Posts Tagged ‘‘Battle’’

Dimbleby Resigns as BBC Propagandist on Question Time

June 18, 2018

Yesterday, Mike put up a piece commenting on the resignation of former Bullingdon boy David Dimbleby as the host of Question Time. The man Private Eye dubbed ‘Dimblebore’ has been presenting the show for 25 years, and now considers it the right moment to leave. Dimbleby is another BBC presenter, who is very biased towards the Conservatives. Mike’s photograph of him accompanying his piece shows him raising two fingers, with the comment that it’s probably to a Socialist. Mike also cautions against feeling too good about Dimblebore’s resignation, as we don’t know what monster’s going to replace. He wonders whether the secret of human cloning has been found, and whether the next biased presenter of the programme will be Josef Goebbels.

https://voxpoliticalonline.com/2018/06/17/if-david-dimbleby-is-leaving-the-bbcs-question-time-what-horror-will-replace-him/

Last week Dimblebore was off in Russia, presenting a documentary about the country under Putin ahead of the footie there. He wasn’t the only, or even the first person to go. The comedian Frankie Boyle got there over a week earlier, presenting a two-part show about the country, it’s people and football on Sunday evening. Dimblebore was rather more serious in tone, presenting Russia as a country in the grip of a repressive autocrat, and mired in corruption which was strangling the economy.

Dimbleby first explained that Putin was most popular with young people, the generation that everywhere else is rebelling against autocrats, dictators and tyrants. He puts this down to Russians’ experience of economic collapse under Yeltsin. Yeltsin ended communism and dismembered the economy of the Soviet Union, privatising whatever he could. The result was chaos, and massive employment. At one point it got so bad that some factories were paying their workers in the goods they produced. Putin has restored order and economic stability to the country, and so has the support of the younger generation.

He spoke to a great of young professionals, an advertising branding team who were supporters of Putin, working to promote him through images and slogans. He stated that most of the media was controlled by the Russian president, with a few exceptions. He then went to speak to someone from RT’s Moscow branch. Dimbleby explained that some of the staff were British, and asked one of the Brits there whether he was presenting propaganda. The man denied it, said that there was no one watching over him, telling him what to do, and that his conscience was clear. Dimblebore then gave a knowing smirk into the camera.

He then talked to a female presenter on one of the few dissident broadcasters Putin had allowed to remain open. She said that she had not received any threats, but she knew that she could be killed for what she did. But she was still determined to carry on.

He then talked about how those, who criticised the government were arrested and jailed, interviewing a human rights lawyer, who defended them. When asked what people could be arrested and jailed for, the lawyer explained that it could be criticism of the government, or a non-traditional understanding of the Second World War. The other year Putin passed a law criminalising the view that Stalin was partly responsible for the Nazi invasion of eastern Europe and Russia through the Nazi-Soviet pact. From what I remember, I think you can also be arrested for promoting gay rights.

He then spoke to a woman, who was protesting her treatment by the state. She had already been jailed for criticising Putin, but was determined to do so again. She had not been able to get a permit to organise a protest, and so held her own, one-woman demonstration outside the court. This is permitted under Russian law. If you can’t get a permit for a demonstration, you can still protest, so long as there is only one person involved. As she stood with her placard, she was joined by an increasing number of counter-protesters determined to disrupt her protest, and possibly send her to jail. They moved closer to her, and she moved away, telling them to keep their distance. They kept coming, and their numbers kept increasing. Then the cops turned up, and started filming things as they’d been told foreigners were involved. And someone else from one of the TV companies materialised to film the protest as well. Eventually it all ended, and the police and counter-protesters disappeared.

Dimbleby then did a piece about the police’s brutal suppression of dissent, complete with footage of the cops beating what looked like a feminist protester from Pussy Riot.

He also touched on gender roles. He talked to a hairdresser, while having his haircut, who told him that Russia still had very traditional gender roles, in which women wanted a strong man to provide for them.

Putin has also succeeded in reversing the declining Russian birthrate. Instead of falling, it is now rising, with medals and benefits given to couples who have large families. He showed one woman and her husband, who were being presented a medal by Putin for having ten children.

He also went off to talk to a youth organisation, that was set up to get children, including boys of junior school age, interested in the army. The group’s name translates as ‘Net’, and is run by army officers. The children there wear combat uniforms and learn to shoot using air rifles, which they are also taught how to strip down. They were shown blazing away at targets, and competing with each other over who could reassemble a gun while blindfolded the quickest, with Dimblebore cheering the winner. And it wasn’t all boys. One of the youngster there looked like a girl. Dimblebore asked them if they wanted to join the army, to which they gave a very enthusiastic ‘Yes’.

He then went off to speak to a prelate from the Russian Orthodox Church about its support for Putin, where he described Putin as an autocrat attacking human rights and threatening peace in Europe. The prelate responded by saying that there were those, who did not agree with his view. And that was that.

He then went off to discuss the massive corruption in Russia, and how this was undermining the economy as more and more investors and companies left the country because of it. Russia has 144 million people, but it’s economy is 2/3s that of Britain, or about the size of Italy’s, and is declining.

Now all of this is factually true. John Kampfner, in his book Freedom For Sale discusses Russia as another state, where the population has made a deal with its leader. They have absolute power, in return for which they give their people prosperity. Except that, according to Dimbleby, living standards and wages are declining. Putin has passed laws against the promotion of homosexuality, there are massive human rights violations, including the jailing of the type of people, who would have been called dissidents under Communism. Journalists, who haven’t toed the Archiplut’s line have been beaten and killed.

Other aspects of the Russian state, as revealed by this programme, would have been immediately recognisable to the generation raised by Communism. Like the corruption. It was rife under Communism. The Bulgarian journalist, Arkady Vaksberg, wrote a book about it, The Soviet Mafia. And Gogol took a shot at official corruption under the Tsars back in the 19th century in his play, The Government Inspector. So no change there.

As for the Russian Orthodox Church supporting Putin, it was always the state church under the tsars, to which it gave absolute support. The watchword of the tsarist regime was ‘Autocracy, Orthodoxy and the People’. And its support of autocratic leadership didn’t begin under Putin. After the restrictions on religion were lifted in the 1990s, the BBC journalists interviewed some of its clergy on their shows. And the clergy had the same preference for absolute state power and total obedience from the people. Putin made the relationship between the Church and his government closer by granting them a sizable share of Russia’s oil.

