Archive for the ‘Film’ Category

The CAA and the JLM are the Israel Lobby’s Version of the ‘Anti-Paki League’

February 24, 2018

The Anti-Paki League were another bunch of extreme right-wing racists, who goose-stepped up and down our green and pleasant land in the 1970s campaigning against coloured immigration, and terrorising Blacks and Asians. They had an ugly name, which exactly expressed the ugliness of the organisation. I first became aware of the Leagues existence when I saw a book on them in the former Midland Educational bookshop in Bristol’s Broadmead in the ’70s or early ’80s. The cover showed a crowd in Klan robes about to behead a prone and screaming Black man.

I’ve chosen the Anti-Paki League to focus on here, rather than other, larger anti-immigrant and racist organisation, like the National Front or BNP, because their name also carries with it undertones of Islamophobia. Pakistan is a Muslim state. It was explicitly set up to be the country where Muslims, who felt excluded by the dominant Hindus in India, could live in according with Qu’ran and the Sunna. Not all Pakistani immigrants are Muslim, however. Many of them have been Christians, who have left their homeland because of the increasing violence and intolerance of their Muslim compatriots.

And Islamophobia and connections to other, nakedly Fascistic British anti-Muslim organisations, run right through the Israel lobby and its organisations like the Campaign Against Anti-Semitism and the Jewish Labour Movement. The racism and Islamophobia at the heart of the Campaign Against Anti-Semitism is very clear in its statement that Muslims are more likely than the rest of the British population to be anti-Semitic, whom they also smear as sharing the same Jew hatred.

As for the JLM, their head, Jonathan Newmark, an unconvicted embezzler from Jewish charities, if the allegations against him are true, turned up to disrupt a film on the sufferings of the Palestinians under Israeli occupation, held at the SOAS university. They did so in the company of the Jewish Defence League, the Jewish branch of the Fascist English Defence League, screaming, hurling abuse and waving flags.

Mike’s been unfairly accused of being an anti-Semite, because the uncomfortable facts he covered about Shai Masot’s attempts to plot the removal and replacement of prominent cabinet ministers, which he rightly described as a conspiracy, was held to be an ‘anti-Semitic trope’.

Well, turning up to a screening of film to disrupt it by flag-waving racial nationalists is a Fascist trope. Since the time of Mosley’s BUF, the stormtroopers of the British Nazi right have used appropriated the Union Flag and other emblems of Britishness for their insignia and rallies. The National Front despised Mosley, but they adopted the same tactic to try to win over members.

And Fascists also aggressively disrupt anti-racist and left-wing gatherings, including films. The parallel to their JDL’s disruption of the film on the Palestinians that comes to my mind is the attack Christian Fascists in France in the 1920s made on the screening of Bunuel’s and Dali’s Surrealist film, L’Age d’Or. As Marxists, the Surrealists were extremely anti-religious with a bitter hatred of Christianity. The French Christian far right objected to the film because it showed a monstrance being thrown into a river, and ended with a group of skeletons lying on a rock wearing clerical vestments such as bishop’s mitres.

And the Israel lobby’s connection to mainstream British Islamphobic Fascism don’t end there. A few months ago Jonathan Hoffman, another prominent member of the Israel lobby was photographed getting very chummy with Paul Besser, the intelligence officer of Britain First, if ‘Intelligence officer’ in this context isn’t a contradiction in terms.

These are fake anti-racist organisations. They don’t exist to protect Jews from real anti-Semitism. They exist to defend Israel and its racist oppression of the Palestinians by pretending to defend Jews from anti-Semitism. And they do this by smearing Israel’s critics, including self-respecting secular and Torah-observant Jews, as anti-Semites.

They are Fascists. The CAA should lose its charitable status, and the Jewish Labour Movement, as a Fascist organisation, should be closed down. Real socialists and anti-racist activists should not be tolerating any racist organisation, no matter what it’s ethnicity is, in their party.


Stephen Hawking to Play The Book in New Series of the Hitch-Hiker’s Guide to the Galaxy

February 18, 2018

The I newspaper yesterday reported that the physicist and cosmologist, Stephen Hawking, is set to play the Book in a new radio series of the Hitch-Hiker’s Guide to the Galaxy. Entitled ‘The Hitch-Hiker’s Guide to the Galaxy: Hexagonal Edition’ the series will commemorate the original show on Radio 4 back in 1978, featuring the original cast.

I loved the original series of the Hitch-Hiker’s Guide to the Galaxy, and the first two books based on the show, the Hitch-Hiker’s Guide to the Galaxy and The Restaurant at the End of the Universe. However, I lost interest in it after the third book. I tried reading the fourth, only to give up. I think by that time Douglas Adams himself was growing tired of writing them. I’ve heard someone say on an interview that he was only lured back to write his last Hitch-Hiker book by the publisher’s promise that in it he could destroy every possible Earth in every possible universe. So I’m not sure I’ll listen to it, especially as the series is being carried on by other writers.

