Archive for the ‘Art’ Category

Historical Ignorance and Prejudice on Sadiq Khan’s Monuments Panel

February 12, 2021

Sadiq Khan has been at the centre of more controversy this week. The Tories hate him with a passion because he’s a Labour politico, and they can’t tolerate the idea, let alone the reality, of someone from the left being mayor of London. And so he has joined his predecessor, Ken Livingstone, the head of the GLC when Thatcher was in power, as the target of right-wing hate and venom. They also dislike him because he’s a Muslim, and so in the mayoral elections a few years ago we had the noisome spectacle of Tory candidate Zack Goldsmith implying that Khan was a radical Islamist cosying up to terrorist or terrorist sympathisers to bring down Britain. All rubbish, of course, but there are still people who firmly believe it.

Following the attacks on Colston’s statue in Bristol and the campaign to remove other statues of slavers and other British imperialists elsewhere in Britain, Khan has set up a panel to examine the question of doing the same in the capital, as well as renaming streets and other monuments with dubious historical connections. The panel has fifteen members, but it has already been denounced by its critics as a panel of activists. There have been articles in the Depress, Heil and Torygraph strongly criticising its composition and the selection of its members. The Torygraph’s article complained that it contained no historians, who could set these monuments into their proper contexts or any Conservatives. This is actually a fair point, because the actions of some of the panel’s members strongly indicates that those individuals have zero knowledge of the history of slavery.

One of Khan’s choices for membership of the panel is Toyin Agbetu, who managed to cause outrage in 2007 at a service in Westminster Abbey to commemorate the 300th anniversary of the abolition of the slave trade. Agbetu disrupted the service and tried to approach the queen, shouting that it was all a disgrace and You should be ashamed. We shouldn’t be here. This is an insult to us’. I think that he was outraged that the British were congratulating themselves were ending the slave trade when they should never have been involved in it in the first place.

Another appointee is Lynette Nabbossa, a business academic and head of an organisation to provide role models for young Blacks. She has claimed that White supremacy is rooted in British history. In October she wrote that the UK was the common denominator in atrocities across the world, and

‘No matter where you find examples of white supremacy, all roads lead back to my country of birth.

‘It was the UK’s racism that birthed slavery and colonialism. We say it is in the past but our schools, colleges, universities, streets, museums etc have never stopped honouring the enforcers of our oppression.’

These are statements of historical ignorance and racial prejudice which should cast severe doubt on the suitability of these individuals for membership of the panel. 

British imperialism was based on the notion that the White British were superior to the non-White nations they conquered and ruled over, and this country and its ally, America, have been responsible for propping up various horrific dictators and murderous despotic regimes around the world. But neither Agbetu nor Nabbossa seem to know or understand that slavery existed long before the British empire, and that White supremacy wasn’t just a British phenomenon. What about the Spanish, Portuguese, French and Dutch empires? Apartheid has its origin amongst the Afrikaners, who were Dutch colonists. Britain only gained Cape Colony, the founding settlement of what later became South Africa, in 1800, seizing it from the Netherlands during the Napoleonic Wars. And we were hardly responsible for atrocities in Africa committed by some of the newly independent African regimes, like Idi Amin’s Uganda, the Rwandan genocide or Mugabe’s Zimbabwe.

They also don’t seem to realise how near-universal slavery was as a global phenomenon. It was a part of many African societies before the establishment of the Atlantic slave trade. Muslim slavers transported Blacks slaves north to the Arab states of north Africa, while African and Arab traders exported slaves from east Africa across the Persian Gulf and the Indian Ocean to Arabia, India, and south east Asia. The first Black slaves in Europe were imported, not by White Christians, but by the Arab-Berber states of al-Andalus, Muslim Spain. And the campaign against slavery began in White, European culture. This has been stated repeatedly by western Conservatives and attacked and denounced by their opponents on the left. But it’s true. I haven’t been able to find evidence of any attempt by a non-western society to abolish slavery before the Europeans. The closest I found is a document in one of James Walvin’s books, a complaint from a Muslim Egyptian against the enslavement of the Black Sudanese. This was not an attack on slavery as a whole, however. The Egyptian objected to it in the case of the Sudanese because they were Muslims, and under sharia law Muslims are not supposed to enslave other Muslims. The author of the complaint does not object to the enslavement of non-Muslims.

Part of the rationale behind British imperialism was the campaign to stamp out slavery around the world, particularly in Africa. When Jacob Rees-Mogg made a speech in parliament claiming that BLM had shot itself in the foot and that people were now interested in the careers of imperialists like Gordon of Khartoum, he had a point. Gordon was sent to the Sudan by the Anglo-Egyptian authorities to put down the Mahdi’s rebellion. All very stereotypically imperialist. But the Mahdi wasn’t just rising up against infidel oppression. He and his followers were slavers and slaveowners. Slaving was an integral part of Arab Sudanese society and trade, and they were outraged when the British tried to stamp it out and protect the indigenous Black peoples.

Slavery was also part of the African societies further south, in what became Rhodesia and Malawi. The Kapolo slaves there, apart from other indignities, had to use broken tools when working and eat their food off the floor. And the explorer Richard Burton, writing in the 1840s, says in his book Wanderings in West Africa that the condition of the slaves on that part of the continent was so wretched and the enslaved people so starved that if Black Americans saw them, they’d give up all ideas of freedom and be glad of their lives in the west.

As for slavery being the product of White British racism, the opposite is true. According to scholars of western racism, such as Sir Alan Burns, the last British governor of Ghana and the author of Colour and Colour Prejudice, and books such as Race: The History of an Idea in the West, there was little racism in Europe before the 15th century. White racism and modern ideas of White racial supremacy arose after the establishment of the Atlantic slave trade to justify the enslavement of Black Africans. But this all seems lost on Agbetu and Nabbossa.