The youth groups designed to get children interested in joining the army are also little different from what already went on under the Soviet system. Secondary schoolchildren did ‘military-patriotic training’ to prepare them for national service as part of the school curriculum. It was led by retired army officers, who were often the butt of schoolboy jokes. They were taught to handle weapons, complete with competitions for throwing grenades the furthest.

And let’s face it, it also isn’t much different from what used to go on over here. I’ve known young people, who were in the army and naval cadets. And the public schools used to have the CCF – the Combined Cadet Force – which the Tories would dearly love to bring back. And boys, and some girls, do like playing at ‘War’, so I’ve no doubt that if something like the Russian group was set up in this country, there would be many lads and girls wanting to join it.

Russia has also too been a very masculine society with very traditional ideas about gender and masculinity, despite the fact that most engineers were women, who also worked as construction workers and many other, traditionally masculine areas. One of the complaints of Russian women was that the men didn’t do their fair share of standing in queues waiting to get whatever groceries were in store.

And the medals and rewards to the women, who gave birth to the largest number of children is just another form of the Heroic Mother Awards under the Soviet Union. Putin’s Russia continues many of the same aspects of the country’s society from the age of the tsars and Communism, although Dimblebore said the country was going backward.

I’ve no doubt it is, but the programme annoyed me.

What irritated me was Dimblebore’s knowing smirk to camera when the guy from RT denied that he broadcast propaganda. Now I’m sure that RT does. There’s videos I’ve seen on YouTube from RTUK, which could fairly be described as pro-Russian propaganda.

But what annoyed me was Dimblebore’s hypocrisy about it.

The Beeb and Dimbleby himself has also broadcast it share of propaganda supporting western foreign policy interests, including imperialism. Newsnight has finally got round, after several years, to covering the Fascists running around the Ukraine under the present government. But the Beeb has emphatically not informed the British public how the pro-western regime which was put in power with the Orange Revolution, was created by the US State Department under Obama, and run by Hillary Clinton and Victoria Nuland. Far from being a grassroots movement, the revolution was orchestrated by the National Endowment for Democracy, which has been handling the US state’s foreign coups since they were taken away from the CIA, and one of George Soros’ pro-democracy outfits.

Putin is also presented as the villainous aggressor in the current war in the Ukraine, and some have compared his annexation of Crimea and invasion of eastern Ukraine to the Nazi annexation of the Sudetenland. But Crimea had been a part of Russia before 1951, when Khrushchev, a Ukrainian, gave it to that state. And Putin is not looking to take over the country either. The population of Russia is 144 million. Ukraine’s is a little over a third of that, at 52 million. If Putin really had wanted to annex it, he would have done so by now. And under international law, as I understand it, nations are allowed to intervene in foreign countries militarily to defend members of their ethnic group that are being persecuted. That was the pretext for the Nazi annexation of the Sudetenland, and it’s also the reason why Putin’s invaded eastern Ukraine. But it’s legal under international law. And I don’t doubt for a single minute that Russians, and Russian-speaking Ukrainians, were being persecuted by the new, pro-Western government.

In his documentary, Dimbleby met a very angry, patriotic Russian, who told him that the British had tried to invade Russia three times in the past three centuries. Once in the 19th century during the Crimean War; then in 1922 during the Russian Civil War. And now we were preparing to do the same. He angrily told us to ‘get out!’. Dimbleby looked shocked, and said to him that he couldn’t really believe we were ready to invade.

This was another continuation of the Soviet paranoia and hostility towards the West dating from the Communist period and before. Russia has always felt itself encircled by its enemies since the tsars. But the man has a point. We did invade Russia in 1922 in an effort to overthrow the Communist regime. Pat Mills has talked about this in his presentation on comics he gave to the SWP a few years ago. He tried to get a story about it in Charlie’s War, the anti-war strip he wrote for Battle. This is another piece of history that we aren’t told about.

And when Gorbachev made the treaty with Clinton pledging the withdrawal of Soviet troops from eastern Europe after the collapse of Communism, Clinton in turn agreed that these state would not become members of NATO. He broke his promise. They now all are, and NATO’s borders now extend to Russia. At the same time, western generals and NATO leaders have been predicting a war between Russia and NATO. One even wrote a book about it, 2017: War with Russia. Thankfully, 2017 has been and gone and there has, so far, been no war. But with this in view, I can’t say I blame any Russian, who is afraid that the West might invade at any moment, because it does look to me like a possibility.

And there are other matters that the Beeb and the rest of the lamestream news aren’t telling us about. They’re still repeating the lie that the invasion of Iraq was done for humanitarian reasons, whereas the reality was that western corporations and the neocons wanted to get their hands on Iraqi state industries and privatise the economy. And the American and Saudi oil industry wanted to get their mitts on the country’s oil reserves.

The civil war in Syria is also presented in simplistic terms: Assad as evil tyrant, who must be overthrown, and Putin as his bloodthirsty foreign ally. Assad is a tyrant, and one of the causes of the civil war was his oppression of the Sunni majority. But we are constantly being told that the rebels are ‘moderates’, while the fact is that they still have links to Islamists like the al-Nusra Front, the former Syrian branch of al-Qaeda, and ISIS. Nor have I seen the Beeb tell anyone how the Syrian rebels have also staged false flag chemical weapons attacks against civilians in order to draw the west into the war.

And objective reporting on Israel is hindered by the pro-Israel lobby. Any news item or documentary, which shows Israel’s horrific crimes against Palestinian civilians is immediately greeted with accusations of anti-Semitism from the Israeli state and the Board of Deputies of British Jews. I’ll be fair to the Beeb. Some of their presenters have tried to give an objective reporting of events, like Jeremy Bowen and Orla Guerin. But they’ve been accused of anti-Semitism, as was Dimblebore himself when he tried to defend them. In this instance, the bias isn’t just the fault of the Beeb. But it is there, and newsroom staff have said that they were under pressure from senior management to present a pro-Israel slant.