I also wasn’t impressed by Adams’ expressed contempt for the genre he wrote in. Back in the 1990s he was interviewed on the radio by Paxo, who said his book was Science Fiction, but different. It was good. Adams replied by saying that he didn’t write Science Fiction. Which is odd, because that’s what Hitch-Hiker is. But I guess Adams wanted to avoid being pigeonholed as a genre writer.

At that time the prejudice of the literary establishment towards Science Fiction and Fantasy was much stronger than it is now. I can remember seeing Terry Pratchett speaking at the Cheltenham Festival of Literature, saying how the organisers looked on him as if he was going to talk to people about fixing motorcycles. There’s a clip of the BBC arts programme, The Late Review, in which the Oxford lecturer and poet, Tom Paulin, and a female litterateur are asked to review one of Pratchett’s books, where they both make very disparaging remarks. The woman states that she felt like writing across it in big lines ‘I cannot read any more’. Paulin compared it to lifting up a stone to find all these weird people doing weird things underneath it. And going further back to the 1950s Brian Aldiss commented in The Trillion Year Spree that at that time, despite being championed by Kingsley Amis, pornography had a better reputation than Science Fiction amongst the literary elite.

Pratchett had to fight against that literary snobbishness throughout his life, but is now being taken very seriously by critics. I think Adams avoided it. Back in the ’90s he and Hitch-Hiker were the subjects of one edition of the South Bank Show with Melvin Bragg. But perhaps the price of that critical acclaim was his denial that he wrote Science Fiction at all.

But other people are different, and so I’ve no doubt that there are millions of Hitch-Hiker fans out there, who will be delighted to hear the news. They know who they are. They’re the people, who bought merchandising, like the Hitch-Hiker bath towels. This was a large, white bath towel with the text from the HHGG talking about how every Hitch-Hiker really needed to know where their towel was on it. I found one of those in Forever People, the comics/ SF shop in Bristol. The show’s fans are also the people, who organised conventions with dubious names like ‘Slartibartday’, after one of the creators of the Earth, Slartibartfast.

Hawking is in many ways an ideal choice for The Book after the death of Peter Jones, who was its original voice on Radio 4 and then in the BBC 2 TV series. He already has an electronic voice to fit the character of an electronic book, and is a world famous space scientist and advocate of space colonisation. But you wonder how massive his ego will be after playing a publication, which the Hitch-Hiker’s Guide to the Galaxy describes as, amongst some people, having displaced the great Encyclopaedia Galactica as the standard repository of all knowledge and wisdom.

Jewish Organisation Launches Campaign Against Islamophobia

February 17, 2018

On Wednesday, Mike posted a story reporting that Jewish Voice had launched a campaign against Islamophobia, called appropriately enough, #JewsAgainstIslamophobia. They are not only campaigning against Tommy Robinson and the EDL, but also against right-wing Jews, who ally themselves with these Fascists.

Mike then went on to ponder whether they would take on the authors of a statement that British anti-Semites were mostly like to be Muslim, and that this country should not shy away from tackling the immense anti-Semitism in the Muslim community as well as the general population. This statement comes from the Campaign Against Anti-Semitism, the extreme right-wing Zionist organisation that smeared Mike as an anti-Semite. The identification of Muslims as being more anti-Semitic than the rest of the population is itself racist, as Mike pointed out. He asked

If anybody had written, for example, that British Jews are Islamophobic and sympathise with terrorism, violence and extremism, how do you think that organisation would react?

Clearly the Campaign Against Anti-Semitism would have gone berserk with rage, which shows the hypocrisy and double standards of this organisation.

He then goes on to discuss the case of one of the Campaign’s individual members, the odious, repugnant and utterly mendacious Jonathan Hoffman. Mike states that when the CAA attacked Mike, which he believes was part of a plan to stop him being elected a Labour councillor for Powys, Hoffman and his fellow trolls turned up on the Labour Party campaign facebook page to make the same accusation of anti-Semitism.

He then links to three websites that provide information on this individual, including various incidents in which he has tried to close down free speech on Israel through screams, insults, smears and intimidation.

Mike’s article can be read at:

This first links to a story published in the Middle East Monitor in November last year, about how Hoffman and his mates in the Jewish Defence League turned up to disrupt a showing of the film, From Balfour to Banksy: Visions and Divisions in Palestine, shown at the Centre for Palestine Studies at SOAS. The film was intended to be part of an academic discussion of the history of Palestine, and the legacy of the Balfour declaration, which gave British support to a Jewish state.

