Posts Tagged ‘2000 AD’

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.

Right-wing Internet Radio Host Alex Belfield Attacks Esther McVile

August 25, 2020

I’ve put up a number of articles recently taking issue with Alex Belfield. Belfield is another right-wing radio host, with his own show, ‘Celebrity Radio’, marketing himself with the slogan ‘the Voice of Reason’. It’s a misnomer. He’s like just about all the other right-wing voices out there on mainstream Talk Radio, like Nick Ferrari, Julia Hartley-Brewer and the rest. Fiercely anti-immigration, his recent videos seem to be about demonising the desperate asylum seekers crossing the channel from France, wrongly claiming that the Labour MP was negligent in not doing anything about the exploited sweatshop workers of Leeds, when she had been protesting for years, and criticising Black Lives Matter for not protesting about the conditions of those workers rather than pulling down statues of slavers in Bristol. And now, of course, he’s joined the various chorus of voices denouncing the Beeb for planning not to play ‘Rule, Britannia’, and ‘Land of Hope and Glory’ at Last Night of the Proms. Even though, as Zelo Street has shown today, no such decision was taken and the two will be sung as is traditional, subject to the restrictions imposed by the Coronavirus lockdown.

See: https://zelo-street.blogspot.com/2020/08/last-night-of-silly-season.html

Belfield is particularly bitter about show biz. He’s posted a number of videos attacking the industry for demanding government subsidies and bailouts, while its leading members and companies rake in millions. He’s also attacked a number of celebs personally for hypocritically affecting an attitude of social concern and engagement, while being horrible people in their private lives. Some of this seems to follow recent allegations about the conduct of people like Ellen Degeneres in America. Degeneres is a former comedian with her own chat show on American TV. She’s another, who, it is claimed, affects a left-wing demeanour, urging people to be kinder to each other, but in reality is on very friendly terms with leading American right-wing politicians, and has a highly exploitative, domineering attitude to her staff and contempt for those serving her. Now I don’t doubt that very many of the celebs right across the political spectrum, who affect to be nice, caring human beings are actually anything but in their private lives. That’s just human nature. Simple experience teaches that just because someone may have a set of political ideals or tastes in sport, culture etc doesn’t mean that they’re personally very pleasant.

Belfield seems to have a particular hatred for politicos with a background in the media, who are now trying to relaunch their careers as media celebrities. And I do agree with him on one of the targets for his ire: Esther McVey. A few weeks ago he put up a video attacking her as a ‘twirly’. Because the odious woman had put up a video about herself, in which she pretended to drive around in a car looking at places around Liverpool or wherever. The video was clearly fake, shot in a studio using green screen and with the moving background added using the magic of computer graphics.

I share Belfield’s loathing of McVey, but for completely opposite reasons. Belfield put up a piece a little while ago attacking benefit claimants as scroungers. It seemed to follow all the extremely biased and misleading articles about it in the press. Articles that according to stats, have convinced the British public that over a quarter of benefit claims are fraudulent when in reality fraudulent claims account for less than 1 per cent.

I despise McVey because she was part of the Department of Work and Pensions under Iain Duncan Smith. This was when the Tories were going full speed ahead with their vicious, murderous sanctions regime, in which the Jobcentres find any excuse to throw claimants off benefits just to satisfy targets. I despise her, because she was one of the Department’s chiefs behind the Work Capability Tests, which have resulted in tens of thousands of seriously disabled people being judged ‘fit for work’ and thrown off the benefits they need to live, simply because of fraudulent science that assumes a high percentage of such claimants are malingerers. I despise her because she was part of Cameron’s government which inflicted austerity on the nation. The same austerity that has since been revealed as very much a political choice intended to hurt the poor while enriching the already bloated bank balances of the super-rich. I despise her because, thanks to the same policies, over 100,000 disabled people have died after her wretched system declared them to be ‘fit for work’. I despise her, and her former boss, IDS, because thanks to Tory policies, millions are in real food poverty, faced with a choice of starving themselves or going without heat or feeding their children. I despise her, because well over a quarter of a million are now having to use food banks rather than the welfare state to keep body and soul together.

I despise her, because she is the rich and entitled head of media production company. Her company was, I believe, responsible for various ‘poverty porn’ documentaries, like Benefits Street, which presented the issue of mass poverty as due to the personal faults of the unemployed themselves.

And so I completely agree with him in find her attempts to restart her career utterly, utterly contemptible.

Faced with McVey, whose opponents and critics dubbed ‘Esther McVile’, and altered her Wikipedia entry so that it read that she was minister in charge of culling the disabled, I find myself agreeing with one of the slogans of the villainous Torquemada from 2000 AD. Not that whole idea about galactic fascism and racial hatred, but the slogan in one of his rants:

Never Forgive.

Never Forget.

Never for Fun.

And yes, I do realise that the initial letters spell out ‘NF’ to show that Torquemada really is a ranting Fascist. But it seems an excellent attitude to have to the Tories, who really would like us all to forget how vile they are, and how they are killing the poor and disabled, as well as stoking up racial hatred against immigrants and the disabled, all to make their wealthy corporate donors richer and ordinary working Brits of all colours poorer.