Now they are only two of Khan’s panel. There are 13 others, and it’s probably that the Tory press seized on them to make mischief. The others may well be more moderate and informed. I’ve certainly no objection to the inclusion of a Star Wars actor, who outraged Tory sensibilities by describing Boris Johnson as a ‘c***’. It’s not the word I would use, and it is obscene, but Johnson is a thoroughly nasty piece of work, as is the party he leads. I’d therefore say that, barring the language used to express it, it’s an accurate assessment of the vile buffoon. Tom Harwood, chief catamite at Guido Fawkes, has also been stirring with the claim that the panel was considering the removal of a 16th century statue of Queen Elizabeth. This is something he seems to have pulled out of his rear. The panel has not said anything about Good Queen Bess’s statue, and it’s just Harwood trying to cause trouble by lying. Which is standard Guido Fawkes’ practise.

But the inclusion of Agbetu and Nabbossa does cast severe doubt on the panel’s expertise as a whole and the suitability of its other members to make informed judgements on controversial historical monuments. But the ignorance and racial prejudice of the two also shows that we really need to have the global aspects of slavery taught. The deeds of the past should not be covered up, but they should be placed in context. It needs to be made very clear that slavery is a global phenomenon, that it was not invented by White Europeans preying on Black Africans and that it was also deeply ingrained in many African societies and practised by the Islamic states and empires as well as Hindu India. Such knowledge might be a shock to people like Agbetu, who seem to labour under the illusion that Africa was somehow free of it before the European invasions, but that is no reason why it should not be taught.

Otherwise you get bad history and the politically correct anti-White racism these two promote and demand.

Videos of CGI Recreations of Vehicles and Castle for Jodorowski’s ‘Dune’

January 31, 2021

Alejandro Jodorowski’s Dune is one of the great, unmade films. Jodorowski himself is a Chilean-French film director and comics writer. A Surrealist, he made a series of very bizarre films, such as the western El Topo. In the early ’70s he set about making a film version of Frank Herbert’s classic SF novel, Dune, despite never having read it. This would have starred Mick Jagger as Feyd Rautha, Orson Welles as Baron Vladimir Harkonnen and the great, bonkers Surrealist artist Salvador Dali as the Emperor of the Known Universe. Equally impressive were the artists he hired to produce the concept art and designs for the spaceships and other vehicles and settings for the film. These included H.R. Giger, the creator of the infamous Alien, French comics artist Jean ‘Moebius’ Giraud, and Chris Fosse, the force behind a thousand SF paperback covers. The film was never made, as the producers cut its funding at the last moment. However, the work on the movie was never wasted, as Jodorowski and Moebius used it as the basis for their comic The Incal and The Metabarons. It has also been immensely influential on later SF movies, including Ridley Scott’s ’80s classic, Bladerunner.

These two videos have been made and put up on YouTube by Monochrome Paris, a group that wishes to recreate in CGI Jodorowski’s aborted film. They have so far managed to recreate Duke Leto Atreides’ car, which was designed by Fosse, and Baron Harkonnen’s castle, which was the suitably horrific work of Giger.

Here’s the link to the car video:

Reviving Jodorowsky’s Dune in Virtual Reality [Chris Foss Vehicle test – Real-time 3D] – YouTube

And this is for Harkonnen’s Castle:

Reviving Jodorowsky’s Dune in Virtual Reality pt II [HR Giger – Real-time 3D] – YouTube

I think the two videos are great, and it would be really superb if they were able to recreate the entire movie in CGI. Unfortunately the videos are from 2019 and so I don’t think their proposed movie will ever be made. It would still be good if they were able to produce more videos of some of the other designs for the movie, such as the space tugs towing the containers of spice through space, a space pirate ship and the Harkonnen’s own spaceship, which were all designed by Chris Fosse. They’re included along with his other art, included concept designs for Bladerunner, Alien and Superman 2 in the book 21st Century Fosse.

Concept Art for the David Lynch ‘Dune’ Movie

January 26, 2021

Unlike many people, I’m actually a fan of the 1980s film version of Dune directed by David Lynch. Dune is a long book and Lynch was left with the impossible task of compressing it into a 2-3 hour movie. People have therefore complained that the film has to move at such a pace, that it left out the deep, complex ideas about religion, politics and the dangers of charismatic leadership that are in the novel, and that there was no time to get to know and develop any sympathy with the characters. Lynch also took some liberties with the plot and characterisation. In the book, Baron Vladimir Harkonnen is clever, subtle and cunning, while in Lynch’s movie he’s a raging moron, screaming his anger of the Atreides while the real brains behind his scheme to trap and overthrow them is his mentat, Pitar de Freese, played by Brad Dourif. Despite these faults, I really enjoy it, and do think that while it’s flawed, it’s a greater work than it critics give it credit for. It’s visually impressive – Brian Aldiss loathed it, but says in his history of Science Fiction, The Trillion Year Spree, that it should be watched with the sound off and simply enjoyed for its visuals, which are like the art on the covers of Astounding, one of the old SF magazines. ‘This aspect of the film – its glorious pictorial quality – is to be applauded despite all else’. I also think it does a good job of trying to portray melange and the other mind-expanding drug in the film, the juice of Safu used by de Freese as a kind of drug cult, similar that which had developed around LSD and other hallucinogens. I also think it succeeds in creating a convincing, far future world. And the still suits look awesome!

I found the video linked below on Omniviant’s channel on YouTube. It’s a series of photos and production art created for lynch’s movie. According to Omniviant, they were due to appear in a book on the film’s art. This, unfortunately, never came out because the film flopped at the box office. As you can see, the art matches the scenes in Lynch’s film. It’s enjoyable in itself, but also as a piece of film history. At the very least, it shows the great visual imagination of the film’s producers and artists.

DUNE: Production Art – YouTube

Book on Fascism in Black American Literature Between the Two World Wars

January 20, 2021

Mark Christian Thompson, Black Fascisms: African American Literature & Culture between the Wars (Charlottesville: University of Virginia Press 2007).