This was too much for the precious snowflakes of the JDL to handle, and they began shouting and screaming, and waving Israeli flags around, in order to intimidate the organisers and drive people out of the film. Afterwards Hoffman issued a Tweet accusing the producer, Miranda Pinch, of anti-Semitism and trying to suppress free speech. When asked about this by the Middle East Monitor, Pinch stated that there was an attempt to suppress free speech, but it wasn’t by them. It was by the JDL. She said that she got the impression that they didn’t have any arguments, and so just wanted to shout them down. A student who was there described them as behaving like a bunch of football hooligans. Pinch also stated that she doesn’t have any issue with existence of the state of Israel, she just campaigns for justice for everyone there, Jewish, Christian and Muslim. She said

“I have ALWAYS made it clear that I stand for equality and human rights for all in that region and that includes Jews, Christians, Muslims and anyone else living there. I am a signatory of Jews for Justice and have many Jewish friends, both practising and non-practising. My view, as most of theirs, is that Israel does not represent the Jewish religion at all. The Old Testament exhorts the Jews again and again to care for the stranger in their midst and to love justice. Israeli policies bring Judaism into disrepute,” said Pinch.


The comparison with football hooligans is very apt. The Jewish Defence League are the Jewish division of the far-right, Islamophobic English Defence League, which does have links to various firms of football hooligans, allegedly. Quite apart from the fact that a Channel 4 documentary screened a little while ago when the organisation seemed to be gaining strength showed that, while Robinson and the leadership tried to project an image of being non-racist, the grassroots membership were the usual Nazis and Fascists from organisations like the BNP and so on.

The second link goes to a page, Hoffman Chronicled, which reveals that Hoffman is a member of the Board of Deputies of British Jews, and is a prolific contributor to the Jewish Chronicle website. It also shows him in the company of Kevin Carroll, the cousin of the EDL’s founder, Tommy Robinson, who’s also in the EDL. There’s also a photo of him in the company of Roberta Moore, the founder of the EDL’s Jewish Division, and one of the European organisers of Victor Vancier’s Jewish Task Force.

The third link goes to the website of David Cronin, the author of several books about Israel and its long campaign of violence and ethnic cleansing against the Palestinians. This describes how Hoffman repeatedly turns up at his talks and makes baseless accusations of factual inaccuracy. It also describes how he also insults and smears other activists against the Israeli oppression of Palestinians, like Jackie Walker, Thomas Suarez, the author of another book about Israel, and even Hajo Meyer, a survivor of Auschwitz. Hoffman described Meyer as ‘an amazing dancing bear’ because he had the temerity to state that Israel was dehumanising the Palestinians the way the Nazi dehumanised Jews.

But the Zionists love him. He has been consulted by the Reut Institute, a think-tank founded by a former adviser to the Israeli government. In 2011 he attended a conference, partly organised by them, on how to discredit criticism of Israel. The following year he failed to get re-elected as a vice-president of the Zionist Federation. And in 2016 he and his mate, Jonathan Newmark, who also makes spurious accusations of anti-Semitism against critics of Israel.

That isn’t the only company he keeps. He was also photographed with Paul Besser, the intelligence officer – if that isn’t an oxymoron – of the Far Right, islamophobic group, Britain First.

Cronin concludes

Hoffman is undoubtedly a bully but nobody should allow themselves to be intimidated by him or by similar lobbyists. Their belligerence illustrates that Israel feels discomfited by Palestine solidarity activists.

They don’t like the message, so they slander the messengers.

This is absolutely true. And clearly they feel very threatened by Mike, otherwise Hoffman and his fellow thugs and bullies wouldn’t have tried to smear Mike as an anti-Semite. They’re scared, and more people are becoming aware of how scared they are, and how their accusations of anti-Semitism are nothing but baseless smears and gross libel.

TNT Nation: Daily Mail Racists Freak Out as Cheddar Man Revealed as Black

February 15, 2018

One of the big stories last week was the unveiling of the reconstructed face of Cheddar Man. As Jeff Waldorf points out in this clip from TNT Nation, this is a prehistoric man, named after where he was found, and not a man literally made of cheese. Cheddar Man, or rather, his skeleton, was found in the caves in Cheddar in Somerset, England, way back in 1906. The skeleton’s 16,000 or so years old, and so dates from about the end of the last Ice Age. The scientists reconstructing his features also used for the first time DNA analysis to gauge his skin and eye colour. And it turns out that he had ‘dark to black skin’ and blue eyes.

They scientists were able to do this using DNA they were able to extract from the skeleton. This had genetic markers similar to those for dark skin, which is also present in ten per cent of the modern British population. Cheddar Man’s colouring was a surprise for the scientists, as they expected him to have white skin and blond or light hair, as an adaptation to the extreme cold. Commenting on the revelation that he was black, one scientist said that it showed that British has not always been associated with Whiteness. It had changed, and would change again in the future. I think they were also able to trace the ultimate origins of Cheddar Man’s people, as they entered Britain from a route across southern Europe ultimately going back to Turkey.