And that attitude also extends to Belfield, because he is part of that Tory agenda. So it’s ironic that he’s attacked McVile. He’s right, though it makes him no better.

 

Jewish Board of Deputies Accuses Nigel Farage of Anti-Semitism

June 30, 2020

Zelo Street reported yesterday that the Board of Deputies of British Jews had taken a break from accusing the Labour party to turn their ire on another British politico. This was Nigel Farage, Fuhrer and CEO of the Brexit Party. According to the Graoniad, the Board had accused the man 2000AD’s Judge Dredd satirised as ‘Bilious Barrage’ because

Farage’s airing of claims about plots to undermine national governments, and his references to Goldman Sachs and the financier George Soros, showed he was seeking to ‘trade in dog whistles’ … [he] was also condemned by the MPs who co-chair the all-party group against antisemitism”.

They then provide a series of examples from a recent tweet and interview with Newsweek magazine. In the tweet’s video message, the Fuhrage claimed that Britain was facing a wave of ‘cultural Marxism’. This is an idea that has its origins in Nazism, and their claim that Germany was being subverted by Jewish ‘Kulturbolschevismus’. Organisations funded by George Soros were also responsible for companies removing adverts for right-wing TV programmes. This was the trope of the ‘disloyal Jew’.

In the Newsweek article, Nige had ranted about ‘unelected globalists’ shaping the lives of the public based on recommendations from the big banks. ‘Globalists’ was a code word for ‘Jews’ or ‘Jewish bankers’. Goldman Sachs was the only bank he named, which followed another theme from the extreme right.

And Zelo Street also provided a few examples of his own to support the Board’s accusation. In another tweet, the Brexit Party’s Duce Faragissimo had praised Viktor Orban’s Hungary for standing up to the globalists, and wished we all did the same. He also talked about anti-Brexit plots backed by George Soros, including the campaign for a second referendum. Rants against the globalists featured regularly in his tweets. In one, he declared that we were all sick of threats from the globalists. This followed a statement that London was the world’s no. 1 financial centre, and Frankfurt only the 11th. We were, he also announced, heading toward a world where the democratic nation state had made a comeback against the globalists. Former US president Barack Obama, and Chancellor Merkel of Germany were ‘holding a losing party’ for the globalists. And then there was this series of comments about Goldman Sachs

Goldman Sachs and big business lost the referendum … Congratulations to former EU Commission President [José Manuel Barroso], now over at Goldman Sachs. Global corporatism! … If Goldman Sachs are leaving London for the US, why aren’t they going to their beloved European Union? … Goldman Sachs Chairman thinks those who want border controls are ‘xenophobic’. Badly out of touch”.

The Street noted that these snippets showed the Fuhrage being promoted by the Beeb, Sky News and the Heil. By doing so, they were also promoting anti-Semitism. The Street concluded

Serious anti-Semitism always comes from the far right. Nigel Farage is living proof of that.

See: https://zelo-street.blogspot.com/2020/06/nigel-farage-theres-real-anti-semitism.html

Farage’s rants and denunciations of the globalists, Goldman Sachs and George Soros are the latest forms of the anti-Semitic fears about Jewish bankers that first appeared in the Tsarist forgery, The Protocols of the Elders of Zion. They also have their roots in some of the conspiracy theories that emerged in the 1970s about the Bilderberg group and the Trilateral Commission. Many leading bankers, like Bernard Baruch, had backed the formation of the United Nations, Trilateral Commission and the elite Bilderberg group, which meets annually to discuss global politics. Thus the UN and the other organisations were seen as devices by which Jewish bankers sought world domination, culminating in a one-world dictatorship, the enslavement of gentiles and the extermination of the White race. Not all versions of this theory are necessarily quite so anti-Semitic. Some of them distinguish between Jewish bankers and the rest of the Jewish people, noting that some of the former, like the Rothschilds, advanced credit and loans to Nazi Germany even when the Nazis were persecuting the Jews. Other forms of the theory are more bonkers still. In one of them, the Trilateral Commission takes its name from the Trilateral ensign, the flag of the Grey aliens from Zeta Reticuli, with whom the US has made a Faustian pact. The aliens are allowed to abduct and experiment on humans in return for providing extraterrestrial technology like velcro.

I wouldn’t like to say that Farage is definitely an anti-Semite, but his rhetoric and beliefs about evil globalists comprising banks like Goldman Sachs and the Jewish financier George Soros are certainly part of a series of conspiracy theories, some of which are viciously anti-Semitic.

The Board is right to denounce Farage for spouting these theories. However, this hasn’t changed my mind about the Board as a whole. Most of its accusations of anti-Semitism, along with those of the Campaign Against Anti-Semitism, the Jewish Leadership Council, the Chief Rabbinate and their allies in the Labour Party, the Jewish Labour Movement and Labour Friends of Israel, have been directed against Labour, its former leaders Jeremy Corbyn and Ed Miliband, and Corbyn’s followers. They have done so not out of concern about real anti-Semitism, but from a determination to defend Israel and its barbarous ethnic cleansing of the Palestinians from criticism. At the same time the Board denounced the Fuhrage yesterday, it was also attacking Labour’s shadow foreign secretary, Lisa Nandy, for demanding the government impose a block on the import of goods manufactured in the Occupied Territories if Israel begins its planned annexation of a third of the West Bank tomorrow.

