One of the complains raised by some members of the right against the demands for more Black presenters and actors on screen is that it represents a form of cultural colonisation. The past is deliberately being re-shaped to suit the multicultural present. The right-wing internet YouTuber, Alex Belfield, has argued that by the Beeb’s standards, Blacks are actually overrepresented on television. At the moment British Black and Asian population constitutes about 13 per cent of the overall population, but form 22 per cent of the presenters, performers and broadcast on the box. It’s why he choose in one of his videos to attack the Beeb for wasting even more license-payers’ money on someone to head a diversity department. He maintained that the problem wasn’t the underrepresentation of Blacks and Asians in front of the camera. It was that they weren’t represented in the ranks of BBC management, which remained very White and middle class.
There are a number of recent and forthcoming adaptations of classic literature, in which Blacks and Asians have been cast in traditionally White roles. And so Blacks have been cast to appear in the children’s classic, The Secret Garden, Philip Pullman’s Fantasy series, His Dark Materials, and Dev Patel, who played the Master in the last series of Dr. Who, appeared in a colour blind, multi-ethnic version of Dickens and is due to star in an adaptation of the medieval story, Gawain and the Green Knight. There’s also a version of the Lord of the Rings planned by the Corporation, in which a third of the cast will be Black or Asian with Lenny Henry.
But this desire to recast White characters with Blacks isn’t confined to fiction. Channel 5 has announced that it has cast a Black actress, Jodie Turner-Smith, to play Ann Boleyn in a three part series about Henry VIII’s second wife. And Netflix has also chosen a Black actress to play Queen Caroline in its regency romance, Bridgerton.
History Debunked’s Simon Webb has posted several videos about this. He was rather incensed by the decision to recast one of the characters in The Secret Garden as Black, and describes how there was some popular criticism of a similar recasting in His Dark Materials. However, he says that left-wingers and progressives answered that by arguing that the role was fiction, and that Pullman never specified what colour the character was.
That argument, however, cannot be used to defend the false representation of Boleyn and Caroline as Blacks. He views this as a deliberate attempt to colonise the past so that it resembles what he describes as the ‘bastardised’ multicultural present. It is also not being done in a vacuum. There are Blacks, who believe that Queen Caroline really was Black, as was James I of England/VI of Scotland, and Edward III’s son, Henry, the Black Prince. This recasting of real, historical figures has to be resisted because it is actively falsifying history to make it appear that Blacks had a far greater role in shaping history than they did.
The idea that Queen Caroline was Black comes from the fact that she was partly descended from a thirteenth century Spanish Moorish prince. The Moors in Islamic Spain – al-Andalus – were Arabs and Berbers, rather than Black Africans. Caroline herself was so far removed from her Moorish ancestor that any Black ancestry she had wouldn’t have been expressed physically. She was a German princess, and so would have been White in appearance.
I think there are also a number of other factors driving this trend. Multiracial casting has been around in the theatre for a very long time. I think as far back as the 1990s Black and Asians actors were being cast in traditionally White roles in Shakespeare. I remember an article in the Independent or the I came out a few years ago commenting that such casting was accepted by audiences, even when people of different ethnicities played members of the same family. There was also something of a furore a few years ago when the Black opera singer, Willard White, was cast as Odin in Wagner’s Ring. What seems to be happening is simply that this same process is being extended to film and TV. The Dickens’ adaptation that came out recently not only starred Dev Patel as the central character, but also had members of the same family played by actors of different races. It was made by Armando Iannucci, one of the brains behind the comedy news programme, The Day Today and other shows in the 1990s.
Few Explicitly Black Parts and the Metropolitan Bubble
I also believe that it’s due to the fact that there are too few parts specifically for Black and Asian actors. That’s been the complaint voiced by one of the Black activists pushing for the greater inclusion of Black performers when he was interviewed in the I a little while back. Blacks and Asians are minorities, and generally are under represented in the upper ranks of society. Hence the demand for colour blind casting and that directors should be willing to cast Blacks and Asians. It also seems to me to be also partly a product of the metropolitan bubble in which the media and its chiefs live. Over a third of London’s population is Black and Asian, and I think there’s an automatic assumption that somehow this is true of the rest of Britain. Some Black activists and performers have been really shocked to find that there are large parts of Britain with hardly any people like themselves. Years ago the late Black actor and comedian, Felix Dexter, appeared on the panel in an edition of the News Quiz, which came from Edinburgh. He expressed his surprise that there were areas of Scotland with hardly a Black face to be seen. While undoubtedly true, his surprise struck me as also a tiny bit racist in itself. There was an element of complaint in it, as if it was somehow a defect that these places happened to be nearly all White. It reminded me a bit of the comments by Victorian explorers about going into parts of Black Africa and elsewhere previously untouched by the White man. I’m sure Dexter and those, who share his views would have been horrified by the comparison, but I believe it’s a true one.
Selling Programmes to a Non-White Foreign Audience
I also wonder if it’s also driven by a need to sell these programmes abroad. Blacks constitute something like 10-13 per cent of the American population, and together with Asians constitute 25 per cent of the American population. I’ve no doubt that the Beeb will also be seeking to sell the programmes to Black majority and Asian countries, such as Africa, the Caribbean, India and so on. Hence the decision to cast Black and Asian actors may well come from a desire to appeal to foreign, non-White audiences.