I’m not surprised by this revelation. It’s been suggested since at least the 1990s that the first anatomically modern humans – Homo Sapiens Sapiens – who entered and colonised Europe, were dark-skinned. Back in the 1990s a Channel 4 series on human evolution showed a reconstruction of these people, as they would have looked 40,000 or so years ago, edging along the primeval European countryside as Black. The programme also consciously reversed the idea, promoted in many past books and articles on them, that the Neanderthals were Black. The programme instead argued that they would have had light skins as an adaptation to the arctic temperatures in Europe. If you also look at the remains of our ancient ancestors, you also find that they have more archaic features, like a strong brow ridge, than the other humans in Africa, who were much more gracile. I think its these archaic features which led some archaeoanthropologists to state that some of these humans were of the same physical build as Aboriginal Australians, because these ancient people have also retained some features of archaic humanity.

The real shock, as one of the articles about Cheddar Man said last week, is how recently White skin and hair evolved – in the last 10,000 years or so. It’s much more recent than they expected. However, I can remember reading in a review of the film The Clan of the Cave Bear in Starburst one of the criticisms of that movie. It starred Daryl Hannah as a Cro Magnon woman growing up with a family of Neanderthals. Hannah’s blond, and the article pointed out that blonde hair is only supposed to have evolved 10,000 or so years ago – much later than the age the film, and the book on which it was based, by Jean Auel, is set.

The revelation that Cheddar Man was Black, however, set the racists off. And here Waldorf reads out and tears to pieces some of the comments about this story left on the Daily Mail’s website. And they go from the reasonable, to the completely mad.

Waldorf begins with the comment from one individual, who wonders if the genetic reconstruction is accurate, given the age of the skeleton and difficulty of extracting genetic information from remains that ancient. He states, however, that he isn’t a scientist, but has simply watched a lot of documentaries. Waldorf mocks him for this, which is actually unfair. It’s a reasonable question, as the impression I’ve had from watching the same kind of documentaries is that ancient DNA can be extremely delicate, and is very often fragmentary, so it can actually be very difficult to extract useful genetic information from human remains. I can remember reading an article a few years ago, which made this point when discussing the Neanderthals to show why scientists have not tried to recreate them genetically.

And then there’s the completely bonkers. Another commenter wondered if there wasn’t something deeper going on here. They smelt a conspiracy, as the revelation that Cheddar Man was Black came after, so this person believed, the collapse of the ‘out of Africa’ theory of human origins, and the proof that the Ancient Egyptians weren’t African. First of all, if the theory that humans first evolved in Africa and then spread outwards across the globe has collapsed, then no-one’s told me. Or any of the anthropologists and archaeologists working in this field. The only people I can think of who reject the theory are, er, marginal thinkers. Or cranks. Waldorf takes apart the claim that the ancient Egyptians weren’t Africans, by pointing out that ancient Egypt actually had a very diverse population, and that in the south they tended to be darker than in the north. Also, Egypt is part of Africa.

This comment seems to echo back to the views of some of the White racial supremacists that the ancient Egyptians, as the citizens of an advanced ancient civilisation, couldn’t possibly be Black, and were instead White and European in appearance. This is, of course, vehemently rejected by AFrocentrist historians, who argue instead that they were Black. If you look at the way the ancient Egyptians depicted themselves in their art – in the tomb paintings, for example, they are lighter than the darker skinned Nubian peoples to their south. Male ancient Egyptians are portrayed as having reddish brown skin, while women are yellow. Nubians are painted with black skin. Even so, they are still darker than the Europeans, which appear in their art, such as the people of Minoan Crete. These are depicted with pink skin. The scientifically accepted view is that the peoples of North Africa, including ancient Egypt, were White.

However, way back in the 1990s or the early part of this century some anthropologists reconstructed the faces of people from Roman Egypt. This found that their features were more strongly African than the portraits of them painted on to their mummy cases, which made them look more European. There were definite cultural and economic reasons why an ancient Egyptian really wouldn’t want to be seen as ‘Black’. Roman Egypt was a horrible, racist, apartheid state, where the indigenous Egyptian population was taxed more than those of Greek or European descent. This would have left many Egyptians with feelings of inferiority about their African features, which they would have tried to cover up.

There was also the suggestion by one archaeologist that the ultimate origins of the ancient Egyptian civilisation lay in a Black tribe from further south, which migrated to the north. This archaeologist came to this conclusion through examining some of the early henge monuments, which predate the ancient Egyptian civilisation proper by thousands of years. I think these were similar to those in the Black African nations further south. One of the stones in these monuments also seemed deliberately shaped to resemble a cow. Hathor was the ancient Egyptians’ cow goddess, and so there’s the suggestion that she was a survival from this ancient, pastoralist Black African culture.