It looks to me that the Board’s accusation of Farage for anti-Semitism is intended to soothe its left-wing critics by showing them that it doesn’t just attack the Labour Party. It really does attack other parties for anti-Semitism, really. But this doesn’t change the fact that the Board seems packed with Tories and Tory supporters. And it doesn’t change the fact that Board’s chief motivation for its attacks on the Labour Party is simply an attempt to excuse the inexcusable and defend entirely reasonable and proper criticism of Israel.

The Board is right to accuse Farage. But its accusations against the Labour Party are still wrong and politically motivated.

 

 

Radio 4 Adaptation on Saturday of Verne’s ‘The Mysterious Island’

March 25, 2020

According to next week’s Radio Times, Radio 4 next Saturday, 28th March 2020, is broadcasting an adaptation of Jules Verne’s ‘The Mysterious Island’ at 3.00 pm. The blurb for it runs

‘Drama: To the Ends of the Earth: the Mysterious Island

Three very different people escape the American Civil War by stealing a balloon – which crashes near a deserted island. But perhaps it is not quite as deserted as they think. Gregory Evan’s dramatisation of Jules Verne’s sequel to 20,000 Leagues Under the Sea.’

What struck me about this is that Captain Nemo is played by an Asian actor, Sagar Arya. There’s a bitter controversy at the moment over ‘forced diversity’, the term used for writers, directors and producers altering the gender and race of established characters in order to make traditional, or long-established stories, plays, films or TV series more multicultural, feminist or otherwise inclusive. It might be thought that this is another example, but it would be wrong.

In an interview with Alan Moore I found on YouTube a few months ago, the comics legend behind Watchmen, V for Vendetta and a series of other strips and graphic novels, explained why he made Nemo an Indian prince in The League of Extraordinary Gentleman. The comic, which was made into a film a little while ago starring Sean Connery, imagines a kind of late 19th – early 20th century superhero group formed by Alan Quartermain, the Invisible Man, Dorian Grey, Dr. Jekyll and his alter ego, Mr Hyde, and Captain Nemo. The group travels on their adventures in Nemo’s ship, the Nautilus. The strip was drawn by 2000 AD art robot, Kevin O’Neill, whose art back in the 1980s for an edition of the Green Lantern Corps was judged too horrific for children by the late, unlamented Comics Code. So far, however, I have heard of no-one being left psychologically scarred by his art on The League. Moore stated that he made Nemo Indian, with O’Neill’s art consequently showing the Nautilus’ interior decorated with Indian art and architectural motifs, because that is exactly how Verne described him in The Mysterious Island. He wasn’t at all like James Mason in the Disney movie.

Now I dare say that the Beeb may very well have chosen to adapt The Mysterious Island for radio in order to give this favourite Science Fiction character a new, multicultural twist. But it is faithful to Verne’s original conception of the character. It’ll be interesting to hear what it’s like.

Here’s the video from the AlanMooreVids channel on YouTube, in which Moore talks about the strip. It’s a segment from the BBC 4 series on comics, Comics Britannia. The video shows O’Neill’s art, and the artist himself working. Moore praises his collaborator on the strip, saying that he take the most disturbing of his ideas and make them two or three times more upsetting. But he admires his skill for the grotesque, which in Moore’s view places him up there with the caricaturists Gilray and Hogarth. It’s high praise, but I think Moore’s actually right. If O’Neill had become a caricaturist instead of a comics artist, I think he would be admired as the equal of such greats as Gerald Scarfe and Ralph Steadman.

Cartoon – The Tories: Nightmares of the Flesh

March 23, 2020

Here’s another of my cartoons lampooning and attacking their Tories and their noxious leading members. In this case, it’s influenced by a few of the ‘body horror’ films of the 1980s – The Thing, Society and From Beyond, and one of the early ‘Nemesis the Warlock’ strips in 2000 AD, ‘Killerwatt’. Body horror is that part of the Horror genre, where the human body mutates and takes on warped, twisted forms, though I think it can also include the ‘torture porn’ subgenre, in which people are tortured and mutilated.

In The Thing, an American base in the Antarctic discovers a crashed UFO, from which an alien escaped to infect members of the base’s team and their animals. The alien replicates and hides by infecting other creatures, devouring them at a cellular level but copying their form – until it finally reveals itself by twisting itself into weird, hideous forms. As the bodies mount, and successive characters are revealed to have been infected and taken over, paranoia mounts. The horror is as much in the fear and distrust the characters have of each other, as of the grotesque appearances of the Thing itself.

