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john cantlie in the middle of kobane torrent

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It may also help point those who read the essay for the inclusion of punk as a primary motivation to consid- er other manifestations of punk within culture. The stakes are not only the overthrow of capitalism but the overthrow of what Foucault might refer to as the miniature institution that lives inside of us as a result thereof.

From Vaneigem himself: By its very style of living and thinking, our group was already sketching out a situation, like a beachhead active within enemy territory. The Birthday Party, Mutiny! I hesitate to simply out and say capitalism, since it has been suggested that we may be at the inchoate dawn of the progeny of modern capitalism, or at least a new phase within it.

To that end, this work ana- lyzes punk as a cultural movement, but also touches on topics as varied as conceptual writing and aesthetic conceptualism writ large and its rela- tionship to the body as another way in which we might hope to engage in the aesthetic practice of resistance as a form of living as well as an artistic endeavor. Both punk, as performance, and BitTorrent, as mode of transmission, oppose the notion of the art-commodity. Thusly, modes of digital distribution like iTunes or Spotify and US copyright laws engage punk musicians to participate in the recupera- tion of their own subversive gestures.

BitTorrent resembles the latter more than the former. Ratio limits and rules on these trackers are designed, in fact, to ensure op- timal if not equanimous exchange—but even here there are limits. We drove from Bristol to Dover, caught the ferry, and drove from Calais to Paris. We were play- ing a squat—now defunct—in Paris called La Miroiterie in the 20th Arrondissement.

It was one of the longer-lasting squats in Paris, having survived 8 years or so by the time we played there in July of The squat was populated by artists, autonomists, anarcho-punks We arrived at the squat, but most people were still in bed. We were early. It was maybe 10 or 11 in the morning when we arrived. There had been a show there the night before.

I used the bathroom, came out, downed the remainder of my gimlet and Jack was dozing on a stool in the corner by the window, curled around himself in a sunbeam like a cat. Hess asked for and received a paper cup, poured the rest of his beer into it and suggested we go for a walk. Nothing makes so clear the degree to which each ounce of your life is chemically, materially, technologically, architecturally mediated as tour- ing.

Mediated, globalized, structured autonomy. In a punk band, you have to engage with these various interfaces, advertisements, cultures, ex- pectations. The point is, how can an analogy between something like torrents and punk work? But in the end, 6. And the degree to which I or any of my fellow travelers is friendly very much depends upon whom or what we are interfacing with. Not all theory exists in the thin air of semiotics and Lacanian psychoanalysis, thankfully.

McKenzie Wark: I am interested in low theory, which comprise those somewhat rarer moments when, coming out of everyday life, you get a cer- tain milieu that can think itself. It happens in certain spaces that we used to call bohemia. Low theory is the attempt to think everyday life within practices cre- ated in and of and for everyday life, using or misusing high the- ory to other ends.

It happens in collaborative practices that in- vent their own economies of knowledge. It made sense. It would not be long before I was placed in just such a situation. Once there, they became sources of comfort in the face of the teasing I was subjected to and the social isolation I felt. An all too-familiar tale. My tastes branched out, of course, as I got older. I re-visited the 8. I soon lost interest in weed—but, boy, were dexedrine and booze fun. But I often found philosophy to be a bit Cartesian in that it focused a bit too much on the ego.

I nevertheless perceive that God could easily have created me so that I never should err, although I still remained free, and en- dowed with a limited knowledge, viz. And it is easy for me to understand that, in so far as I consider myself alone, and as if there were only myself in the world, I should have been much more perfect than I am, if God had created me so that I could never err.

Nevertheless I cannot deny that in some sense it is a greater perfection in the whole universe that certain parts should not be exempt from error as others are than that all parts should be exactly similar. And I have no right to complain if God, having placed me in the world, has not called upon me to play a part that excels all others in distinction and perfection. What is this perfection or liberty? Why is this imperfection on me? How can I claim to have freedom when it is al- lowed me?