I also came across another story in the paper recently, which said that the ancient Egyptians weren’t African after all. I didn’t get the opportunity to read it – I only glimpsed the headline in passing – and so can’t really comment on it. But it seems unlikely to me. The Egyptologist John Romer criticised the notion that the ancient Egyptians were White way back in the 1990s in his Channel 4 series, Great Excavations. In one episode, he discussed the various diffusionist theories of human evolution and progress, and how they were influenced by 19th century theories of racial supremacy and conquest. Diffusionism is the archaeological theory that advances in civilisation occur through successive societies and races conquering their predecessors. Early archaeologists were busy examining the remains of these past cultures, and especially their skull and head shapes, in order to develop a classification of the various races these different physical types represented. As the ancient Egyptians were an advanced civilisation, they confidently expected them to have their origins in the lighter skinned peoples further east.

Except that they didn’t. The ancient Egyptian people remained the same stock, unchanged, as their culture developed and flourished around them. They created their culture themselves, without any other invading race creating or imposing a superior culture after them. Of course, at times ancient Egypt was conquered by outside nations, such as the Semitic Hyksos kings and the Nubians, who produced a line of Black pharaohs. They were also an important power themselves in the ancient Near East, at one point holding Syria and Palestine. But ancient Egyptian culture was their own creation, and not the result of invasion by some biologically superior race. And as far as I know, the only people, who believe that the ancient Egyptians had blonde hair and blue eyes are neo-Nazis.

Now I think there is a subtle message behind this recent discovery of Cheddar Man’s complexion. I think some of the comments made by the experts about his colouring and Britishness – that it is only relatively recently that White skin has evolved, and that Britishness is not necessarily connected to Whiteness – have been made to make an anti-racist point. It wasn’t just the scientist quoted by the TNT clip. There was another quote in the papers by someone saying that we may have to rethink the relationship between Britishness and Whiteness. It’s a reasonable, scientifically informed comment. But the recreation of Cheddar Man with dark skin clearly touched a nerve amongst the racists reading the Daily Heil.

As for Cheddar Man himself, he still has descendants in the area. Or at least, a descendant. A few years ago scientists sampled his DNA, and then tested the other people in Cheddar to see if they were related. It turns out one of them was – the headmaster of the local school. He was quite happy about it, but his mother was really upset, worrying what people would think. Well, if they’re sensible, they won’t think anything disparaging. As I said, these people were exactly like us modern humans. They had the same physical features and the same intelligence. They weren’t lumbering ape-men by any means. The only difference between modern people and them is that they lived over 10,000 years ago, when much of Britain was a frozen wilderness. I can even imagine some people being slightly envious, that this chap has an ancestry that can be traced back to this incredibly remote period.

Elon Musk’s Launch of Sports Car into Space, and Fear Factory’s Version of ‘Cars’

February 10, 2018

And now for something a bit lighter.

This week, Elon Musk’s Space-X company launched a sports car into space, complete with a dummy pilot. This was supposedly inspired by David Bowie’s Starman, and Iggy Pop’s The Passenger. You probably saw the pictures in the paper.

What it reminded me most strongly of, however, was the video for Fear Factory’s version of the Gary Numan hit, Cars. Fear Factory are an American Heavy Metal/Industrial band, and Numan himself appears in the video as a driver of a car in space.

The video includes scenes of the band driving through a futuristic network of brightly tunnels, while alphanumerics scroll down the screen, which is clearly inspired by The Matrix trilogy. Then Numan himself drives at speed through a city. He’s also driving a car in space and collides with a satellite. This is then followed by the scenes of a crash, and the lead singer walking towards an upturned car from which a woman and the firemen are fleeing. It ends with a shot of the other wrecked car in space floating away.

And in between the lead singer inserts one of the band’s CDs into the car’s player, and there’s a creepy kid in the back, who looks just like he came out of Village of the Damned.

Take a look at the video, and see the similarities between it and Musk’s venture. He really should have had this on his playlist, as well as Bowie and Iggy Pop.

Our Dad’s Visit to the Ruins of Belsen Concentration Camp

February 8, 2018

I’m telling this story to make it even clearer that Mike isn’t Holocaust denier, and that he and I were brought up knowing about the atrocity by parents, who hated and despise the Nazis and their crimes like every other decent person.

