Archive for the ‘Art’ Category

Grim Jim on the Role-Playing Games Based on the Terran Trade Authority Handbooks

May 6, 2021

The Terran Trade Authority handbooks were a series of SF art books by Stuart Cowley published in the late ’70s and early ’80s beginning with Spacecraft 2000-2100. Cowley took various paintings of spacecraft, published originally as covers for paperback SF novels, and turned them into a future history and typology of these fictional spacecraft. I’ve only got the first book, Spacecraft 2000-2100, but I think there were others on space wrecks, star liners and great space battles. The books were the fictional publications of a future governmental organisation, the Terran Trade Authority, and its subsidiary, the Terran Defence Authority, which regulated trade between Earth and the other planets and civilisations, as well as providing for the planet’s defence. In this future, humanity was only just expanding into interstellar space, but had encountered two nearby alien civilisations on Proxima and Alpha Centauri. These aliens were markedly similar to humans, although not so similar that their ships didn’t need modification for human use. These similarities were so strong that there was speculation about a deep kinship or common origin for the three different species.

I came across the book when I was on holiday and was really blown away by the art. This was by such great SF artists as Chris Foss, Angus McKie, Bob Layzell and others. And even now, about forty years later, the books are fondly remembered by SF fans. What I didn’t know is that they also spawned two Role-Playing Games set in their fictional universe, one published by Morrigan Press.

I found this video by Grim Jim, a game designer, who’s also a fan of these great books. Here he talks about the RPGs, which unfortunately failed to make much of an impact. According to him, the Morrigan RPG gamebook has been long out of print. If you want to play it, you’re therefore reduced to either finding a second hand copy somewhere, or pirating it. Normally he wouldn’t recommend the latter, but this is really the only option for people who want to play it. He talks about the mechanisms of the game system used, which seems to have been a generic game system. For some reason the book replaced the awesome paintings of the original TTA handbooks with computer art. This is fine, but doesn’t have the paintings’ quality. G J speculates that Morrigan may have had to use computer art because of problems over the copyright for the paintings. It seems that by the time Morrigan published the book, the copyright had reverted back to Cowley.

I’m not really into games, but a number of my friends are very much into RPGs, like the classic Dungeons and Dragons and so on. One of these is Traveller, an SF game which I think came out in the 1970s a few years before the TTA handbooks and the games based on them. People are still putting up videos on YouTube about the TTA books and their spaceships, including one which recreated them zooming through space through CGI. This isn’t politics, but I thought people would enjoy this video about a great piece of SF art and literature.

Tory Flag-Waving Now Reaching Reaganite Proportions

April 6, 2021

Patriotism, someone once said, is the last refuge of the scoundrel. And the Tories have done their best to show how true this is, especially last week when it seemed that they wasted no opportunity to wave the flag. This also led them to generate more synthetic outrage towards the BBC. Charlie Stayt and Naga Munchetty raised Tory ire when Stayt joked about the relatively small size of the union flag on display during an interview with Matt Hancock or one of the other Tory ministers. This led to howls from the Tory press that the Beeb was sneering at the flag. They weren’t. They were laughing about the Tory’s sheer opportunistic use of it.

It’s no accident that they’ve started waving the flag in the weeks running up to the local elections. Their performance on health, the economy, Brexit and just about everything else has been dire. They’re still trying to privatise the health service by stealth, they insulted the nurses with a 2 per cent pay rise, which is in real terms a cut in their salaries, wages are still frozen, more people are being forced into real, grinding poverty, the queues at the food banks are as long as ever, or longer. The Brexit that Boris has been so desperate to ‘get done’ is spelling disaster for Britain’s manufacturing industry, and businesses dealing with the continent and ordinary Brits wishing to travel abroad are now faced with mountains of paperwork and bureaucracy. Bureaucracy which the Brexiteers blithely assured us wouldn’t happen. Hopefully this year will see us coming out of lockdown and the Coronavirus crisis. We’ve a far higher rate of peeps receiving the vaccine than the EU, but that shouldn’t distract attention from the colossal way the Tories have mismanaged the Covid crisis as a whole. As Mike’s pointed out in one of his articles, Tory bungling and corruption – they gave vital medical contracts to companies owned and run by their friends and supporters, rather than to firms that could actually deliver – that over 100,000 people have died of the disease. One of the good peeps on Twitter has shown how this compares to the numbers killed in some of the genocides and ethnic massacres that have plagued recent decades. And the report, which was supposed to show that Britain isn’t institutionally racist, has been torn to shreds with some of the academics cited claiming they were not properly consulted and seeking to distance themselves from it. And then there are the mass demonstrations up and down the land against their attempts to outlaw any demonstration or protest they don’t like under the guise that it would be a nuisance.