This is one of the other books I’ve been reading during the last few days. It’s a fascinating examination of a little known episode of Black American literary history when, in the 1930s and early 1940s, a number of Black American authors and activists took over elements from European Fascism to form their own version of the totalitarian creed. The blurb reads

In this provocative new book, Mark Christian Thompson addresses the startling fact that many African American intellectuals in the 1930s sympathized with fascism, seeing in its ideology a means of envisioning new modes of African American political resistance. Thompson surveys the work and thought of several authors and asserts that their sometimes positive reaction to generic European fascism, and its transformation into black fascism, is crucial to any understanding of Depression-era African American literary culture.

Taking on a subject generally ignored or denied in African American cultural and literary studies, BLACK FASCISMS seeks not only to question the prominence of the Left in the political thought of a generation of writers to change how we view African American literature in general.

Following the introduction, it has the following chapters:

  1. Black Literary Fascism
  2. The Myth of Marcus Garvey: Black Fascism and Nationalism
  3. George S. Schuyler and the God of Love: Black Fascism and Mythic Violence
  4. “In Turban and Gorgeous Robe”: Claude McKay, Black Fascism, and Labor
  5. His Rod of Power: Zora Neale Hurston, Black Fascism and Culture
  6. Richard Wright’s Jealous Rebels: Black Fascism and Philosophy

Conclusion: Historical Black Fascism, Black Arts, and Beyond

For some, this is no doubt shocking and uncomfortable reading. Thompson states that his book will be controversial, because it seems to challenge the dominance and achievements of Marxism in Black American politics and culture of the period. He does not seek to deny this, but to argue that there was a significant turn away from Communism towards Fascism at the tail end of the Harlem Renaissance, and that this was no mere blip in the career of the figures discussed, as some historians and critics have claimed. It’s also remarkable, in that as victims of racism it seems to run counter to reason that Black Americans would embrace a viciously racist ideology associated with White supremacy. But by the early 1940s some Black youngsters had become so alienated from their country, that they were singing songs about how they thought they’d move to Germany because they’d be better off there. The likelihood is that these kids probably didn’t understand what Nazi Germany was really like. The Black intellectuals, who turned to Fascism, didn’t support its specific European versions. They didn’t want to become Nazis or supporters of Mussolini’s Fascists. But they took elements of generic Fascism and adapted it as a vehicle for their own nationalist aspirations and desire for pan-African racial uplift.

Defining Features of Black Fascism

Thompson considers that the main elements in this turn were a dissatisfaction with Communist multiculturalism, the expectation that Ethiopia would produce a strong, modernising leader to redeem Blacks across the world, admiration for newly independent Haiti, and anti-Semitism. Black Fascists rejected Communism, because they were afraid that its emphasis on racial collaboration and the class war would lead to Blacks’ own aspirations and needs being neglected and Blacks used instead to improve conditions for White liberals. The Communist party in turn attempted to harness Black nationalism for the general class struggle, by defining Black Americans as working class. But this also created an anti-White racism that characterised all Whites as members of the exploiting classes. Which strikes me as not at all unlike Black Lives Matter and Critical Race Theory. The expectations of Black leadership from Ethiopia came from Psalm 68 in the Bible, which states that, after Egypt, Ethiopia will raise its hands to God. Ethiopia was the one African nation not conquered by the Europeans in the 19th century, which seemed to many Black Americans that the country was destined to lead the Black people. Coupled with this was the hope that Black Americans would return to Africa to take up positions of leadership and power in the continent, and free her from the European colonial oppressors. At the same time, the American army had just withdrawn from its occupation of Haiti. Many Black Americans admired this Caribbean nation because of the way it had thrown off French rule in the late 18th century to become a free, Black republic. At the same time, its new president, Stenio Vincent, sweeping autocratic powers dissolving the lower house and allowing him to appoint a sizable proportion of its senate. It was not a democracy in the American sense, as Zora Neale Hurston recognised, but an elected monarchy. Anti-Semitism and a hatred of Italians and Greeks among working class Blacks in Harlem was also part of the turn towards Fascism. The Black soapbox Caesar, Sufi Abdul Hamid, wished to create a separate trade union exclusively for Blacks. He was one of the leaders of a boycott against the White-owned department stores, which refused to employ Black clerks. He succeeded in getting this reversed, but his inflammatory anti-Semitic rhetoric – many of the stores were Jewish owned – resulted in the 1937 Harlem race riot.

Marcus Garvey and the Invasion of Ethiopia

Chapter one is a general discussion of Black American fascist aesthetics. The first of the writers and activists to be examined is Marcus Garvey, the founder and leader of the United Negro Improvement Association. This was a mass organisation, whose hierarchy was based on that of the army, with Garvey giving his followers various military ranks. Militantly nationalistic, the organisation also campaigned for a return to Africa, and Garvey was also impressed with the Italian Fascist corporatist state. Rejecting Communism, he instead supported private property. Blacks should work to acquire wealth, that they should then use to build the new Black state. However, private wealth should also be limited. Only the state should be able to hold investments over $5 or $6 million.

Of the figures discussed in the book, Garvey is the most overtly Fascist. Indeed, in a 1937 interview he claimed that Hitler and Mussolini based their movements on his. He was no fan of Mussolini, however, after the Italian invasion of Ethiopia, which also caused him to become a bitter critic of its former emperor, Hailie Selassie. Selassie had scarpered to London following the invasion, which bitterly disappointed Garvey. He had also expected the Ethiopian emperor to modernise the country, turning it into a modern, Fascist, corporate state, which would embark on its own destiny of imperial conquest. Selassie had not done this. Garvey also sneered at him because of the Biblical lineage of the Ethiopian monarchy. This claimed descent from Solomon and the Queen of Sheba. Thus, Garvey attacked him because he was, by virtue of this descent from the great Israelite king, Jewish. This was in contrast to Simon of Cyrene, who was Black, and Jesus, who was mostly Black.

