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Sargon of Gasbag on Black Lives Matter’s Material for Schools’ Day of Action

September 11, 2020

I’m no doubt going too far in some people’s eyes by reblogging this. After all, this is Carl Benjamin, aka Sargon of Akkad, the Sage of Swindon and the man who broke UKIP. Sargon’s a true-blue Libertarian Tory. He supports Boris Johnson’s Tories, Donald Trump and was formerly a member of UKIP. He passionately supports Brexit, capitalism and doesn’t believe that the Tories are privatising the NHS on the grounds that he thinks no-one would buy it. Although he is anti-racist and has debate the Alt Right, his own nationalist views are so extreme that he himself has been accused of racism. He has very conservative views on women and gender. When he was adopted by the Kippers as one of their candidates in a Euro election a few years ago, it became a national scandal. There were protests against him when he tried speaking in Bristol and Cornwall. People threw milkshakes and buckets of fish over him, and he was banned from a local restaurant here in Bristol. There were letters of protest against his candidacy from the other Kippers. The Gloucestershire branch dissolved itself in disgust, and a very large proportion of the party’s membership resigned.

I don’t share his political views and strongly disagree with him about Brexit. It’s destroying Britain. As is Johnson’s free trade Thatcherism. And the NHS is most definitely being privatised.

But I’m reblogging his post about the materials Black Lives Matter had put together for a proposed day of action in schools this summer because I believe that while he misses the point and is wrong about many of the issues BLM raise with their teaching materials, there are others that he is right to tackle and criticise.

Someone leaked the school syllabus Black Lives Matter had put together onto the web, and Sargon makes it clear that it’s a full-one attempt to indoctrinate children. He then goes on to critique some of BLM’s proposals one by one.

He begins with BLM’s call for a week of action in schools. This declares itself to be a national uprising that affirms the lives of Black students, teaches and families. This week centres classroom lessons on structural racism, intersectional Black identities, Black history and anti-racism through the thirteen guiding principles of the Black Lives Matter movement.

Sargon declares that this is an attempt to indoctrinate children with a one-sided view of history, politics and moral philosophy without their parents’ presence or even knowledge, in order to turn them into activists. Sargon naturally states that this not something he would like them to do to his children.

He then goes through Black Lives Matters’ Guiding Principles. They are

Restorative Justice: We intentionally build and nurture a beloved community that is bonded together through a peaceful struggle that is restorative, not depleting. This strikes Sargon as like a cult, like some of those he read about a while ago, where they interrogated each other in order to form a tightly-knit community in which they were emotionally connected in a weird and unfriendly way.

Diversity: We respect and acknowledge differences and commonality. Sargon doesn’t comment on this, but this seems to be the standard attitude now being taught in schools and promoted as the norm throughout society.

Empathy: We practice empathy. We engage comrades with intent to learn about and connect with their contexts.

Loving Engagement: We embody and practice justice, liberation and peace in our engagements with one another.

Queer Affirming: We foster a queer-affirming network. When we gather, we do so with the intention of freeing ourselves from the tight grip of heteronormative thinking or rather, the belief that all in the world are heterosexual unless s/he or they express otherwise. Sargon doesn’t comment on this either, but at one level it’s also unremarkable. Schools have also come under pressure to tackle homophobia and promote gay tolerance and equality. There are problems with this when it comes to what is age appropriate. Homophobia is certainly not confined to the Black community, but it does seem to be particularly strong there. A few years ago back in the 1990s BBC Radio 4 broadcast a documentary, The Roots of Intolerance, in which the Black British gay presenter went across Britain and the Caribbean seeking to understand where the deep hatred of gays in Black society came from. This was a particular issue at the time, as there was a spate of extremely homophobic songs emerging from Black artists. That controversy has now died down somewhat, but I don’t believe the situation has altered in the past 25+ years. I disagree with this part of BLM’s manifesto because the attack on heteronormativity is too extreme and should not be taught and encouraged.

Transgender Affirming: We are self-reflexive and do the work required to dismantle cisgender privilege and uplift Black trans folk, especially Black trans women, who continue to be disproportionately impacted by trans-antagonistic violence. We particularly make space for transgender brothers and sisters to participate and lead. Sargon states that if he caught a school teaching his children this, he would take them out. He even says he’d send them to a Catholic school – and he was a militant atheist. This radical stance is aimed particularly at the Black community, but seems to be part of the general trend throughout American and British society. Trans activists are campaigning for this to be taught in schools. Again there are problems with what is age appropriate, and also the indoctrination of the vulnerable. Some children are being taught by the medically unqualified that they are transgender, while in fact they may simply be mentally ill. There is particular concern that those convinced that they are transgender may be simply autistic. Girls are being particularly affected, and so some opponents of the radical trans movement feel that it is an anti-feminist ideology.

Unapologetically Black: We are unapologetically Black in our positioning. In affirming that Black Lives Matter we do not need to qualify our position to love and desire freedom and justice for ourselves is a prerequisite for wanting the same for others. Sargon makes the point that this also validates the idea that White lives matter as well. In fairness, Black Lives Matter has never said that they didn’t, although some of their members, like Sasha Johnson, almost certainly don’t believe they do. But Sargon also argues that their statement about being unapologetically Black means that their opponents can also argue that they are unapologetically White. Their stance legitimates White nationalism. The only way they can combat this is by adopting Robin Di Angelo’s tactic of stating ‘it’s rules for me but not for thee’.

Black Women: We build a space that affirms Black women and is free of sexism, misogyny and environments in which men are centred. Sargon doesn’t mention it, but this seems to be just another approach Black Lives Matter shares with other radical groups and which reflects the anti-sexism campaigns in general society.

Black Families: We make our spaces family-friendly and enable parents to fully participate with their children. We dismantle the patriarchal practice that requires mothers to work double shifts so they can mother in private even as they participate in public justice work. This confuses Sargon as he says that he thought patriarchy wanted women in the home, barefoot and pregnant. But I think he’s failed to reaslise that this section appears to written for those poorer families, where the absence of a father means that the children aren’t supported by the second income that is now required to support a family. This situation is particularly acute among the Black community, but certainly isn’t unique to it. It is also found among the White poor.

Black Villages: We disrupt the western prescribed nuclear family structure requirement by supporting each other as extended families and villages that collectively care for one another, especially our children to the degree that mothers, parents and children are comfortable. Sargon states that this is a fantasy world.

He has a point in that it appears to be a racialised view, that idealises the African model of communal childcare. For example, in many traditional African cultures the women of the village also breastfeed each other’s children. And then there’s that supposed African proverb about it taking a village to raise a child. But no-one has ever been able to find such a saying in traditional African lore.

However, there is a general principle here that is perfectly acceptable. When my parents were settling down to raise us, they had the support of relatives and neighbours. People at that time did look out for each other, giving poorer friends items they had no longer use for, doing each others’ shopping and looking after each other’s children in sickness and emergencies. That hasn’t completely vanished, but it was done much more than is now common. That sense of community has been damaged by the extreme individualism that is atomising society.

Globalism: We see ourselves as part of a global Black family and we are aware of the different ways we are impacted or privileged as Black people who exist in different parts of the world. This seems to follow the pattern of much Black activism. Black civil rights campaigners have seen the struggle of western Blacks as part of a general, global struggle of Black nations for independence from White domination since at least W.E.B. DuBois, who moved to Ghana after it gained independence.

Intergenerational: We cultivate an intergenerational and communal network free from ageism. We believe that all people, regardless of age, show up with the capacity to lead and learn. Sargon believes that this erases children, but thinks this is good for the kind of people this would attract. This is wrong. The statement simply means they value older people. Again, it’s in line with the general, mainstream attack on ageism.

Collective Value: We are guided by the fact that all Black Lives Matter regardless of actual or perceived sexual identity, gender identity, gender expression, economic status, ability, disability religious beliefs or disbeliefs, immigration status or location. This, Sargon declares, is the endpoint of the radical left’s thinking in race. Or it could be an attempt to create a united Black community with its own sense of pride in order to combat some of the real issues plaguing the Black community, like drugs and Black on Black violence.

Sargon on BLM’s ‘Talking to Young Children

Sargon then moves on to the section about Talking to Young Children about the Guiding Principles of the Black Lives Matter Movement. Sargon states that this section uses phraseology, that could only be by people who don’t have children. He then singles out the sections on ‘diversity’, ‘globalism’ and ‘transgender-affirming’. The last says that ‘everyone get to choose their own gender through listening to their heart and mind. Everyone gets to choose whether they are a girl or a boy or both or neither or something else, and no-one gets to choose for them’. Which Sargon sarcastically warns will leave children rather confused. And I believe that is one of the dangers of adopting such a radical stance when it comes to gender identity. I don’t doubt that some people do feel that they are in the wrong body, and that after very careful thought and medical advice they should be able to transition. But this is something rather more complicated than saying people choose their own gender identity.

‘Collective value’ – Sargon thinks this is the same as individual value.

‘Unapologetically Black’. This section states that there are lots of different kinds of people and one way that we are different is through the colour of our skin.’ Sargon believes that this highlights the issue of race, and will turn children into a generation of racists. The section goes on ‘It’s important to makes sure that all people are treated fairly, and that’s why we, and lots of other people all over the country and the world, are part of the Black Lives Matter movement.’ This tells children that they are going to be a race warrior for the Black Lives Matter movement. But this section also connects with what the movement was saying in their thirteen principles about also valuing people from other races, but that it had to start with Black people’s own first. It therefore does not mean that they necessary disparage other races.