Domestically, the Beeb is very biased. I’ve discussed before how Nick Robinson in his report on a speech by Alex Salmond about Scots devolution carefully edited the SNP’s answer, so it falsely appeared that he had been evasive. In fact, Salmond had given a full, straight answer. Salmond’s reply was whittled down further as the day went on, until finally Robinson claimed on the evening news that he hadn’t answered the question.

And numerous left-wing bloggers and commenters, including myself, have complained about the horrendous bias against the Labour Party and Jeremy Corbyn in the Beeb’s reporting. Dimblebore himself has shown he has a very right-wing bias on Question Time, allowing right-wing guests and audience members to speak, while silencing those on the left. Not that he’s alone here. Andrew Marr has done exactly the same on his programme on Sundays.

Dimblebore is, quite simply, another right-wing propagandist, with the Beeb backing current western imperialism. His smirk at the RT journalist’s denials of doing the same is just gross hypocrisy.

Refuting Anti-Semitism Smears with the Reasonableness Test: Part 1

May 25, 2018

In this post, I intend to critique and refute one of the arguments used by lawyers for the Israel lobby to support the anti-Semitism smears. This is that a comment may be fairly considered as anti-Semitic, even if this is denied by the person who made it, simply because somebody else may consider it as such. This is the argument used by the prosecution lawyers against the Black anti-racist and anti-Nazi activist, Marc Wadsworth in his trial by the Labour party. Wadsworth has a long history of defending Black civil rights. He also was instrumental in changing the law on racial harassment in concert with the Board of Deputies of British Jews after a spate of attacks on Jews following the election of the BNP’s Derek Beacon to a place on one of the London councils in the 1990s. He is in no way any kind of anti-Semite. But he is left-wing, and so Ruth Smeeth, a Blairite and supporter of Israel, accused him of anti-Semitism when he remarked on her passing information to a Telegraph journalist at a press conference. Smeeth immediately whined that this was anti-Semitic, as it was accusing her of being part of a conspiracy. Just like Nazis accuse Jews conspiring to enslave gentiles. In fact, Wadsworth’s comment made no reference to Judaism at all, and he didn’t even know she was Jewish. He states that his lawyers at the trial refuted every one of the prosecution’s arguments. Until they took a call from their lawyers, who advised them that they could still win if they claimed that another person could consider it anti-Semitic.

In many parts of the law it sometimes does come down to the question of whether a person would consider that the issue in question is the case. But there’s a proviso. It has to be a reasonable person. And in many cases where the anti-Semitism argument is used, the parallels between real Nazi doctrines or symbolism are so tenuous, that they have less similarity to what a reasonable person would be live, than with the barking mad ideas of conspiracy theorists and rumour-mongers.

Let’s take the symbolism the Board of Deputies of British Jews claimed to find in the position of a fallen Palestinian protester in a story in the 1990s comic, Crisis. Created by Pat Mills and a group of three Jews, the story was about Israel’s maltreatment and brutalisation of the Palestinians. In it, a member of the IDF beats up a Palestinian protester, breaking his limbs so that he lies awkwardly on the ground. Pat Mills is the creator of 2000 AD, and one of the major forces behind Action and the war comic, Battle. As readers of 2000AD will know, Mills is very left-wing, and a firm and very vocal opponent of racism. This is a very clear subtext in the strips Nemesis the Warlock, where a future human empire wages a war of extermination against aliens based on no more than racial prejudice, and Strontium Dog. This is set in a future where mutants are second-class citizens, forced to live in ghettos and forbidden to pursue any job other than bounty hunter. And I’ve said before that it was in the pages of Battle that I first encountered stories dealing with the Holocaust and the concentration camps. This was simply a story where a British squaddie fights his way to one of the camps and sees the emaciated inmates through the barbed wire. I can remember myself being shocked by the prisoners skeletal, emaciated appearance. As I was supposed to. The comic couldn’t show anything too explicit, but what it showed was enough. Enough to show that the Nazis weren’t just responsible for an horrific war that claimed 40 million European lives, but also for scarcely imaginable horrors perpetrated against Jews, and other racial and political minorities and dissidents. And their should be no doubt also that Mills’ co-creators on the Crisis strip were decent, self-respecting Jews, and not self-hating anti-Semites either.

But the Board ignored all this. They claimed the scene was anti-Semitic, because the position made by the Palestinian’s fallen body looked like a swastika.

This is clearly bonkers. It’s the view of someone, who has spent so long looking for anti-Semitic and Nazi imagery, that they’re finding it wherever they look. In this instance, it did the Board no good because Robert Maxwell, the comic’s publisher, stood up to the Board and told them where they could go. But the ruling that something is anti-Semitic, if someone else considers it is, makes future decisions like Maxwell’s much more problematic.

Self-described anti-racists finding what they want to find in popular culture, and making stupid claims of racism, aren’t confined to Jews and anti-Semitism. Way back in the 1990s one Black academic made a similar claim about the film Aliens. This was the sequel to Ridley Scott’s classic Alien. Directed by James Cameron, this had Ripley join a team of Space Marines as they went to wipe out the Aliens, who had attacked and killed the colonists on their planet. Moving through the Aliens’ nest, Ripley finds the Alien queen, laying her eggs which will hatch the next generation of face-huggers.

It was a straightforward SF/Horror yarn. But not according to this academic. She declared that it was a metaphor for Reagan’s America. The Alien Queen represented Black American ‘welfare queens’, who were a threat to White society and conservative values by threatening to drown everybody else with the children they brought into the world. It’s quite a bizarre theory, as nowhere in the film is there any explicit or even implicit comment about race. Except that the Marines themselves are thoroughly multicultural, with a Black sergeant, and a tough, Hispanic female squaddie, Vasquez. And the only feature the Aliens have in common with Black people is their colour. In every other respect they’re vastly different. But it shows how some people’s determination to find a political or racial subtext in a movie leads them to see things that aren’t there.

Continued in Part Two.