Dangers of the Falsification of History
I wouldn’t have a problem with this, were it not for two reasons. I’m afraid that it really will result in a falsification of history. If it was just a case of TV companies trying to reach new audiences in line with present, multicultural sensibilities, I’d be perfectly happy with it. Provided that the audience understood that what they were seeing was fiction. They they understood that Queen Caroline and Ann Boleyn weren’t really Black, and that Victorian and medieval Britain weren’t as multicultural as today’s London. But I really don’t think they do. And this is going to be a particular problem with some Blacks, who believe that their history has already been appropriated by Whites. This is very much the case with Afro-Centric History and ancient Egypt. All the Black people I’ve met have believed that the ancient Egyptians were Black. This isn’t unreasonable. They portrayed themselves as darker than the other peoples further north and east, like the Minoans and the Semitic peoples of Canaan and the Ancient Near East. Examination of human skeletons from ancient Egyptian tombs show that many were more Black African in appearance than previously assumed, and certainly the sculpture of Queen Ty shows her as being very Black. On the other hand the Egyptians portrayed the African peoples further south, such as those of Nubia, to be much darker than themselves. I also don’t think that the ancient historians, like Herodotus, described them as Black. Herodotus was well aware of Black African peoples and tribes, like the Ethiopians, but he doesn’t describe the Egyptians as one of them, at least, not that I can remember. It isn’t unreasonable by any means to believe the Egyptians were Black, but there’s also room for debate. Unfortunately, I’ve heard some really bonkers conspiracy theories about the supposed White appropriation of the ancient Egyptians. One Black American I knew at college claimed that the reason so many statues from ancient Egypt had chipped or missing noses and lips was because the European archaeologists deliberately removed them in order to hide their African identity. It’s a paranoid, ludicrous idea, though you can’t really blame people for believing it. Black people have historically been abused and exploited, so it’s to be expected that this sense of exploitation, and that they are being deliberately denied a glorious history, should extend to one of the most famous and brilliant of ancient civilisations.
But I’m very much afraid that once the decision is taken to cast Blacks as real, historical figures, some people will genuinely believe that these figures really were Black, and that those evil Whites have falsified history once more to hide their true racial origins.
There is also the problem that recasting the past so that it appears more multicultural than it really was may also lead to modern audiences not realising just how hard a struggle Blacks and Asians had to gain their freedom. Nearly a year ago now Mr H of the YouTube channel Mr H Reviews raised this objection to the Beeb’s new adaptation of that horror classic, Dracula. The convent to which Harker flees for help and medical treatment in Budapest is shown as multiracial, with many of the nuns Black and Asian. He felt that this was anachronistic, though I’m told by a friend of mine with a greater knowledge of church history that the Roman Catholic convents in the city were staffed with people from the missions to Asia and elsewhere, so it’s possible there would have been Black and Asian nuns there.
In the case of regency Britain and the upper ranks of society, intermarriage between Whites and Blacks wasn’t unknown, but it was rare. A few years ago back in the ’90s Radio 4 did a programme about the Black son of a White planter or British aristocrat, who had a glittering political career as an MP and ended up, I believe, as the sheriff of Monmouthshire. One the other hand, when Major Moody came to write his report in the 1820s on whether Blacks were ready for their emancipation, he argued that they would never be accepted and treated fairly by White society. Part of his argument was that there were so few marriages between Whites and Blacks among the upper classes. Moody’s wife was Black, and so his report and its conclusion that the enslaved population of the British empire weren’t yet ready for their freedom was a real shock. But if Queen Caroline is presented as a Black woman, it obviously contradicts Moody’s own observation. And his observation and the argument it supports shows just how strong racial prejudice was among some sections of the populace in 19th century Britain.
Double Standards on ‘Cultural Appropriation’
My other problem with this is that of the accusation of ‘cultural appropriation’. This only seems to go one way. Black involvement and participation in White culture is actively encouraged and its absence condemned and deplored as a form of racism. But this doesn’t go the other way. When Whites adopt non-White culture, it’s condemned as a form of cultural theft. In the case of those cultures that have been colonised and nearly destroyed by White expansion and imperialism, like the Amerindians and Aboriginal Australians, this is fair enough. But there should surely be no objection to the casting of White actors as Black characters in works by Black and Asian writers and playwrights. Not if it’s done as part of a multi-ethnic cast and avoids the obviously offensive, like blacking up. But I’ve yet to see a White actor cast in a Black part in an adaptation of one of Wole Soyinka’s works, or Chinua Achebe’s Things Fall Apart. I therefore feel that Webb has a point when he attacks it as a form of cultural colonisation. Because until Whites are allowed to play Black roles, that’s what it is.
I’m prepared to accept that the portrayal of myths and literary characters on screen is changing as society changes, and that mostly this harmless. Dickens, Shakespeare and medieval classics like Chaucer and Gawain are great tales, and should appeal to everyone, regardless of their colour. But I have grave reservations about the decision to do the same to historical figures.
It might be well intentioned, but too many people may believe it’s fact, and so a mythical, false history created.
Yesterday, Gavin Williamson, the secretary of state for education, issued his departments guideline informing schools what they could not teach. This included materials from organisations determined to end capitalism, as well as anti-Semitic material, opposition to freedom of speech and which approves of illegal activity. The Labour Party’s John McDonnell pointed out that this would mean that it’s now illegal to teach large sections of British history and particularly that of the Labour Party, trade unions and socialism, because all these organisations at different times advocated the end of capitalism. He is, of course, right. In 1945 or thereabouts, for example, the Labour Party published an edition of the Communist Manifesto. He concluded
“This is another step in the culture war and this drift towards extreme Conservative authoritarianism is gaining pace and should worry anyone who believes that democracy requires freedom of speech and an educated populace.”
The economist and former Greek finance minister, Yanis Varousfakis, who has also written a book, The Crisis of Capitalism, also commented this guidance showed how easy it was for a country to lose itself and slip surreptitiously into totalitarianism. He said
“Imagine an educational system that banned schools from enlisting into their curricula teaching resources dedicated to the writings of British writers like William Morris, Iris Murdoch, Thomas Paine even. Well, you don’t have to. Boris Johnson’s government has just instructed schools to do exactly that.”