Plans for Week of Action

He then goes on to critique their plans for a week of action, which is a week of activism. This is simply to train children how to be activists. The programme includes sections like ‘Show Solidarity’, ‘Post on Social Media’, ‘Teach a Lesson’, ‘Attend an Event’, create things. He believes this document is real, because it has too many graphics to be otherwise. He points out the contradiction between their statement that they embody and practice justice, liberation and peace in their engagements with each other with a raised fist, a representation of violence.

The materials also include abstracted posters that can be used. Sargon believes that the consistency of the messages shows that this was planned in a central committee. He then goes on to discuss their suggestions for what should be taught at elementary school. Which includes youth activism. The plans for their week of action include ‘Day 1 kick-off: using your voice for a cause; Day 2: past and present youth activism’; guiding questions like ‘what is a cause?’, ‘what does it mean to use your voice for a cause? ‘, ‘why is it important to stand up for what you believe in?’, ‘what are the different ways we can create change?’, ‘home issues and the home community’, a project day. Sargon criticises this on the grounds that they are training children who are unable to think critically about what they are being taught, nor do they know any of the facts of the matter behind it. Sargon does not assume that they will give them a fully informed picture either. He calls it indoctrination.

Postmodernism and Afro Futurism in High School

Moving on to the material for high school, he says that this is where it gets really good. Like ‘Afrofuturism’ and ‘Postmodern Principles’. Sargon asks rhetorically whether he wants a group of radical race warriors, who consider everything about our society racist, to indoctrinate his children into a postmodern education? He says ‘No’, and adds that it’s only because he doesn’t want his child to come out of school believing that the world around him into which he’s been born and raised is evil and that he has to do everything in his power to tear it down. And that he himself, as a White person, is going to be part of the problem. And that every Black person he meets is some kind of inferior species, that needs his help and guidance to be saved. He doesn’t agree with that kind of worldview at all, nor with postmodernism as the kind of lens to view things with.

Sargon is absolutely right about Postmodernism. I extensively criticised it earlier when this blog was centred on Christian Apologetics. Postmodernism and cultural relativism are entirely inadequate as the basis for morality because of their rejection of the idea that it is objective. This was also the attitude of the Italian Fascists and Nazis. Mussolini took over Nietzsche’s idea that there was no objective morality, and the Nazis believed that morality and philosophical values differed from nation to nation according to race and ethnicity. Hence the Nazis’ insistence on Aryan science, maths and other racist nonsense. But the idea of racial and gender equality, for example, demands an objective morality that applies to all humans and is universally valid. Postmodernism, despite its pretensions to do this, actually doesn’t support such universal and objective values.

He believes this comes out in the section on Afro Futurism. This begins with a section on ‘Utopia’, which defines it as ‘an imagined place where everything is perfect, and asks the reader to define their utopia.’ It asks people to dream about their perfect place, a consistent theme throughout the documents. It asks the students what problems they could solve with their superpowers and what they would look like in this imaginary world. Sargon responds with ‘Who cares? You live in the real world’ and points out that they have limited resources at hand and limited options. So they should stop talking about an imaginary freedom of the will, as if the will is something separate to the physical world and gets to decide everything for it. He doesn’t want them thinking about superpowers, but asking how they can get good grades, how can they get a good job, how can they be healthy and stable, how can they raise children of their own, how can they form a family and be a healthy person.

This is a fair criticism. From what I can see, Afro Futurism simply means Black science fiction and particularly the imagining of Black advanced technological societies, like Wakanda in the film Black Panther, based on the Marvel comic books. There’s nothing wrong with such dreams, but schools should be teaching more immediate and achievable goals and aspirations to their students.

High School Materials

From this he moves on to the high school section, where there is more interesting stuff. Like ‘the BLM High School: the Black Panther Party’; ‘Social Justice Mathematics Materials’; ‘Black Lives Matter Haiti’, ‘Chicago Race Riots’, all of which Sargon describes as full-on Black Lives Matter propaganda. Sargon states that this doesn’t mean that they’ll get the opportunity to pump this out, but the fact that they’ve prepared it shows that there is time, money and materials behind it and it will get somewhere.

Then on to their reading materials. These include the Black Panther’s Apologia. This is the Panther’s 10 point programme, which were:

  1. We want freedom. We want the power to determine the destiny of our Black and oppressed communities.
  2. We want full employment for our people. They believed that the federal government had the responsibility and obligation to give everyone either a job or a guaranteed income. Sargon shows his libertarianism here by saying that it shows that they believed that they were the serfs of the state. This part of their manifesto is certainly radical. If you read it, it says that if businessmen are not willing to provide employment, the technology and means of production should be taken away from them and placed in the hands of the people, so that they can do so. It’s certainly a communist demand. But at the time this was written, in Britain the social democratic post-war consensus was still governing British politics. This meant that the government believed it had the responsibility to create full employment. This was through a mixed economy and state economic planning. Attlee only nationalised a very small number of industries, and so it did not necessarily mean that the state would employ everyone, only that it would help create the economic framework for everyone to be able to get a job. As for a guaranteed income, this could just mean proper unemployment benefit. This was part of the minimum welfare provision set up by Roosevelt’s New Deal, but I don’t know how far it extended. Like the British unemployment benefit before the creation of the welfare state, it may have only reached certain sections of the working class. In which case the Panther’s demands are entirely reasonable.
  3. We want an end to the robbery by the capitalists of our Black and oppressed communities. Sargon questions this by stating that if they believe the state is robbing them, why do they want it to provide them with a job, as they wouldn’t be free. This section goes back to the old promise of 40 acres and two mules. Sargon asks what they would do with this if they were dumped in the middle of the Midwest. They wouldn’t be able to take care of two mules. He knows he wouldn’t know what to do with them, and that they wouldn’t know either. Again, if you actually look at what they’re proposing, they also say they would accept the monetary equivalent. They’re talking about reparations for slavery, and for the slaughter of 50 million Black people they believe America has committed worldwide.
  4. We want decent housing, fit for human beings.
  5. We want decent education for our people. This also includes the statement that it should expose the true nature of decadent American society. They want to be taught the true history of their people and role in present-day society. Which looks like the origin of Black History Month.
  6. We want completely free healthcare. Sargon reads this out, but makes no comment. But it’s a reasonable request, and is behind the NHS in Britain, now under attack from the same forces of capitalism that the Panthers saw as oppressing Black Americans.
  7. We want an end to police brutality and murder of Black people, and all other people of colour, all oppressed people inside the United States. From what little I know of the Black Panthers, it was the casual police killing of Blacks that provoked the rise of the Panthers in the first place. They believed the only way they could protect Black people was to take up guns and shoot back. Hence Sasha Johnson’s bizarre fantasy of setting up a Black militia here in the UK, despite this country’s rather different history.
  8. We want an immediate end to all wars of aggression. This was obviously written during the Vietnam War, but it’s still applicable now.
  9. We want freedom for all Black and oppressed people. Sargon skips over this, omitting that it’s about freeing people in jail, and that they also want trial by a jury of peers for everyone charged with so-called crimes under the country’s laws. This is a central cornerstone of western justice.
  10. We want bread, housing, education, justice, peace. Sargon declares that these are flights of fantasy that sound like radical communist agitation, and for the Black Panthers, a militant, murderous party. Certainly the Panthers do seem from this to have been very radical left, and influenced by communism. But the demand for decent housing, full employment and free healthcare could be solved simply through a social democratic mixed economy welfare state. Horrifyingly radical to Americans, but the norm in Britain at the time.

Social Justice Maths

Sargon goes on to other topics, which he thinks are very weird. Like materials for social justice mathematics, a copy of Oakland police statistics for 1st July 2013, and Stanford university’s big study of racial disparites, and the stats for New York police’s stop and frisk.

Sargon’s Concluding Criticisms

Then there’s the Teaching Tolerance Guide, subtitled ‘Discussing Race, Racism and other Difficult Topics with Other Students’. There are also videos. Sargon once again describes it as a social justice package – which is quite correct – and states that the same talking points are repeated over and over again throughout it. He states that it is to present a one-sided narrative on all these points in order to construct the belief that American and other societies are uniquely evil, encouraging children to go into flights of fantasy about what might be, instead of being pragmatic, responsible and trying to build a better world one step at a time.

Sargon says that this should be resisted at all costs. If you’re a parent, you should enquire at your local school if they have any Black Lives Matter teaching materials that they will be teaching your children and request a copy of them. And if they don’t, you should kick up a stink, threaten to pull your child out and tell other parents to do so, because this is racial indoctrination. He even says that you could send the other parents this video to show what these materials look like.

He then ends the video by plugging his merchandising, based on Orwell’s statement that in a time of universal deceit, telling the truth is a revolutionary act. And with Black Lives Matter we have entered that time of deceit. Our societies are not evil. They are good societies. Black Lives Matter is a malign cult, which he believes has spread through our societies because they are good, decent and people do not want to be racist. This is partly right. Black Lives Matter exists because society does treat Black people unfairly, but it has spread because people do not want to be racist as the mixed race crowds of their protests show. He believes it has spread through a postmodernist education establishment with a deconstructionist agenda which says that if things are looked at in a certain way, White societies are uniquely evil when they aren’t.

Here’s Sargon’s video.

The materials Sargon analyses and critiques in this video seem to show that in many ways Black Lives Matter is unremarkable. It has much in common with other left-wing movements demanding racial and gender equality and promoting gay and now trans rights. It also seems to follow much previous Black activism in connecting the deprivation of Blacks in the west with White western imperialism and colonialism. I don’t dispute either that its view that Blacks are particularly disadvantaged in America is due to institutional racism, as certainly legislation has been used to disqualify Blacks from opportunities, jobs and services, including welfare provision, that has been reserved for Whites.