And so, with all this discontent, they’ve fallen back to Thatcher’s tactics of waving the flag at every opportunity. One of the hacks at the Absurder in the 1980s said that Britain had three parties – the patriotic party, who were the Tories, the loony party, which was Labour, and the sensible party, which was the SDP/Liberals. Which showed you the paper’s liberal bias even then. The SDP, Liberals and their successors, the Lib Dems. have sold out utterly, while after four decades of Thatcherism Michael Foot’s Labour party looks far less than loony. But the hack was right about the Tories and patriotism. Thatcher waved the flag as frantically as she could and constantly invoked the spirit of Winston Churchill and World War II. One particularly memorable example of this was the Tory 1987 election broadcast, which featured Spitfires zipping about the sky while an overexcited voice told the world ‘Man was born free’ and concluded ‘It’s great to be great again’.

Here’s another feature of Fascism that’s been adopted by the Tories to add to those on Mike’s checklist. Fascism is an ideology of national rebirth and revival. Thatcher was claiming she was making us great again, just as Donald Trump claimed he was doing for America. Just as Oswald Mosley called one of his wretched books The Greater Britain. And unfortunately, as Zelo Street has also pointed out, Fascists like the Nazis have also used people’s natural loyalty to their flag as a means of generating support for their repulsive regimes. British Fascism was no different. Mosley also made great use of the flag at his rallies, and this tactic was taken over by his successors in the National Front and BNP. This has been an embarrassment to ordinary, non-racist Brits, who simply like the flag. One of my friends at school was a mod. At the time, the union flag and British bulldog formed a large part of mod imagery without meaning that the person was a racist or White supremacist. During one of the art lessons my friend started painting a picture with those two elements – the union flag and bulldog. The teacher came over and politely asked him not to do so, as he was afraid people would like at it and come to the wrong conclusion. This was just after the 1981/2 race riots, so you can understand why. But it is frustrating and infuriating that ordinary expressions of reasonable patriotism or simple pop culture iconography have become suspect due to their appropriation by the Far Right.

But the real excesses of flag-waving were to be seen over the other side of the Pond in Reagan’s America. Reagan was wrecking his country with privatisation and an assault on what the country had in the way of a welfare state, while murdering the people of countries like El Salvador and Nicaragua by supporting Fascist dictators and their death squads. But, like Thatcher, he did everything he could to use the symbols of American nationhood. Like the Stars and Stripes. A Republican party political broadcast in 1984 or thereabouts showed the American flag being raised no less than 37 times. This was so bizarrely excessive that one of the Beeb’s foreign correspondents commented on it. As far as I am aware, no-one took him to task for sneering at it.

This flag-waving is part of the Tories attempts to present themselves as the preservers of British national identity, tradition and pride against the assaults of the left, particularly Black Lives Matter and their attacks on statues. I’m not impressed with the attacks on some of the monuments, like that of Winston Churchill, even though he was a racist. But in Bristol the only statue attacked was that of the slavery and philanthropist Edward Colston. None of the other statues in and around Bristol’s town centre of Edmund Burke, Queen Victoria, Neptune and the sailors who made my city a great port, were touched. And then there was the protest last week against the new school uniform policy at Pimlico Academy in London. This ruled out the wearing of large afro hair styles. So the students started protesting it was racist. The headmaster also raised the union flag, which led the statement from one of the students, Amna Mukhtar, that it weirdly felt like they were being colonised. And then some idiot burnt the flag in protest. The headmaster has now rescinded the school’s uniform code and taken the flag down. Now I gather that one of the Tories is now calling for every school to fly the union flag.