Crime, lust, depravity, ingenuity, adventure And void. And horror. So be it. This milieu readily recognized me as one of their own. Thus disappeared my last possi- bilities of one day returning to the normal round of existence. I thought so then, and what came after proved it. I must be less inclined than others to calculate, since that choice, which was made so quickly and which committed me to so much, was spontaneous, the product of a heedlessness on which I have never gone back; and which later, having had the leisure to judge its consequences, I have never regretted.

It might easily be said that in terms of wealth or reputation I had nothing to lose; but, after all, neither had I anything to gain. Google helped me re- member the exact date. I had my ticket in my pocket. She had been having a rough day when I got there. She really hated the job.

She quit. I tore up my Patti Smith ticket and we went to the Princeton Record Exchange and held hands and got ice cream and kissed and I bought her a Monroes record. It was sweet. The lead I was instantly in love. The girl had friends that were even closer to the band, so we hung out with them backstage. Some of the horn players were warming up. The rest of the band were drinking red wine or beer and some of the kids had snuck in a couple bottles of gin and tonic water.

Some kids hanging out backstage asked him what he was reading. It was a pretty enjoyable book. Very violent, though. Smiled wryly. You two should know one another. Go have a cigarette. Hess and I talked about jazz and why he preferred Joe Henderson to John Coltrane and what kind of music I wrote, did I have any active bands, the typical musician repar- tee. He said he had to go in and warm up.

They were on next. What I saw next was personally transformative. Kids started sprinting in- side. I tossed my cigarette and followed nonchalantly. There was no stage in the venue, it was just a basketball court inside a gymnasium. Everyone was dressed in suits or evening dresses in the band. It was the end of May and terribly hot, no air conditioning. Everyone started stripping down to their underwater.

It was a heady rush. I was changed. I was hooked. Reagan died 6 days later. That much seems obvious. So, is punk simply a negation? But, shockingly perhaps, this does not mean that punk must stop the airway of creativity nor that the position of marginality or the need to choose fellow travelers and exclude others; to prevent peripheral occulture from drifting towards the center or poking its head above the surface; to resist recupera- tion, as it were.

The challenge is resisting making such processes about ideological purity and authenticity or, worse yet, nostalgia—which is a delicate line to toe. Punk scenes are self-constituting and non-hierarchical presumably Are the Why and how are you going to claim the margins? Is the dissatisfaction with culture—that is, is a nihilistic outlook—to be blamed on others in the margins and thusly require an attack on them in response to your own presumed, consequential marginality?

Or do you attack the center, the mainstream? Which, yes, sounds like Foucauldian, neoliberal claptrap—but the importance of the distinction is the manner in which it neatly subverts essentialism. In a discussion on the private tracker what. Despite this, my primary interest has been in developing the community aspect of the site, though largely in a behind the scenes fashion.

Accessed 19 February, Not only that, but this would seemingly proceed without any particular agenda in mind, even if—potentially, anyway—the suggestion or idea mentioned in the last sentence ends up altering the pro- tocological structure of the community and its functioning and survival. They ended up not being liberatory but rather, merely provided a new lexicon to describe the same mode of social relations: occulture which simply evolved into culture.

Still, I suppose at this point I should get into torrenting itself as an operation and protocol. The basics are that a BitTorrent user uses a torrent client like Transmission or uTorrent, for instance to download a.

This is in no way meant to be a swipe at Audre Lorde. The central node of the torrent protocol is self- constitutive—it is every single computer that downloads information and agrees to upload it of which the tracker is aware. This helps speed up downloads for everyone by allowing people to share their Of course, it also saves Blizzard money on their bandwidth bills.

Much has been made of such de-centralization within Internet culture—and with good reason. The Alexander R. The keyboardist at that time Franz Nicolay. Scores of kids—most underaged— rushed in the venue. Too many for security to handle. Jack had a priceless rant about Miles Davis being tougher than Agnostic Front. My friend Bill Cashman—whom I had met at that show at Trenton just a month earli- er—climbed on my back.