This is not the whole story, however, and such a view should not be taught in school. What is appropriate as voluntary community activism becomes dangerous indoctrination when taught in the classroom. The idealisation of the Black Panthers is a particular problem. While much of their demands were reasonable and entirely justified, they were a violent paramilitary terrorist organisation. It’s intoxication with the Panthers and their violence that has inspired Sasha Johnson to style herself as a Black Panther and try to set up her own, similar Black paramilitary organisation.

I also share Sargon’s objections to teaching children that western society is uniquely evil and persecutes Blacks, who always require particular assistance. And that Whites are responsible for this, and somehow intrinsically racist unless taught otherwise. This is only part of the story, and the reality can be far more complex.

Despite its careful wording about tolerance and diversity, the materials for BLM’s proposed day of action would only create more racial hostility, division and resentment. They should definitely not be taught in schools.

History Debunked Refutes Ethnomathematics/Rehumanizing Mathematics

September 8, 2020

This is another video from History Debunked. In it, youtuber and author Simon Webb attacks Ethnomatics, sometimes also called Rehumanizing Mathematics. This is a piece of modern pseudo-scholarship designed to help Black children tackle Maths. The idea is that Blacks perform poorly compared at Maths compared to other ethnic groups. This is held to be because Maths is the creation of White men, and this puts Blacks off studying and mastering it.

The solution has been to scrutinise African societies for their indigenous Maths, especially the Dogon of Mali. They have been chosen as the chief model for all this, as they possessed extremely advanced astronomical and mathematical knowledge. In the 1970s there was a book, The Sirius Mystery by Robert K.G. Temple, which claimed that they owed this advance knowledge to contact with space aliens. Apparently this claim was subsequently dropped 10 – 15 years later, and the claim made instead that they were just superlative astronomers and mathematicians themselves. But Dogon Maths is held to be different from White, western Maths because it’s spiritual. History Debunked then goes on to demonstrate the type of pseudo-scientific nonsense this has lead to by providing a link to an Ethnomathematics paper and reading out its conclusion. It’s the kind of pretentious verbiage the late, great Jazzman, Duke Ellington, said stunk up the place. It’s the kind of postmodern twaddle that Sokal and Bricmont exposed in their Intellectual Impostures. It’s deliberately designed to sound impressive without actually meaning anything. There’s a lot of talk about expanding cognitive horizons and possibilities, but History Debunked himself says he doesn’t understand a word of it. And neither, I guess, will most people. Because it doesn’t really mean anything. It’s just there to sound impressive and bamboozle the reader into thinking that somehow they’re thick because they don’t, while the fault is entirely the writers.

I think History Debunked is a man of the right, and certainly his commenters are Conservatives, some with extremely right-wing views. He’s produced a series of videos attacking the pseudo-history being pushed as Black History, and apparently Seattle in America is particularly involved in promoting this nonsense. But he expects it to come over here in a few years. Given the way Black History month has jumped the Atlantic, I think he’s right.

There’s been a particular emphasis on find ancient Black maths and science for some time I know. For a brief while I got on well with a Black studies group when I was a volunteer at the slavery archives in the former Empire and Commonwealth Museum. That was before I read their magazine and got so annoyed with it and its attitude to Whites that I sent them a whole load of material arguing to the contrary, and pointing out that in places like the Sudan, Blacks were being enslaved and oppressed not by White Europeans, but by the Arabs. I also sent them material about the poor Whites of South Africa, who also lived in grinding poverty thanks to Apartheid. This was stuff they really didn’t want to hear, and I was told that if I wanted to talk to them further, I should do so through someone else. They were also interested in finding examples of Black maths and science. I sent them photocopies and notes I’d made of various medieval Muslim mathematicians. These were Arabs and Persians, like al-Khwarizmi, who gave his name to the word algorithm, Omar Khayyam, best known in the west for his Rubayyat, but who was also a brilliant mathematician, al-Haytham, who invented the camera obscura in the 12th century and others, rather than Black. But they were grateful for what I sent them nonetheless, and I thanked me. This was before I blotted my copybook with them.

I’m reposting this piece because, although it comes from the political, it is correct. And you don’t have to be right-wing to recognise and attack this kind of postmodern rubbish. Sokal and Bricmont, the authors of the book I mentioned early attacking postmodernism, were both men of the left. Sokal was a physicist, who taught maths in Nicaragua under the left-wing Sandinista government. They wrote the book because they took seriously George Orwell’s dictum that writing about politics means writing clearly in language everyone can understand. And even if you believe that Black people do need particular help with maths because of issues of race and ethnicity, Ethnomathematics as it stands really doesn’t appear to be it. It just seems to be filling children’s heads with voguish nonsense, rather than real knowledge.

I also remember the wild claims made about the Dogon and their supposed contact with space aliens. Part of it came from the Dogon possessing astronomical knowledge well beyond their level of technology. They knew, for example, that Sirius has a companion star, invisible to the naked eye, Sirius B. They also knew that our solar system had nine planets, although that’s now been subsequently altered. According to the International Astronomical Association or Union or whatever, the solar system has eight planets. Pluto, previously a planet, has been downgraded to dwarf planet, because it’s the same size as some of the planetoids in the Kuiper Belt. Lynn Picknett and Clive Prince discuss this in one their books,The Stargate Conspiracy (London: Little, Brown & Company 1999), which claimed that the American intelligence agencies were secretly preparing a fake UFO landing in order to convince everyone that the space gods really had arrived, and set up a one-world dictatorship. This hasn’t happened, and I’ve seen the Fortean Times and other weird magazines trying to explain their book as a high-level hoax which people took too seriously. I don’t believe this, as they seemed very serious at the time. The Dogon believe that the first human ancestors, and some of their gods, came from the sky. Hence Temple’s claim that they were contacted by space aliens. Picknett and Prince, however, sided with sceptics like Carl Sagan. They argued instead ithat the Dogon owed it to a French priest, anthropologist or colonial administrator, I’ve forgotten which, who visited them in the 1920s and who was extremely interested in astronomy. This seems to me to be far more likely than that they either got it from space aliens or that they far better mathematicians and astronomers than they could have been at their level of development.

The Dogon are fascinating as their homes and villages are laid out to be microcosms of the male and female human body and the universe. The book African Mythology by Geoffrey Parrinder, London: Hamlyn 1967, describes the layout of a Dogon house thus:

The shape of the Dogon house is symbolical. The floor is like the earth and the flat roof like heaven. The vestibule is a man and the central room woman, with store rooms at her sides as arms. The hear at the end is her head. The four posts are the man and woman entwined in union. So the family house represents the unity of man and woman and God and the Earth. This is accompanied by the elevation and ground plan of a typical Dogon house. (p. 49).

There’s also this diagram of an idealised Dogon village:

The caption for the diagrame reads:

Like the house, the Dogon village represents human beings. The smithy is at the head like a hearth in a house. The family houses in the centre and millstones and village represent the sexes. Other altars are the feet. (p. 51).

Truly, a fascinating people and I have no problem anybody wanting to study them. But it should be in anthropology, ethnography or comparative religion, not maths.

But it struck me that if teachers and educators want to enthuse and inspire young minds with what maths Africans were studying, they could start with ancient Egypt and the great Muslim civilisations of the Sahara and north Africa, like Mali. Aminatta Forna in one of her programmes on these civilisations was shown an ancient astronomical text from the medieval library of one of these towns, which she was told showed that Muslims knew the Earth orbited the sun before Copernicus and Galileo. I doubt that very much. It looks like a form of a combined helio-and geocentric system, first proposed by the ancient Greeks, and then taken up by some medieval astronomers not just in Islam, but also in Christian Europe. In this system, all the other planets when round the Sun, which orbited the Earth. Close to the modern system, but not quite. But it showed that the Black citizens of that civilisation were in contact with the great currents of Muslim science, and that they would have had learnt and taught the same kind of Maths that was being investigated and researcher right across the Muslim world, from India to Morocco and further south to Mali. One of the Black educationalists would like to translate one of these books from Arabic, the learned language of Muslim civilisation, and use it as an example of the kind of maths that was also taught in Black Africa.

Or you could go right back to ancient Egypt. Mathematical texts from the Land of the Nile have also survived in the Moscow and Rhind mathematical papyri. These have various maths problems and their solution. For example, problem No. 7 of the Moscow papyrus is about various calculations for a triangle. This runs

Example of calculating a triangle.

If you are told: A triangle of 2 thousands-of-land, the bank of 2 of 2 1/2;

You are to double the area: result 40 (arurae). Take (it) 2 1/2 times; result [100. Take its square root, namely] 10. Evoke 1 from 2 1/2; what results is 2/5. Apply this to 10; result 4. It is 10 (khet) in length by 4 (khet) in breadth. From Henrietta Midonick, The Treasury of Mathematics: 1 (Harmondsworth: Pelican 1965) p. 71.

It’s amazing to think that the boys at the scribal school were being taught all this millennia ago. It gives you a real sense of connection with the ancient schoolkids reading it. You can imagine them, hunched over with their pen and ink, busily cudgeling their brains while the teacher prowls about them. The Babylonians were also renowned as the pioneers of early mathematics. They even uncovered a school when they excavated Ur of the Chaldees in the 1920s, complete with the maths and other texts the schoolboys – female education didn’t exist back then, but I’m willing to be corrected – were required to learn. As a schoolboy character in the Fast Show used to say: ‘Brilliant!’ You don’t need to burden modern African societies like the Dogon with spurious pseudo-history and pseudo-science, when the real historic achievements of ancient Egypt and medieval Africa are so impressive.