Quite. I wonder how the ban affects even mainstream textbooks, which included anti-capitalist or other extremist literature. For example there are any number of readers and anthologies of various political or historical writings published by perfectly mainstream publishers for school and university students. Such as the one below, Critics of Capitalism: Victorian Reactions to ‘Political Economy’, edited by Elisabeth Jay and Richard Jay, (Cambridge: Cambridge University Press) 1986). This collects a variety of writings authors such as John Francis Bray, Thomas Carlyle, Marx and Engels, John Stuart Mill, John Ruskin, Matthew Arnold, Thomas Hill Green, William Morris and George Bernard Shaw. These texts obviously document and illustrate the reactions to the rise of economics as an academic subject in the 19th century, and several of the authors are titans of 19th century British culture, literature and political philosophy, like the art critic Ruskin, the socialist, writer and artist, William Morris, the playwright George Bernard Shaw, the liberal political philosophers John Stuart Mill and Thomas Hill Green, and Matthew Arnold, the headmast of Rugby, the author of Culture and Anarchy. This is quite apart from Marx and Engels and John Francis Bray, who was a socialist and follower of Robert Owen. Carlyle’s now largely forgotten, but he was a philosopher and historian who was massively influential in his day.
Clearly this is an entirely respectable text from a very respectable publisher for history students. But, thanks to the government’s new guidelines, you could well ask if it’s now illegal to teach it in schools, thanks to its anti-capitalist contents.
The same question also applies to very respectable histories by respectable, mainstream historians and political scientists, of extremist movements and ideologies like Fascism, Nazism, Communism and anarchism. For example, one of the books I used while studying the rise of Nazism at college was D.G. Williamson’s The Third Reich (Harlow: Longman 1982). It’s an excellent little book published as part of their Seminar Studies in History range. These are short histories of various periods in history from King John and the Magna Carta to the origins of the Second World and the Third Reich, which include extracts from texts from the period illustrating particularly aspects and events. Williamson’s book is a comprehensive history of the Nazi regime, and so includes extracts from Nazi documents like Hitler’s Mein Kampf, Goebbel’s diaries and as well as eyewitness account of Nazi war crimes and individual acts of heroism and resistance. It presents an objective account of Hitler’s tyranny including its horrors and atrocities. There is absolutely no way it, nor other books like it, could remotely be considered pro-Nazi or presenting any kind of positive assessment of Hitler’s regime.
But if schools are now forbidden from teaching anti-capitalist, anti-Semitic, racist and anti-democratic material, does this mean that they are also forbidden from using books like Williamson’s, which include the writings of the Nazis themselves to show the real nature of the regime and the motivations of the men behind it. I hope not, and Owen Jones in his tweet attacking the new guidelines quotes them. From this, it should be possible to make a distinction between texts produced by extremist organisations and extracts from them in mainstream histories or editions from mainstream publishers. According to Jones’ tweet, the guidelines state
Schools should not under any circumstances use resources produced by organisations that take extreme political stances on matters. This is the case even if the material is not extreme, as the use of it could imply endorsement or support of the organisation. Examples of extreme political stances, include, but are not limited to
a publicly stated desire to abolish or overthrow democracy, capitalism or end free and fair elections.
2. opposition to the right of freedom of speech, freedom of association, freedom of assembly, or freedom of religion and conscience.
3. the use or endorsement of racist, including anti-Semitic language or communications.
4. the encouragement or endorsement of illegal activity.
5. a failure to condemn illegal activities in their name or in support of their cause, particularly violent actions against people and property.
Responding to Jones’ tweet, Jessica Simor QC asks this very pertinent question
Do the fourth and fifth bullet points mean that schools should not accept Government money?
Good point.
I also have no doubt that the vast majority are going to be extremely careful about which organisation’s materials they use because of the danger of using extremist or otherwise inappropriate material.
But I can also how sometimes it may also be necessary for schools to use such materials in order to criticise them and educate their pupils about their dangers. For example, in the 1980s the BNP or NF tried to appeal to schoolchildren by launching a comic. Other extremists have also turned up at the school gates on occasion. When I was at school in Bristol during the ’81/2 race riots, a White agitator with a beard like Karl Marx’s turned up outside the school entrance with a megaphone trying to get the kids to join in. We ignored him and the headmaster next day in assembly said very clearly that any child who did join the rioting would be expelled.
Nazis are also known for lying and deliberately distorting history. If some Nazi group, for example, produced a pamphlet aimed at schoolchildren and teachers found it being passed around the playground one of the actions they could take, as well as simply banning it and punishing any kid who tried to promote it, might be for a suitably qualified teacher to go through it, pointing out the deliberate lies. When Hitler himself seized power, one Austrian university lecturer embarrassed the fuhrer by showing his students how Hitler took his ideas from the cheap and grubby neo-Pagan literature published in the back streets of Vienna. One of these pamphlets claimed that the ancient Aryans had possessed radio-electric organs that gave them superpowers like telepathy. I think it was highly unlikely that anyone listening to this professor’s lectures on Hitler ever came away with the idea that Hitler had some deep grasp of the essential forces of human biology and and natural selection.
I see absolutely no point to this legislation whatsoever. Teachers, parents and educators are already careful about what is taught in schools. In the past few years most incidents of this type have come from fundamentalist religious schools. These have mostly been Muslim schools, which have been caught teaching their students to hate Christians, Jews and non-Muslims, but there was also a Jewish school which became the centre of controversy for its opposition to homosexuality. In the 1980s Thatcher and the right-wing press ran scare stories about Communist teachers indoctrinating students with evil subversive subjects like peace studies. I am not aware that anyone with extreme left-wing, Communist or Trotskite views has been trying to indoctrinate children. But there are concerns about Black Lives Matter, which I have heard is a Marxist organisation. If that is the case, then the guidelines seem to be an attempt to ban the use of their materials. BLM did produce materials for a week of action in schools, which was thoroughly critiqued by Sargon of Gasbag, aka Carl Benjamin, the sage of Swindon and the man who broke UKIP. Sargon has extreme right-wing Conservative views himself, though I honestly don’t believe that he is genuinely racist and his criticisms of the BLM school material was reasonable. Williamson’s guidelines look like a badly thought out attempt to stop them being used without causing controversy by tackling the organisation’s anti-racism or its critique of White society.