Our father did his national service in Bielefeld in Germany. It was a town then on the borders of the former West Germany. While he was there, he visited the remains of Belsen concentration camp, and took pictures. I can remember him showing them to Mike and myself when were both in junior school. This was way back in the 1970s, when war comics were in vogue – not just Battle, but also Warlord, the war stories in Action, like ‘Hellmann of Hammer Force’, and the DC Thompson war comics in Commando Picture Library. This was also the decade when there were an increasing number of films about the Second World War. Mike and I read the war comics, and this led us at the time to ask questions about the Second World War. It might have been in response to one of these that Dad got out his photo album to show us his photos of the ruins of the camp. This worried Mum. She was afraid that the photos, and the story behind them, would be too upsetting for us and give us nightmares. It didn’t. From what I can remember, the photos mostly showed grassed over pits. These, our father told us, were where the Nazi burned and buried the bodies of those they’d murdered. Talking to him last night, he said that from one pit they pulled 12,000 human remains. I’d have to look up how many were killed in toto at the wretched place, but the simple figure of 12,000 for that just one pit is shocking. He’s also said several times that no birds sang there. I’ve heard that about the other concentration camps as well. It’s as if the monstrous evil the Nazis committed infected the very land itself, desecrating it of all life.

A few decades later, Mike himself visited one of the other Nazi concentration camps – Sachsenhausen. I think this was when he was at college, studying modern European literature. Part of the course included a trip to West Berlin, and I think it was while he was there that he visited the remains of that particularly abomination.

The real Nazis make disgusting jokes about the Holocaust, when they’re not trying to convince the world that it didn’t happen, or was a lot smaller than reputable historians have shown. I don’t think they tend to visit them, though. Mike is very, very definitely not a Holocaust denier, nor anti-Semite, and those, who are smearing him are vile, disgusting political manipulators committing libel.

Merkel Claims May Begs Her to ‘Make Me an Offer’

January 31, 2018

Remember when the Tories were trying to convince everyone that Tweezer was ‘strong and stable’, and could be trusted to get us a good deal on Brexit? Oh, how times have changed!

Mike put up a story yesterday, reporting that the German Chancellor has been making jokes at our PM’s expense about her negotiating style. According to die Kanzlerin, all the negotiations between her and May go round in circles, with both of them saying exactly the same things. May will say, ‘Make me an offer.’ Merkel will reply, ‘We don’t have to. You’re leaving.’ At which point May will repeat her first request. Merkel then repeats her reply, and the conversation goes on, round and round in circles.

See Mike’s article at:

Now before we go any further, it needs to be said that domestically Merkel is in a precarious position. She’s hung on to power, but her decision to welcome the wave of Middle Eastern refugees from Syria and North Africa a few years ago has damaged her popularity, and boosted that of the Nazi AfD. I also gather that there are problems about whether or not the SPD will join her grosse Koalition. They joined a coalition with her before, only to find their share of the vote declining as Merkel’s Conservative Christian Democrats took the credit for genuine improvements in the benefits system, which had actually been done by the SPD. The pressure’s on Merkelt to make herself look strong for the voters in Germany.

But this actually shows how weak May is. If this is right, then it shows how May actually doesn’t have anything to negotiate with. As we’re leaving the EU, they don’t actually have to make any concessions to us whatsoever. But the country needs them to, as does May personally. And so her remark to Merkel, ‘Make me an offer’, sounds less like an invitation by a skilled business negotiator in a Hollywood drama to productive talks than begging by a desperate and embattled PM. It also seems to show that May can’t talk, except in clichés she’s learned from the movies. Or had programmed into her by her handlers at Tory Central Office. But the cliché, coming as it does from Hollywood, is there to convince someone that actually she’s a tough negotiator. Perhaps she’s trying to persuade Merkel that she’s going to be able to make an offer Merkel can’t refuse. In which case, she and the Tory hordes behind her are very, very sadly deluded.

May needs an offer, any offer, even if it’s one she has no option but to reject, in order to show the Tory faithful and the voting public that she is able to negotiate any kind of settlement at all. And Merkel is determined to show her the opposite: that she’s in absolutely no position to demand anything.

Thus the Brexiteers, far from leading Britain back into a resurgence of pride and sovereignty, as people like Jacob Rees-Mogg would have us all believe, have actually done the opposite. Repeated studies have shown that Brexit will damage our economy, and the process has left the Prime Minister suppliant and begging before Merkel and the other leaders of the EU.

So much for ‘strong and stable’.

Not that Young Master Rees-Mogg is upset. Mogg makes his money, or a fair part of it, from investments, and so hopes that by going outside the EU and turning Britain into a low tax, low regulated economy just outside the EU, they can make Britain into a colossal tax haven for the global financial industry. No matter that the rest of the British economy, such as manufacturing, and its working people, have already suffered because of the Thatcherite promotion of the financial sector. Mogg’s a true blue, Tory aristocrat, who has consistently voted to give him and his class generous financial rewards, while cutting welfare for the poor, the disabled and working class. This shows his priorities, and those of the Hard Brexiteers that stand behind him. Whatever deal he wants to negotiate will very definitely not benefit anyone, who isn’t a millionaire investment banker.