It all reminds me of the comments the late, great comedian Bill Hicks made when Reagan and his supporters were flying the flag and their outrage when a young member of the Communist party burned it. After making jokes about the Reaganite rage and hysteria, Hicks said that he didn’t want anyone to burn the flag, but burning wouldn’t take away freedom, because it’s freedom. Including the freedom to burn the flag.

Quite. And the Tories are wrecking our country and taking away our freedoms while cynically waving the flag.

So when they start spouting about it, use your scepticism and think of Hick’s comment instead. And vote for someone else.

No! Black Lives Matter Had Zilch to Do with Bristol Riot

March 23, 2021

More lies and racism from Nigel Farage and Andy Ngo. Yesterday’s big story was the riot in Bristol on Sunday night. A crowd had gathered during the day to protest the Tory’s wretched and abominable Police and Crime bill. This is another landmark in the Tories’ push to turn Britain into a Fascist state, as it would ban all protests or demonstrations if someone considered them a nuisance, as well as place further restrictions on Travellers. At the moment, the leaders or organisers of an illegal demonstration can be prosecuted and forced to pay a £10,000 fine. It may have been to avoid this that yesterday’s demonstration appeared not to have any clear leadership or organisational structure and this may have been one of the reasons it turned violent.

The crowd had originally been peaceful, assembling on Bristol’s College Green outside the Council House, sorry, ‘City Hall’. Most of the demonstrators had apparently left and gone home by the evening, when the crowd marched on the police station in Bridewell Street for a sit down protest. It was there that the protest became a riot. The police station was attacked, windows smashed and graffiti scrawled on the wall. Cars were also set at light, and the mob fought the police. Four policemen were reported to have been hospitalised, and seven protesters arrested.

It’s unclear who was responsible for the riot. Politicians from across the political spectrum yesterday condemned the rioters, including Bristol’s brilliant elected mayor, Marvin Reese. Reese called the riot ‘politically illiterate’, and made the point that it actually strengthened the Tories’ arguments for tougher measures against demonstrations. But people, who were at the demo claimed that the riot broke out when the police attacked the crowd. Mike’s put up a series of Tweets on his blog from one of the protesters, Adam Johannes, a Bristolian, who said that the police pushed people, kicked those on the ground, when the crowd pushed back, police in riot gear struck protesters on the head and sent in the attack dogs. Novara Media’s TyskySour discussed the riot and what it meant for left-wing protests in this country in their edition last night. They spoke to two people, who were present, one of whom was a journalist from the Bristol Cable. The journo believed that the riot was caused by the protesters. The other person believed that the police had started it with unprovoked attacks.

I don’t know which is true. The police have launched unprovoked attacks on demonstrators before, which the media has spun as the protesters attacking the police. The most notorious example of this was the police attack on the strikers at Orgreave colliery during the Miners’ Strike. The BBC reversed the footage of the attack to falsely accuse the strikers of attacking the police. One of the my cousins saw the police attacking members of the crowd during the Poll Tax demonstrations nearly thirty years ago. On the other hand, there are idiots who join demonstrations in order to provoke them to riot. One of my friends ran into one of these morons when he went to a Poll Tax demonstration with his mother.

But one this is clear. The riot had absolutely zero to do with Black Lives Matter. Or, indeed, any other left-wing organisation. But this hasn’t stopped the Fuhrage and Andy Ngo claiming that it did. Andy Ngo’s an Asian-American, but this hasn’t stopped him from supporting the American far right. He posted a series of Tweets stating that Bristol was England’s Portland, and that the rioters had raised hammers and sickles. The main groups at the riot, according to this observer from across the Atlantic, were Black Lives Matter, Antifa and Extinction Rebellion, among others. Well, he’s either lying or desperately needs glasses, because nobody in Britain has mentioned any of these groups. From what was shown on TV, the protesters were all, or overwhelmingly White. There was absolutely no connection to Black Lives Matter. As far as I can make out, there were no Antifa, Extinction Rebellion weren’t there either, and absolutely no-one, but no-one, was waving hammers and sickles. This is all just the product of Ngo’s fevered, Alt-Right imagination.