But it also marks the growing intolerance of the Tories themselves and their determination that schools should be used for the inculcation of their own doctrines, rather than objective teaching that allows children to come to their own. Way back in the 1980s Thatcher tried to purge the universities of Marxists by passing legislation making it illegal for them to hold posts in higher education. They got round it by making a subtle distinction: they claimed to be Marxian rather than Marxist. By which they argued that they had Marxist culture, but weren’t actually Marxists. It’s a legal sleight of hand, but it allowed them to retain their teaching posts.
These new guidelines look like an extension of such previous legislation in order to preserve capitalism from any kind of thorough critique. Even when, as the peeps Mike quotes in his article, show very clearly that it is massively failing in front of our eyes.
Alex Belfield is an internet radio host and Youtuber. He’s a ragin Conservative, and so a large number of his videos are attacks on left-wing broadcasters and critics of the government, like Owen Jones, James O’Brien and Piers Morgan. He has also attacked Sadiq Khan, immigration, especially the asylum-seekers floating over on flimsy craft from Calais, and the recent moves to expand diversity in broadcasting. This includes Diversity’s dance routine about Black Lives Matter the Saturday before last on Britain’s Got Talent. Another frequent target of his attacks in the BBC, and at the weekend he decided to join the Conservative papers trying to get sympathy for Boris Johnson.
According to an article in Saturday’s Times, BoJob has been whining about how hard it is for him on £150,000. Not only has he been through a messy divorce, but he’s also trying to support four of his six children. I thought he himself didn’t know how many children he had. And how is it he’s only supporting four, not all of them? The article claims he’s overburdened – which is also strange. I’ve put up a piece on Russian gulag slang terms which could describe him. One of them is mankirovant, which means ‘shirker’. Because he seems to be off on his hols whenever it suits, unlike other Prime Ministers. Unlike other PMs, he also dodges working at weekends and turning up at Cobra meetings. He has, apparently, taken a cut in income and, oh, the hardship!, has to buy his own food.
Mike has put up a piece in which he, and the folks on Twitter, tear into our clown PM and give him all the sympathy he deserves: which is precisely zero. They point out that Boris’ salary is still five times more than the median wage and that people on ESA are, if they’re over 25, on less £4,000 a year. By any standard, Boris is still filthy rich.
Belfield crawled out from under whichever Tory rock he hides under to try and defend Boris. Ah, but he has to pay all the expenses required of him now that he is prime minister. Mike points out that he has a fair few those paid by the state. His current residence, No. 10, is provided by the state gratis. Also, Boris wanted the job. This isn’t like the Roman Empire, where the rich were forced to perform ‘liturgy’. This was a list held by the local authorities of everyone, who could afford to do some kind of public service to the state. This went from acting as a kind of clerk recording and filing people’s tax returns, to membership of the ordo or local council. If you were saddled with that, it meant that you had to make whatever shortfall there was between public expenditure and tax revenue up out of your own money. The pagan Roman emperors used it as one of the punishments they inflicted on Christians, apart from torturing them to death in the arena. Neither the Queen, Duke of Edinburgh, Sadiq Khan or anyone else suddenly leapt upon Boris and dragged him off to be prime minister. No-one forced him to start plotting to be head of the Tory party. He wasn’t corrupted by Cassius, as Brutus was in Shakespeare’s Julius Caesar. And neither Cameron or Gove, the two Boris betrayed, were Julius Caesar. Although both of them, like Boris, thought they should ‘bestride the earth like a colossus’.
Boris chose the job himself. But people on ESA and low incomes don’t choose them. They’ve had them foisted upon them by exploitative employers and a government determined to make ordinary, working people an impoverished, cowed, an easily disposable workforce.
As for the expense of having a nanny and providing for his children, well, the Tories, as Mike and his peeps have pointed out, stopped child benefit after two sprogs. The argument from the right for a long time has been that people should only have children they can afford to support. Not bad advice, actually. But it has led to the Tories and New Labour demonising those they consider as bad parents. Like Gordon Brown ranting about how ‘feckless’ they were. In the words of the old adage, ‘if you can’t feed ’em, don’t breed ’em’. But this was all right when applied to the hoi polloi. But when it hits the upper classes, somehow we’re expected to cry tears over them.
Belfield also tried defending Boris by pointing out that his salary was much less than those in many industries, including entertainment and television. And then, almost predictably, he started attacking the Beeb for the inflated pay it awards presenters like Gary Linaker. Linaker’s another of Belfield’s bete noirs. Linaker has made various left-wing remarks on Twitter and has said he’ll take into his house some of the asylum seekers coming across from France. Which has sent Tories like Belfield into a fearful bate, as Molesworth used to sa.
Now the pay earned by prime ministers is lower than many of those in industry. It always has been. I can remember under Thatcher or Major there were various Tory MPs whining about how much they earned. They demanded more, much more, to boost their pay up to that of private businessmen and senior managers. The argument was that they should be paid this money, as otherwise talented professionals would go into business instead, where their talents would be properly remunerated.
It’s another argument that didn’t go down well, not least because however poorly MPs are paid, they’re still paid far more than ordinary peeps. And for a long time they weren’t paid. Payment of MPs was a 19th century reform. Indeed, it was one of the six demanded by the Chartists. Many of the Conservatives responded by giving the money to charity. I think part of the reason politicians’ pay has remained comparatively low for so long is the ethos of public service. You are meant to want to enter politics because you are serious about serving your country and its great people. You are not meant to do so because you see it as a lucrative source of income. It’s an attitude that comes ultimately from the Stoic philosophers of the ancient world and Christian theologians like St. Augustine. It became the ethos of the public schools in the 19th century through the reforms of Arnold Bennet at Rugby. Boris therefore deserves no sympathy on that score.