Someone put a trash can over his head. We ran around the bar. People threw shit at Bill. Beer cans mostly. It was mayhem. The security gave up, jumped in the pit and danced. The bartenders started just giving out tap beers, lining up shots.

The tops of the urinals were caked with cocaine and the powder from crushed pills. After the show, I was outside smoking a cigarette and chatting with Bill Cashman, Jack the singer , and the gui- tarist [at that time] Lucky Strano. Bill started talking about how I was a musician. I was embarrassed. There was a method to his madness. Franz was gradually phasing out his involvement. He would later join the Hold Steady, then tour with Against Me!

Bill was angling for the band to promote from within. It was January of The girl and I had long broken up but remain friends to this day. I was starting various projects of my own. I had gone to graduate school at Penn. They were playing in Philadelphia at the basement of the First Unitarian Church. After the show, a few dozen of us drunkenly migrated to the Swann Memorial Fountain and stripped down and went swimming.

I left before the cops got called. I saw the Sub- humans there with a girl I had a crush on. She thought I was too intense. Oh well, onwards and laterally. Bill really wanted me to go to this show. Bill texted me incessantly. They had to do the show without a keyboardist. Raja was having some legal troubles.

The show was still really good. Bill took me backstage. Wine, drugs, cigarettes, the usual. There was a piano in their dres- sing area, Bill told me to play something, told the band to make requests. The band imitated the Peanuts gang, drunkenly. Lucky asked where I was when they were playing. I started playing some of their songs. I talked with Peter Hess and Jack a bit about books.

Smoked a few cigarettes. I fol- lowed Jack out. Did some more odd tours. In I be- came a permanent member. I had a stroke in March Who knows what the deal is now. I already said yes. The answer, after all, is al- ways yes. Thirty-nine shows in forty- two days. Anyway, I got through initial security screening successfully some- how though navigating my keyboard through oversized luggage was mildly hilarious. And then it happened. They decided they wanted to X-ray my laptop.

I was sweating and hack- ing and coughing. I tripped into it and immediately sprang up, hitting the bathroom again. My attention, however, suddenly became focused on my hand. Was it actually electrical, I wondered? Could it be…magnet- ic? I tried to reconcile myself with this indisputable fact.

I was, in fact, still human. It is inseparable because it determines the topo- graphical maps of the very terrain of these struggles. We live within our own creative capacities as we live within polluted air. Despite what corpo- rations and the academy would have you think, creativity is about play— not work. Play does not require talent. It requires the ability to say yes. While—as we have said—the answer is always yes, creativity is not auto- mated: unfortunately for the media theorists, creativity is not informa- tion, but like information we have no theory of value for it.

In a way, it forces creativity to achieve an equivalence with information, quite literally as a method of transmission-that-is-not-exchange for power always maintains and multiplies, de-territorialized as it has become; it de- termines its own place within the production process and thusly, estab- lishes a use-value for creativity as desire-production as culture.

Orridge to Laura Jane Grace , as a symptom of the crisis within identity politics as a form of rev- olution in this society. It is precisely for this reason a total contestation is possible. A fully-grown cybernetic form of power is inscribing culture into the machines that reproduce it, in a way that in- formation would henceforth be the only possible substitute for the com- modity-form.

Real transmission dissolves the network. Which is not to say I object to art being conceived as a form of information, but rather that information itself is beginning to become something like what a commodity— even the money-form of the commodity—used to be. Power lives in stolen bandwidth. It is neither creative nor uncre- ative: it is only productive. If it determined the transmission of culture there would be no art nor information as art , only information that is, information as commodity.

Steven Shaviro: Aesthetic sensations and feelings are no longer disinterested, because they have been recast as markers of personal identity: revealed preferences, brands, lifestyle markers, objects of adora- tion by fans. Aesthetic sensations and feelings are also ruthlessly cognized: for it is only insofar as they are known and objectively described, or transformed into data, that they can be exploited as forms of labor and marketed as fresh experiences and excit- ing lifestyle choices.