Sexual Assaults by the Rich Elite at the President’s Club Banquet

January 25, 2018

The news today has been full of the sexual assaults, including an incident of indecent exposure, of the hostesses at the banquet in aid of charity at the President’s Club. Tickets for the bash cost £5,000. It was a men-only event, hosted by David Walliams, and billed as the most ‘un-PC event’. The hostesses, who wore ‘skimpy’ black uniforms, were subjected to groping, had hands shoved up their skirts, propositioned and some of the men tried to drag them onto their laps. One of those, who attended was the Tory minister Nadhim Zahawi. Walliams claims that he did not see any of the assaults on the young women.

I’m not surprised this has occurred. It was a single-sex event, and one of the prizes was an evening at a lap dancing club, in which the first dance would be free. It was a gathering of oversexed, rich, powerful men, who clearly believed that they could do what they liked. This was regardless of the changed attitudes towards such behaviour and the mass outrage against sexual predators in film and television, industry and general society. It came after the massed women’s marches against sexual assault and exploitation in America, and elsewhere, including London, last weekend. But these entitled men clearly didn’t think it applied to them, and they could carry on as they pleased.

My guess is that this behaviour has been carrying on for years. It’s just that now it’s become front page news, and women are organising and vociferously demonstrating against it. It also reminds me of a comment by one of the contributors to Lobster. The writer had a friend, who had attended a meeting of high level bankers in America. The writer asked him what they were like.

‘Worse than you can possibly imagine’, his friend replied.

That tells you everything you need to know about the attitudes and antics of the super-rich, when they think no-one else is watching.

Opening Scene of Valerian and the City of a Thousand Planets

January 22, 2018

And now for something a bit positive and optimistic, before I start blogging about the grim, serious stuff later. I found the opening scene to last year’s Luc Besson SF film, Valerian and the City of a Thousand Planets over on YouTube. Besson was the director of the SF epic, The Fifth Element way back in the 1990s. This clip from Valerian shows the development of something, which looks remarkably like the International Space Station, into a massive, orbital space complex. I like it because it shows a succession of human nations coming through the airlocks, followed by a variety of alien races, to greet each other in peace and friendship. The musical backing is David Bowie’s ‘Space Oddity’, appropriately enough, though the scenes of people and aliens shaking hands in welcome reminds me more of the line from Louis Armstrong’s ‘Wonderful World’: ‘I see friends shakin’ hands, sayin’ ‘How do you do?” This was used at the end of the BBC TV version of the Hitch-Hiker’s Guide to the Galaxy back in the 1980s.

As for people meeting and becoming friends with alien races, that was one of the elements that made Star Trek so popular. It showed that, despite our current problems, humanity would survive, flourish and go on to explore the universe. And that meant all humanity, with people of different races, Black, Asian, and Russians from the other side of the-then current ideological divide, and aliens, like Spock. Gene Roddenberry in his vision for the show stated that he didn’t want there to be an alien race we couldn’t possible deal with. And so in The Next Generation they created the Borg, which originally humanity couldn’t deal with. You either fought them, ran away, or were assimilated.

Alien invasion, or some other insidious threat from beyond the stars is a staple of SF, and has been ever since H.G. Wells’ War of the Worlds. But there’s another aspect to humanity’s fascination with aliens which counterbalances this. That apart from enemies, we will also make new friends. It’s the driving psychological motive behind the various UFO contactee encounters in the 1950s, when people claimed that they’d been taken aboard alien spacecraft by benevolent space brothers, to be given a message of peace and cosmic brotherhood. And it’s also why there have been any number of SF stories and paintings set in space bars, like the Cantina sequence in Star Wars.

And in this clip here, I particularly like the bit where the human shaking hands with one of the aliens is left with slime on his hand. It’s just a bit gross, but it is funny.

I wanted to see Valerian and the City of a Thousand Planets when it came out last year, but unfortunately circumstances got in the way. I heard that it flopped. One reason for this, apparently, was because it came from a French comic strip, which no-one in America had ever heard of. I’m not sure if that’s the reason, and sometimes perfectly good films fall flat at the box office for no discernible reason at all, except that they didn’t appeal at that moment. Anyway, I want to get hold of it on DVD so that I can judge for myself whether it’s any good, rather than just take what the critics said.

The Painter of Cyberspace: The Art of Jurgen Ziewe

January 20, 2018

Earlier this week there was a piece in the press announcing that the Turner Prize Committee had decided to go public early about which artworks and artist they were considering. I have strong feeling, like many people, about the Turner Prize. Many of the works seem simply designed to shock, with nothing more substantial underneath. Those that aren’t, are simply banal. It’s highbrow kitsch, which says nothing while claiming that it actually does. And I think modern fine art has reached a dead end. it’s anti-art, which constantly raves about Duchamps’ urinal nailed to a piece of canvas. Duchamps did it to make the point that whatever the artist claimed to be art, was art. It’s over a century old, and the joke’s well past it’s sell-by date. It was always an adolescent, childish prank anyway. To some of these art experts, it’s a hallowed artistic statement that must not be blasphemed in any way. You remember those Chinese guys, who were arrested when they jumped up and down on Tracey Emin’s ‘My Bed’? The same two were planning to urinate in Duchamps’ urinal. Which I feel is in keeping with the piece itself, but the mere thought horrified the keepers of official art.