Now I actually do agree with Belfield that some presenters at the Beeb are grossly overpaid. But it’s not just presenters. Private Eye has run story after story in their media section reporting how production staff and the ordinary journos in the news department, who actually do the hard work of putting programmes and news reports together, have been the victims of mass sackings and cut budgerts. At the same time, executive pay has increased and the number of managers with various non-jobs have proliferated. There is, apparently, someone presiding over a department with title ‘Just Do It!’ These departments are entangled and seem to overlap, much like the Nazi administrative system. Yes, I know, another gratuitous example of Godwin’s Law. But sometimes you just can’t help yourself.
The problem is, it’s not just the Beeb. They’re just following in the tracks of business elsewhere. Here ordinary workers have been massively laid off, forced to take pay cuts and freezes, while senior executives have seen their pay bloated astronomically. The Beeb is no different from them.
And watch carefully: Belfield isn’t telling you how much leading journos and broadcasters are paid elsewhere. Like in the media empire belonging to a certain R. Murdoch, now resident in America.
The argument used by presenters like John Humphries, for example, is that they are paid what they are worth. The argument goes that if the Beeb doesn’t pay them what they want, they can go and take their talent elsewhere, and the Beeb’s competitors will. Or at least, that’s how I understand it.
But you aren’t being told how much the presenters over at Sky are on. Or indeed, what kind of pay Murdoch and his senior staff at News International trouser. And you won’t, because that could be more than a mite embarrassing. Especially as Murdoch’s British operation is registered offshore in order to avoid paying British corporation tax.
But Murdoch, and Belfield are attacking the Beeb because the Tories hate the idea of state broadcasting and its mandated ethos of impartiality. Mind you, the rampant shilling by the Corporation on behalf of the Tories and their savage, flagrantly biased attacks on Jeremy Corbyn and Labour showed that they don’t too. The Tories have also been taking Murdoch’s coin in corporate donations. From Thatcher onwards, right-wing governments – and that includes New Labour – signed a Faustian pact with Murdoch. They gave him larger and larger shares of British media and allowed him to dictate policy, in return for which Murdoch gave them publicity in his sordid empire of ordure.
That’s the real reason Belfield’s attacking the BBC.
Murdoch wants to get rid of state-funded competition and step in himself as the major broadcaster. And if he does so, you can expect nothing except propaganda and lies, which will we keep you poor and the elite even more obscenely rich.
Just like Boris Johnson and the Tories, despite his moans of poverty.
It was announced this week that there are plans to set up two independent networks to rival the ‘woke, wet BBC’ as the Daily Mail decided to describe the state broadcaster. This has been described by left-wing bloggers like Zelo Street quite rightly as attempts to set up a kind of Fox News in the UK. And the name of one of these broadcasters shows you just what type of audience they want to appeal to: GB News. Two of its presenters have already been announced. They are Andrew Neil and Nigel Farage. It’s another example of the Conservatives and right Brexiteers laying the claim to be patriots defending Britain, its people and traditions. And it’s rubbish.
The Tories have been making this claim almost since they appeared in the 17th century, but the nationalism became particularly acute under Thatcher. She took over Churchill’s heroic view of British history and consciously modelled her style of government on Churchill’s. Or what she thought was Churchill’s. The result was headlines like one in the Sunday Telegraph defending the patriotic middle classes: ‘Don’t Call Them Boojwah, Call Them British’. World War II and the Falklands were invoked at every opportunity. The Tory party election broadcast was a particularly blatant example. It started with World War II footage of Spitfires zooming about the skies while an excited voice told us that ‘We were born free’. It’s a line from the 18th century Swiss advocate of radical democracy, Rousseau. His Social Contract begins ‘Man was born free, but everywhere he is in chains.’ Obviously, you can see why the Tories didn’t want to include the last bit.
Thatcher passed legislation intended to make New Commonwealth immigration more difficult by revising British citizenship to restrict it only to those born here or who had been naturalised. Previously it had extended to anyone born in the British Empire. At the same time, the Tory press ran article after article attacking Black and Asian immigrants, warning of the dire threat of ‘unassimilable immigrants’. The riots of the early 80s were ascribed, not to Blacks protesting against real racism, but to the racism of the Black community itself. The Labour party was full of Commies and traitors supporting the IRA, a lie that BoJob repeated yesterday in an ad hominem attack on Keir Starmer. Britain was under threat, and only Maggie Thatcher, personifying the spirit of Boadicea and Winston Churchill, could save us.
In fact the reverse was true. We almost lost the Falklands War, despite all the propaganda, flag-waving and sabre-rattling, because of Thatcher’s defence cuts. The Argentinians waited until the British ship guarding the islands had sailed away. We only won thanks to American and Chilean support. Hence Thatcher’s friendship with the old Fascist butcher, General Pinochet.
At the same time, Thatcher was responsible for the destruction of British industry and its sale to foreign companies. She didn’t want the government to bail out ailing firms, and so they were allowed to go under. State-owned enterprises were sold to foreign companies, so that many of the railway companies are owned by the Dutch, French and Germans, while I think Bristol Water is owned by an Indonesian firm. This has not brought the investment Thatcher claimed. Instead, these foreign firms simply take the profits from British companies and concentrate on their own domestic operations.
At the same time, the deregulation of the financial sector, which was supposed to take over from manufacturing as the main motor of the British economy, resulted in capital flight. The Tories hate the free movement of people, except when they’re rich, but are very keen to make sure that the British rich can invest wherever they like around the world, even at the expense of British domestic industry. Hence Jacob Rees Mogg also has investments in a number of far eastern and Indonesian companies.