Informa- tion cannot merely be valued as novel or proprietary, as mere news, but Too easy to shrug and not give a damn. Poetry must be under- stood, then, as a direct engagement with information within all forms of reality which is the totality as well as all alterations and re-purposings of this reality. Thus poetry is always a latent form of creativity within the totality. Punk must aspire not only towards the transgression of the totali- ty but the poetry of transgression—that is, it must extract the accumulated latent resistance, that is poetry, hidden within the commodity-form that has become art: the creative kernel within the marketable shell, as it were.

It is liberated creativity, creativity recovering its transgressive power, breaking free of the rigidities of the marketplace and simultaneously em- bracing words and music, cries and gestures, painting and physics, facts and acts. It is not enough to develop an information theory of value. Needless to say, this relationship of poetry to its material base is not a subordination of one to the other, but an interaction.

In the one case both the stating-point and terminating-point of the movement are commodities, in the other they are money. In the circulation C-M-C, the money is in the end converted into a commodity which serves as a use-value; it has therefore been spent once and for all.

In the inverted form M-C-M, on the contrary, the buyer lays out money in order that, as a seller, he may recover money. By the purchase of his commodity he throws money into circulation, in order to withdraw it again by the sale of the same commodity.

He releases money, but only with the cunning intention of getting it back again. The money therefore is not spent, it is merely advanced. Karl Marx, Capital, Vol. Infor- mation can produce leverage, it can produce prestige, it operates within the economy of real and symbolic capital—throughout all spectrums of the totality. Torrenting liberates information from the burden of produc- ing surplus-value through exchange and materially advancing the process of accumulating capital whether it is productive capital or money cap- ital.

It is a question of dis- tribution, circulation, and in classical Marxian terms, the means of production: the distribution of information, whether it be public or priva- tized, is a constituent part of its production. Marx, again: Karl Marx, Capital, vol. If on the one hand, therefore, a part of the surplus-value real- ized in money is withdrawn from circulation and stored up as a hoard, at the same time a farther part of the surplus-value is al- ways transformed into productive capital.

Much like the turmoil over the enclosure movements or the mercantile spread of territorial control of sea routes, information has become a subject of valuation and there is a revolutionary contingent that does not seek to liberate it, so much as to re-purpose it though, this re- purposing may be liberatory.

This avowal on the part of the torrent community is rooted in the understanding that when the information in question has encoded within it creativity or aesthetic practice, it has en- coded within it resistance to our current mode of social relations. Thus, all information is potentially transgressive when it is re-purposed as such. Punk, above all, fomented ad- venture and play—in short, creativity. Perhaps punks will not couch it in such language, but it is at the heart of it nonetheless—the re-purposing and correction of the deployment of creative capacity through poetic ad- Because power itself functions pro- tocologically, so must its re-purposing, so must its redeployment at the service of resistance.

The point is not to put creativity at the service of revolution, but to put revolution at the service of creativity. It is only in this way that revo- And we must not think of creativity as an activity limited to the bourgeois conception of individual talent or genius. We must embrace collaboration and we must embrace a cutthroat insistence upon opposing the art-commodity, even if the practice involved is profoundly uncreative.

As such, this creative project does not insist upon a rejection of conceptualism so much as a re-purposing of it. The body, then, is an idea for purposes of conceptual writing, for instance. They are a constituent part of the words on the page and thus the idea itself. We must score our material being, our everyday lives, directly through and as a body. Bound to the memory of partial and rapidly crushed revolutions,29 conceptualism has been in danger of following the path of surrealism and becoming a reformism of the spectacle, a critique of a certain form of the reigning spectacle that was carried out from within the dominant organization of that spectacle.

Conceptualism seems to have overlooked the fact that every internal improvement or modernization of the spectacle is translated by power into its own encoded language, to which it alone holds the key. But this is not necessarily so. After all, this section is an exercise in conceptualism.

It is a matter of to what you put the concept at the service of. One need not be creative in the classical aes- thetic sense, but one must be creative in the sense that you must demand the creation of a new world—even if your preferred method of achieving it is repackaging or plagiarizing the old one. Conceptualism without trans- gression of the social and economic order is appeasement.