It struck me that even if you don’t use the original Egyptian maths texts to teach maths – which would be difficult, as their maths was slightly different. Their method of calculating the area of a field of four unequal sides yields far too high a figure, for example – you could nevertheless inspire children with similar problems. Perhaps you could do it with assistance of a child or two from the class. You could bring them out in front of everyone, give them and ancient Egyptian headdress, and then arranged the lesson so that they helped the teacher, acting as pharaoh, to solve it. Or else pharaoh showed them, his scribes, and thus the class. This is certainly the kind of thing that was done when I was a kid by the awesome Johnny Ball on the children’s maths and science programme, Think of a Number. And every week, as well as showing you a bit of maths and science, he also showed you a trick, which you could find out how to do by dropping him a line. It was the kind of children’s programme that the Beeb did very, very well. It’s a real pity that there no longer is an audience for children’s programmes and their funding has subsequently been cut.

Here’s History Debunked’s video attacking Ethnomathematics. He also attacks a piece of ancient baboon bone carved with notches, which he states has been claimed is an ancient prehistoric African calendar. He provides no evidence in this video to show that it wasn’t, and says its the subject of a later video. If this is the one I’m thinking of, then that is a claim that has been accepted by mainstream archaeologists and historians. See Ivor Grattan-Guinness, The Fontana History of the Mathematical Sciences (London: Fontana Press 1998) p. 24.

If you want to know more about ancient and medieval maths, and that of the world’s many indigenous cultures, see the book Astronomy before the Telescope, edited by Christopher Walker with an introduction by the man of the crumpled suit and monocle himself, Patrick Moore (London: British Museum Press 1998).

This has chapters on astronomy in Europe from prehistory to the Renaissance, but also on astronomy in ancient Egypt, Babylonia, India, Islam, China, Korea and Japan, North and South America, traditional astronomical knowledge in Africa and among Aboriginal Australians, Polynesia and the Maori. It can be a difficult read, as it explores some very technical aspects, but it is a brilliant work by experts in their respective fields.

Darren Grimes: Respectable Journalist or Shape-Changing Alien Invader?

September 2, 2020

The Sunday before last, August 23rd 2020, Zelo Street put up a piece reporting the outrage when Sunday Morning Live decided to hold a debate about education. Unfortunately, one of the so-called ‘experts’ they invited on was professional Guido Fawkes windbag was Darren Grimes. A man, who can fairly be said to be one of the most ignorant people in journalism, and that’s against stiff competition like Sarah Vine, Julia Hartley-Brewer and Harry Cole, political editor of the Scum. Way back in the 1930s when the great Surrealist painter Salvador Dali fled to America to escape the Spanish Civil War, he declared that his mission was to cretinise the public. Well, Dali passed away in the late 70s, but he left his great mission to the Tory party. Back in the 1980s Private Eye reviewed one book by the new Tory thinkers that were coming through. I think it was by the late Roger Scruton, but I’m not sure. The book stated that Conservatism, based as it is on tradition, is silent and incoherent until forced into action. This was a clear statement of the anti-intellectualism that’s at the heart of Tory politics. It forced the Eye to ponder whether there was an optimum level of cretinisation. Had Prince Philip reached it? And one those seeming to carry on this mission to misinform the public spreading lies and sheer ignorance is Darren Grimes.

How Grimes gets invited onto the Beeb as any kind of authority is something of a mystery. He’s working class, and has something of a chip on his shoulder about his origins, feeling that he is looked down upon because of this and the fact that he has a northern accent. But this is what happens when you support a party run by elite public school types on behalf of elite public school types. They have elocution lesson at school deliberately to lose any regional accent they have. And this automatic connection between received pronunciation and leadership is explicitly stated by the British military. One spokesman for the British army, quoted in an article back in the 1980s stated very clearly that if you want to be a British officer, you should lose your regional accent otherwise you wouldn’t be respected by the troops. I’ve met a lot of squaddies, and in general they don’t respect the officers because of the bullying, sneering attitude so many of them have towards their men and women, along with stories of stupid orders that have led to disaster given by commanders against the advice of their NCOs.

Grimes also feels he’s despised because he didn’t complete his degree. He’s a failed fashion student. Okay, academic intelligence doesn’t automatically equate to being generally well-informed and intelligent. It’s just one form of it. When I was at school we were told that only 5 per cent of the British population went to university. That changed rapidly with the expansion of higher education in the 1990s with the creation of the new universities out of the older colleges and polytechnics. Then came Blair and New Labour, who wanted 50 per cent of the population to attend university. The result is that something like 46 per cent of the school leavers now go on to university. But this also means that there are plenty of older people, who are naturally very intelligent, but didn’t get a chance to go when they were children. Their intelligence shouldn’t be underestimated. But Darren Grimes isn’t one of them either.

In one of his pieces, he praised the Tories for breaking out of the old New Labour Oxbridge elite. It’s another falsehood, and the truth is exactly the opposite of what he said. New Labour senior figures came from a range of different universities. Blair attended Aberdeen, Gordon Brown Edinburgh. Another senior cabinet minister went to Newcastle Upon Tyne, I believe. It is the Tory administrations of Dave Cameron, Tweezer and now Boris Johnson that’s stuffed full of the Oxbridge elite. And then there’s that little incident of Grimes’ interview with David Starkey, in which he let the Tudor historian get away with all manner of racist nonsense. Including the really offensive statement that slavery couldn’t be a holocaust, because there are ‘too bloody many of them’ now around. Grimes’ appearance on Sunday Morning Live resulted in a number of peeps going on Twitter to ask the obvious question: how did someone as stupid and ignorant as Grimes get invited onto the Beeb. Zelo Street quotes a number of them, beginning with Mic Wright, who said  “I studied Education at Cambridge University (2:1). I am a school governor. I have written about education issues for 15 years. I am the first in my family to attend university. I have lots of broadcast experience. And now on [SML] … Darren Grimes, an expert in nothing”. Rosa P asked

What the hell does [Darren Grimes] actually know about anything? Surely you should have some expertise in any area to give an opinion on the BBC. Grimes, you had little to offer to the discussion other than telling us you did an apprenticeship in media studies … Made the mistake of putting [SML] on. Their expert panel discussing education includes Darren Grimes, whose sole qualification is that he once attended a school. I try to defend the BBC but they do themselves no favours with this nonsense”.

‘Pad’ pointed out the hypocrisy of Grimes himself for appearing on the Beeb when he wants to defund it. “Is Brexit gobshite Darren Grimes, whose Twitter header is a photo of him appearing on the BBC and who was, once again, on the BBC this morning talking utter bollocks, still a part of the ‘grassroots’ campaign to [Defund the BBC]?

John Traynor’s answer to this conundrum was succinct: “BBC has arsehole Darren Grimes on because it doesn’t understand balance in broadcasting”.

Zelo Street concluded his article with this:

‘What, one has to ask, is the point of inviting pundits with some expertise, who are prepared to research their subject, just to find they have to debate with Darren Grimes, whose USP is to whine about people calling him an idiot. Because he is one.

Having an opinion is not the same as knowledge. Know the difference, BBC people.’

See: https://zelo-street.blogspot.com/2020/08/bbc-and-darren-grimes-oh-dear.html

 

The mention of Grimes reminded of the very brief description of an evil alien race in Ed McNab’s The Alien Spotter’s Handbook or How to Save the Earth. This was a children’s humorous book published in 1982, which mixed real astronomy with a less than reverent treatment of astrology, as well as Fortean phenomena like frog falls and the Devil’s hoof prints in Devon, the Mary Celeste and so on, with simple stage magic tricks and instructions how to make your own simple telescope and periscope around the fictional narrative that there is an alien plot to take over the world. This was discovered by the fictional Dr. Qwax. Evidence for this malign plot came when experts examined an alien probe that landed in Peterborough. Ostensibly friendly, further investigation revealed that it was far more sinister, with a secret compartment containing computer games like ‘Kill the Human’. It’s written as a guide to uncovering these covert alien invaders, including those who have taken over members of your family, like your dad or granny. There are plenty of the kind of daft jokes children of all ages love, and 2000 AD and the mighty Tharg also get a mention. One of the jokes is a spoof list of pop songs secretly written by aliens. And one of them is The Grymes They Are a-Changin’ by the Metamorphs. This has a footnote helpfully explaining that they are ‘Shape-Changers from a very dense planet. Grymes specilise in Heavy Metal Rock musicians.’

Gyrmes/Grimes – this must be it then. Grimes is really a Gryme, a shape-changing alien from a very dense planet, who has disguised himself as a human as part of this insidious alien plot. It has to be! It can’t be because he actually has any real journalistic talent.

Adele’s Adoption of Black Style Is In a Long Tradition of White Anti-Racism and ‘Allyship’

September 1, 2020

One of the controversies that has now broken out in the wake of Black Lives Matter has been over the dress and hairstyle Adele adopted yesterday. She was hoping, like many folks, to attend the Notting Hill carnival. But it was cancelled due to the restrictions on large gatherings imposed by the Coronavirus. I’ve heard that they held a Virtual one online instead. Adele decided to signal her support for the carnival by posting a picture of herself in a bikini showing the Jamaican flag and with her done in a Black hairstyle. So the league of those wanting to find any excuse to be offended have accused her of ‘cultural appropriation’.

I really don’t accept this. I believe that she wore the bikini and the hairstyle as a genuine gesture of support to the Carnival and the Black culture that created it. And moreover, without people like Adele adopting Black fashions and Black music, Black culture would not have the acceptance it does among Whites and the racism Black people experience would be much, much worse.