Schuyler’s Pulp Fiction Supervillain Black Liberator

George S. Schuyler was a Black American writer and journalist, described by the book as somewhat like H.L. Mencken. He had started off as a vague socialist, believing that Africans were innately Communistic, and pan-African. Well, he was until he visited Liberia, which left him bitterly disillusioned to the extent that he wished the US army would invade so that America could take over and improve the country. This changed again with the Italian invasion of Ethiopia. Schuyler, like many other Black Americans, was outraged and wanted to raise an army of Black American volunteers, who would go and fight for the African nation. Seeking advice from the American foreign department, he was told that was impossible as America wished to preserve its neutrality. Schuyler thus turned to literature to express his anger and desire for revenge, writing the pulp story Black Empire. This tells the story of Dr. Belsidus, a Black American genius, who takes over Africa with his organisation, the Black Internationale, turning it into a military superpower through able to repel the Italians and then embark on the genocidal conquest of Europe through advance Black super science. Black scientists create death rays, hydroponic farms, fax machines and hypno-robots. Hypno-robots? Yes. Belsidus creates a new religion and deity, the God of Love, whose mission is to inculcate Black Africans with belief in their noble descent from the Babylonians and Egyptians and their future greatness. The hypno-robot is a giant, 50-foot tall figure of a naked Black man representing the God of Love, which has the power to move, raising its arms and nodding its head. Its eyes light up to hypnotise the congregation, so that they will become mentally receptive to Belsidus racial doctrines. Aiding Belsidus are a series of White women, his lovers, whom he casually murders if they fail him in bed or in their tasks of bringing down European rule. Belsidus comes across as Yaphet Kotto’s villain in the Bond film, Live and Let Die, but even nastier. He’s a genocide who ruthlessly kills White men, women and children. The story’s a nasty revenge fantasy, written by Schuyler to compensate for the Italian invasion. Schuyler himself didn’t stay a Fascist, but instead became a noted Black Conservative intellectual.

McKay, Sufi Abdul Hamid and Black Labour

Claude McKay was another Black American who had started out as a Communist, but then moved away from it, converting to Roman Catholicism. In the 1930s and ’40s McKay was also concerned with building a Black labour movement for which he also adopted aspects of Fascism. He was also an admirer of Sufi Abdul Hamid, an eccentric individual who styled himself Bishop Amiru Al-Minin Sufi Abdul Hamid, an Egyptian, but whose real identity may have been Eugene Brown of Philadelphia. Hamid had founded his own cult, the Universal Temple of Tranquillity. In 1932 he led a jobs boycott in Chicago and in 1934 led a similar boycott against Blumstein’s department store in Harlem. He was not popular with the other Black intellectuals, who regarded him as a charlatan and racketeer. Before his death in the late 1930s he was trying to promote himself as a cult leader in an attempt to challenge Father Divine. Called the Black Hitler because of his virulently anti-Semitic speeches, Hamid was partly responsible for the 1937 race riot, for which he was unsuccessfully prosecuted by the Jewish Minute Men. He appears as ‘Omar’ in McKay’s unfinished novel, Harlem Glory. This is partly an examination of the divided psychology of Black America. ‘Omar’ represents its Fascist side, while Father Divine, who appears as ‘Glory Savior’, and his cult, the ‘Glory Soulers’, represent religion and Communism.

Hurston, Moses and Haiti

Zora Neale Hurston is included because of her novel about Moses leading the Exodus, Moses, Man of the Mountain, in which both the greatest of the Hebrew prophets and his adversary, Pharaoh, have the nationalistic, genocidal qualities of modern Fascist dictators. Hurston also linked Moses to Haiti’s founder, Toussaint L’Ouverture. L’Ouverture’s power was represented by the Voodoo god, Damballah, who was also Moses’ rod of power. Damballah’s a snake god, while one of the miracles Moses performed was changing his staff into a snake. This novel is strongly influenced by Hurston’s admiration for Haiti and its authoritarian leader.

Cross Damon, Fascist Murderer or Existentialist Anti-Hero

Wright was another Communist intellectual, who then went to France to hang out with Sartre. He then wrote his own existentialist novel, The Outsider, about a former postal worker, Cross Damon. After losing his job, and suffering problems from the women in his life, Damon becomes a murderer, committing a series of killings across America. The novel was widely criticised at the time for not saying anything about the condition of Black America. Thompson argues that this is untrue. The book does examine their plight, as Damon personifies the Fascist tendency within Black America through his ruthless pursuit of the power over life and death. His murder of two twins, one a Communist, the other a Fascist, shows that to Wright these political creeds were essentially the same, and that Damon is also similar to them through their murder.

The Black Arts Movement and Neo-Fascism

The Black Arts movement was a post-War phenomenon, in which Black intellectuals and artists attempted to create a distinctly Black artistic culture, in contrast and opposition to that of White America. This chapter argues that historic fascism ended with the Second World War, and that its post-War successor, neo-Fascism, is markedly different. Fascism itself is also broader than Nazism, with which it has been identified, and which has itself been reduced to murderous anti-Semitism. It is a distortion, therefore, to describe the Nation of Islam as Fascist and genocidal simply because they held a joint rally with the American Nazi party, for which the party’s Fuhrer, Lincoln Rockwell, donated $20 to them. The chapter nevertheless states that the Black Arts movement constitutes an extreme form of Black nationalism, and ends with a call for it to be examined as a form of neo-Fascism.

