?
Heatscore: We spent probably about probably eight months on this project, I would say, roughly. Originally we had planned it to be a shorter film, and we were hoping to release it on the 5th anniversary of the Estallido Social, which was October 18th of last year. And once we actually got our hands on all of the interview footage, we realized quickly that was not going to be possible.
One thing that is very interesting about the production process is all of our conversations with the comrades there were in Spanish, and none of the current subMedia members are native Spanish speakers, so that was something we had to navigate. I mean some of us do speak conversational Spanish in various states of brokenness. But it’s an interesting logistical hurdle and one that we anticipate with a project like this. And it is something that is cool to try to overcome.
In terms of the production process, we used found footage, which is kind of our trademark way of editing. We just jack as much footage as we can from the internet and various other places. So, you know, one of the films that we took a lot of footage from was My Imaginary Country, or Mi país imaginario, by a Chilean filmmaker Patricio Guzmán, who’s pretty well known for doing a trilogy series called The Battle of Chile. He produced that film, which was, I think, nominated for an Oscar, and it was so full of beautiful footage, but it was just so garbage, such a liberal take on this uprising, where it’s like they succeeded getting Boric elected, like this was the dream of Salvador Allende like come back to reality or whatever. The guy was not even there for the uprising. He lives in France. He kind of flew back. So we were like, “Well, we’re going to steal all of your footage and make a better movie with it.”
And then we also worked with some Chilean filmmakers, as I mentioned. One of the comrades who did a lot of the filming for us, Valentina, actually did travel around Chile, and so we were able to fundraise to cover all of her travel costs. We were also able to purchase some equipment and stuff like that. And that’s another thing that we do want to do with this project, try to funnel some resources to anarchist media collectives in other parts of the world and help them to use some of our kind of first-world largesse or whatever, even though we’re a bunch of broke dirtball filmmakers, to get them some proper gear to work with and stuff like that.
So yeah, that was the nitty grits. It was difficult to do it in Spanish. We stole a lot of the footage, and then a lot of the heavy lifting was done by comrades on the ground.
TFSR: Years ago, y’all produced a monthly series called Trouble that we’ve mentioned a couple of times that covered a range of topics of interest to anarchists, promoted group screenings, and was paired with study materials. I know that our local Black Cross chapter did regular showings that were followed by fruitful discussions at the local infoshop.
Near the end of the first installment of InterRebellium, “The Estallido Social,” Yza from Valparaiso speaks about the spectacular function of Netflix as an example on the imagination of revolt and possibility. Can you talk a bit about the social consumption of media, your hope in creating a series like InterRebellium, and what tools you package with it?
Nuke: Sure, yeah. We are absolutely inundated with just this disposable media these days, an endless screen of mindless TikTok videos and dances. Anyone with a camera phone can go viral over the most mundane stuff. So we were really intentional when we created this. We want people to watch it in their communities. We want people to put on screenings of it. It comes with a little zine that has some discussion questions in it, an introduction to the film.
[With] other stuff we’ve put out, the next day or two, I would have a tab open for every social media account that we have and tally the views, how many comments, what are people saying about it. And today, I haven’t even gone on because I know the value of this isn’t clicks and likes for this. The value is passing the lessons on, and we do that through getting together and consuming media in the community and talking about it. This is meant to be a long-lasting project. This is gonna be relevant for a long time. We wanted to document history here, and that’s something that we hope that doesn’t just sit on our servers somewhere. We hope people will screen these for years to come.
Heatscore: I’ll just add in terms of the Trouble screenings, Bursts, I was working on Trouble with Frank Lopez at the time, and the Asheville screenings were always the ones that were basically the deadline that we set. We always knew that you guys were going to be screening it right at seven o’clock or whatever it was. So whenever we were working on that—I don’t know if we ever passed this along to you—but we were just like, “We need to finish this for Bursts!”
TFSR: So sorry! [laughs]
Heatscore: They are waiting for us to publish this!
TFSR: They’re just staring at the screen, waiting for the content!