From Beyond, directed by Stuart Gordon is roughly based on the short story, ‘Beyond the Wall of Sleep’ by H.P. Lovecraft. However, the film bears little resemblance to the story that inspired it. In the film, two scientists, Tillinghast and Dr. Pretorius, are using a device, the resonator, to peer into a unseen dimension surrounding our own and its denizens. Tillingast is arrested for murder after one of the creatures from that dimension then appears and bites the head off his superior, Pretorius. He takes a curious policeman and a female psychiatrist from the mental hospital in which he has been confined back to his laboratory, and set the resonator running to show them he’s telling the truth. But each time they switch on the machine, Pretorius appears, in progressively grotesque forms as it is revealed that he’s become a monster of hideous appetites. The slogan for the movie was ‘Humans are such easy prey’.

In Society, directed by Gordon’s collaborator, Brian Yuzna, the horror is mixed with social comment aimed squarely at the class system of Reagan’s America. It’s hero is a teenage lad, Bill Whitney, who finds out that he’s really adopted, and his upper class family, their friends and colleagues, are really monsters. These creatures have total control of their bodies, which they can deform and twist like rubber or plastic. They are predatory and exploitative, feeding on ordinary humans in orgies in which they melt down almost to a liquid state to feast on their victims.

It’s hard not to see this as a comment on the exploitative, predatory nature of the rich business class set free by Reagan and the Republicans.

But these films were anticipated in their horrors by 2000 AD and ‘Nemesis the Warlock’. Created by comics veterans Pat Mills and Kevin O’Neill, the strip was set thousands of years in the future, when humanity had moved underground, away from the devastated surface and the planet’s name was now Termight. Ruling Termight was Torquemada, grand master of the Terminators, a quasi-monastic order, who had turned humanity’s fear of intelligent aliens into a religion and led wars of extermination against them. Opposed to him was the alien hero, Nemesis, and his resistance organisation, Credo. The character first appeared in the two ‘Comic Rock’ strips, ‘Going Underground’ and ‘Killerwatt’ in 1980, several years before the above films. In the latter story, the alien chased Torquemada down the teleport wires the grand master was using to get to his capital, Necropolis, after his train journey overland was interrupted by a gooney bird, a colossal bird creature resembling, or evolved from, the Concorde airplane. As the two raced down the wires, they had to cross the Sea of Lost Souls, a nightmare sea of neutrons and twisted bodies created when a gooney bird sat on the teleport wires.

Two panels showing the Sea of Lost Souls from ‘Killerwatt’. Art by that zarjaz master of the macabre, Kevin O’Neill.

In this cartoon, I’ve drawn a similar landscape, complete with surfers, where the denizens of the sea are Tory politicos. They are Boris Johnson, David Gauke, Dominic Cummings, Jacob Rees-Mogg, Nicky Morgan and Theresa May. I hope you enjoy it, and that it doesn’t give you nightmares. Oh yes, and what you see behind them is supposed to be giant tongues, in case you thought it was anything else.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

More on Johnson’s Weird Racism: Black Traffic Wardens

January 9, 2020

Many left-wing bloggers and media activists were putting up posts just before the election about Johnson’s racism, culled from his book 72 Virgins. Published in 2004, the book is basically Boris’ wish-fulfillment fantasy. It’s hero is a bicycling prime minister, who bears a not coincidental similarity to its author. This character defeats an Islamist plot to attack parliament. It’s a seething mass of Boris’ own prejudices against, well, Muslims, Blacks and, yes, Jews. One of the other characters in the book is an unscrupulous Jewish entrepreneur, who makes his money exploiting asylum seekers as cheap labour.

Boris is already notorious for his comments about Black Africans: ‘grinning picaninnies with watermelon smiles’. But the book combines this with another apparent pet hatred of our clown prime minister: traffic wardens. Evolve Politics uncovered this passage in which BoJo reveals his hatred for Black traffic wardens:

“…faced with such disgusting behaviour, some traffic wardens respond with a merciless taciturnity. The louder the rant of the traffic offenders, the more acute are the wardens’ feelings of pleasure that they, the stakeless, the outcasts, the n***ers, are a valued part of the empire of law, and in a position to chastise the arrogance and selfishness of the indigenous people.”

He also wrote of another Black character.

“He was a coon, and he was stupid, and he was stupid because he was a coon.”

The Evolve Politics article quotes Diane Abbott, who responded to the descriptions of Blacks in Johnson’s book thus

“It’s shocking that Boris Johnson writes about minorities in this way. He is simply not fit to be an MP, let alone our Prime Minister.

“Boris Johnson wrote this when he was a Conservative Shadow Minister. It exposes his deeply-held racist views which fuel hatred and bigotry towards black people and minorities.

“Johnson has said that Conservative candidates who are guilty of racism are ‘out first bounce’, so he should be immediately suspended and placed under investigation. Johnson’s record of racism is repulsive to many black people and minorities. It’s not too late to stop him getting back in to Number 10 Downing Street.”

The article concluded with the comment that Johnson had yet to comment on this latest revelation about his racist views.