After the Secret Flights to Deport Windrush Migrants, No-One Is Safe in Tory Britain

April 20, 2018

Mike in his articles attacking May and her truly foul decision to destroy the evidence needed for the Windrush migrants to show their right to live in our wonderful country also mentioned that poem by Martin Niemoller. Niemoller was one of the scandalously few Christians in Nazi Germany to oppose the regime. You know the poem. It’s become something of a clich√© – It opens with the various groups the Nazis came for, with the refrain ‘I did not speak out, because I was not’ whichever group was being attacked. It ends with the line that when they finally came for him, there was no-one to stand up for him. This was the reality in Nazi Germany. The Nazis attacked group after group, not just Jews, but also Gypsies, Socialists, Communists, trade unionists, the disabled, and other political and religious dissidents. And it had an effect. The Catholic Centre Party, which could have voted against the Nazi seizure of power, actually voted for it because they were afraid that the Nazis would come and attack them and the Church. It didn’t help. The Nazis had no qualms about dissolving them, along with the other political parties. The only parties that voted against the Nazis were the SPD – the German equivalent of the Labour party, and the Communists.

The victims of Nazi persecution vanished into ‘Nacht und Nebel’ – ‘Night and Fog’. They were snatched from the homes, and vanished without trace, to be tried before special courts, in secret. The secrecy was quite deliberate. It was done to create fear and deter anyone else from protesting against the Nazi regime. Or in the case of Jews, Gypsies, and the congenitally disabled, simply being. One of Hitler’s most notorious comments is his line ‘The people need fear. A healthy fear is good for them’. Torquemada, the science-fictional galactic Fascist villain of the Nemesis of the Warlock Strip in 2000AD, said the same, except he dropped the ‘healthy’ bit. I’m sure the line was a deliberate quote by the writer, Pat Mills, and shows the research he did on the Third Reich that influenced the war stories in Battle and his other strips against racism and Fascism. ‘Nemesis’ was a fantasy, but based solidly in fact and addressing a real issue.

The knock on the door in the middle of the night and arrests by secret police weren’t unique to the Nazis. It was done in Stalin’s Soviet Union, and by authoritarian regimes across the world, right up to the present day. Like Communist China and Israel’s persecution of the Palestinians, to name just two. And I wonder how long it will be before the Fascist, anti-Semitic Fidesz government in Hungary starts doing the same, after their prime minister declared a list of 200 organisations to be subversive followers of George Soros. Who is, of course, a Jewish financier, exactly like the villains of Nazi conspiracy theory.

But we can’t be complacent. Blair tried to introduce secret courts in this country, and Dave Cameron and Nick Clegg did. These are special courts for those charged with terrorism, and where public disclosure of the evidence is judged to be harmful to that old chestnut, national security. Under the legislation, these trial may be held in secret. The accused and their lawyer may not know the identity of their accuser, or the evidence against them. Or even what the charge is.

It is exactly like the perverted judicial systems of Nazi Germany and Stalinist Russia. And once again, literature got their first. Franz Kafka described all this in his novels, The Castle and The Trial. Kafka, however, had a peculiar sense of humour. He said once that these tales are meant to be funny, in an ironic way. I can remember being told at school that irony plays a big part in the German sense of humour – OK, Kafka was a Jewish Czech, but he wrote in German, and I guess he shared their sense of humour. But it wasn’t a joke under the Nazis and the other totalitarian regimes, and it far from a joke now.

The people unfairly deported were thrown out of this country on secret flights, often shackled in contraptions like leg and hip restraints. This follows the ‘secret renditions’, in which foreign nationals accused of terrorism offences were secretly flown out of this country to others as a way of evading our laws banning torture in interrogations. The Tories clearly felt that after doing it successfully to one group, they could do it to others. So from terrorist suspects, they moved on to entirely respectable people, who came here to work and make a better life for themselves. People who endured massive racism and shouldn’t have to put up with any more of it.

If the Tories can do it to one group, they will do it to others. Food banks are another example. They started out to help asylum seekers waiting for adjudication on their right to stay in the UK, who were banned from claiming benefits. But Ian Duncan Smith and his boss, David Cameron, expanded them to cover ever person thrown off benefits under their murderous sanctions regime.

The Tories start by picking on unpopular outgroups, like terrorists and coloured immigrants. And then they push their policies into the most vulnerable groups of mainstream society.

Remember, in the 1970s large sections of the Tory party really thought that Harold Wilson was a KGB agent and the Labour party was riddled with Communists taking orders direct from Moscow. And leading members of the establishment, including Times journo Peregrine Worsthorne, wanted a coup and the internment of those judged to be dangerous radicals. This included not only politicians, but also trade unionists and journalists. You can read about it in Ken Livingstone’s 1987 book, Livingstone’s Labour.

You are not safe, no matter how long you’ve lived here. Even if your a tradition, White Brit. On this evidence, if the Tories continue with their arrests and secret deportations, they will eventually come round to making us vanish into their equivalent of ‘Night and Fog’. Just like the Nazis.

And if we don’t act against this and the other injustices, no-one will stand up for us. Just like no-one stood up for the Jews and the other victims of the Nazis in Niemoller’s poem and real life.

May and the Tories are a clear and present threat to democracy and the security of decent people. Racism and the persecution of immigrants is the start. Get them out, before they turn this country into something very close to Nazi Germany.

The BDJ’s Attempted Accusation of Anti-Semitism in Pat Mills’ ‘Crisis’

April 3, 2018

Pat Mills is the creator of 2000 AD, the Galaxy’s greatest comic, and the co-creator of many of the favourite characters in modern British comics, like Judge Dredd and Slaine, as well as the creator of the anti-war comic strip, Charley’s War, in the British war comic, Battle. Crisis was an explicitly political strip Mills’ launched in the late ’80s and early ’90s. Its ‘Third World War’ strip tackled the politics of food and the exploitation of the Developing World. Mills was also not afraid to tackle other controversial subjects. He was contacted by Amnesty International to do a story about the oppression of the Palestinians by the Israelis. He did, and inevitably the Board of Deputies of British Jews complained about anti-Semitism.

Mills is absolutely no kind of racist or anti-Semite, as you can tell by reading his strips. Many of them tackled racism and bigotry. The mutant heroes of Strontium Dog, for example, were forbidden by law to pursue any other job except bounty hunter, and were kept isolated from the non-mutated rest of humanity in ghettoes. And under the dictator Nelson Bunker Kreelman, there was an organised campaign by the British authorities to wipe them out. The Nemesis the Warlock strip was also a metaphorical treatment of racial and religious persecution. The villain of this strip, Torquemada, named after the head of the Spanish Inquisition, was the grand master of a feudal order thousands of years in Earth’s future, who were dedicated to exterminating all intelligent alien life. The treatment of the issues were metaphorical, but they had their basis in their bigotry and intolerance that has marred human history.