Belsidus’ Statue and Fascist Homosexuality

Thompson’s a professor of English at the University of Illinois at Urbana-Champaign, so the book is less a work of political science as literary criticism. Thus it frequently refers to the works of such literary theorists as Georges Bataille, Foucault, Althusser and Guy Debord. I found some of the book’s arguments extremely convoluted, particularly in the chapter on Wright and The Outsider. There are times when he seems to be arguing for the Fascist nature of Cross Damon, from that character’s difference to or opposition to Fascism. He also follows the German writer, Ludwig Theweleit, in considering that their is a homosexual component to the Fascists’ adoration of their leaders. This causes the book to contain some bizarre passages about the significance of the penis in some of the pieces discussed. For example, he writes of the Belsidus’ 50 foot statue of a naked Black man

The statue is what Siegried Krakauer calls the “mass ornament”: a ritual object that is “an end in itself”. But even after the “ritual meaning” of such objects is discarded, “they remain the plastic formation of the erotic life which gave rise to them and determined their traits”. (146). The mass ornament is emptied of its ritual content and plenitude and re-cathected with an erotics of power that seeks to control the masses’ libidinal urges by converting them into an iconic religious outpouring. This is why Schuyler’s mass ornament is depicted as “a huge statue of a nude Negro standing with legs apart, gazing sardonically downward with arms crossed. It was all of 50 feet high and every part of the body was clearly depicted” (58). The bearer of the sardonic gaze cannot be mistaken. “Sardonic” is, after all, one of Schuyler’s favorite adjectives for the good Doctor and his notorious gaze. Also inescapable in this mammoth fifty-foot statue of a male Negro is an anatomical accuracy that surpasses the bounds of decency. If one wondered whether Dr. Belsidus’s movement followed the fascist phallocentric logic of male ego-reintegration Theweleit theorizes, the appearance of the fifty foot “God of Love” in all his anatomical glory removes all doubt. (pp. 90-1).

Black Fascism and other Forms of Dictatorship

The book acknowledges that none of the authors and activists discussed founded Fascist parties or movement, and he regards them as individual figures rather than the leaders of mass Fascist organisations. Garvey, with his militaristic nationalism and claims to have inspired the European Fascist dictators is the closest figure to European Fascism. So too is Sufi Abdul Hamid with his emphasis on labour, Black separatism and anti-Semitism. Hamid’s similar to the Nazis in another way: they also hated the department stores as an example of ‘Jewish capital’. Schuyler’s Black Empire is a revenge fantasy, whose hero – or anti-hero – would certainly qualify as a Fascist, even though Belsidus himself doesn’t appear to his followers to make speeches from the balcony. He just leaves that to his naked 50-foot robot. But this doesn’t make Schuyler himself a Fascist or mean that he is calling for a similar Fascist movement. It is questionable, however, whether Hurston’s Moses or Pharaoh are really fascist either. Political scientists have debated the difference between Fascism and other forms of authoritarianism and aggressive, intolerant nationalism. Noel O’Sullivan in his book, Fascism, argues that it possesses distinct features that distinguish it from the militant, dictatorial regimes of some of the nations in Africa and the Developing World. Stenios Vincent was highly authoritarian, but it’s questionable whether his regime can be considered Fascist. This also raises the question of how far Hurston’s Moses and Pharaoh are Fascists, although they certainly act in a way which could be described as fascistic. I find the argument about Wright’s The Outsider rather less convincing. It may be that Cross Damon partakes of part of the psychology of Fascist and Communist dictators through his murders, but it seems to me to be a straightforward piece of existentialist literature rather than an examination of Black American Fascism. It reminds me of Albert Camus’ novel of the same name, about a Frenchman in Algeria who murders an Arab out of boredom. Wright’s outsider is another murderer, but is a Black American rather than French.

Conclusion

I don’t know how far the Black Arts movement could be described as neo-Fascist, but historians of post-War British Fascism have noted the radical revisions of doctrine the BNP went through under its generalissimo, Nick Griffin. But Critical Race Theory does seem very similar to the Communist party’s simplification of race relations in America to Black workers versus White exploiters. My guess is that an examination of the Black Arts movement would uncover clear parallels and influences from European neo-Fascism, as would Black Lives Matter today.

The 1920s’ View of the Future

January 10, 2021

I found this fascinating video on the ‘1920s Channel’ on YouTube. It’s about the decades view of the future, taken from the pulp magazine, Science and Invention, founded and edited by Hugo Gernsbach. Gernsbach is one of the major figures in 20th century SF. An immigrant to America from Luxembourg, he was passionately enthusiastic about science and technology and founded the first the first SF pulp magazines. He also wrote an SF novel, Ralph 124C41 + A Romance of the Year 2660, and coined the term ‘scientifiction’ to describe the new genre. This was shortened and altered by his successors and rivals to become the modern term.

The channel’s main man says he’s interested in 1920s futurism because it falls between the ‘Steam Punk’ predictions of the Victorians and the ‘Atom Punk’ of the 1950s and 1960s, although it also has some elements of the ‘Diesel Punk’ of the 1940s. He states that the 1920s and the 1950s were similar decades, in that both followed major wars but were periods of optimism. Most of the illustrations were by Frank R. Paul, Gernsbach’s artist, who is now justly respected as one of the foremost pioneers of SF art. Among the inventions and developments the magazine predicted are massive, skyscraper cities now a staple of SF in such classic films as Metropolis and Blade Runner. But the magazine also predicted underground cities, as well as improved scientific instruments like astronomical telescopes, devices for signalling Mars, bizarre machines for taking care of one’s health, like the ‘sun shower’ and health meter. There are new entertainment media, like television and a cinema with four screens, as well as new musical instruments like the Theremin. This last creates sound through the alteration of a magnetic field by the player’s hands. It’s one of the many instruments played by the hugely talented Bill Bailey. The magazine also looked at the vehicles of the future. These included moving walkways, cars and railways. Cars wouldn’t be confined to the road, but would fly, and the magazine also showed the new aircraft of the future. Humanity would master anti-gravity and fly beyond Earth into space. At the same time, new ships and flying boats would cross the oceans, while people would venture underneath the seas in diving suits that somewhat resemble the metallic suits created to withstand the crushing pressures of the ocean depths. And the magazine also predicted that SF staple, the robot. One of these was to be a ‘police automaton’, like Robocop.