Might we name them all? Real creativity, which has no concern for the world of bottom-lines and marketability, seeks to reorient the entire world and the entire future to its own ends. As long as it lasts, it cannot sell out because most people do not want to buy it. Come to think of it, as a moral principle as well. The four grab hold of the wooden signs, break it into piece, and begin to beat on them: they make a narrow, channeled noise. No one can get out of this moment, and so the four hammer out the Only the momentum of the music holds it together.

Punk is nothing when it is referenced or capitalized upon; it needs to be detourned, re-animated. In its re-animation and revision, in allowing it to meet the totality of its own moment now in- stead of fetishizing what it once was, we can achieve the immediacy of transgression in media piracy. If we understand this, we understand that our hope is to steal cre- ativity from the spectacular history of the rulers and return it as a force within everyday life and its possible liberation; the liberation of each indi- vidual life and the realization of its own creative capacity.

Punk can be used in that same way by remembering its history within everyday life, rather than its spectacular history; then it must re-animate itself in order to address the totality of the present as opposed to the totality as it stood 40 years ago. Marcus, There are other infrastructural issues, educational issues, and economic issues at the heart of Internet access—but, as we stated at the start, punk and torrents are both sites where class is disclosed in the sense that both of them in a performative and distributive sense, respec- tively oppose the notion of the art-commodity or the valuation of infor- mation as property.

A sit- uation in which creativity is possible must not get sidetracked into trying to restore creative failures of the past such failures being the inverted re- mains of the history of aesthetic practice, transformed into success and hagiography. Such a situation naturally seeks the transmission and possi- ble triumph of its own practice. Youth, after all, is not a per- manent condition, and a clash of generations is not so funda- mentally dangerous to the art of government as would be a clash between the rulers and ruled.

They are the vassals of the lords of the technocratic and aesthetic feudal- ism that is now constituting itself. Gramsci understood this all too well and it is outlined in his understanding of wars of position and wars of manoeuvre. Anne Show- stack Sassoon: Even though the dominant class may appear [emphasis in origi- nal] to be superior because it has State apparatuses on its side, it Its dom- inance therefore is conditional far more than may seem to be the case on its ability to maintain itself on this terrain.

It is not enough to re-kindle revo- lutionary fervor. One must re-kindle creative capacity, re-kindle the belief that a new civilization is not only possible, but required. Our era no longer has to write poetic directives; it has to carry them out.

This sharing refers back to the The ocean was a commons for pirates, roads were traversed by many and thus fertile ground for thieves— piracy is an endeavor which specializes in the re-purposing of the com- mon, not trading in the obscure—thusly obscurity is part of the commons, but not in a recuperated form. Bertell Ollman: In interacting with nature, each man [sic] deposits part of his personality, the distinctive contribution of his powers, in all he does.

This describes equally activity, work and cre- Maurice Blanchot, The Unavowable Community, trans. Thus, all work in any area of life which produces use-val- ues may also be viewed as creativity. Do we recognize this in each other, let alone ourselves? Most BitTorrent users are not simply seeking to scratch a commodity itch. On what. It is not occultured, but open and inclusive at least, with- in the what.

By the time you recoup the expenses of making a record or pay back a label, enough time has gone by where you have to make a new record. Down- loading music becomes an act of sharing within a community, rather than an act of exchange within an economy; just as insisting on playing an all Make no mistake about it. Steal everything. If it is a LiveNation gig, then sneak in—or, if you have the connections, get on the list. What are you doing going to see a punk band in a corporate venue, anyway?

Led to his death. The footage showing Kasasbeh's gruesome murder appears to be professionally shot and edited in the style of the horrific beheading videos featuring the terror group's executioner in chief, Jihadi John. It then cuts to beaten and bruised-looking Kasasbeh sitting in a darkened room wearing a Guantanamo-style orange overall and giving details of his training as a pilot, the anti-ISIS airstrikes he took part in, and details of crash in which his F jet came down in jihadi-held territory.