And the British Empire has actually also been a problem for British domestic industry. British capitalists took their money there to exploit cheap indigenous labour. Even now the City is geared more to oversees investment than domestic, with the result that British industry is starved of investment. Labour tried to solve that problem in the 1980s by advocating a domestic investment bank. That went out the window when they lost the 1987 election, and Kinnock and his successor Blair did a volte-face and turned instead to the financial sector with promises of ‘light touch’ regulation. Further reforms by Blair, continued by the Tories, have resulted the extremely rich taking their money abroad in tax havens like the Cayman Islands in order to avoid paying British tax. Yet the same billionaires still demand the British taxpayer to bail them out. We saw this a month ago when Beardie Richard Branson called on the government to bail out Virgin Airlines, despite the fact that he is resident in the Virgin Islands and his company is also registered abroad in order to dodge paying tax in Blighty.
The playwright and Fabian socialist George Bernard Shaw called out the Tories on the fake patriotism nearly a century ago in his 1928 book, The Intelligent Woman’s Guide to Socialism, Capitalism, Sovietism and Fascism. He wrote
So far we have considered the growth of Capitalism as it occurs at home. But capital has no home, or rather it is at home everywhere. It is a quaint fact that though professed Socialists and Communists call themselves Internationalist, and carry a red flag which is the flag of workers of all nations, and though most capitalists are boastfully national, and wave the Union Jack on every possible occasion, yet when you come down from the cries and catchwords to the facts, you find that every practical measure advocated by British Socialists would have the effect of keeping British capital in Britain to be spent on improving the condition of their native country, whilst the British capitalists are sending British capital out of Britain to the ends of the earth by hundreds of millions every year. If, with all our spare money in their hands, they were compelled to spend it in the British Isles, or were patriotic or public-spirited or insular enough to do so without being compelled, they could at least call themselves patriots with some show of plausibility. Unfortunately we allow them to spend it where they please; and their only preference, as we have seen, is for the country in which it will yield them the largest income. Consequently, when they have begun at the wrong end at home, and have exhausted its possibilities, they do not move towards the right end until they have exhausted the possibilities of the wrong end abroad as well. (pp. 133-4).
Shaw was right. In terms of practical politics, the Socialists are the only real patriots. The flag-waving nationalism of Thatcher, BoJob and Farage is to distract you from the fact that they’re not.
Don’t be misled by patriotic rhetoric, the fake controversy about the Proms, the attacks on immigrants and names like GB News. The people who really believe in Britain and all its great people are on the left.
‘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’ 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.
Here’s another video that has zilch to do with politics. Apparently, the computer giant Apple has, or is launching, their own TV channel. And one of the shows they’ve made for it is an adaptation of Isaac Asimov’s epic Foundation series of books. This is one of the works for which Asimov is best remembered, along with his Robot books – I, Robot, The Caves of Steel and others. I, Robot was filmed a few years ago with Will Smith playing a human detective investigating the suicide of a robotics scientist. Together with the chief suspect, a unique robot with free will and a mind of its own, Smith uncovers a conspiracy to take over the city with a new generation of robots. I haven’t read the books, so I don’t know how faithful the movie was to them. Something tells me that they took a few liberties, but I don’t know.
I haven’t read Foundation either, but I gather it’s an epic about an academic, Hari Seldon, who invents the science of psychohistory. Using its techniques, he predicts that the vast galactic empire that is so ancient, no-one actually knows where Earth is anymore, is about to fall into a new Dark Age. He prepares for this by setting up the eponymous Foundation on a barren planet with the intention of collecting all human knowledge in preparation for the restoration of civilization. It’s one of the major influences behind both Frank Herbert’s Dune and George Lucas’ Star Wars. The heart of the galactic empire is Trantor, a world that has become one vast, planet-wide city. This is the model for Coruscant, the city planet which is the capital of the Republic and then the Empire in Star Wars.
The video shows scenes from the new series along with clips of others as they were being shot. There’s also a comment from the director or one of the producers, who says that Asimov was keenly interested in technology, and so would have approved of Apple making the series. There have been attempts to adapt Foundation before, apparently, but they’ve all failed due to the complexity and immense time span covered by the books. I do remember way back in the ’70s there was an LP version, where it was read by William Shatner. Less reverently, back in the ’90s one of the Oxbridge theatre groups decided to stage a play which combined it and Dr. Strangelove, titled Fundament! This ended with a Nazi scientist shouting, ‘Mein Fuhrer, I can walk!’, just like the end of Kubrick’s movie.
Take a look at the trailer. It looks awesome, though unfortunately there have been movies where all the best bits were in the trailer, and the film itself actually dull. I hope this isn’t the case here. My problem with it at the moment is that it’s going to be on another streaming channel, which will mean having to subscribe to that, rather than getting it with a satellite/cable TV package.
Major Grin is a YouTuber, who posts videos about Star Trek, many of which mock the show, pointing out some of its flaws and inconsistencies. The video below is just a collection of scenes from Star Trek: The Next Generation in which Data, the android crew member, visits prisoners in the Enterprise’s brig. What may make it particularly interesting for fans of the series are the scenes from the story ‘The Most Toys’ where he visits the villain, Kivas Fajo.
Fajo was a galactic billionaire collector of strange and rare objects. In ‘The Most Toys’, he takes Data captive and tries to add him to his collection. Data resists, and is helped to escape by one of Fajo’s employees. Fajo intercepts them, however, shooting her with his disruptor, and threatens to kill another one of this servants unless Data obey him. Data raises his phaser to kill Fajo, but is then rescued as both he and Fajo are transported back to the Enterprise.