See: https://evolvepolitics.com/boris-johnson-called-black-traffic-wardens-nggers-and-said-black-man-was-stupid-because-he-was-a-cn/

Johnson won’t. Not now, not ever. He won the election, showing that a large proportion of the electorate seems to regard such views as acceptable. Now it’s possible that the remarks in the book don’t represent Johnson’s own opinions. It hardly needs to be said that characters in a work of fiction do not necessarily represent the author’s own views. Johnny Speight’s monstrous creation Alf Garnett, did not represent Speight’s own political and racial opinions. Speight was left-wing, and intended Garnett to be a figure of fun and mockery. He want to lampoon and ridicule the working class Tories, who had absolutely nothing but supported the party that kept them down. People, who held obnoxious views on race like Garnett’s. Unfortunately, some of Garnett’s audience didn’t realise that it was satire, and seemed to regard the character as some kind of spokesman telling the world the hidden truth about race and politics. It’s possible that the description of the Black characters in Johnson’s book are from the point of view of some of the others, and don’t represent Johnson’s own views. But it doesn’t look like it. It looks the opposite. It looks like the views expressed about these Black characters are very much Johnson’s own.

Which also makes you wonder about the weird psychology that also makes Johnson pick on traffic wardens for particular racial hatred. OK, I know, no-one likes them. As representatives of a particular form of petty authority, they’ve been the butt of jokes and a quiet contempt for decades. The villain of 2000 AD’s ‘Nemesis the Warlock’ strip, Tomas de Torquemada, the Fascist Grand Master of Termight, was originally a traffic warden. When he and Nemesis made their first appearance in the comic in the strip ‘Going Underground’, Torquemada drove around the subterranean corridors of this future Earth declaiming, ‘Do not aid this deviant! This road-hog! This breaker of our sacred traffic laws, or else the penalty will be severe. Probably fatal!’ Johnson’s a former motoring journalist, so did he have some kind of personal feud with a Black traffic warden? Was there one stalking him through the streets of London, beady eyes on him like Blakie from On The Buses, ready to pounce on him the moment the Johnson limo parked on double yellow lines or stayed too long in a parking space?

The book shows that Johnson really is racist, as well as an egomaniac fantasist. And Abbott’s right – with views like his he shouldn’t be in power. Especially now, when the real, right-wing anti-Semites and racists are coming out of the woodwork, and Jews, Blacks and Asians are really under threat.

Johnson’s a clown, but when it comes to his vicious hatred of the poor and ethnic minorities, it’s only Fascists laughing.

And that’s not funny.

Radio 4 Serialising Ian McEwan’s Robot Book Next Week

April 23, 2019

I don’t belieeeve it! As the great Victor Meldrew used to say. Next week, according to the Radio Times for 27th April – 3rd May 2019, Radio 4 is serialising Ian McEwan’s latest literary offering, Machines Like Me, about a love triangle between a man, his wife and the android he has bought. It’s in ten parts, Monday to Fridays at 12.04 pm, and read by Anton Lesser.

I’ve already put up two posts about the book, which has only just been published. McEwan’s novel is one of a long-line of SF stories about humans falling in love, or pursuing sexual relationships with the humanoid robots they have built, such as Asimov’s ‘Satisfaction Guaranteed’. Genre science fiction writers have explored the issues of machine consciousness and its philosophical and ethical issues, from highbrow authors like Poland’s Stanislaw Lem, to comic book writers like Pat Mills in 2000AD’s ‘ABC Warriors’. The issue I have with McEwan’s book, and other literary authors that are planning similar works of fiction, is that while genre science fiction is still looked down on somewhat by the literary elite, McEwan’s book is going to receive immediate acclaim as proper literature.

Now Radio 4 has serialised a number of great works of SF, including Robert Silverberg’s masterwork Dying Inside, and has, like some of the other channels, Radio 3 and Radio 4 Extra, put on SF plays. Not so long ago there was a series of these, with the title Dangerous Visions. SF buffs will recognise this as the title of the groundbreaking SF anthology edited by Harlan Ellison, that ushered in the SF New Wave over in America. But despite the achievements of genre SF authors, there is still this feeling that it hasn’t quite won critical respectability in the elevated literary circles that support McEwan, Jeanette Winterson, Kazuo Ishiguro and the other regular literary award winners, who are writing or preparing to write books about robots and AI.

As I’ve said, I feel very strongly that if McEwan and co. win literary awards for their SF works, like Machines Like Me, then those awards should have the decency to drop some of the snobbishness and include genre SF authors. Whose latest works I hope the Beeb will also serialise the moment they come out.

Reviewing the ‘I’s’ Review of Ian McEwan’s ‘Machines Like Me’

April 21, 2019

George Barr’s cover illo for Lloyd Biggle’s The Metallic Muse. From David Kyle, the Illustrated Book of Science Fiction Ideas & Dreams (London: Hamlyn 1977).

The book’s pages of last Friday’s I , for 19th April 2019, carried a review by Jude Cook of Ian McEwan’s latest literary offering, a tale of a love triangle between a man, the male robot he has purchased, and his wife, a plot summed up in the review’s title, ‘Boy meets robot, robot falls for girl’. I’d already written a piece in anticipation of its publication on Thursday, based on a little snippet in Private Eye’s literary column that McEwan, Jeanette Winterson and Kazuo Ishiguro were all now turning to robots and AI for their subject matter, and the Eye expected other literary authors, like Martin Amis and Salman Rushdie, to follow. My objection to this is that it appeared to be another instance of the literary elite taking their ideas from Science Fiction, while looking down on the genre and its writers. The literary establishment has moved on considerably, but I can still remember the late, and very talented Terry Pratchett complaining at the Cheltenham Literary Festival that the organisers had looked at him as if he was about to talk to all his waiting fans crammed into the room about motorcycle maintenance.