This didn’t prevent the man one of the commenters here calls ‘Niggle Frog-Face’ from also claiming that BLM were somehow involved. The Fuhrage tweeted “In Bristol tonight we see what the soft-headed approach to the anti-police BLM leads to. Wake up everyone, this is not about racial justice. These people want all-out anarchy and street violence … The BLM protests were anti-police, it is a key goal of the organisation. The worrying events in Bristol tonight are an extension of that. We have given into and encouraged the extreme left, and this is the result”. The peeps on Twitter responded by pointing out that Farage was only doing this because he was racist and hoping to stoke up further racism in the UK.

However, unfortunately I do feel that Farage may have a point. The right has accused the police of treating Black Lives Matter with a leniency that was not extended to White counter protesters. And it does seem that they are right. At some of the riots the police took the knee before the BLM protesters. There’s also video footage of the cops running away from BLM rioters, although such footage can be manipulated to present a false impression, as with the Orgreave film. On the other hand, the right-wing protesters, who turned out to stop further Black Lives Matter attacks on statues do seem to have been attacked and treated more harshly by the police. It is possible that the police’s admirable restraint in refusing to defend Edward Colston’s statue when it was pulled down by a group of BLM protesters in the summer may have encouraged some of the militants in the demonstration to believe that the police would act with a similar restraint if they rioted.

Whether that was the case or not, I don’t know. It’s a possibility. But what isn’t in doubt is that neither BLM nor the other groups were involved in Sunday’s riot. As for Bristol being England’s equivalent of Portland, I don’t know. I’ve never been to Portland. It might be a very nice place, despite being the scene of many of last year’s BLM riots. But, apart from the attack on Colston’s statue, Bristol hasn’t had any BLM riots. And the mob attacking the old slaver’s statue didn’t attack any of the other monuments in the area, property or police. Farage and Ngo are simply lying.

As for the wretched Police and Crime Bill, this certainly is an attack on our civil liberties which needs to be very strongly resisted.

But rioting will only strengthen the hands of those determined to turn this great nation into a Fascist police state.

For further information, see: Did POLICE turn Bristol ‘Kill the Bill’ protest into a riot? | Vox Political (voxpoliticalonline.com)

Zelo Street: Bristol – Farage Does A Racism (zelo-street.blogspot.com)

Policing Bill Sparks Riots In Bristol | #TyskySour – YouTube

I Condemn the Racist Abuse Against Labour Deputy Mayor Asher Craig

March 13, 2021

Last night the BBC local news programme for the Bristol area, Points West, reported that the city’s deputy mayor, Asher Craig, and the elected mayor himself, Marvin, had received 6,000 racially abusive messages. This followed the toppling of the statue of the slaver Edward Colston last summer, and the passage of the motion supporting reparations for slavery by the council. The motion was actually proposed by the Green councillor for Cotham, Cleo Lake, but seconded by Craig. Which was natural, as Craig is also the city’s head of equality.

I have to say that Craig is very far from my favourite politico, though I think that in general Marvin has been very good for the city. He’s much better than his predecessor, Ferguson, of red trousers fame. Ferguson cut funding for services to the bone, if not beyond, and turned down money from central government to which the city was entitled. And this is a very small, insignificant point, but it irritates nonetheless. Ferguson in his vanity changed the name of the city’s seat of government from the Council House to City Hall. Because the latter sounded better. But it always was the Council House, and, to me, always should be.

As I’ve made it very clear on my blog, I have strong criticisms of the reparations motion, which I’ve laid out in previous posts. While I believe very strongly that the motion is deeply flawed, I agree with its Tory opponents that it came from a good place. I do appreciate that she is trying her best for Bristol’s Black community, which is, in general, marginalised and disadvantaged.

And in any case, no-one should have to suffer abuse, whether racist or not, although the latter is particularly offensive and distasteful.