The role of Fajo was to be played by the British actor David Rappoport. Rappoport played the leader of the dwarfs in the 1980s Terry Gilliam fantasy film, Time Bandits and one of the O Men in one of the Beeb’s ’80s children’s programmes. He was also friends with the people, who ran the Old Profanity showboat down on Bristol’s docks. Despite his lack of height, Rappoport was a performer with real charisma. He had attitude, style and swagger, as shown by his performance in Time Bandits. He appeared in a number of movies and TV series, but managed to break out from just playing SF/ Fantasy roles. Shortly before his death, he starred in a Channel 4 show about an uptight British businessman, complete with bowler hat and pinstripe suit, who becomes more relaxed and laid back when he visits America and experiences proper pop music. Sadly, he died during the making of ‘The Most Toys’ and was replaced by an actor of normal height.
It’s interesting comparing the performances of Rappoport and his replacement. While the other actor’s performance is light, almost comic, Rappoport’s is all snarling aggression, spitting hate at Data from behind the cell’s forcefield.
I don’t want to take anything away from Warwick Davis’ achievement in making the same transition from SF, Fantasy and Horror to mainstream television – he’s now the host of the British game show Tenable – but I do wonder how much of his success he owes to David Rappoport having done it just before him.
David Rappoport – one of the great figures of British fantasy cinema. RIP big fellow.
George Bernard Shaw, The Intelligent Woman’s Guide to Socialism, Capitalism, Sovietism and Fascism, foreword by Polly Toynbee (London: Alma Classics 2012).
Introduction
This is a great book. It’s the kind of book on socialism I was very much looking for in the 1980s when the papers were all praising Margaret Thatcher and alleged superiority of capitalism to the heavens. What I wanted then was a classic defence of socialism, which clearly showed the destructive nature and defects of capitalism, and how these would be removed for the better under a proper socialist government with a clear idea of what needed to be done and how it could be achieved.
This is a rather long review, so I’ve split up into four parts.
The book was written between 1924 and 1928, when it was first published. George Bernard Shaw is one of the great figures in British socialism. An Irishman, he was one of the founders of the Fabian Society along with Sidney and Beatrice Webb, and editor of its anthology of socialist writings, Fabian Essays. He’s best known for his play Pygamalion, about a linguist, Henry Higgins, who takes Eliza, a rough working class girl, and tries to mould her so she can pass as a lady of the genteel classes. It was filmed as the musical My Fair Lady, starring Rex Harrison.
Shaw wrote it between 1924 and 1928, when it was published, at the request of his sister-in-law, Lady Cholmondley. She had asked him to write a letter explaining socialism for women. Shaw looked into it, and discovered that amongst the masses of literature about socialism, there weren’t any books that realised that there were such creatures. And, he adds in his ‘Instead of a Bibliography’, very few that recognised the existence of men either. The book’s addressed to a female audience. The reader is a ‘she’ and the examples given are taken from women’s lives, jobs and experience. Shaw recognises that most women are occupied as wives and mothers, or shop girls and workers in the great weaving mills, the common female roles at the time. But he also recognises and fully supports the fact that more professions were being opened up to women in science, law, medicine and so on. If done badly, this approach by a male writer can seem patronising, but Shaw, as a great writer, manages to avoid it. And even though it’s aimed at women, I greatly enjoyed it, and would recommend it to other blokes.
Capital, Equality of Incomes and Imperialism
Shaw tries to present complex ideas about capitalism by simplifying them down to the level of ordinary people’s housekeeping or domestic economy. He defines capital as left over money. It’s the money you have left after spending your income on rent, food and so on. This is the money that the idle rich, the landlords, invest in industry. And money’s only real value is for the food and clothing that it will purchase. You cannot eat money, and the food it will buy must be eaten or else it will be spoilt. Which means that money must be invested and used, rather than stored up.
At the heart of Shaw’s view of socialism is the equalization of incomes. He believed that everyone should earn exactly the same amount. Capitalism had created vast inequalities of wealth. On the one hand there was a small minority of the idle rich, who had to invent pastimes and diversions in order to use up their wealth. On the other was the vast mass of the poor, living at or near starvation level. He begins by asking the reader how they would divide up the nation’s wealth, challenging the reader to think for herself rather than let him do her thinking for her. He then proceeds to argue that it is impossible to decide that one person should be paid more or less than another because of their personal morality or ability. He sharply criticises the quasi-feudal economy of his day, when 90 per cent of the country worked to support the gentry, who only comprised ten per cent of the country’s population. They do nothing for it, don’t benefit from it, as they can’t personally eat or drink more than anyone else. And instead of investing it, they simply take it out of the country to invest it or spend it abroad. He also attacks British imperialism for this same thing. It hasn’t benefited the peoples we have conquered nor British tradespeople, businessmen and workers. It has led to the exploitation of Blacks abroad, who can paid far less than their British counterparts. Thus Britain is flooded with cheap imports, and British companies are going bust and their workers laid off.
The Progress of Capitalism and Decline of the Businessman Owner
Shaw then describes how the middle class have their origins as the younger sons of the aristocracy, with a few acute remarks on the absurd gradations of class which meant that a wholesaler was socially superior to a retailer. His father was a businessman, who had been a member of the gentry. As such he looked down on the elite Dublin shopkeepers, even though they were richer and entertained the local Irish aristocracy, which he very definitely couldn’t. But business was changing. The age of the small businessman in personal possession of his business, was giving way to joint-stock companies owned by their shareholders and managed by professional, salaried staff. Under pressure from the unions, they were combining to form monopolistic trusts. This made them ready for nationalisation.
Nationalisation and the Coal Industry
He presents the coal industry as particularly needing nationalisation. At the time he wrote, there were a number of different mining companies. Some worked poor mines and were close to bankruptcy, others very rich. However, miners wages were set at the level the poor mines could afford, which was near starvation. Coal prices were set for the rich mines, and so prices were high. The miners were thus being starved and the consumer overcharged. The mines should thus be nationalised so that the workers were paid a fair wage, and the consumer a fair price. Shaw advocated nationalisation so that costs and prices could be brought down and goods sold at cost price.