Heatscore: To echo what Nuke said, during Trouble we heard a lot from many people about how formative it was for local scenes to have a space where people could have these conversations, and that there were actual organizing projects and collectives that came out of it, which is really gratifying, a lot more gratifying than getting a bunch of likes on Instagram or whatever. We don’t know where this is going to go. We’re still getting our footing with this new series, but this is one side of things that we really do want to build on and be intentional about as well, how we’re developing this kind of network, and what sort of potential there is for that beyond just the one-offs or local screenings.
We’ve heard back from people that we know of that there have been about 30 of these screenings organized so far in cities and countries around the world, from a bunch of places in the US to São Paulo and Porto Alegre in Brazil, a couple of other cities, in Berlin, in Copenhagen, and, I think, also in Bali in Indonesia and stuff. So we are hoping that people engage with this. Oh, Saint Petersburg. Also I want to shout out the Russian comrades. We were working with them to try to get the subs up in time for them to do their screening on Monday. So yeah, we’re hoping that this kind of network continues to grow and that this is a useful tool for people in their local communities to help build up their local scenes and to help sharpen their analysis together.
TFSR: Yeah, that’s really impressive. That’s great. What languages do you have the subtitles translated into? And was it a political choice to not translate paco? That’s me kind of teasing. Sorry. I noticed when I was watching it last night, that paco came up in the subtitles as paco.
Heatscore: I think we use the term pig once or twice. There are a couple of people doing it. It is one of those things that there’s not an obvious translation for. But yes, sometimes we would call them paco, sometimes it was cops, sometimes it was pigs.
In terms of the languages, we have a pretty good system of translators that help us translate things into French, Spanish, and Portuguese. And then we’ve already had this one translated into Russian, as I mentioned. So we’re hoping in the future to have these available in other languages as well, including hopefully Arabic, Italian, German, and Greek. For now, we can guarantee that each of them is going to be in English, French, Spanish, and Portuguese.
Nuke: And I just really hope that specifically our US-based viewers can get over the fact that it’s going to be 90 minutes of subtitles on a screen. I know we’re in the land of Hollywood, and stuff is made for the US, but if we’re really going to commit to having a revolutionary internationalist movement, reading translations is just going to be part of what’s needed to communicate these ideas over long distances and different cultures. It was definitely humbling for me to use my broken Spanish to communicate with comrades in Chile. I get that the US is really big, and you can travel in any direction, and everybody still speaks English a long ways, but the world is shrinking.
TFSR: In so many ways, in technology, and then that just kind of proves how expansive it is. When I meet up with Chilean friends of mine, I speak Spanish a bit because they don’t feel comfortable speaking English. They always comment on how my Spanish sounds like a child speaking, like a six-year-old maybe, a four-year-old probably. In Chilean Spanish, the rapidity at which people were speaking in the documentary was pretty impressive, but I think you did a good job of timing out the subtitles so they didn’t disappear too fast.
Heatscore: Yeah, my Spanish is not great, and then I’m also Canadian, so I just end up apologizing for how bad my Spanish is constantly, which adds another dimension to it.
TFSR: Growing up in California, I was mostly speaking with folks from Central America and folks from Mexico, like outside of Mexico City. The speed at which people speak tends to be… I don’t know if that’s because a lot of the people were from rural places, and people in rural places tend to speak more slowly or whatever. But when I listen to people from a big city in the Spanish-speaking world speak, it’s just brrrrrrrrrr, so fast and so full of jargon that you have to be a local to understand.
Heatscore: That was what happened when I shared a couple of clips with Frank Lopez, who’s Puerto Rican, and he was laughing about the Chilean. The one anonymous anarchist that we interviewed was from Santiago. The amount of slang that he used was just hilarious. And actually, trying to get that translated, we used a translator from Mexico for help with some of that stuff, and he had a rough time.
TFSR: This year saw the death of a comrade to many of us, Murphy Hoops, just as his documentary Fell In Love With Fire was released. Do you want to say anything about this documentary and Murphy’s relationship to InterRebellium Episode One?