Mills describes the incident on page 155 of his book Be Pure! Be Vigilant! Behave! 2000AD and Judge Dredd: The Secret History:

There were many more ordinary hero stories I would have loved to have produced. Eventually, Amnesty commissioned me to write an Amnesty issue of Crisis. And there were also plans for me [to] do something with Campaign Against Arms Trade. For Amnesty, I wrote about the death penalty in South Africa and Palestinian youth in the Gaza Strip. Both were illustrated by Sean Phillips. One Palestinian kid was so beaten up by the Israeli forces, Sean showed him lying there with his legs and arms a twisted angles.

When it appeared, the watchdog organisation, the Jewish Board of Deputies, complained to Robert Maxwell that this kid’s limbs were in the shape of a swastika. No concern about the kid himself. Or no interest in the story: a damning indictment of the brutality of the Israeli forces. It was like the Board were looking at faces in the fire and seeing what they wanted to see. But they couldn’t try their usual anti-Semitic allegations, which often successfully shuts us all up, because the three key organisers on the project were Jewish. Sara Selwood, Dan Green and Igor Goldkind. They couldn’t all be dismissed as self-haters. Surprisingly, Robert Maxwell, of all people, and hardly a self-hater either, told the Board to get lost. I can get behind his response.

This is the Board of Deputies of British Jews, which is now backing the fake anti-Semitism smears against Corbyn, and which, along with the Jewish Labour Movement, is now moaning about how he’s not really serious about tackling anti-Semitism. Because instead of meeting them, he went off to spend a Passover seder with Jewdas, a left-wing Jewish religious group instead. Which to me shows how pompous and arrogant they are, in claiming that they alone speak for the British Jewish community, when there are many other Jewish groups like Jewdas, who have put their full support behind the Labour leader.

Mills also goes on to describe how he also tackled other controversial topics in the strip, such as the British suppression of the Mau Mau in Kenya. Drawn by John Hicklenton, one of the artists who drew Nemesis the Warlock, the strip was so horrifying that the staid printers threatened not to print it. ‘But’, writes Mills, ‘we got it through and I’m proud to have shed light on at least one aspect of our country’s evil colonial past.’ (pp.155-6).

This would have been very controversial when it appeared, especially as many of the documents were still classified until only a decade or so ago. The British army’s repression of the Mao Mao was indeed horrific, with internment, torture, mutilation and massacre. There’s a book about it, Africa’s Secret Gulags, and a few years ago a group of former Kenyan internees won a court case against the British government for what they had suffered at the hands of the army. This is one of a number of areas where comics in the 1980s did tackle contemporary politics, and stood up for the poor, marginalised and oppressed in Thatcher’s Britain.

I’m not sure Mills would have been so lucky with the strip on Palestine today, though. As we’ve seen, the Israel Lobby now has absolutely no qualms about smearing whole masses of decent, self-respecting Jews as self-hating anti-Semites, as well as respectable, sincerely anti-racist non-Jews. This is utterly despicable, and it’s disgraceful that the Board should be a willing party to such foul libels.

Pat Mills – Be Pure! Be Vigilant! Behave! 2000AD and Judge Dredd: The Secret History: Part Three

March 30, 2018

Although the comic has been revived and managed very successfully by Rebellion and its new editor for the past 15 or so years, some of the joy has gone. The close collaboration between writers and artists has disappeared, and the editor himself avoids close contact with the other creators. This is partly because of budget and time constraints. The attitude throughout the industry now seems to be one of diligent, quiet efficiency, rather than some of the fun-filled, boisterous meetings Mills and the others had, acting out what they wanted the characters to do in an atmosphere of playful fun. Not that it was always the case. Mills also worked hard, and as an editor he was often called up to deal with artists experiencing some form of crisis, including trying to stop one fellow from committing suicide. But the underlying cause of the decline in British comics remains unaddressed. This is the lack of ownership by the creators for their work. He states that this is the real reasons comics are declining, not computer games. They have those in France, but kids are still reading comics. He also talks about the immense fun he had over there with his Requiem: Vamnpire Knight strip, also available in English translation on the Net.

Mills also talks about some of the other strips he has worked on, which have influenced 2000AD, such as Battle, the notorious Action, Crisis and Toxic. Battle was a war comic, which Mills subverted with Charlie’s War, a First World War strip which had an anti-war message. Mills has come across a number of men, who joined the army through reading such comics. He’s very proud that Charlie’s War had the opposite effect, and after reading it one young lad decided he really didn’t want to after all. Mills is very political, and criticises British literature for its lack of working class heroes. He sees this as partly deliberate, as so many of the great adventure writers were connected to the Intelligence Services and the secret state. Names like John Buchan, Dennis Wheatly – who would have been gauleiter of London, had Hitler conquered Britain – and Ian Fleming. He describes how the script editor of Dr. who in the ’80s turned down a story he’d written, as it included a spaceship captain who was working class. The story has since been made into a CD adventure by Big Finish, and there have been absolutely no complaints.

Action was initially suspended, and then banned outright for its violence. It was also controversial as the first strip to feature a sympathetic, non-Nazi German hero in Hellman of Hammer Force. The comic was so hated by respectable society, that one of the presenters of Nationwide, a 70s current affairs magazine show pretty much like today’s One Show, tore a copy up on camera in front of one of the writers. After it returned, the violence because even more over the top to the point where it shocked Mills, leading to its eventual ban.

Mills is unhappy with SF as a vehicle for social comment, as he feels it is ducking the issue. And so he created Crisis and its Third World War strip, which was all about the exploitation of the Developing World and the politics of food. He’s particularly proud of one story about the scandal of Nestle’s baby milk. But this was completely beyond management’s ability to understand why he included this issue in a boy’s comic.