Banks and the Stock Market
He also discusses and explains finance capitalism, stocks and shares, debentures, futures and the stock market. He warns the reader against get-rich-quick scams, like the bucket shops which will charge his prices for very risky shares. If people want to invest, they should do so with the government or municipality. Their shares won’t provide a great yield, but they will be safe. He recommends that banks should be nationalised because of the problems the small businessman had acquiring capital. The big businesses rely on financiers, who certainly won’t lend the small businessman wanting a modest loan anything. Neither will the banks. He pointed to Birmingham as an example for the future, as it had established a municipal bank to serve the customers the big banks wouldn’t.
More anti-Semitism smearing and scumbaggery from Rachel Riley, Tracey Ann Oberman and Frances Barber. The internet commenter ‘Rachael Swindon’, or @rachael_swindon, her Twitter monicker, is Rachael Cousins, a firm supporter of Jeremy Corbyn. Her internet handle comes from the fact that she’s from the railway town in Wiltshire. According to a Buzzfeed article last year by disgraced FT hack Mark di Stefano, she and her husband are both currently unable to work due to their disabilities. Her husband has fibromyalgia, the same debilitating disease that afflicts Mrs Mike, and which can cause severe pain and fatigue. Swindon herself suffers from osteoarthritis in her legs. As well as supporting Corbyn, she also shares the former Labour leader’s support for the Palestinians. However, this does not mean that she is anti-Semite. She isn’t. It’s perfectly possible to support the country’s indigenous people – the Arabs – without hating Jews. Indeed, the pro-Palestinian organisation to which Tony Greenstein, a self-respecting secular Jew belongs, won’t accept real anti-Semites.
Unfortunately, this fact isn’t reported by the lamestream media, and for fanatical the fanatical supporters of Israel, any sympathy for the Palestinians means that someone must be a vicious anti-Semite. This even extends to left-wing Zionists. When a group of liberal Israelis said the Jewish prayer for the dead, the Kaddish, over dying civilians shot by the IDF last year after they broke out from Gaza, they were subjected to a hail of abuse from the ultra-Zionist right. And yesterday, Rachael Swindon was subjected to the same smearing for her support for the Palestinians by Riley, Oberman and Barber.
This was sparked off by a Tweet she’d put up about another 100 year old man, who like Captain Tom Moore, was also doing laps of his garden for charity. Unlike Captain Moore, he wasn’t White, and wasn’t getting the same amount of attention. Gary Lineker noticed this and retweeted it. And Riley’s mates, Barber and Oberman erupted into frothing ire. They called her Rachel Swindler, claimed that she led a Corbynite troll army to post anti-Semitic hate and abuse against Oberman, and compared her to David Icke.
Zelo Street in his article about this sordid piece of smearing and abuse states that it’s another example of the rich trying to silence the poor. He concludes
‘Rachael Cousins is political, opinionated, insistent, and yes, persistent. But she is not a “swindler”, she doesn’t have a “troll army”, she’s not racist, and not a hate merchant. Yet there are the well off, trying to have her erased from Twitter conversations.
She knew that when she gave BuzzFeed that interview. “I am a woman who has got a voice … They are trying to take that away from me”. Free speech is for everyone, whether you agree with their politics or not. Maybe Ms Cousins’ detractors should remember that.’
One of the ways Rachel Riley tries to silence her critics is by suing them for libel. At the moment she is pursuing Mike and two other people through the courts after they blogged and criticised her for the abuse she has poured on her critics, including calling them anti-Semites simply because they supported Jeremy Corbyn.
This nasty bit of jealousy and smearing by Riley’s friends coincidentally occurred at the same time I was reading Bernard Shaw’s The Intelligent Woman’s Guide to Socialism, Capitalism, Sovietism and Fascism. First published in 1928, this the great Fabian playwright’s savage indictment of capitalism. It was written at the request of his sister-in-law, and obviously aimed at a female audience. It is directly addressed at the reader – he constantly refers to her using the second person, and the examples used to illustrate his argument are, as far as possible, female. I found it in one of the second hand book companies’ catalogues, and ordered it. Although it was written nearly a century ago – he first began it in 1924 – his arguments still have bite. And one of the many all-too relevant points he makes is how the rich use the law to their advantage against the poor simply because their wealth allows them to engage expensive lawyers that are well beyond the ability of the poor to afford. Shaw writes
The civil law by which contracts are enforced, and redress given for slanders and injuries that are not dealt with by the police, requires so much legal knowledge and artistic eloquence to set it in motion that an ordinary woman with no legal knowledge or eloquence can get the benefit of it only by employing lawyers whom she has to pay very highly, which means, of course, that the rich woman can afford to go to law and the poor woman cannot. The rich woman can terrorize the poor woman by threatening to go to law with her if her demands are not complied with. She can disregard the poor woman’s rights, and tell her that if she is satisfied she can take her complaint into court, knowing very well that her victim’s poverty and ignorance will prevent her from obtaining proper legal advice and protection. (p. 61).
This, in my opinion, exactly describes the behaviour of Riley and her besties Oberman and Barber. She has, however, got a surprise with Mike, as he has been able to crowdfund a defence against her suing him for libel. Mike had simply described how she had abused a sixteen year old school girl with anxiety as an anti-Semite, who then suffered a torrent of similar bullying from her followers and supporters. Riley doesn’t dispute the facts of this case, but nevertheless has accused Mike of libel. It’s important that Mike, and the others defending themselves against her, win in order to stop her abusing the law to silence reasonable criticism of her shabby, unreasonable behaviour.
If you are therefore willing and can afford it, you may wish therefore to make a donation to Mike’s crowdfunding campaign. Details are over at this website.