Cook’s review gave an outline of the plot and some of the philosophical issues discussed in the novel. Like the Eye’s piece, it also noted the plot’s similarity to that of the Channel 4 series, Humans. The book is set in an alternative 1982 in which the Beatles are still around and recording, Tony Benn is Prime Minister, but Britain has lost the Falklands War. It’s a world where Alan Turing is still alive, and has perfected machine consciousness. The book’s hero, Charlie, purchases one of the only 25 androids that have been manufactured, Adam. This is not a sex robot, but described as ‘capable of sex’, and which has an affair with the hero’s wife, Miranda. Adam is an increasing threat to Charlie, refusing to all his master to power him down. There’s also a subplot about a criminal coming forward to avenge the rape Miranda has suffered in the past, and a four year old boy about to be placed in the care system.

Cook states that McEwan discusses the philosophical issue of the Cartesian duality between mind and brain when Charlie makes contact with Turing, and that Charlie has to decide whether Adam is too dangerous to be allowed to continue among his flesh and blood counterparts, because

A Manichean machine-mind that can’t distinguish between a white lie and a harmful lie, or understand that revenge can sometimes be justified, is potentially lethal.

Cook declares that while this passage threatens to turn the book into a dry cerebral exercise, its engagement with the big questions is its strength, concluding

The novel’s presiding Prospero is Turing himself, who observes that AI is fatally flawed because life is “an open system… full of tricks and feints and ambiguities”. His great hope is that by its existence “we might be shocked in doing something about ourselves.”

Robots and the Edisonade

It’s an interesting review, but what it does not do is mention the vast amount of genre Science Fiction that has used robots to explore the human condition, the limits or otherwise of machine intelligence and the relationship between such machines and their creators, since Mary Shelley wrote Frankenstein. There clearly seems to be a nod to Shelley with the name of this android, as the monster in her work, I think, is also called Adam. But Eando Binder – the nom de plume of the brothers Earl and Otto Binder, also wrote a series of stories in the 1930s and ’40s about a robot, Adam Link, one of which was entitled I, Robot, which was later used as the title of one of Asimov’s stories. And although the term ‘robot’ was first used of such machines by the Czech writer Karel Capek in his 1920s play, RUR, or Rossum’s Universal Robots, they first appeared in the 19th century. One of these was Villier de l’Isle-Adam, L’Eve Futur of 1884. This was about a robot woman invented by Thomas Edison. As one of the 19th centuries foremost inventors, Edison was the subject of a series of proto-SF novels, the Edisonades, in which his genius allowed him to create all manner of advanced machines. In another such tale, Edison invents a spaceship and weapons that allow humanity to travel to the planets and conquer Mars. McEwan’s book with its inclusion of Alan Turing is basically a modern Edisonade, but with the great computer pioneer rather than the 19th century electrician as its presiding scientific genius. Possibly later generations will have novels set in an alternative late 20th century where Stephen Hawking has invented warp drive, time travel or a device to take us into alternative realities via artificial Black Holes.

Robot Romances

As I said in my original article, there are any number of SF books about humans having affairs with robots, like Tanith Lee’s The Silver Metal Lover, Lester del Rey’s Helen O’Loy and Asimov’s Satisfaction Guaranteed. The genre literature has also explored the moral and philosophical issues raised by the creation of intelligent machines. In much of this literature, robots are a threat, eventually turning on their masters, from Capek’s R.U.R. through to The Terminator and beyond. But some writers, like Asimov, have had a more optimistic view. In his 1950 I, Robot, a robot psychologist, Dr. Susan Calvin, describes them in a news interview as ‘a cleaner, better breed than we are’.

Lem’s Robots and Descartes

As for the philosophical issues, the Polish SF writer, Stanislaw Lem, explored them in some of his novels and short stories. One of these deals with the old problem, also dating back to Descartes, about whether we can truly know that there is an external world. The story’s hero, the space pilot Pirx, visits a leading cybernetician in his laboratory. This scientist has developed a series of computer minds. These exist, however, without robot bodies, but the minds themselves are being fed programmes which make them believe that they are real, embodied people living in the real world. One of these minds is of a beautiful woman with a scar on her shoulder from a previous love affair. Sometimes the recorded programmes jump a groove, creating instances of precognition or deja vu. But ultimately, all these minds are, no matter how human or how how real they believe themselves to be, are brains in vats. Just like Descartes speculated that a demon could stop people from believing in a real world by casting the illusion of a completely false one on the person they’ve possessed.