Not All Africans Were the Victims of European Slavery – Some Were the Slavers

March 5, 2021

As I mentioned in a previous post, a few days ago Bristol city council passed a motion brought by Green councillor Cleo Lake and seconded by Labour deputy mayor and head of equalities Asher Craig supporting the payment of reparations to the Black community for slavery. Bristol becomes the first town outside London to pass such a motion. Although the motion is a radical step, on examination it seems not so very different from what Bristol and other cities are already doing. Lake herself said something like the reparations weren’t going to be a free handout for everyone, or something like that. The motion, as I understand it, simply calls for funding for projects, led by the ‘Afrikan’ community itself, to improve conditions and create prosperity in Black communities so that they and their residents enjoy the same levels of opportunity and wealth as the rest of us Brits. This has been coupled with calls for ‘cultural reparations’. What this means in practice is unclear. It appears to me that it might include monuments to the people enslaved by Bristol and transported to the New World, the repatriation of stolen cultural artefacts or possibly more support for Black arts projects. But as far as I am aware, the city has already been funding welfare, arts and urban regeneration projects in Bristol’s Black majority communities, like St. Paul’s, since the riots forty years ago. It looks to me far more radical than it actually is.

The motion was passed by 47 votes to 11. Those 11 opposing votes came from the Tories. They stated that while the motion came from a ‘good place’, they were not going to vote for it because it was just reducing a complex issue to a binary. Mike in his piece about it says that it sounds like doubletalk to him. It does to me, too, but there might be a genuine issue there as well. Because Lake has made the motion about the ‘Afrikan’ community in Bristol as a whole, including both Afro-Caribbean and African people. Both these parts of Bristol’s Black community are supposed to qualify equally for reparations. Her eccentric spelling of the ‘African’ with a K exemplified this. She claimed that this was the originally spelling before Europeans changed it to a C. The K spelling indicated the inclusiveness of the African community. This looks like total hogwash. Western European nations use the Latin alphabet, which was developed by the Romans from the Etruscans. The Romans and the Etruscans were both Europeans. I am not aware of any Black African nation having used the Latin alphabet, let alone spelt the name of their continent with a K. The Berber peoples of north Africa have their alphabet, used on gravestones. The ancient Egyptians wrote in hieroglyphs. Coptic, the language of the indigenous Egyptian Christian church, which is descended from ancient Egyptian, uses the Greek alphabet with the addition of a number of letters taken from the demotic ancient Egyptian script. Ge’ez, the language of Christian Ethiopia, and its descendant, Amharic, also have their own scripts. It’s possible that medieval Nubian was written in the Latin alphabet, but it might also be that it was written in Greek. It therefore seems to me that K spelling of Africa is a piece of false etymology, invented for ideological reasons in order to give a greater sense of independence and antiquity to Africa and its people but without any real historical support.

At the same time there is a real difference between the experience of the descendants of enslaved Africans taken to the New World and the African peoples. Because the latter were deeply involved in the enslavement of the former. Some Europeans did directly enslave Africans through raids they conducted themselves, like the privateer Jack Hawkins in the 16th century. But mostly the actual raiding and enslavement of the continent’s peoples was done by other African nations, who sold them on to the Europeans. European slave merchants were prevented from expanding into the continent through a combination of strong African chiefs and disease-ridden environment of the west African coast. As a result, the European slave merchants were confined to specific quarters, like the ghettoes for European Jews, in African towns. Britain also mostly took its slaves from West Africa. The east African peoples were enslaved by Muslim Arabs, the Portuguese or by the Dutch for their colonies at the Cape or further east in what is now Indonesia.

Slavery also existed in Africa long before the arrival of the Europeans. Indeed, the kings of Dahomey used it in a plantation agricultural economy to supply food and cotton. They were also enslaved by the Arabs and Berbers of north Africa. The first Black slaves imported to Europe were taken to al-Andalus, Muslim Spain. The trans-Saharan slave trade survived until 1910 or so because the Europeans did not invade and conquer Morocco, one of its main centres.

Following the ban on the slave trade within the British Empire in 1807, Britain concluded a series of treaties with other nations and sent naval patrols across the world’s oceans in order to suppress it. Captured slavers were taken to mixed courts for judgement. If found guilty, the ship was confiscated, a bounty given to the capturing ship’s officers, and the slaves liberated. Freetown in Sierra Leone was specifically founded as a settlement for these freed slaves.