And Mills and his co-creators were also accused of anti-Semitism by the Board of Deputies of British Jews. They did a story about Palestinian, in which a militarised cop, or a member of the IDF, beats a protester so badly, that they break all his limbs, and he falls to the ground. The Board complained that the man’s broken body resembled a swastika, which shows they were reading things into it which weren’t there. The three other creators of the story were Jews, and Mills thought that the Board couldn’t accuse them all of being self-hating. The strip was published by Robert Maxwell, who told them where they could stuff their idea. He was a crook, who robbed the Mirror’s pension fund, but here he did the right thing. You can beat the Israel lobby if you stand up to them.

Mills is clearly a hard-working, passionate enthusiast for comics, and a determined supporter of his fellow writers and artist. He wishes the industry to go back and try to appeal again to young children, although he makes the point they’re ruder than the adult fans, with whom you can have interesting conversations at conventions. He admits that its much harder now to get published in 2000AD, but not impossible, and gives valuable, careful advice to aspiring writers and artists.

As well as a fascinating account of the rise and career of 2000AD, it was for me also quite a nostalgic read. I remember some of the strips Mills wrote for and created, including the comics Whizzer and Chips, Battle and Action. I have mixed feelings about Action. I enjoyed strips like One-Eyed Jack and Death Game 1999, based on the film Rollerball. I wasn’t so keen on Dredger, which did have some horrifying stories. One of these was a Russian dissident punished by having his brain gradually removed by surgery until he was vegetable, and another tale in which a foreign politician is murdered. Sulphuric acid is poured into his shower so that he literally goes down the drain. But the strip I really didn’t like was ‘Kids Rule UK’, set in a future where all adults had died, and Britain was run by violent kid’s gangs. I was bullied at school, and this was for me an all-too frightening concept. I also stopped reading 2000AD for a time, because the stories there were a bit too sadistic. Which was a pity, as I later found out, because I missed some great strips.

2000AD will celebrate its fiftieth anniversary in a decade’s time, thanks to the inspiration of Pat Mills and his fellow creators. And I hope that afterwards the comic will go on to enjoy another fifty years under new, equally enthusiastic, committed and inspiring creators.

Splundig vur Thrigg, as the Mighty Tharg used to say.

Pat Mills: Be Pure! Be Vigilant! Behave! 2000AD and Judge Dredd: The Secret History: Part One

March 30, 2018

Pat Mills is the creator and founding editor of 2000AD, and this is history of the comic as he remembers it, although he recognises that others’ memories may be different and contradict his. It takes its title from the watchwords of his most popular villain: Torquemada, the ultimate Fascist Grand Master of Termight, in a feudal age of space travel, violence and magic far in the future. The book is divided into three sections, each named after one of Torquemada’s three commands. The slogan even turned up on the Berlin wall, which figures. The East Germans had been living under a dictatorship not too different from Torquemada’s. It was anti-racist and anti-Fascist, but still very much a police state, where the country was watched and dissent ruthlessly crushed. A friend of mine also told me that the slogan was used by Adolf Hitler in a speech he gave to the Bund Deutscher Madel, or German Maids’ League, the female equivalent of the Hitler Youth. Which also figures. Torquemada wanted to exterminate every intelligent alien race in the Galaxy, and was constantly making speeches exhorting humans not to ‘have truck with deviant, dally with the succubus’ and so on. In other words, no racial mixing. Which was definitely what the Nazis were trying to indoctrinate these girls with.

The book tells how Mills and John Wagner got sick of grinding out stories in a garden shed, lit by paraffin lamps, and moved to London to revolutionise British comics with creation of Battle, Action and 2000AD – the Galaxy’s greatest comic. At this stage of their career, Mills and Wagner were so poor that they couldn’t afford new typing paper after they ran out, and so at one point ended typing them up on tracing paper. The economics of writing stories was such that to make ends meet, you had to write several stories very quickly in a matter of days.

It is this attitude, and the British industry’s contemptible treatment of comics creators, that Mills returns to criticise throughout this book, making a very strong and convincing case that it is these attitudes that have caused the decline in comics in Britain in contrast to France, where they are flourishing. In Britain, comics creators do not own the rights to creations. They can be given to other writers and artists, and their creators are not paid royalties for them. In France, the reverse is true, and so comics creators spend years, decades, writing and drawing some of the greatest strips in the world. Think of such comic greats as Moebius, Caza, and Enki Bilal, and the rest of them, who came out of Metal Hurlant and les Humanoides Associes.

He also had to cope with the lack of interest in any reform from the old guard, who were quite simply just content to go on as they always had, until the industry finally collapsed and they were made unemployed or drew their pensions. They were shocked when Mills bought several books on science, because he was writing and editing a science fiction comic. This was too much for company management, who found the idea of doing research for a children’s comic ridiculous. And then there’s the issue of the studied contempt the management treated artists’ work. They used them on dartboards, or to plug drains. Several artists told Mills flatly that they weren’t going to work him as IPC was the company that closed down Frank Bellamy’s studio. Bellamy, along with Frank Hampson, was the awesome artist who worked on the classic Dan Dare. And his artwork was treated in the same contemptible fashion. As a result, much of it has been lost, although its still a massive favourite at fan conventions and when it comes on the market, rightly fetches high sums.

Mills tells the story of how he came to create favourite 2000AD characters like Judge Dredd, Nemesis the Warlock, Slaine and Finn. He champions the work of artists, who he feels have been unfairly neglected, or even vilified. They include Belardinelli for his contribution to the Slaine strip, which he is proud to have had put back into Titan’s reprints of the strip, as well as SMS, David Bircham, and Fay Dalton. SMS is a superb artist, whose work has appeared on the cover of Interzone, amongst others. He drew the ABC Warriors strip when they were trying to save Termight and the universe from destruction from an artificial black hole, created by Terra’s engineers to give them quick access to space and the Galaxy. One of the results was a whole city like the dimension-twisting drawings of the zarjaz Max Escher. Fay Dalton won a ¬£1,000 prize in a competition to get more women into comics. She draws and paints in a retro style, looking back to the glamour of the 50s. She didn’t last long. It was too sexy for the puritanical Thargs. Then there was the sheer abuse some fans meted out to John Hicklenton, another awesome artist best known for his work on Nemesis the Warlock. Hicklenton was stricken with MS, and sadly ended his life in a Dignitas Clinic. His career and struggle with the condition was the subject of Channel 4 documentary a few years ago. His escape from this ‘medieval, terrorist disease’ was his art, and so it was particularly cruel that he should have subjected to often very coarse abuse.