Heatscore: I didn’t know Murphy well, but I was put in touch [with him]. We had some mutual friends, and I ended up reaching out to him early on when we were first starting with organizing the interviews for this. He was so helpful. We ended up talking for a couple of hours, and he just really opened up his rolodex. He had spent a couple of different stints in Chile and was there during the Estallido Social. He was a really vibrant and larger-than-life figure who very clearly was very social and made friends everywhere that he went. He had a lot of comrades in Chile. He put us in touch with some excellent people. That was the initial spark for us getting the collective together and starting to figure out what this was going to look like, who we were going to interview, who could help with videography, and stuff like that. So his role in this was huge for somebody who is not directly a member of the subMedia collective.
At the time he was working on another documentary as well, and he was planning on releasing it on the same day as us. So there was a period when we thought that they were both going to come out on the same day, and we were thinking that’s cool. People can screen both of them, like a back-to-back. At the time we thought this was going to be a shorter film.
But yeah, he was very generous. We checked in several times after that, and he was very interested and invested in the project and wanted to know updates. When we were struggling with finding somebody to talk to on a certain topic, he again would reach out to mutual contacts and stuff like that. He was incredibly helpful, a very generous and special comrade. It was a big surprise to hear about his death and very sad. We know that he touched a lot of people. So we ended up dedicating the film to him at the end, which is the least we could do. That’s something we thought about giving a heads up to people because we know that it’s still pretty raw for folks. Just so people know there is going to be a picture of him at the end. We wanted to thank him for all of the help that he gave us.
TFSR: subMedia also put out two of three episodes of the series of short documentaries in collaboration with anarchist and author Peter Gelderloos called It’s Revolution or Death. Could you tell us a little bit about the series, what sparked it, and what feedback you’ve gotten?
Nuke: Sure. It’s Revolution or Death is a three-part series that we’re making in collaboration with Peter Gelderloos. He’s the author of How Nonviolence Protects the State, among others. I guess that was the big one for me and how I first heard of him. I had been a fan of his writings for a while. He reached out to us with this idea for a series that he narrates looking at climate change and resistance to it and the recuperation by green energy corporations, and how there are things that will work and things that won’t work. And the things that aren’t going to work are allowing big energy corporations to continue to greenwash and start a whole other poisonous extractive capitalism that’s not fossil fuels now—it’s based on lithium.
Heatscore: We’ve collaborated with Peter a few times with subMedia, and he’s always been one of our favorite people to interview, always very insightful. So we’re happy to collaborate with him on this. It’s been great. Peter has written the scripts and has a sort of artistic vision for these. The second one was more interview-based, so that was a more similar format to Trouble or InterRebellium, although a little bit shorter. And then Peter just wrote the intro and outro for it.
The first one covered the greenwashing hoax of the alternative energy fuel industry. The second one looked at some past examples of inspiring struggles waged by different people on different front lines, including Slaydo’ from the Gidimt’en Clan of the Wet’suwet’en Nation, Neto from Teia dos Povos and Isa from the ZAD in Notre-Dame-des-Landes. And then the third one is basically going to be more of a how to guide about how people can get started where they are.
I think that overall the plan is to package the three of them together with the screening kit like we’ve been doing with InterRebellium so that people can actually start to talk about what are some of the local sources of ecological destruction in the area, what are some other priorities that people would need in order to build up our resilience of our communities in the face of ongoing ecological collapse, which is at this point kind of baked in.
I think that one of the things that Peter in particular wanted to do with this series—I don’t want to speak for him—but in our conversations, he talked about wanting to really try to jolt people out of this attachment that they have to more activist approaches to environmentalism, which is focused on getting those in power to pay attention to the severity of the crisis and to do the right thing, that the world needs to come together so that we can keep the global emissions parts per million of carbon below a certain threshold. It is all kind of a fool’s errand to try to approach the problem this way, and that really what needs to happen is the community needs to start taking direct action, and then also just preparing for a world that is coming, which we are not currently doing a very good job of.