Real Appropriation of Black Music and Culture

I am very much aware that cultural appropriation has occurred. Black people have complained for a long time that ‘the White man stole the Blues’. One of the great stars of the Big Band era, Benny Goodman, is a case in point. Goodman was a White man, but all his hits were written by Black Jazzers. One of the most notorious cases is that of ‘Tar-ra-ra Boom-de-ay’ in the 19th century. It’s credited to a White musician, but he heard it from a Black lad singing it on the streets. And cultural appropriation also doesn’t just apply to Blacks. Native Americans are also uncomfortable when Whites adopt their traditional culture, like some of the New Agers and pagans, who have adopted aspects of their religion. And I can’t say I blame them. But what Adele has done is the opposite, and goes right back to the 1920s and before when White youths began adopting Black fashion and music.

The ‘White Negroes’ of Jazz and Rock-n’Roll and Anti-Racism

One of the first in the 1920s was ‘Mezz’ Mezzrow. He was a White kid, who first immersed himself in the emerging Jazz scene. He adopted Black culture to such an extent that he has been called ‘the first White Negro’. Later on, one the ‘White Negroes’ – I’ve forgotten which one, painted himself with melanin in order to see what being Black in America was really like. I think he got an unpleasant surprise. But this didn’t stop him writing a book pleading for reconciliation between Whites and Blacks. And after Jazz faded with changes in youth culture, it’s place was taken by rock’n’roll. The books on music I’ve read state clearly that it’s a hybrid musical genre – a mixture of White Country music and Black barrel house Jazz. I’ve got a feeling that the primacy given to the guitar in rock and pop, rather than the piano or keyboard, comes from the old Blues master Howlin’ Wolf when he was performing in Chicago. Little Richard, who passed away recently, once claimed in an interview that it was thanks to him Blacks and Whites started dancing together. Before he started performing, he noticed that White the dance floors were full of Blacks tripping the light fantastic, the Whites just stood around the edges watching. ‘White spectators, we used to call ’em’, he reminisced. Then he started playing and they suddenly joined the Blacks on the floor. ‘So a decade before Dr. Luther King, we had integration’.

Nazi Hatred of the  White Adoption of Black Culture

And those Whites that did adopt Black music got real hate for it from the real racists. It comes from the old biological determinism that sees culture as the product of biology. By this standard, Whites are somehow betraying their race and degrading themselves by adopting Black music and fashion. Back in the 1980s there was a book, The Best of Signal, which published articles from the big popular Nazi mag of the Third Reich. It was published by a mainstream publisher as I think one of the very many titles on the Nazis, the Third Reich and World War II that appear every year. I found a copy in a secondhand bookshop. One of the articles in it was an explicit attack on the contemporary Jazz scene in America. It showed a groups of American youths – I can’t remember whether they were White or Black – wearing the characteristic ‘Zoot suits’ and made it very plain what the writer and the vile regime he served thought of them. When White kids in the 1950s started listening and dancing to rock’n’roll, Conservative voices accused them of taking over ‘Negro sensuality’.

And the same criticisms was still being voiced in the 1990s. That was the decade that saw the emergence of the Militia movement in the US and the gathering of various neo-Nazi outfits in the Hayden Lakes area, where they started building communes and compounds. These are real Nazis, not the casual racists who are often simply called it for their vile opinions. I think Louis Theroux went to one of them in his Weird Weekends. It was built like an armed fort or concentration camp, complete with watchtowers and barbed wire fencing. The obergruppenfuhrer Theroux interviewed proudly showed him the stack of greeting cards he’d had printed for his storm troopers to send. For most people, it would have been blasphemy, as it showed Adolf Hitler as Santa coming down a chimney bringing presents. In the interview I read, the writer tried to tackle one of these Nazis on the subject of Whites. The reply they got was that contemporary White culture had been corrupted by Black. They listened to Black music, wore Black fashions and danced like Blacks. Except he didn’t say Blacks. He said ‘N***ers’. It’s the same sentiments David Starkey got rightly panned for in 2012 or so when he was asked what was responsible for the riots. He blamed Black music. When it was pointed out to him that a fair proportion, at least, of the rioters were White, he stated that ‘they have become Black’. I don’t doubt that same White racists would condemn Adele for her choice of dress and hairstyle yesterday.

Blacks and Musical Apartheid

And these sentiments are contributing to apartheid in music. One of the complaints that has been voiced in the wake of the Black Lives Matter has been by Black musicians about the racism in their industry. I remember reading newspaper interviews 25-30 years ago by Black British musicians complaining about the musical apartheid they found when they toured America and parts of the continent, like Austria. They found there that music was strictly compartmentalised between ‘White’ and ‘Black’. One section dealt with Black performers another with Whites. I can’t remember who the Brit muso was, but she was really shocked because back here in Blighty she performed for people of all colours. But when she went to America, there was an expectation in the record company that she’d only perform for Blacks. At the same time, she and other Black musos, when they toured Austria, found their CDs and records put in the section of the music stores devoted to Black music.

I’ve also heard since then about the racism and abuse Black artists have had to face when they’ve tried performing in ‘White’ genres. A friend of mine told me a little while ago about the amount of hate the founder of the Heavy Metal band, Living Colour, got. Living Colour was an all-Black band, who wanted to produce awesome Rock. And apparently they got a lot of hate from both sides, Blacks as well as Whites, for daring to play a ‘White’ style of music. A month or so ago Radio 4 one started broadcast a piece about a Black American Country and Western performer. I can’t remember who he is, but I think he’s pretty old and has been playing it for a long, long time. And he’s suffered the same kind of abuse from the same type of people. It’s hard for me not to think that by accusing Adele of cultural appropriation, her critics are supporting the same kind of racist attitudes that would keep Whites and Blacks from appreciating and performing music outside very strict racialised boundaries.

Whites and Black Fashions and Hairstyles

As for Whites adopting Black hairstyles, I’m old enough to remember the ’70s and the big Afros that were in style then. From what I understand, they did so as part of the ‘Black is beautiful’ movement. Instead of adopting White hairstyles, Blacks in America and Britain wanted to wear their hair more naturally. And because of the influence of Black musical culture, so did many Whites. Leo Sayer had one, and when I was child I honestly thought he was Black. I don’t know if anyone from the Black community complained, but as this was also when the NF were back on the rise over here, along with organisations like the ‘Anti-Paki League’ – that’s what they called themselves – I think people had colour had worse to worry about.

I only came across the accusations of cultural appropriation for Whites adopting Black culture in the 1990s, and that was only in the American satirical comedy, Spin City. This starred Michael J. Fox in one of his last roles, as the head of the communications team for a fictional New York senator. In one episode, his Black co-workers are upset because one of the Whites has moved into a Black neighbourhood. And to fit in, he’s started wearing stereotypically Black clothes. Like turning up in an African robe. Fox’s character tries to explain that the man isn’t trying to be racist. He’s just trying to identify with the people of his new community. He also tries to explain to the man that he is, inadvertently, causing offence. The next day the guy comes in very obviously wearing a hat. Fox whips it off to reveal that the guy’s had his hair dressed in dreadlocks.

At roughly the same time that was on, I knew White people with dreads. As there still are. And the Black people I’ve known and worked with had absolutely no problem with it. They told me they had White friends, who looked good with it. Victor Lewis Smith, the satirist, TV critic and practical joke responsible for such shows as TV Bile and Inside Victor Lewis Smith, used to wear dreadlocks. Now I’ve got very mixed views about Smith. Some of his material I found funny, but in other ways he could be anything but. And he was an ex-public schoolboy, and so could be accused of cultural appropriation. But I don’t think anyone did.

Western Black Traditional Culture, Hip Hop Fashion and Ethiopian Dreadlocks

It seems to have begun with some Black Americans claiming Whites were stealing Black culture when they took over Hip Hop fashion in the 1990s. But I also remember one Black celeb scornfully pointing out that expensive trainers and the designer accessories also aren’t a traditional part of Black culture. And then a few years ago there was a video clip going round on YouTube of any angry Black female student haranging a young White lad in an American university because he had his hair in dreads. It was clipped and repeated in posts by Conservative Whites attacking the aggressively intolerant anti-racist culture in parts of American academia. And now that same attitude appears to have crossed the Atlantic.

But what was said about Hip Hop style not being part of traditional Black culture, could also be said about dreadlocks. Don’t mistake me – they are an authentic part of African Black culture. They were taken over by the Rastafarians from the hairstyle worn by Ethiopian warriors. They did so because at the time – I don’t know if they still do – they revered the Ethiopian emperor, Haile Selassie Makonnen as the Black messiah they believed was foretold in the Bible, who would liberate western Blacks from their bondage. But it’s a hairstyle that was introduced from Africa, not one that was preserved in the traditional culture of Black slaves and their descendants. And many of the Blacks who wear it just do it because they like the style, but aren’t Rastafarians. Which, if we’re strict about the issue of cultural appropriation, raises all kinds of awkward questions. If it’s wrong for Whites to adopt Black styles, it could be argued that it’s also wrong for western Blacks, as the same dress and hairstyle properly belongs to its original African people.

Black Performers in White Makeup

And then there’s the question of how you judge Black performers, who have adopted White hairstyles and makeup. There are a number of videos, for example, where Beyonce actually looks White. She has straight hair, which appears blond rather than brown or black, and her skin has been made up to appear very pale. Certainly much paler than she appears in other videos, where she appears much darker. I am not accusing her of racism. But if people start flinging accusations of cultural appropriation around, then it could be applied to Black musos like Beyonce.