At several points the camera zooms in close to his face, on which there is a look of resignation similar to that of other hostages murdered on propaganda videos. ISIS is now believed to brutally murdered him. ISIS threatened to kill Kasasbeh centre if a deadline was not met for the release of would be Rishawi. Exchange: The Jordanian government had said they would only release failed female suicide bomber Sajida al-Rishawi right , who has since been executed, if it had proof Mr Kasasbeh left is alive.

Unusually, the footage also features close up shots of the masked militants, one of whom later kneels down to set light to the trail of petrol that would eventually burn al-Kasasbeh alive. The latest murder by Islamic State terrorists represents a new level of barbarity from a group notorious for its savagery. ISIS blames the fighter pilot for burning houses and killing babies with airstrikes before he was captured in December.

And while the beheading videos featuring British executioner Jihadi John were often static — showing the terrorist standing behind his victims — this clip combines aerial shots, panoramic views and changing camera angles that would have taken far longer to edit. Reports from Jordan suggest al-Kasasbeh may have died as long ago as January 3, suggesting the video has been a month in the making. It is the latest in a propaganda war in which the terror group seem intent on finding new ways to provoke horror and disgust.

As well as posting footage of executions on social media, they have also used captured British photojournalist John Cantlie — who is still believed to be alive — to present videos attacking the West. Before cutting to the sickening murder, the video - released by ISIS' Al-Furqan media centre - continues with TV-style news reports showing the dead and dying child victims of coalition airstikes.

Scars of beatings. The video then cuts to Kasasbeh standing in the centre of a rubble-strewn courtyard surrounded by heavily-armed militants wearing yellow face masks and military fatigues. It looks swollen, heavily bruised and bloody in places.

There is no sound other than that of crows cawing for more than a minute as the HD camera films close-up high definition shots of the soon-to-be victim and his killers. Kasasbeh is then seen standing in a cage as a militant - identified at the end of the video by the name Emir Ahmed - uses a large stick to light the trail of petrol leading up to his feet. Engulfed by flames.

The enormous flames quickly engulf the pilot, who is seen battling them for more than than a minute before falling to his knees and putting up no further resistance. He remains alive for at least another 30 seconds, however, before falling backwards on to the floor of the cage. Fighters then pour debris, including broken masonry, over the cage which a bulldozer flattens, with the body still inside.

Twisted metal, a mechanical digger and two single-storey buildings are shown in the background of what is believed to be a district of Raqqa. Relatives of Moaz al-Kasasbeh held pictures of him at a rally calling for his release early yesterday. Grief: Anwar al-Tarawneh, the wife of Kasasbeh, appeared at a protest in Amman, Jordan yesterday morning calling for his release.

Here Kasasbeh's relatives hold posters of the captive during a rally in the city of Karak over the weekend. Just ten minutes after the deeply disturbing video of Moaz al-Kasasbeh's execution was released, a checklist of justifications for the barbaric act was published on a jihadi forum. The post, published on the pro-ISIS Al-Platform Forum, was written as a guidance to supporters who might be questioned over the merits of the act under Islamic principles.

In the post, entitled 'Moaz Was Burnt Alive, Below Is the Islamic Justification for Such an Act', it gives a list of points, before saying: 'This is what you should say if confronted about these actions. It says that people were 'going to ask themselves whether or not this is approved by religion', vocativ reports.

It then adds: 'Most scholars think nowadays it is fine to burn the victim. The post does not provide any religious basis for the execution. Other forum members later joined in with their own religious justifications. The video comes just days after ISIS' British executioner in chief, Jihadi John, savagely murdered Japanese journalist Kenji Goto in a shocking filmed beheading after days of intensive negotiations through intermediaries to save him.

His fate had been linked to that of al-Kassasbeh after he was shown holding a picture of the Jordanian — the only Coalition pilot to have been captured. On Monday, Jordanian government spokesman Momeni said: 'All state organisations have been mobilised to secure the proof of life that we require so that he can be freed and returned to his home. He condemned the jihadists' murder of Japanese journalist yer-old Goto after days of intensive efforts through intermediaries to save him, adding: 'We spared no effort, in coordination with the Japanese government, to save his life.