The reaction of the African peoples to this was mixed. Some African nations, such as the Egba, actively served with British sailors and squaddies to attack slaving vessels. I believe it was British policy to give them the same amount of compensation for wounds received in action as their White British comrades. Other African nations were outraged. In the 1820s there was a series of attacks on British trading stations on the Niger delta in order to force Britain to resume the slave trade. As a result, Britain fought a series of wars against the west African slaving states of Dahomey, Badagry, Whydah and others. On the other side of the Continent, Britain invaded what is now Uganda, Malawi, Zambia and Zimbabwe partly to prevent these countries being claimed by their European imperial rivals, but also to suppress slavery there. In the 1870s the British soldier, Samuel Baker, was employed by the ruler of Egypt, the Khedive Ismail, to stamp out slaving in the Sudan and Uganda. Later on, General Gordon was sent into the Sudan to suppress the Mahdi’s rebellion, one cause of which was the attempt by the British authorities to outlaw the enslavement of Black Africans by the Arabs. The Sudan and Uganda also suffered from raids for slaves from Abyssinia, and we launched a punitive expedition against them sometime in the 1880s, I believe. Some African chiefs grew very wealthy on the profits of such misery. Duke Ephraim of Dahomey in the 18th century had an income of £300,000 a year, far more than some British dukes.

Despite the efforts to suppress slavery, it still persisted in Africa. Colonial officials reported to the British government about the problems they had trying to stamp it out. In west Africa, local custom permitted the seizure of someone’s relatives or dependents for their debts, a system termed ‘panyarring’ or pawning. The local authorities in Sierra Leone were also forced to enact a series of reforms and expeditions further south as former slaves, liberated Africans, seized vulnerable local children and absconded to sell them outside the colony. Diplomatic correspondence also describes the frustration British officials felt at continued slaving by the Arabs and the collusion of the Ottoman Turkish authorities. While the Ottomans had signed the treaty formally outlawing the slave trade, these permitted individuals to have personal servants and concubines. The result was that slaving continued under the guise of merchants simply moving with their households. The Turkish authorities were generally reluctant to move against slavers, and when police raids were finally launched on the buildings holding suspected slaves, they found the slaves gone, taken elsewhere by their masters.

Slavery continued to survive amongst some African societies through the 20th century and into the 21st. The 1990s book, Disposable People, estimated that there were then 20 million people then enslaved around the world. Simon Webb, the Youtuber behind ‘History Debunked’, has said in one of his videos that the number is now 40 million. Slave markets – real slave markets – have been reopened in Uganda and in Islamist held Libya following the western-backed overthrow of Colonel Gaddafy.

From this historical analysis, some African nations should very definitely not be compensated or receive reparations for slavery, because they were the slavers. Black civil rights activists have, however, argued that the continent should receive reparations because of the devastation centuries of warfare to supply the European slave trade wrought on the continent. Not everyone agrees, and I read a comment by one diplomat or expert on the issue that, when it came to reparations, it should be Black Africans paying the Black peoples of the Americas and West Indies.

Nevertheless, Lake’s motion states that all Black Bristolians or British are equal victims of British enslavement. This seems to be a view held by many Black Brits. A reporter for the Beeb interviewed some of those involved in the Black Lives Matter protest last summer when the statue of the slaver Edward Colston was torn down in Bristol. The journo asked one of the mob, a young Black lad, what he thought of it. ‘I’m Nigerian’, said the lad, as if this explained everything. It doesn’t, as the Nigerian peoples practised slavery themselves as well as enslaving others for us and their own profit.

It feels rather churlish to raise this issue, as I’ve no doubt that people of African descent suffer the same amount of racial prejudice, poverty and lack of opportunity as West Indians. If the issue was simply the creation of further programmes for improving the Black community generally, then a motion in favour really shouldn’t be an issue. At the same time, if this was about general compensation for injustices suffered through imperialism, you could also argue that Black Africans would have every right to it there. But the issue is reparations for slavery and enslavement. And some Black Africans simply shouldn’t have any right to it, because they were the slavers.

It would be difficult if not impossible to create schemes for improving the condition of Britain’s Black community under the payment of reparations without including Africans as well as Black West Indians. But it also seems to me that the Tories unfortunately also have a point when they complain that Lake has reduced it to a binary issue. She has, simply by claiming that all ‘Afrikans’ were the victims of British enslavement.

And it’s been done in order to create an inclusive Black community, which ignores the different experiences of slavery by the various peoples that make it up, against White Bristol.

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.