Skin Whiteners and the Damage to Black Skin

And incidentally, I am also very much aware of the harm being done to Black people by the feeling that somehow they should try to make themselves appear more ‘White’. Akala apparently discusses his book on race and racism the use of skin lighteners by many Blacks in a desperate attempt to appear Whiter. It’s nasty stuff. These chemicals work by taking off the top layers of skin. Other Black and ethnic minority writers have attacked their use. And there was a nasty incident that got into the pages of Private Eye’s ‘Funny Old World’ column. It was during a boxing match in Ghana. One of the boxers had been using these wretched potions, and as a result he lost the skin on part of his face after a particularly vicious blow from his opponent. Which provides an extreme, and very graphic argument why people shouldn’t use them. Skin has its own natural beauty, whatever shade it is.

I realise this is a long article and that some of the outrage is understandable coming after the condemnation of certain comedians for appearing in makeup as Black characters, like Bo Selecta and Lucas and Walliams in Little Britain. But Adele was not in Blackface, and she is nowhere near the Black and White Minstrels, who were subject of massive controversy in the ’70s before being axed in ’80s because they did perform the old Black minstrel songs in Blackface.

But Adele seems to be coming from a completely different direction. She’s following a century-old tradition in which the White aficionados of Black culture have shown their appreciation by adopting it. People like Mezzrow, who would now be viewed, using the jargon of intersectional feminism, as ‘allies’.

White Youth, Black Music and the anti-Racism Campaigns of the 1980s

It was people like Adele, who helped push back against the NF and BNP in the 1980s. Rock Against Racism before it collapsed thanks to a takeover attempt by the Socialist Workers Party brought Black and White youth together through a series of concerts by some of the great bands of the day. But I’ve friends, who are worried we’re losing that musical culture. I was watching the old episodes of Top of the Pops one of the cable/ satellite channels has been repeating. Yeah, I know it was cheesy and some of the bands that appeared were jokes even in their time. But some of the bands were awesome. The first pop video I ever bought was UB40. In case you’re too young, they were a reggae band with Black and White performers. I bought the video of their tour in Russia. They were one of the first western groups that were able to play when Gorby gave the country glasnost. And they rocked! The video shows the crowd dancing after their translator tells them that they can. This was the country that banned Boney M’s ‘Ra-Ra Rasputin’ as evil and subversive. There were other bands, too, who mixed White and Black performers. Quite apart from White groups like Madness, who played Ska- more Black music – and wore the characteristic suits. Yes, they took over Black music and culture, but it came from a place of affection and solidarity. The kids of my generation saw them bands like them on TV, in concert, heard them on the radio and absorbed the general anti-racist message as it was coming out.

A New Apartheid in Music?

But my friend was afraid that this is being lost because of hardened attitudes that Black and White performers should stay to certain genres within very racially defined boundaries. So racially mixed bands can’t come forward and perform. Because it’s cultural appropriation, or somehow betraying Black culture or some nonsense. Whatever it is, it’s still segregation.

Conclusion

I think before accusations of cultural appropriation are directed at people like Adele, there are some, who should do a bit of reading first. About Mezrow and the adoption of Black culture and music by alienated Whites. There are some classic studies of it. I think one of them has the title ‘White Youth and Black Culture’. They should understand why the Punks took over the Pogo – it came from the jumping style of dancing of the Masai. And at the same time they did so, they were mixing it on the streets giving the real Fascists – the NF, BNP and the rest of the scumbags the hiding they deserved.

Adele’s trying to show anti-racist solidarity. And it’s the people denouncing her for cultural appropriation who are strengthening real racism.

Because the opposite side of that coin is that the Whites, who do adopt Black culture are somehow betraying their Whiteness. And that’s always been an argument for real racism and apartheid.

 

 

BBC Proms Row: ‘Land of Dopes and Tories’

August 28, 2020

The best comment I’ve seen about the current furore over the BBC’s supposed decision to ban the lyrics of ‘Rule, Britannia’, and ‘Land of Hope and Glory’ at the Last Night of the Proms has come from the Labour MP Wes Streeting  He’s said that it’s a distraction to divert attention away from the Tories and their repeated failures. And he’s right. More people are in grinding poverty, the Coronavirus rates appear to be heading back up, they’ve wound up the public body tasked with combating the outbreak right in the middle of the pandemic, and given it to a woman, who has no qualifications for the job apart from the fact that she’s close to Johnson’s coterie, the government’s exam algorithm unfairly marked down 40 per cent of schoolchildren, the vast majority from poor backgrounds, the public deficit has hit over a trillion pounds, thus destroying any credibility the Tories can claim for being the party of sound fiscal management, and they’re still trying to get away with the illegal deportation of the Windrush migrants. While blaming ‘activist lawyers’ of course. Then there’s the cronyism and corruption, as one after another government contracts are given to firms run by or with connections to the Tory party itself and its leaders. The mighty Ash Sarkar of Novara Media has also weighed in on the issue on YouTube with a video describing these claims as ‘a paranoid fantasia’.

But these aren’t the real issues! No! The real issue is that the Beeb is full of evil, unpatriotic, subversive lefties determined to blot out every last trace of British national pride and greatness. And they’re starting by banning the lyrics to ‘Rule, Britannia’ and ‘Land of Hope and Glory’. Except they didn’t. The decision not sing them was due to the general restrictions on singing imposed by the lockdown. It’s for the same reason that, although churches are now open, worshippers can’t sing the hymns. It’s purely for health reasons, nothing more. But never mind, Boris Johnson has appeared and condemned the Beeb’s decision, thus rescuing us all from this latest Black Lives Matter attack on Britishness.

I have absolutely no problem with either of the two songs. I really enjoy them, and enjoyed the Proms itself when I went with a friend years ago. But I also remember that there have also been spoof versions of ‘Land of Hope and Glory’ down the years. One of them was released in the mid-1990s by the Devon band, the Amphibians from Outer Space, fronted by the cryptozoologist Jon Downes. This had the title ‘Land of Dopes and Tories” and was a bitter comment on Britain under the-then Tory government of John Major. I can’t remember the lyrics exactly, but they went something like this:

Land of  dopes and Tories,

Game shows and TV.

The land our fathers fought for

Don’t seem the same to me.

Land of idiot violence 

Where innocent blood is shed

Land where only the assholes

Heard what Mosley said.

Downes clarified the last line, explaining that it referred to Mosley’s prediction that, who ever won the War, Britain would be finished as a world power. Mosley was right about that, but it still doesn’t make him less of a Fascist ***hole himself, who was responsible for so much of the idiot violence in his time.

The song went on for a few more lines before ending with Downes’ declaration that

Anarchy and freedom is everything I want.

With the recent riots in America and the horrific mess of the former anarchist commune in Seattle, anarchy looks much less attractive. But I think the parody, like so much of the bitter social comment of the 1990s, is still very relevant. Boris Johnson’s government is very like that of Major’s in its sleaze, corruption, privatisations and indifference to real, mass poverty. Except, compared to Johnson, Major seems to be a pillar of competence and statesmanship. And this from someone who was considered mediocre at best when he was actually in power.

The lyrics for ‘Rule, Britannia’ and ‘Land of Hope and Glory’ haven’t been banned for any left-wing ideological reasons. The Tories are lying when they tell you they are. And Downes’ spoof lyrics accurately describe them, and the Britain of hatred and violence they’ve created.

Is Random Stop and Search Saving Black Lives?

August 25, 2020

I realise that this is a very controversial position, as one of the complaints made by the Black Lives Matter protests was about the hugely disproportionate numbers of Black people stopped and search for weapons by the rozzers. But nevertheless, I do wonder if there’s an issue here that isn’t being addressed – that of Black on Black violence.

This was an issue way back in the 1990s, as I recall. Black activists and anti-racism campaigners pointed out that Black people, and particularly Black men, were the commonest victims of violence. I don’t doubt that this information was revealed partly to calm White fears that Black violence was largely directed outwards at them. There was naturally great concern about the gang culture, not just confined to Blacks but including Whites and others, especially after the murder of Demilola Taylor. He, you may remember, was a 12 year old Black lad, who was chased home from school and stabbed. He bled to death in the stairwell of the block of flats where he lived. It was an horrific crime that truly shocked the nation. The issue of Black and Black violence was also picked up by Ali G. In one of his interviews, in which he took the mick out of serious celebs, politicos and other figures of authority, he talked to a senior police officer about it, and the weapons that ‘brothers were using against brothers’. After pretending to be seriously concerned, the character turned to a selection of the weapons the officer of the law had brought along to show just what they had taken from the criminals responsible. Ali G immediately started asking about which was the coolest. To which the officer rightly replied that none of them were. I used to watch Ali G, and found some of it hilarious. But there were times when Sasha Baron Cohen overstepped the mark with him and his other characters, and there were protests from Blacks offended at what they considered to be racism in a White performer appearing as a Black character. Even though Baron Cohen never appeared in Blackface, and the character was later presented as a White lad, who wanted to be part of urban Black culture but didn’t really understand it.

I don’t quite know what happened to the issue of Black on Black violence. It seemed to fade away into media obscurity, along with general concerns about the influence of Hip Hop and gangsta rap, which was held to be responsible for promoting the violent gang culture. I’ve noticed in recent reports on the news attacking and condemning knife crime that many of the victims are Black, but there are also Whites represented, presumably to dispel any further racial fears that it’s a peculiarly Black problem. However, extreme right-wing YouTuber, Paul Joseph Watson, in one of his rants the other day claimed that 70 + per cent of the perpetrators of violence or knife crime were Black, and 62 per cent of the victims. He did not give the source of these statistics, so you may well be justified in taking them with a pinch of salt. I can think of one reason why these figures may be incorrect. If the police are massively disproportionate in their targeting of Blacks for stop and search, then the figures could be an artifact, not of the real amount of Black violence, but simply a product of more Blacks being found with weapons simply because more Blacks than Whites were searched. But it may also be true that these figures are accurate, and that for a variety of reasons – poverty, unemployment, lack of opportunities, and yes, the influence of certain strands in popular culture, more Blacks than Whites are involved in violent crime, with Black people the chief victims.