The release of the horrific footage appears to confirm rumours heard by anti-ISIS activists in the terror group's stronghold Raqqa in early January that the pilot had already been killed by burning. A bereaved man prays with verses of Quran at the Kasasbeh tribe society for Muath Al Kasasbeh, after hearing the news of his execution. Yaseen Al Rawashdeh, uncle of Kasasbeh, speaks to the media at the Kasasbeh tribe society after news of his nephew's death emerged.

Activists took to the street in Amman to protest and wave their flags in defiance of the shocking video. The demonstrators carried signed which read: 'We demand the execution of Islamic State detainees in Jordan'. Jordanian officials agreed 44 year-old Sajida al-Rishawi, sentenced to death for her part in an Al Qaeda bombing plot that killed 60 people at three hotels in Amman in , would be released but only if the jihadists provided proof that al-Kassasbeh was still alive.

Jordan had been conducting indirect, behind-the-scenes negotiations through tribal leaders in neighbouring Iraq. When no evidence was provided, it raised suspicions that the pilot was already dead and that ISIS was exploiting his case for propaganda, seeking to split the Coalition and turn Jordanians against its controversial role in airstrikes over Syria. Officials said last night that it was unclear when the video - released yesterday - was made, although there were reports that the killing took place a month ago, on January 3.

US, British and Israeli video specialists were studying the footage for clues as to where and when it had been filmed. As the news emerged, a large group, including the pilot's relatives, gathered at a tribal meeting place in Amman, where they have waited for weeks for words on his fate. Members of al- Kasasbeh family had been gathering every day at a community centre not far from the royal palace. Among the prayers being said for Kasasbeh, angry shouts against King Abdullah erupted.

King Abdullah appeared on Jordanian television yesterday afternoon to talk about the pilot's 'martyrdom' before asking for his countrymen to stand 'side-by-side' in the wake of the barbaric murder. The hastily-arranged meeting took place before the Jordanian king was due to return to Amman after cutting short his U. S visit. He was escorted under heavy security through a basement corridor at the U. Others reportedly shouted: 'Moaz, martyr, your blood will not be in vain' and 'No Tahawi, no Zarqawi, we want to execute al-Rishawi'.

Some other protesters waved signs reading: 'We demand the execution of Islamic State detainees in Jordan', while also used the gathering to call out against Jordan's participation in the coalition. As some family members wept, an uncle shouted in Arabic: 'I received a phone call from the chief of staff saying God bless his soul.

Meanwhile, in the pilot's hometown of Karak in southern Jordan, people demanded revenge. Only then will my thirst for revenge be satisfied,' said Abdullah al-Majali, a government employee among dozens of demonstrators in the centre of Karak. Yesterday afternoon, the White House said the U. The shocking video comes just days after ISIS' British executioner in chief, Jihadi John, savagely murdered Japanese journalist Kenji Goto in a shocking filmed beheading after days of intensive negotiations.

British aid workers David Haines centre , and Alan Henning right have also been murdered. US journalist James Foley left was the first to appear alongside Jihadi John in one of the sickening videos, followed by Steven Sotloff centre. Obama rearranged his schedule on Tuesday to make sure he saw King Abdullah before the Jordanian leader flew back to Amman, a source familiar with the situation said.

Meanwhile, Michael Haines, brother of the murdered British aid worker David Haines who was killed by Jihadi John, said his heart was 'filled with sadness' at the news of the 'savage murder of another hostage'. He said: 'Firstly, my thoughts and prayers go out to the family of Moaz al Kasasbeh, I know only too well the feelings of loss, anger and disbelief they must be experiencing right now.

I share their pain. Only when we are all united against this vile threat will we defeat it. First and foremost, our thoughts and prayers are with his family. Coalition jets have already reportedly been bombing parts of Tel Afar. Angela Merkel also said that 'Germany stands shoulder-to-shoulder with Jordan in the fight against terrorism' after the barbaric killing.