The illustrations are taken from worldradiohistory.com, where they’re available for free, and the video is accompanied by some of the music of the period, so be warned!

Futurism Of The 1920s – YouTube

It’s interesting watching the video to see how much of modern SF was formed in the decade, and to compare its predictions with reality. Most of these predictions haven’t actually become reality. Flying cars are still waiting to happen, we don’t have zeppelin aircraft carriers and skyscraper cities haven’t quite become the dominant urban form. Nor do we have truly intelligent machines and robots. On the other hand, I think the ideas and devices Gernsbach and Paul discussed and portrayed in the magazine still have the power to inspire, and think that they would make a great source of ideas for future, aspiring SF writers.

History Debunked Calls for More Black Blood and Organ Donors to Show Black Lives Really Matter

January 10, 2021

This is another, really short video from History Debunked. It’s creator, Simon Webb, is an author, and has published several history books. He’s very definitely a man of the right, and many of his videos tackle and refute some of the myths and false history being promoted as part of the Black history movement. In this video he expresses his incredulity at the rioting and destruction of statues that broke out earlier this year with the eruption of the Black Lives Matter movement. He finds it difficult to understand how defacing a statue of Winston Churchill or setting fire to the Union flag shows that Black lives matter. Black deaths at the hands of the cops are widely publicised, but they probably occur at the rate of less than one a year. There hasn’t been one for over a year now, and they may well only happen once every 2 to 3 years.

A far greater killer of Black lives is Sickle Cell Anaemia. This can result in episodes, known as Sickle Cell crises, that can produce blindness, disability and death. They can be treated with transfusions. There are differences in the blood of different races, so that Black people are better treated with blood from other Black people, Whites with White blood. But there is a terrible, pressing shortage of Black blood and organ donors. The NHS in London and Birmingham is currently seeking 5,000 Black blood donors so that they can treat the Black victims of this disease. Whites are twice as likely to donate blood and the organs of dead relatives as Blacks, which means, for example, that Blacks on average wait twice as long as Whites on dialysis for a kidney transplant. He therefore feels that the people, who protest against a statue of Cecil Rhodes at Oxford University, instead of demonstrating against injustices that may have occurred centuries ago, should donate blood in order to show that they really believe Black Lives Matter.

Saving black lives; a way forward for the Black Lives Matter Movement – YouTube

This is obviously a controversial view of BLM. The demonstrations and riots against the statues occurred because the historic western slave trade is seen as being inextricably linked to the terrible, underprivileged conditions of many western Blacks. Institutional racism in the police has been a particularly obvious cause of anger and resentment amongst the Black community. It could be said that it doesn’t matter how low the actual numbers of Black people killed by the cops are, it’s still too many. In fact, it’s questionable how disproportionate the number of Blacks killed by the cops compared to Whites actually is. Sargon of Gasbag, the Sage of Swindon, went through the official statistics in one of his videos and concluded that Whites were in far more danger of being killed by the police than Blacks. This certainly runs counter to the allegations made by BLM. Sargon is, however, extremely right-wing. Too right-wing for UKIP, as when he joined, more socially liberal members left. I don’t agree with Sargon’s views about Trump, capitalism or how British political theory begins and ends with John Locke, but he did present a very good case on this issue.

And it is true that Sickle Cell Anaemia is killing Black people. Black people are more prone to it thanks to an adaptation in their blood cells which makes them far less palatable to mosquitoes, and hence vulnerable to the malaria they carry, than Whites. And it is true that there is a terrible shortage of Black blood and organ donors. Various Black ‘slebs have appeared on The One Show to urge Black people to consider donating blood.

Years ago I read in the book Black Pioneers of Science and Invention, that the use of blood plasma to save lives in blood transfusions was the invention of a Black American doctor, who successfully used it on Brit injured in the Blitz. It would undoubtedly be great if more Black people followed in his footsteps by donating their blood to save other Black lives.

Far Right Brexiteers Annoyed Boris Gave Award to Bristol Police Chief Who Allowed Attack on Colston Statue

January 7, 2021

The gravel-voiced anonymous individual behind the website ‘We Got a Problem’ got very annoyed yesterday about one of the peeps Johnson decided to reward in the New Years’ honours. ‘We Got a Problem’ is a pro-Brexit, anti-immigrant channel on YouTube. It views non-White immigrants as a serious threat to traditional British citizens and particularly concentrates on reporting crimes committed by people of colour. Such migrants are reviled in some of the crudest possible terms, which also clearly reveal the party political bias of the faceless man behind the website. One of the epithets he uses for them is ‘imported Labour voters’. This nameless individual was upset because Johnson has, apparently, given an award to the Bristol police chief, who resolutely sat back and did nothing to stop BLM protesters pulling down the statue of Edward Colston and throwing it into the docks. He therefore decided to put up a video expressing his considered disapproval yesterday, 6th January 2021. I’m not going to provide a link to his wretched video. If you want to see it, all you need do is look for it on YouTube.

Now I am very definitely not a fan of Black Lives Matter nor the destruction of public property. But the Bristol copper actually had very good reasons not to intervene. ‘We Got A Problem’s’ video contains a clip from an interview the rozzer gave to the Beeb about his inaction. He states that there’s a lot of context around the statue, and that it was of a historical figure that had been causing Black people angst for years. He was disappointed that people would attack it, but it was very symbolic. The protesters were prepared. It had been pre-planned and they had grappling hooks. The police made a tactical decision not protect the statue in case it provoked further disorder. They decided that the safest thing to do was not protect the statue. What they didn’t want was tension. They couldn’t get to the statue, and once it was torn down the cops decided to allow the attack on the statue to go ahead.