Nuke: We need to occupy land and be able to take control of some spaces back for the community, and we need people to be able to try to salvage what’s left, because huge areas of land are being devoured, and climate catastrophe gets worse and worse. We’re gonna need places to go. I don’t think this society is gonna be here forever, so it’s interesting to hear from people who have more or less successfully been able to occupy and hold territories outside of state control and hoping to spark more of that.
TFSR: So how can listeners check out subMedia’s videos, support your work, or get involved if you’re looking for that?
Heatscore: You can check out our videos on our website, which is sub.media. We are also on Mastodon. We are part of the Kolektiva collective, so we are on kolektiva.social and kolektiva.media, which is our PeerTube instance. You can also catch our videos (not InterRebellium because it’s too long), and follow us on Instagram. We’re also on YouTube, but we try to encourage people to get away from those surveillance capitalist platforms as much as possible.
In terms of support, some of the things that are going to be coming up, we need contacts with anarchists in parts of the world that we currently don’t [have]. So if you are an anarchist from some of the countries that we plan on covering for this series, if you have contacts with people in Iraq, for instance, who were part of the 2019 uprising, we would love to hear from people.
If not and you just want to organize local screenings, that would also be much appreciated. We are encouraging people to start screening our films locally, and to start you can just get together with a couple of buddies and start watching them and having these conversations.
And then beyond that we’re an independent anarchist collective, and we don’t have any institutional backing. We’re not getting arts grants or anything for this, so we do also accept donations that allow us to continue doing this sort of work. Particularly with InterRebellium, we are hoping to be able to use the funds that we raise to produce some high-quality film, and as I mentioned before, to purchase some equipment for comrades who need it and stuff like that. So any money that can be donated to help us with this will be much appreciated, and we will do our best to put it to good use.
Nuke: No arts council is going to give money to filmmakers that portray that many burning cop cars, so we definitely need help. Yeah, we also have a tab on our website for gear, and you could have lovely hats that say “Make America Go Away” or a myriad of other T-shirts and lovely stuff that you can buy. Some of them have burning cop cars on them. Some of them have bolt cutters or knives, and they’re lovely. Buying that really does help us out, so do it if you want. I’m not going to tell you what to do.
TFSR: Heatscore, you had mentioned PeerTube, for those in the listening audience that aren’t familiar with that, could you talk about that? Because you were countering that in some ways with YouTube, Instagram, and these other social media platforms.
Heatscore: Sure, yeah. So we’ve long had a pretty love-hate relationship, mostly hate, with these large social media conglomerates. We’ve always realized that it’s a pretty big strategic vulnerability to be hosting all of our anarchist propaganda on a company that makes autonomous drone systems.
So in 2020 us and some comrades got together and started this project Kolektiva, and the whole purpose of that is to provide alternative open-source social media infrastructure. One of those is PeerTube. People are more common with Mastodon as being part of the “Fediverse,” these federated social media platforms that run on the ActivityPub protocol. PeerTube is essentially the YouTube version of that. If Mastodon is the replacement for Twitter or X, then PeerTube is the replacement for YouTube.
So we encourage people to go check out the kolektiva.media. That’s where we host all of our videos so we don’t have to worry about them getting yanked by YouTube or Google or Meta or Zuckerberg, so we don’t have to hold back. And if we get our videos pulled from other sites, then they will all be there. And it’s a large repository of anarchist videos from around the world. I can confidently say, one of the largest single collections of anarchist media you will find on the internet.
TFSR: Well, that’s exciting. Nuke and Heatscore, thank you so much for having this conversation. I definitely suggest listeners give a view to InterRebellium and check out the subMedia site if they haven’t visited there. There’s a ton of different content there always being produced. It’s glorious. Thanks a lot.
Nuke: Thanks, Bursts.
Heatscore: Thanks for having us.
TFSR: My pleasure.