The views expressed in the contents above are those of our users and do not necessarily reflect the views of MailOnline. Argos AO. Privacy Policy Feedback. Share this article Share. IS demand the release of terror suspect Sajida al-Rishawi, in exchange for Goto Jan Video showing the decapitated body of Goto is released Feb 3: Video released of Jordanian pilot Moaz al-Kasasbeh being burnt alive while locked in a cage.

Share or comment on this article: Jordan executes ISIS jihadists hours after pilot is burned to death e-mail 41k. Comments Share what you think. View all. Bing Site Web Enter search term: Search. Ad Feature Advertisement. Megan Thee Stallion sizzles in a bikini as she enjoys yacht party with pals and packs on the PDA with her rapper boyfriend Pardi in Ibiza Paul Walker and Jenni Rivera receive posthumous tributes as part of 24 new celebrities to get stars on the Hollywood Walk Of Fame in Love Island: 'You lied to him multiple times!

Paul McCartney scraps Beatles hit Back In The USSR from ALL live shows due to Putin's brutal war in Ukraine Olivia Munn says her body 'hasn't snapped back' six months after she gave birth to her son with John Mulaney: 'The postpartum road is rough' David Hasselhoff, 69, and his wife Hayley Roberts, 42, kiss during the opening ceremony of the 61st Monte-Carlo Television Festival Goldie Hawn shows off her incredible figure in black halter-neck dress as she and partner Kurt Russell enjoy beach day during their Greece getaway Dame Deborah James praises the 'incredible' men in her life and vows to have 'a whisky or two' with her dad on Father's Day as she receives end-of-life care Someone get her a towel!

Kim Kardashian slips into silver bikini for beach day with Pete Davidson amid raunchy romance in new photo album from Tahiti vacation Mom on the move! Kendall and Kylie Jenner get dressed up and sip tequila cocktails while helping friend Hailey Bieber celebrate her skincare line Orange Is the New Black star Yael Stone cradles her baby bump as she shows off her sleepwear-inspired ensemble at the premiere of Blaze Junior Andre's debut single Slide hits No1 in the UK's iTunes pop chart hours after release as his father Peter gushes he is 'so proud' of his son 'He's stopped ticket touts by charging more than them in the first place!

Cruise, 59, displays his VERY muscular arms in a fitted top ahead of his 'two A-list 60th birthday bashes' Elle Macpherson, 58, is the epitome of chic in a cream gown with grey horse prints as she departs hotel in Seville Caught the eye in Spain on Friday Alex Rodriguez, 46, lives it up on luxury yacht in Capri with bikini-clad girlfriend Kathryne Padgett, Eurovision Song Contest will be held in BRITAIN: Second-place UK will be next year's host because Ukraine is unable to hold contest Elvis Presley's ex-wife Priscilla says he would have 'loved' new biopic because it really 'shows who he was' - as she opens up about romance with singer Disney made decision to axe Lightyear from cinemas in Malaysia after it refused to cut gay kissing scene that saw it banned in 13 countries 'Having sex can help it': Kate Garraway descends into fits of giggles after hay fever chat turns VERY racy leaving Good Morning Britain in 'utter chaos' Fun Fry-day!

Prince Edward tries his hand at archery and polishes medals for the Commonwealth Games on visit to Birmingham Amanda Holden flashes her legs in a colourful minidress while Ashley Roberts is chic in a cut-out beige dress as they leave work at Heart FM Suki Waterhouse shows off her toned legs in white denim shorts as she enjoys the summer heat in London Dressed for the summer Looking blue-tiful! Lady Gabriella Windsor, 41, is chic in a white top hat as she attends Royal Ascot - amid news her father Prince Michael is set to retire Rebel Wilson shows off her slimmed-down figure in a s-inspired bikini - after breaking her silence about newspaper's attempt to 'out' her Cindy Crawford looks fabulous in florals as she indulges in retail therapy in Malibu with longtime husband Rande Gerber Stepping out A bit of all white!

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