Morality and Tragedy in The ABC Warriors 

Some of these complex moral and personal issues have also been explored by comics, until recently viewed as one of the lowest forms of literature. In a 1980s ‘ABC Warriors’ story in 2000AD, Hammerstein, the leader of a band of heroic robot soldiers, remembers his earliest days. He was the third prototype of a series of robot soldiers. The first was an efficient killer, patriotically killing Communists, but exceeded its function. It couldn’t tell civilians from combatants, and so committed war crimes. The next was programmed with a set of morals, which causes it to become a pacifist. It is killed trying to persuade the enemy – the Volgans – to lay down their arms. Hammerstein is its successor. He has been given morals, but not to the depth that they impinge on his ability to kill. For example, enemy soldiers are ‘terrorists’. But those on our side are ‘freedom fighters’. When the enemy murders civilians, it’s an atrocity. When we kill civilians, it’s unavoidable casualties. As you can see, the writer and creator of the strip, Pat Mills, has very strong left-wing opinions.

Hammerstein’s programming is in conflict, so his female programmer takes him to a male robot psychiatrist, a man who definitely has romantic intentions towards her. They try to get Hammerstein to come out of his catatonic reverie by trying to provoke a genuine emotional reaction. So he’s exposed to all manner of stimuli, including great works of classical music, a documentary about Belsen, and the novels of Barbara Cartland. But the breakthrough finally comes when the psychiatrist tries to kiss his programmer. This provokes Hammerstein into a frenzied attack, in which he accidentally kills both. Trying to repair the damage he’s done, Hammerstein says plaintively ‘I tried to replace his head, but it wouldn’t screw back on.’

It’s a genuinely adult tale within the overall, action-oriented story in which the robots are sent to prevent a demon from Earth’s far future from destroying the Galaxy by destabilising the artificial Black and White Holes at the centre of Earth’s underground civilisation, which have been constructed as express routes to the stars. It’s an example of how the comics culture of the time was becoming more adult, and tackling rather more sophisticated themes.

Conclusion: Give Genre Authors Their Place at Literary Fiction Awards

It might seem a bit mean-spirited to compare McEwan’s latest book to its genre predecessors. After all, in most reviews of fiction all that is required is a brief description of the plot and the reviewer’s own feelings about the work, whether it’s done well or badly. But there is a point to this. As I’ve said, McEwan, Winterson, Ishiguro and the others, who may well follow their lead, are literary authors, whose work regularly wins the big literary prizes. They’re not genre authors, and the type of novels they write are arguably seen by the literary establishment as superior to that of genre Science Fiction. But here they’re taking over proper Science Fiction subjects – robots and parallel worlds – whose authors have extensively explored their moral and philosophical implications. This is a literature that can’t and shouldn’t be dismissed as trash, as Stanislaw Lem has done, and which the judges and critics of mainstream literary fiction still seem to do. McEwan’s work deserves to be put into the context of genre Science Fiction. The literary community may feel that it’s somehow superior, but it is very much of the same type as its genre predecessors, who did the themes first and, in my opinion, better.

There is absolutely no reason, given the quality of much SF literature, why this tale by McEwan should be entered for a literary award or reviewed by the kind of literary journals that wouldn’t touch genre science fiction with a barge pole, while genre SF writers are excluded. It’s high time that highbrow literary culture recognised and accepted works and writers of genre SF as equally worthy of respect and inclusion.

Jon Pertwee ‘Dr. Who’ Strip on the Bronze Age of Blogs

December 1, 2018

The Bronze Age of Blogs is a website dedicated to comics of the 1970s, though sometimes this is stretched to include strips from the late ’60s and ’80s. One of the strips it’s covered recently is a ‘Dr. Who’ strip from the comic Countdown/TV Action, which apparently ran from 1971 to 1973. The strip features the 3rd Doctor, as played by Jon Pertwee, and was written and drawn by Barry Haylock. According to the Pete Doree, the site’s author, the comic carried work by a number of great British comics artists, like Frank Bellamy, one of the artists on The Eagle’s Dan Dare, and Ron Embleton, whose name I recognize from 2000 AD.

I can vaguely remember TV 21 from my early childhood, including the Dr. Who strip. I can remember reading one such story, about an alien influence beaming in through a radio telescope and the TARDIS dematerializing just before we had a Hallowe’en party.

The Bronze Age of Blogs reproduces stories from the comics discussed, and so this post duly has one of the Doctor’s from the comic. To enlarge the images so that you can see them more clearly, and read the speech bubbles, simply click on them.

http://bronzeageofblogs.blogspot.com/2018/11/gerry-haylocks-dr-who.html

Zarjaz! Rebellion to Open Studio for 2000AD Films

November 26, 2018

Here’s a piece of good news for the Squaxx dek Thargo, the Friends of Tharg, editor of the Galaxy’s Greatest Comic. According to today’s I, 26th November 2018, Rebellion, the comic’s current owners, have bought a film studio and plan to make movies based on 2000AD characters. The article, on page 2, says

A disused printing factory in Oxfordshire is to be converted into a major film studio. The site in Didcot has been purchased by Judge Dredd publisher Rebellion to film adaptations from its 2000 AD comic strips. The media company based in Oxford hopes to create 500 jobs and attract outside contractors.