‘We Got A Problem’ takes this as an admission of incompetence by the Bristol copper, calling him a ‘cuck’, a term of abuse used by the Alt-Right. The YouTuber is also upset that while the cop got an honour, that hero of Brexiteers everywhere, Nigel Farage, didn’t. As all Brexit has done is created more chaos, and seems set to create more misery, including food and medicine shortages, the further destruction of British industry, especially manufacturing, and massively increased bureaucracy for trade and foreign travel, Farage doesn’t deserve to get one either. But this is lost on the fanatical Brexiteers like ‘We Got A Problem’, who cling desperately to the belief that somehow Brexit is going to lead to a revival of Britain’s fortunes, ending Black and Asian immigration and propelling us back to a position of world leadership.

As for the lack of action taken by the chief of Bristol’s police, I think he made the right decision. The statue the BLM protesters attacked was of the slaver Edward Colston. Colston was a great philanthropist, using some of the money he made from the trade to endow charities and schools here in the city. But understandably many people, especially Blacks, are upset that he should be so honoured with a statue. There have been demands for it to be removed since the 1980s. One Black woman interviewed on Radio 4 said she felt sick walking past it to work in the morning. However, the statue was retained because when Bristolians were asked whether it should be taken down, the majority were against it.

While ‘We Got A Problem’ presents the attack as a riot, in fact the only thing that was attacked was Colston’s statue. None of the other buildings or monuments were touched. Not the statue of MP and founder of modern Conservatism Edmund Burke, not the statue of Neptune or to the city’s sailors nearby, or of Queen Victoria just up the road by College Green. Nor were any of the shops and businesses in the centre attacked, unlike the riots of 2012. This could have changed, and the attack on the statue become a full-scale riot if the police had tried to intervene. The police chief doesn’t mention it, but I also believe one other factor in his decision not to protect the statue was the issue of racism in the police. One of the causes of the St. Paul’s riots in Bristol in 1981 was the feeling by the Black community there that the police were ‘occupying’ the area. It seems to me that the Bristol cop was worried that an attempt by the police to defend the monument would lead to further accusations of racism and a deterioration in their relations with Bristol’s Black community.

It was only one statue that was pulled down. It has been recovered from the docks, and I think is either now on display or awaiting going on display in one of the Bristol’s museums. No-one was hurt and no other property was damaged. I think four of those responsible for the attack have been identified and charged. Mike in one of his pieces about the incident made it clear that they should have been allowed to go free. I think this would be wrong. While you can sympathise with their reasons, it’s still an attack on public property. Allowing one set of vandals to go unpunished would encourage others to make similar attacks, possibly to monuments to figures much less deserving of such treatment. While I don’t think very many people are genuinely upset about the attack on Colston’s statue, attacks on others, such as that of Winston Churchill, may have caused far more outrage. While it was a good tactical decision not to defend the statue when it was attacked, it’s quite right that the attackers should receive some punishment in order to prevent further, far more controversial attacks, from taking place.

Starmer’s Purge Dictated by Board of Deputies’ Hit List

December 8, 2020

This comes from a piece on The Electronic Intifada from 20th November 2020, by their main man, Asa Winstanley. Winstanley’s another decent, committed anti-racist, who was purged due to accusations of anti-Semitism. The reality is that he’s no such thing. But he is a pro-Palestinian activist, as you can tell from the title of the online magazine he contributes to. The article reports the finding by another pro-Palestinian activist, Becky Massey, that she and ten other members of the Labour party were expelled on the demands of the Board of Deputies of British Jews in a hit list the Board submitted to Starmer on 11th May 2020. Massey discovered she was on the Board’s list of people they wanted expelled and on a Labour party email chain discussing her after making a subject access request for the information the party hold on her. Massey was sent the letter of expulsion on the evening of the day of the email chain. Coincidentally, Starmer had also paid a visit that day to the Jewish Labour Movement. A Labour party spokesperson at the time categorically denied that the meeting had in any way been connected to Massey’s or anybody’s expulsion. That can be taken with a pinch of salt, as the Jewish Labour Movement, previously Paole Zion, has been demanding the expulsion and suspension of left-wing members and pro-Palestinian activists for years. And there is hints that the two are connected. The Board later wrote that they had sent the Labour Party a list of eleven people they wanted expelled, and were heartened that Starmer had met the JLM.

Labour party apparatchiks in the email chain discussed suspending Massey with a view to her ‘autoexclusion’. Like all authoritarian movements, the party deliberately uses language to imply that they’re not at fault, but the victim. The term ‘autoexclusion’ means to state that somehow, those expelled did it all themselves. Andre Breton, the ‘pope of Surrealism’, used to say the same thing whenever anyone queried him for expelling people from his movement. The letter sent to Massey herself simply said that she had been suspended subject to the approval of the NEC’s next meeting. Another line in the email chain, which somehow escaped redaction, indicates that Starmer was actively involved in the expulsion, or at least knew full well about it. It reads “Subject: RE: For LOTO: Rebecca Massey.” LOTO’s an acronym for ‘Leader Of The Opposition’. In other words, Starmer appeared to have interfered politically in the case, which is one of the accusations levelled at Jeremy Corbyn.

The Board’s Hit List

Strangely, neither the Board nor the Labour party offered any comment when they were contacted about this The Electronic Intifada. The article states that although the Board claims to represent the Jewish community, much of its activity is protecting Israel’s crimes and that in 2013 its president wrote ‘We lobby unashamedly for Israel’.

Revealed: the Israel lobby’s Labour hit list | The Electronic Intifada

The article descibes Massey as ‘a leading activist in one of the Palestine Solidarity Campaign’s most visible branches, in Brighton on the south coast.’