If that’s the case, then there is clearly an argument for retaining stop and search and targeting Blacks rather more than Whites as an anti-racist strategy. Because if Blacks also constitute the majority of victims, then those searches are saving Black lives. Even though I think the criticisms of the excessive use of stop and search on Blacks is justified. And there is also clearly an argument for cutting some of the funding to the police and using it instead for social programmes, that may have greater success in leading some young Black people away from gang culture and its violence.

As for the murder of Demilola Taylor, that was one of the issues I had with a Black rights academic organisation with whom I was briefly in touch when I was doing voluntary work at the Empire and Commonwealth Museum. They thought I’d be interested in looking at their magazine. It honestly had the opposite effect on my, as I was angered at the magazine’s presumption of racism against Whites. I was particularly furious at a piece they’d included criticising the coverage of Taylor’s murder. They decided it was racist, and felt that the news should instead be concentrating on all the Blacks attacked and murdered by Whites. I got the impression that they thought the poor lad had been murdered by a Black gang. But there was no mention of the gang’s ethnicity on the news, and it was later revealed that it was of mixed race – it included members of all colours. The tone of the article made me furious, as regardless of the race or whatever of the murderers, a young child had been horrifically killed. It was one of the issues I raised in a reply I sent back to them about their magazine, along with several others. They replied in turn by telling me that if I wanted to talk to them again, I should send my comments to someone else.

This seems to be an example of the wider sensitivities surrounding the reporting of Black violent crime. And you can understand why, with the long history of extremely biased, racist reporting by the Tory press, Black people don’t want their community automatically associated with crime and violence.

But if there is a real issue here – if the majority of gang or knife attacks are by Blacks against other Blacks – then these sensibilities are counterproductive. There are certainly good arguments for scaling back stop and search, and being far more discriminating in targeting the real villains, rather than ordinary, decent Black peeps simply for being Black. But at the same time, these searches could also be saving Black lives. And as the news reports have shown, even for those who survive, the trauma is still very real.

If Black lives truly matter, then it’s also an issue than means cracking down on Black on Black violence, and not just the excessive tactics of the police. 

 

The Monkees Play ‘Randy Scouse Git’

August 12, 2020

Here’s something to cheer you all a bit after the news that Boris Johnson and his cronies have created Britain’s biggest recession ever, that they still don’t have any proper advice for parents on whether it’s safe to send their children back to school – but want them there anyway, so they can get their parents back to work no matter that there’s a second wave of Coronavirus coming. And that they’re trying to whip up hatred against a handful of desperate asylum seekers to distract us all from the real poverty, starvation and despair they’ve created.

This is a bit of fun I found on YouTube. It’s of the Monkees, the manufactured American rivals to the Beatles, playing a song I’ve only heard about in rumours: ‘Randy Scouse Git’. Going from the comments to the video, it’s actually about meeting his wife, Samantha, during a visit to the UK in the 1970s. He gave the song its title because he didn’t know it was an insult. Hence, apparently, it also has an inoffensive alternative name. It’s from Nickstranger999’s channel on YouTube.

In his piece about the song, Nickstranger writes

My next favorite Monkees song. The only other copy of this I could find here was sped up, so probably from a UK print. Excellent, and brilliantly written song written by Micky Dolenz. Some additional info cobbled together from various sources: In his book Micky explains the lyrics as a kind of free-association song about his experience of visiting England for the first time. The Beatles are “The Four Kings of E.M.I.” who threw a welcoming party for The Monkees. “Wonderful lady” is his first wife, Samantha Juste. The “girl in yellow dress” is a reference to ‘Mama’ Cass Elliot who was also there. After that heavy night of fun Mickey woke the next day to someone shouting “Randy, Scouse, Git” on the television and thought it would be a cool name. Randy Scouse Git was the term used by Alf Garnet about his Liverpudlian son-in-law in the sitcom “To Death Do Us Part”. Prior to it’s U.K. release the record company informed Mickey of the meaning behind the title and suggested he give them an ‘alternate title’ – hence the U.K. release name of the title.

I’d only heard about this in rumour, where I was told that it the title little Donny Osmond wanted to give one of his songs after hearing the phrase used by Alf Garnet. After he was told that it was an insult, the song instead became ‘Long-Haired Love from Liverpool’. Or perhaps it’s also true of him as well. Who knows?

Anyway, enjoy the song.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The Overlord on Rumours that Mark Hamill Has Sold Image for Hollywood CGI Clone of Luke Skywalker

August 8, 2020

‘The Overlord’ is another YouTube channel devoted to news and views about genre cinema and television. It’s hosted by Dictor von Doomcock, a masked alien supervillain supposedly living at the centre of the Earth. And who is definitely not impressed at all at the state of contemporary popular culture, and particularly the way beloved film classics like Star Wars, Star Trek, Dr. Who and so on are now being trashed by producers who have no respect for these series and their fans. And in this video he talks about the bizarre next step in this process: the recreation of favourite film characters like Indiana Jones and Luke Skywalker through CGI, completely removing the need for human actors.

A website, WDW Pro, has claimed that Disney are looking for ways they can break the pause in filming imposed by the Coronavirus lockdown. They are therefore looking at ways to do without human actors. They have therefore been looking at a technological solution to this problem, using the same computer techniques used to create the films The Lion King of 2019 and the 2016 film version of The Jungle Book, as well as the facial recreation of Peter Cushing as Grand Moff Tarkin in Star Wars: Rogue 1. Frustrated at the hold-up filming the third Guardians of the Galaxy flick, Disney will use the technology, Cosmic Rewind, to create a completely computer generated movie, but one that would be presented as using human characters. This is going to be an experiment to test the possibility of creating films without human actors and the need for their salaries. According to a rumour, which WDW Pro has not been able to confirm, the projected film is about Young Indy, and its effectiveness will be tested when a rollercoaster based on the film comes on as part of Disneyworld.

Lucasfilm has also apparently made a deal with Mark Hamill within the last 18 months in which he has signed over his image to them so that they can use it to create a CGI Luke Skywalker. This Virtual Skywalker may also be used in the projected Galaxy’s Edge Star Wars theme park. However, due to the project’s severe financial problems, this may not happen anytime soon. Disney are slowly moving towards using this technology to dispense with human actors so that they won’t have to suffer a similar pause in filming ever again, although they won’t move away from human actors altogether immediately.

Doomcock himself laments this development, and feels that it is inevitable in a world where Deep Fake technology has advanced so far that we don’t know if the people we see or the news we watch are real, or that the characters we see on the screen are brought to life by real actors using the skills and craft they have learned. He wonders what will happen to our civilisation – what we will lose – if everything we see on the screen is synthetic, and we are removed another step again from reality and anything that has ‘heart’. It might all be all right, but it seems to him that the more we remove the human element from art and culture and make it the creation of AIs, the more removed we are from our culture.

He also vents his spleen about the choice of subject for this putative movie, pointing out that there was a TV series about Young Indiana Jones years ago, and nobody wanted it. He recommends instead that if this grave-robbing technology is to be used, it should be used to recreate the mature Indy of Raiders of the Lost Ark and Temple of Doom. He also criticises Hamill for what he sees as his poor judgement in making the deal with Disney. Hamill should know personally how a poor director can ruin a beloved legacy character, the actor’s own contribution and a favourite film franchise through his experience playing Skywalker in The Last Jedi. He famously wept on set during that movie and bitterly criticised the director’s decisions. He’s sarcastic about the respect Disney shows such legacy characters. It’s rumoured that George Lucas is returning to helm the Star Wars films, in which everything will be fine and we can look forward to a bright, new golden age. But considering the potential for abuse, Doomcock states that he is dismayed, flabbergasted and disgusted by Hamill’s decision and fearful for humanity’s future. As human culture becomes made by machines, hasn’t Skynet won? Who needs to launch nukes, when we have a CGI Skywalker dancing like a monkey in a bikini?

Here’s the video, but as Doomcock himself warns you, it isn’t for children. It has adult humour. Blatantly adult humour.

As you can see, there’s more than a little hyperbole in Doomcock’s argument, and some people will take issue at what he views as the humiliation of Luke Skywalker to push a feminist or anti-racist message, like Black Lives Matter. But his fears of the abuse of such technology aren’t unfounded, and have been around for quite some time. The possibility that actors would sell their images to film companies to recreate them Virtually, while making the flesh and blood person redundant, was explored a few years ago in the SF film The Congress by Ari Folman. This was loosely based on the Stanislaw Lem novel, The Futurological Congress, but is very different, and, in my opinion, inferior. For one thing, the Lem novel is hilariously funny, while the movie is grim and depressing. The movie is about a Hollywood actress, Robin Wright, playing herself, who makes precisely the deal Hamill is rumoured to have made. She then stars in a series of action movies, including one sequence that is definitely a tip to Kubrick’s Cold War masterpiece, Dr. Strangelove. But this is all computer animation. The Wright herself isn’t remotely involved in their filming. Indeed, it is a condition of her contract that she not act at all, and live the rest of her life in a very comfortable retirement. These developments are followed by the discovery of a drug that allows people to enter a vast, consensual Virtual Reality, in which they can be and do anyone and anything they want. The world’s masses abandon reality, so that civilisation decays into a very grim, dystopia of ruin, poverty and misery. At one point Wright takes the drug, which will return her to reality, only to find herself in a food queue in a burned out, abandoned building. Unable to come with this, she returns to the Virtual world to search for the son she lost while in a coma as a result of a terrorist attack on the Las Vegas congress she was attending at which the hallucinogenic drug was launched. As I said, it’s a depressing film in which such illusions really are bringing about the destruction of humanity. And there is no escape, except into the Virtual world that has caused it.