Mills is also unhappy, and understandably so, about the way his then wife, and co-creator of Slaine, Angela Kincaid, was treated by the other writers and artists. She was the artist on the very first Slaine strip. This topped the reader’s polls that week, but she was very much excluded from the boy’s club of the other creators. No-one rang her up to congratulate her and she was ignored by them. This wouldn’t have occurred if she was a bloke.

Mills takes the time to correct a few myths. He was determined that it wouldn’t be a comic dominated by a main strip, which carried the others, like Captain Hurricane in Valiant. Instead, it was to be a comic of all main strips, including the revived Dan Dare, Mach 1, a superpowered secret agent based on The Six Million Dollar Man, and Shako. This was about a polar bear, who was being chased by the American army because it had swallowed a top secret, radioactive satellite that had crashed to Earth. He also talks about the creation of such fave strips as Ro-Busters, which became the ABC Warriors, and, of course, Nemesis the Warlock and the inspiration for Torquemada.

The evil Grand Master and Judge Dredd were based on two, viciously sadistic monks teaching at his old Roman Catholic school, and, he strongly hints, were paedophiles. One of them was yanked from teaching and sent to monastery in the Channel Islands to sort out his sexual appetites. He was later sacked, and returned briefly as a lay teacher, before being kicked again. The schoolboys made jokes about how the other monks on the island must be similarly depraved, and imagined what shipwrecked sailors would do. Coming up the beach to find the Brothers running towards them, they’d turn and head as quickly as possible back to the sea. But neither of the two were prosecuted. Other old boys have found literary outlets to express their pain and trauma at the hands of these monsters. Mills simply states that his is humiliating Torquemada.

Continued in Part Two.

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

February 8, 2018

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

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

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

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

Radio 4 Programme on British Invasion of Russia to Overthrow Russian Revolution

October 13, 2017

Also on Radio 4 next week, on Friday, 20th October 2017 at 11.00 am., is a programme on the British invasion of Russia. This followed the Bolshevik coup of 1917, and was intended to overthrow the new Communist regime. The blurb for the programme in the Radio Times states

The story of a little-known war that took place a century ago along the frozen rivers of the Russian Arctic and transformed Russia’s relations with the West for decades to come. After the October Revolution, thousands of foreign troops under British command fought Russians on Russian soil for more than 18 months. Lucy Ash meets the 93-year-old son of General Edmund Ironside, who wrote at the time that he was in charge of “a tiny army of not very first class troops” stranded in the icy vastness of Russia “in the midst of a bitter civil war”. (Page 139).

Again, there’s a bit more information on the facing page, 138, written by Tom Goulding. This reads

The UK’s relationship with Russia has always seemed cold – coloured by by decades of menacing but empty rhetoric on both sides. so it’s often overlooked that just under 100 years ago a real and bloody conflict took place between Britain and the Bolsheviks in the frozen Arctic. Journalist Lucy Ash investigates this infamous incursion of British boots on Russian soil by speaking to the 93-year-old son of Edmund Ironside, the general who led Churchill’s crusade to put down the fledgling Bolshevik state. The intervention was a disaster, and the resulting mistrust between the two countries looms large to this day.

With 20/20 hindsight, it could be said that it’s a pity that the invasion didn’t succeed. The Bolsheviks were authoritarians from the start. They suppressed the other political parties and organisations, including left-wing and socialist groups such as the Mensheviks, Trudoviks and the Socialist Revolutionaries. Strict discipline was reintroduced, and the Bolsheviks reinstated the same proprietors and managers to manage the factories and other industrial concerns that they’d nationalised, against the desires of the anarchists, syndicalists and Left Communists, who wished to create a genuine worker’s state with worker’s control of industry. These were also suppressed, and their leaders and members arrested.

And if Bolshevik rule had been overturned, the Nazis may never have come to power as there would not have been a Communist threat that they could claim to be protecting Germany and the upper and middle classes from. And Stalin would not have come to power, to kill and imprison something like 30 million Soviet citizens – although some estimates put the death toll higher at 45 million – in the gulags and purges.

On the other hand, the Whites were also extremely brutal and oppressive. They, like the Bolsheviks during the Civil War, also held out the prospect of restoring democracy. However, the leader of one of the White counter-revolutionary bands was a maniac, who I think believed himself to be Jesus Christ or Buddha – or both. This butcher used to throw cold water over his prisoners’ naked bodies in the depths of the Russia winter so that they froze to death, and snap pieces of their bodies. Tony Greenstein in a recent blog post describes how the Zionist leaders approached another anti-Semitic White General, Petlyura, about sending Jews from Russia to Palestine. The Russian novelist Mikhail Bulgakov vividly describes the outbreak of anti-Semitic violence during the Civil War in the Ukraine in his classic, The White Guard, adapted from his play, The Days of the Turbins. He mentions the lynching of Jews by the peasants, and one of the characters killed by the mob in this way is a Jewish man, whose only crime was to have left his home to try to buy food and medicine for his family.

And if you read accounts of the Russian Revolution, it’s very clear why the peoples of the Russian Empire rose up, even if they mostly didn’t support Lenin and the Bolsheviks: they were pushed to the end of their tether through losing a war for which the ordinary squaddies were poorly treated and equipped, and by social conditions of horrendous poverty and near starvation in industry and the countryside. Russia was beset by strikes, and their were hundreds of peasant uprisings that occurred one after the other in the Russian countryside.

As for the British invasion, it seems to me it had two objectives. These were to keep the Russians in the War, fighting the Germans and Austrians, and to overthrow the Bolshevik state as a threat to capitalism. I dare say that it was accompanied with claims that it was about defending democracy, but as it wasn’t until the ’20s that all men got the vote regardless of property qualifications, and women finally gained the suffrage, such claims are probably rather specious.