Judge Dredd, the toughest lawman of the dystopian nightmare of Megacity 1, has been filmed twice, once as Judge Dredd in the 1990s, starring Sylvester Stallone as Dredd, and then six years ago in 2012, as Dredd, with Karl Urban in the starring role. The Stallone version was a flop and widely criticized. The Dredd film was acclaimed by fans and critics, but still didn’t do very well. Two possible reasons are that Dredd is very much a British take on the weird absurdities of American culture, and so doesn’t appeal very much to an American audience. The other problem is that Dredd is very much an ambiguous hero. He’s very much a comment on Fascism, and was initially suggested by co-creator Pat Mills as a satire of American Fascistic policing. The strip has a very strong satirical element, but nevertheless it means that the reader is expected to identify at least partly with a Fascist, though recognizing just how dreadful Megacity 1 and its justice system is. It nevertheless requires some intellectual tight rope walking, though it’s one that Dredd fans have shown themselves more than capable of doing. Except some of the really hardcore fans, who see Dredd as a role model. In interviews Mills has wondered where these people live. Did they have their own weird chapterhouse somewhere?

Other 2000AD strips that looked like they were going to make the transition from the printed page to the screen, albeit the small one of television, were Strontium Dog and Dan Dare. Dare, of course, was the Pilot of Future, created by Marcus Morris for the Eagle, and superbly drawn by Franks Hampson and Bellamy. He was revived for 2000 AD when it was launched in the 1970s, where he was intended to be the lead strip before losing this to Dredd. The strip was then revived again for the Eagle, when this was relaunched in the 1980s. As I remember, Edward Norton was to star as Dare.

Strontium Dog came from 2000 AD’s companion SF comic, StarLord, and was the tale of Johnny Alpha, a mutant bounty hunter, his norm partner, the Viking Wulf, and the Gronk, a cowardly alien that suffered from a lisp and a serious heart condition, but who could eat metal. It was set in a future, where the Earth had been devastated by a nuclear war. Mutants were a barely tolerated minority, forced to live in ghettos after rising in rebellion against an extermination campaign against them by Alpha’s bigoted father, Nelson Bunker Kreelman. Alpha and his fellow muties worked as bounty hunters, the only job they could legally do, hunting down the galaxy’s crims and villains.

Back in the 1990s the comic’s then publishers tried to negotiate a series of deals with Hollywood for the translation on their heroes on to the big screen. These were largely unsuccessful, and intensely controversial. In one deal, the rights for one character was sold for only a pound, over the heads of the creators. They weren’t consulted, and naturally felt very angry and bitter about the deal.

This time, it all looks a lot more optimistic. I’d like to see more 2000 AD characters come to life, on either the big screen or TV. Apart from Dredd, it’d good to see Strontium Dog and Dare be realized for screen at last. Other strips I think should be adapted are Slaine, the ABC Warriors and The Ballad of Halo Jones. Slaine, a Celtic warrior strip set in the period before rising sea levels separated Britain, Ireland and Europe, and based on Celtic myths, legends and folklore, is very much set in Britain and Ireland. It could therefore be filmed using some of the megalithic remains, hillforts and ancient barrows as locations, in both the UK and Eire. The ABC Warriors, robotic soldiers fighting injustice, as well as the Volgan Republic, on Earth and Mars, would possibly be a little more difficult to make. It would require both CGI and robotics engineers to create the Warriors. But nevertheless, it could be done. There was a very good recreation of an ABC Warrior in the 1990s Judge Dredd movie, although this didn’t do much more than run amok killing the judges. It was a genuine machine, however, rather than either a man in a costume or animation, either with a model or by computer graphics. And the 1980s SF movie Hardware, which ripped off the ‘Shock!’ tale from 2000AD, showed that it was possible to create a very convincing robot character on a low budget.

The Ballad of Halo Jones might be more problematic, but for different reasons. The strip told the story of a young woman, who managed to escape the floating slum of an ocean colony to go to New York. She then signed on as a waitress aboard a space liner, before joining the army to fight in a galactic war. It was one of the comic’s favourite strips in the 1980s, and for some of its male readers it was their first exposure to something with a feminist message. According to Neil Gaiman, the strip’s creator, Alan Moore, had Jones’ whole life plotted out, but the story ended with Jones’ killing of the Terran leader, General Cannibal, on the high-gravity planet Moab. There was a dispute over the ownership of the strip and pay between Moore and IPC. Moore felt he was treated badly by the comics company, and left for DC, never to return to 2000 AD’s pages. Halo Jones was turned into a stage play by one of the northern theatres, and I don’t doubt that even after a space of thirty years after she first appeared, Jones would still be very popular. But for it to be properly adapted for film or television, it would have to be done involving the character’s creators, Moore and Ian Gibson. Just as the cinematic treatment of the other characters should involve their creators. And this might be difficult, given that Moore understandably feels cheated of the ownership of his characters after the film treatments of Watchmen and V For Vendetta.

I hope that there will be no problems getting the other 2000 AD creators on board, and that we can soon look forward to some of the comics many great strips finally getting on to the big screen.

Splundig vur thrig, as the Mighty One would say.