The film follows a number of other SF works that have also predicted similar dystopias brought about by the hyperreality of mass entertainment. This includes John D. MacDonald’s short story, Spectator Sport, in which a time traveller appears in a future in which all human achievement has ceased as the public live out their lives as characters in VR plays. Another, similar tale is Good Night, Sophie, by the Italian writer Lino Aldani, about an actress in a similar world in which people live harsh, austere lives in order to escape into a far brighter, more vivid fantasy world of entertainment. Rather less pessimistic was the appearance of the SF film, Final Fantasy, all those years ago. This was supposed to be the first film in which all the characters were CGI, and who were supposedly indistinguishable from flesh-and-blood reality. The fact that further films like it haven’t been made suggests that, reassuringly, people want real humans in their movies, not computer simulations.

We’ve also seen the appearance of a number of computer generated celebrities. The first of these was the vid jockey, Max Headroom on Channel 4 in the 1980s. He was supposed to  be entirely computer-generated, but in reality was played by Canadian actor Matt Frewer under a lot of makeup. Then in the 1990s William Gibson, one of the creators of Cyberpunk SF, published Idoru. This was a novel about a man, who begins an affair with a Virtual celebrity. Soon after it came out, a Japanese company announced that it had created its own Virtual celeb, a female pop star. Gibson’s books are intelligent, near-future SF which contain more than an element of the ‘literature as warning’. The worlds of his Cyberspace books are dystopias, warnings of the kind of society that may emerge if the technology gets out of hand or corporations are given too much power. The creation of the Virtual pop star looked instead as though the corporation had uncritically read Gibson, and thought what he was describing was a good idea.

But going further back, I seem to recall that there was a programme on late at night, presented by Robert Powell, on the impact the new information technology would have on society. It was on well after my bedtime, and children didn’t have their own TVs in those days. Or at least, not so much. I therefore didn’t see it, only read about it in the Radio Times. But one of its predictions was that there would be widespread unemployment caused by automation. This would include actors, who would instead by replaced by computer simulations.

Computer technology has also been used to create fresh performances by deceased stars, sometimes duetting with contemporary performers. This worried one of my aunts when it appeared in the 1980s/90s. Dead performers have also been recreated as holograms, to make the stage or television appearances they never made in life. The late, great comedian Les Dawson was revived as one such image, giving post-mortem Audience With… on ITV. It was convincing, and based very much on Dawson’s own live performances and work. It was good to see him again, even if only as Virtual ghost, and a reminder of how good he was when alive.

I don’t know how reliable the rumours Doomcock reports and on which he comments are. This could all be baseless, and come to nothing. But I share his fears about the damage to our culture, if we allow our films and television to be generated by technicians and algorithms rather than flesh and blood thesps. Especially as the rising cost of movies mean that the film companies are unwilling to take risks and seem determined to rake over and exploit past classics rather than experiment with creating fresh material.

CGI’s a great tool. It’s used to create vividly real worlds and creatures. But I don’t want it replacing humans. Even if that means waiting a few years for new flicks to come out.

 

‘Mr H Reviews’ on the Casting of Robot Lead in SF Film

August 8, 2020

‘Mr H Reviews’ is a YouTube channel specialising in news and opinions on genre films – SF, Fantasy and Horror. In the video below he comments on a piece in the Hollywood Reporter about the production of a new SF movie, which will for the first time star a genuine AI. The movie is simply titled b. Financed by Bondit Capital, which also funded the film Loving Vincent, with the Belgium-based Happy Moon Productions and New York’s Top Ten Media, the film is based on a story by the special effects director Eric Pham with Tarek Zohdy and Sam Khoze. It is about a scientist, who becomes unhappy with a programme to perfect human DNA and helps the AI woman he has created to escape. 

The robot star, Erica, was created by the Japanese scientists/ engineers Hiroshi Ishigura and Hohei Ogawa for another film. The two, according to the Reporter, taught her to act. That film, which was to be directed by Tony Kaye, who made American History X, fell through. Some scenes for the present movie were already shot in Japan in 2019, and the rest will be shot in Europe next year, 2021.

The decision to make a movie starring a robot looks like an attempt to get round the problems of filming caused by the Coronavirus. However, it also raises a number of other issues. One of these, which evidently puzzle the eponymous Mr H, is how a robot can possibly act. Are they going to use takes and give it direction, as they would a human, or will it instead simply be done perfectly first time, thanks to someone on a keyboard somewhere programming it? He is quite enthusiastic about the project with some reservations. He supports the idea of a real robot playing a robot, but like most of us rejects the idea that robots should replace human actors. He also agrees with the project being written by a special effects supervisor, because such a director would obviously be aware of how such a project should be shot.

But it also ties in with an earlier video he has made about the possible replacement of humans by their Virtual simulacra. According to another rumour going round, Mark Hamill has signed away his image to Lucas Film, so that Luke Skywalker can be digitally recreated using CGI on future Star Wars films. Mr H ponders if this is the future of film now, and that humans are now going to be replaced by their computer generated doubles.

In some ways, this is just the culmination of processes that have been going on in SF films for some time. Animatronics – robot puppets – have been used in Science Fiction films since the 1990s, though admittedly the technology has been incorporated into costumes worn by actors. But not all the time. Several of the creatures in the American/Australian SF series Farscape were such animatronic robots, such as the character Rygel. Some of the robots features in a number of SF movies were entirely mechanical. The ABC Warrior which appears in the 1990s Judge Dredd film with Sylvester Stallone was deliberately entirely mechanical. The producers wished to show that it definitely wasn’t a man in a suit. C-3PO very definitely was played by a man in a metal costume, Anthony Daniels, but I noticed in the first of the prequels, The Phantom Menace, that a real robot version of the character appears in several scenes. Again, this is probably to add realism to the character. I also think that in the original movie, Episode 4: A New Hope, there were two versions of R2D2 used. One was the metal suit operated by Kenny Baker, and I think the other was entirely mechanical, operated by radio. Dr. Who during Peter Davison’s era as the Doctor also briefly had a robot companion. This was Kameleon, a shape-changing android, who made his first appearance in The King’s Demons. He was another radio-operated robot, though voiced by a human actor. However the character was never used, and his next appearance was when he died in the story Planet of Fire.

And then going further back, there’s Alejandro Jodorowsky’s mad plan to create a robotic Salvador Dali for his aborted 1970s version of Dune. Dali was hired as one of the concept artists, along with H.R. Giger and the legendary Chris Foss. Jodorowsky also wanted him to play the Galactic Emperor. Dali agreed, in return for a payment of $1 million. But he stipulated that he was only going to act for half an hour. So in order to make sure they got enough footage of the great Surrealist and egomaniac, Jodorowsky was going to build a robot double. The film would also have starred Orson Welles as Baron Vladimir Harkonnen and Mick Jagger as Feyd Rautha, as well as Jodorowsky’s own son, Brontes, as Paul Atreides. The film was never made, as the producers pulled the plug at the last minute wondering what was happening to it. I think part of the problem may have been that it was going well over budget. Jodorowsky has said that all the effort that went into it wasn’t wasted, however, as he and the artist Jean ‘Moebius’ Giraud used the ideas developed for the film for their comic series, The Incal. I think that Jodorowsky’s version of Dune would have been awesome, but would have been far different to the book on which it was based.

I also like the idea of robots performing as robots in an SF movie. A few years ago an alternative theatre company specialising in exploring issues of technology and robotics staged a performance in Prague of the classic Karel Capek play, Rossum’s Universal Robots, using toy robots. I can see the Italian Futurists, rabid Italian avant-garde artists who praised youth, speed, violence and the new machine world around the time of the First World War, being wildly enthusiastic about this. Especially as, in the words of their leader and founder, Tommasso Marinetti, they looked ‘for the union of man and machine’. But I really don’t want to see robots nor CGI recreations replace human actors.

Many films have been put on hold because of the Coronavirus, and it looks like the movie industry is trying to explore all its options for getting back into production. However, the other roles for this movie haven’t been filled and so I do wonder if it will actually be made.

It could be one worth watching, as much for the issues it raises as its story and acting.

‘Spitting Image’ Returning on BritBox

August 5, 2020

I found this promising little snippet in today’s I for 5th August 2020. It seems that satirical puppet show, Spitting Image, will be returning to TV after nearly a quarter of a century. The article runs

Johnson’s ‘Spitting Image’ revealed

Boris Johnson, his chief adviser Dominic Cummings and the Duke of York feature among the latest Spitting Image puppets unveiled ahead of the show’s return;. The satirical series will air later this year on BritBox after running on ITV for 18 series between 1984 and 1996. Donald Trump, Beyonce, the Duke and Duchess of Sussex and Vladimir Putin will also feature prominently.

There were plans to bring it back a few years ago following a retrospective on the programme as long ago as 2004, I believe. Channel 4 looked into it, but turned it down because it would be too expensive. Health and Safety legislation also meant that the conditions in which the puppets were made back in the ’80s and ’90s, which did use dangerous chemicals, would be illegal and need to be improved. In the meantime, we briefly had Newzoids on ITV, which also mixed puppets and CGI to satirise politicos and celebs, but was obviously cheaper.

I thought, however, that Britbox was a streaming service for oldshows broadcast by the Beeb and ITV. This suggests that they aren’t just showing re-runs, but have commissioned new material. It’ll be interesting to see how this works out.

And to see if the new, revived Spitting Image is as vicious, incisive and hilarious at its previous incarnation.