The real artistic boundaries are being pushed, in my opinion, not by the fine artists, or at least, not by those fine artists currently pushed by the very small clique that defines what ‘official’ art is, like Nicholas Serota. Rather, they’re being pushed by commercial artists and film makers, often inspired by the worlds of Fantasy and SF, using computer graphics. One of the foremost of these, in my opinion, is the German artist Jurgen Ziewe. Ziewe lives over here, and has an English wife. And we are fortunate to have such a talented artist. I do wonder what will happen to other talented EU migrants like him after Brexit, who can’t stay in this country because they aren’t married. We’re going to lose a lot of very talented people.

Ziewe uses computer graphics, including Virtual models of humans and objects, and fractals, to create prismatic, Virtual, interior worlds full of robots, strange creatures, synthetic humans, fairies, wizards, witches, priestesses and temples. He started out making cards showing dolphins under cosmic skies. He’s a very spiritual guy, in a New Age-y sense, and his work is inspired by concepts from Theosophy and C.G. Jung. Here’s some of the picture from Nigel Suckling’s book about his art, New Territories: The Computer Visions of Jurgen Ziewe (Paper Tiger, 1997).

The Fairy Queen

Picnic In Cyberspace

Journey of a Virtual Traveller

Apart from Ziewe, other artists working in film and television have also been using the concepts of computer graphics. One of the features of the BBC TV version of the Hitch-Hiker’s Guide to the Galaxy that most impressed me in the late ’70s or early 1980s were the, ahem, computer graphics for the pieces of information provided by the Book. In fact, they were hand drawn, because the computers at the time simply weren’t up to the task of creating pictures that detailed. But the art produced as ‘computer graphics’, was superb, and those, who watched the show were deeply impressed. As an example, here’s a piece from YouTube of the Book describing Vogon poetry.

Further examples can be seen in pop videos. Like this one from the American electro-pop band, Information Society, which uses scrolling alphanumerics to suggest passage through cyberspace in a computer game, made for their track, ‘The Prize’.

Other artistic explorations of medically or cybernetically enhanced vision can be seen in the films Pitch Black and The Chronicles of Riddick and the last of trilogy, entitled simply Riddick. Richard Riddick, the anti-hero in these movies, is a violent criminal, a murderer, who somehow ends up doing the right thing. While in slam for his crimes, he paid the prison doctor 20 menthol cigarettes to have his eyes surgically altered, ‘polished’, so that he could see in the dark. In these flicks, we so bits of the action through his eyes. The scene in Pitch Black, where he sees the predatory aliens pouring out of their underground lairs after the marooned crew of a crashed colony spacecraft, is awesomely beautiful. This is the trailer for the movie.

And this is the trailer for The Chronicles of Riddick.

In this movie, the Necromongers use visioners, cybernetically adapted humans, to seek and visually examine areas that are difficult or impossible for normal human eyes to see clearly. And the brief scenes, in which the audience is shown what they see, are also stunning.

But this is low, commercial art, and so unlikely to find any praise by the High Art people, no matter how popular it is, or how technically sophisticated and visually inspired. The best comment on this kind of artistic snobbery comes from the American SF/Fantasy artist and book illustrator, Bob Eggleton.

Being a commercial artist is itself a kind of pigeonhole in the art world, but it is not a label that troubles him. ‘Commercialism for the sake of commercialism is not a sin. What I hate is commercialism packaged as fine art. That’s what Abstract Expressionism about, you’re buying into a trend much of the time. There’s nothing wrong with any kind of art, provided the artist believes in what they’re doing.’

From Nigel Suckling, with introduction by Gregory Benford, Alien Horizons: The Fantastic Art of Bob Eggleton (Paper Tiger, 1995) page 83.

And the YBAs, such as Damian Hirst, Tracey Emin and Chris Offili, were very commercial, as was Salvador Dali long before them. This was pointed out on a programme on the great surrealist on Radio 4 several years ago by Malcolm MacLaren, the genius – well, he obviously thought he was – behind the Sex Pistols.

And here’s Eggleton’s picture of Great Cthulhu, painted for Weird Tales magazine, for all the Lovecraft fans out there.

I realised I’ve digressed a little way from the central topic of this post, the fantastic computer art of Jurgen Ziewe. But these are related issues, showing the way computers, robots, space and high technology – the stuff of Science Fiction – is pushing artistic boundaries in ways that the official fine art of Conceptualism really isn’t doing. I’m also exploring a few ideas here for a much longer article, or series of articles, I intend to do on this sometime.