I don’t know her, but Tony Greenstein appears to be a member of the same branch. He’s also been expelled and smeared as an anti-Semite, despite being Jewish. From what I’ve read of the Palestine Solidarity Campaign on Tony’s and other websites – many of which are also by Jewish supporters of the PSC – the organisation most definitely does not accept real anti-Semites. They’ve also been highly successful in boycotting local shops selling goods made in the occupied West Bank or which are owned by businesses based there. They’ve also embarrassed the local, Sussex Friends of Israel outfit, or however they describe themselves. There are videos up on the net showing the pro-Israel activists threatening and abusing the pro-Palestine demonstrators, despite claiming in their literature that they stand for peaceful and respectful debate. The Sussex pro-Israel bunch also seem to have some very bizarre members. One is a balding, clean-shaven bloke, who claimed on his website to be an Orthodox Jew, despite his appearance to the contrary. Massey is almost certainly no kind of anti-Semite, but another victim of the Blairite’s and the Israel lobby’s campaign to purge the party of left-wingers and pro-Palestinian activists.

This also seems to show that Starmer himself is deeply implicated in these expulsions. Which should come as no surprise considering the revelation by The Canary that two organisations devoted to attacking left-wing sites and blogs as ‘fake news’, the Center for Countering Digital Hate and Stop Funding Fake News, were set up and run by Blairites with links to him.

As for the Board of Deputies, they are an unrepresentative organisation that smears and persecutes left-wing, pro-Palestinian Jews and gentiles. They are not a part of the Labour party, but through the smears and lies of the political and media establishment, have been allowed dictatorial control over it.

This needs to end now. It should be Starmer who is on trial for his crimes against Labour, not these decent people. And the control of the Board should be resisted and them shown up for their malign interference, smears and libels.

Proposed Thatcher Idol to Be Attacked by Manic Egg Throwers – ‘I’ Newspaper

December 2, 2020

Ho ho! Here’s a bit a fun news, also from yesterday’s I, for Tuesday, 1st December 2020. Grantham, the home town of Margaret Thatcher, of late and reviled memory, wants to be put up a statue to their most famous daughter. Of course, it’s massively expensive – the article quotes a price tag of £100,000 – and so a slap in the face of people struggling through the Covid lockdown. The council’s well aware that it’s controversial, and are going to put it on a high plinth to stop vandalism. Some hope! The good peeps on the ‘net have started organising an egg-throwing contest against it. The article by Jane Clinton, ‘Hundreds plan to throw eggs at new Thatcher statue’, runs

More than 1,000 people have signed up to attend an “egg throwing contest” at the £100,000 unveiling ceremony of a statue of Margaret Thatcher.

Around 1,400 people said they would be at the “egg throwing contest” in Grantham, Lincolnshire, which was advertised on Facebook. Yesterday more than 8,000 people had responded to the event.

In an accompanying Facebook post the organiser of the event, Kasa Arif, said: “We have a special target… a beautiful statue of the Iron Lady.”

Members of South Kesteven District Council’s (SKDC) cabinet will be asked today to approve the £100,000 expenditure, with fundraising for the even potentially carried out by the public, businesses and others.

But Adam Brookes, a Market Deeping town councillor, said “There is no guarantee as to the level of outside funding that will be secured, leading SKDC funding any gap.”

Baroness Thatcher was born and brought up in Grantham. And while councillors say the £300,000 bronze statue, created by Douglas Jennings, will be a fitting tribute, many have been angered by the financial outlay during a time of hardship. The statue is to be placed on a 10ft-high plinth to prevent vandalism.

News of the unveiling ceremony has sparked hundreds of anty responses on social media.

Twitter user Sammy said: “If you have to put the statue on a 10ft plinth because everyone hates its may be consider not buying the statue.”

I contacted South Kesteven District Council for a comment.

I’ve called the statue an idol because, in my view, that’s precisely what it is. Thatcherism is now a cult, like that of Reagan in America. Their economics have failed massively, and free trade neoliberalism with its central dogma of privatisation and the destruction of the welfare state, workers’ rights and low wages, have wreaked incalculable harm and suffering on ordinary people everywhere in the world. It’s been rightly described as ‘zombie economics’, but it has made the 1 per cent colossally richer, and so the political and media class are pushing it with all their might. And no voice must be allowed to blaspheme against the woman Alan Bennett once described in his dulcet tones as ‘Our Lady of Monetarism’.

Over the decades many people and organisations have shown their hatred of Thatcher by refusing to put up monuments to her or defacing them when they were put up. I think Oxford Uni shocked the government and the political class in the ’90s by refusing to put up a statue of her, despite the fact that they a tradition of erecting statues and busts of former PMs. And then, later in the decade, a statue of Maggie did appear – I think it was at an art exhibition – it was beheaded by an angry member of the public. Which led Private Eye to compare it to the great poem about the shattered remains of similar monument from ancient Egypt, Shelley’s Ozymandias.

Well, they’re trying to protect it by putting it on a plinth, but as the old glam rock song goes, ‘You can’t stop the children of the revolution!’ Rock on!

Arabic Language Picture Dictionary

November 29, 2020

E.C. Parnwell, Oxford English-Arabic Picture Dictionary (English Language Teaching for the Arab World, Oxford: Oxford University Press 1978).

This is another book I bought all those decades ago when I thought I’d try to learn Arabic. As this book’s title says, it’s a picture a bilingual picture dictionary. It consists of a series of colourful drawings of objects, events and activities with their names in English and Arabic, along with a couple of pages giving the English and Arabic words for numbers, weights and measures, and guides to English pronunciation and stress. The Arabic used appears to be the literary language, as the Arabic alphabet is used throughout and there are no transliterations.

It’s short, only about 81 pages of text, followed by English and Arabic indices. It was written to help Arab students learn English, but I think it could equally be used to help English-speakers learn Arabic, especially those with a good visual memory. It looks like it’s for children, but sometimes materials written for them are the best because of the simple clarity with which they present the information. As it’s written in standard Arabic, it really can only be used by people who have already learned the Arabic alphabet. Apart from that, it looks like a simple, useful resource for people wishing to learn the English and Arabic languages.