Pat Mills, in one of the interviews I put up a few weeks ago, mentioned that he wrote a story for the First World War strip, Charlie’s War, in the comic Battle, which dealt with the British invasion of Russia. Mills is very left-wing, and says in the interview that the British officers ‘behaved like animals’. Which I don’t doubt they did, considering the stupid brutality they later unleashed in Ireland during their Revolution, though this was mostly done by the auxiliary units, the Black and Tans, rather than the regular army.

Pat Mills and Anti-Racism and Anti-Nazism in British and American Comics

September 22, 2017

This week I’ve put up a number of articles about a couple of interviews I’ve found on YouTube with the long-time British comics creator, Pat Mills. Mills was one of the recidivist offenders, who revitalized a moribund British comics industry in the 1970s with a succession of groundbreaking new magazines the war comic, Battle, Action, and, of course, the mighty 2000AD. Mills is of Irish heritage and distinctly left-wing, so that his sympathies are always with the poor and the persecuted against the establishment, and there was more than a little element of subversion in his strips. Judge Dredd from the first was meant to be a symbol of the Fascistic elements in modern American policing, and J.D. is as much villain as he is hero. The mutant heroes of the Strontium Dog strip are second-class citizens in a future Britain which barely tolerates them. They can only live in ghettoes, and the only work they can do by law is bounty hunting. It’s an explicit comment on racism and anti-Semitism. Nemesis the Warlock was a similar attack on religious bigotry, set as it was in a devastated Earth of the far future, ruled by Tomas de Torquemada and his terminators. They were a military order of warriors, who had whipped up fear and hatred of intelligent aliens and embarked on a series of holy wars to exterminate them across the Galaxy. This was partly based on the medieval inquisition in Roman Catholic Europe, with elements of modern Fascism. For example, the robes adopted by the Terminators recalled Ku Klux Klan costumes.

Comics at the time were increasingly focused on the issue of racism and persecution, particularly in the case of Marvel Comic’s X-Men. The mutants in this strip, like those of Johnny Alpha’s nuclear-scarred Britain, were also persecuted. One of the recurring villains in the strip were the Sentinels, a race of giant robots created to hunt down and kill robots by the stock mad scientist in the belief that this would preserve humanity from the threat to their survival the super-powered mutants – Homo Superior – represented. Another of Mighty Marvel’s villains was the Hate Monger, dedicated to whipping up bigotry and strife. This character also wore a costume based on the Klan, and was revealed as Hitler, or a clone of him.

The American comics industry was founded by German Jews, who brought with them their former homeland’s tradition of telling a story through a series of pictures derived from Wilhelm Busch. I think many of them had also seen combat fighting against Nazism in the army during the War. It’s therefore not hard to see in strips such as the X-Men a metaphorical treatment of the persecution of the Jewish people, as well as other outsider groups. As well as being a metaphor for racism, the X-Men also had an large following of gay young people, possibly because the social hostility shown in the strips towards its mutant heroes mirrored their own experiences as marginalized outsiders.

And concerns over the threat of Fascism were also seen in other British comics. The British version of the Captain Britain strip, written by Dave Thorpe and then Alan Moore, was set in an alternative Britain in which a deranged, mutant aristocrat, Mad Jim Jaspers, had created a biomechanical creature to hunt down and exterminate all mutants. At the same time, he had encouraged a Fascist dictatorship to seize power, which then began the process of persecuting and exterminating mutants.

This was succeeded by Moore’s V for Vendetta in the adult comic, Warrior, which featured an anonymous guerilla, V, fighting a personal war against the Fascist authorities of a near-future Britain. It was filmed with Hugo Weaving as ‘V’, Natalie Portman as his companion, Evie, with Stephen Fry as a gay TV host and John Hurt as the dictator. Moore himself dislikes the movie, partly because the contract he signed with the studio meant that the character is now their property. But it is a powerful film, which accurately shows certain aspects of Nazism, such as the use of concentration camp inmates for medical experimentation.

Pat Mills also says in the interviews I posted about earlier this week that the strip Charley’s War was subversive in that it was anti-war strip in a war comic. Mills is disappointed by the way the strip wasn’t included in an exhibition on comics and subversion, and notes that in this, the centenary years of the First World War, there seems to be a deliberate policy amongst the British broadcasters of not showing anything with an anti-war content, such as Blackadder Goes Forth. Radio 4 have made shows about the great stage play and film, Oh, What a Lovely War!, but it wasn’t that long ago that Michael Gove, the Tory minister for education, opened his mouth to say that children were getting an entirely wrong view of the War based on Blackadder. Mike naturally wrote a very sharp reply to that piece of nonsense.

But there were other strips in Battle, which also rose out of the mass of the usual gung-ho stories of courageous British squaddies winning against brutal and stupid Germans, and which did shock with their realism. Darkie’s Mob, which was about a mysterious commander, who takes over a failing British unit trapped behind Japanese lines in Burma was one of these. Another I remember which particularly shocked me was a short piece in Battle, in which British soldiers are fighting their way through Germany. I think it was a stand-alone strip, rather than part of a continuing storyline. The story ended when the squaddies reach a group of emaciated figures standing behind barbed wire, the inmates of one of the death camps. This was clearly about the Holocaust, and what it was really like, rather than the usual glamorous war stories, and I remember being shocked by the starved bodies of the inmates. As I doubtless was supposed to.

Battle, Action, 2000AD and Warrior were part of a trend that had emerged in American comics in the late 1960s, when they turned from simple escapism to dealing with real issues – such as racism and feminism. British comics up to the launch of Battle and Action had tended to avoid explicit politics, and in some cases had actually been very racist. And this tradition of commenting and attacking racism and bigotry continues in American comics today, and in 2000AD, now sadly nearly all that’s remaining of the British comics industry.

These are the type of strips, which Mike and I grew up reading, along with so many others of our age group. And they reflected the very real anxieties of the time. Left-wingers were worried about the rise of Maggie Thatcher, her links to the hard right and the violence and political threat posed by the BNP/NF. In the original comic strip version of V for Vendetta, the Fascists seize power in Britain after devastating nuclear war between America and the Soviet Union over the crisis in Poland. To many of us, the threat of nuclear annihilation in Maggie’s and Reagan’s New Cold War was only too real.

In his talk to the Socialist Workers’ Party, Mills reads out a letter he received from the CEO of a school, a former punk, who states that everything he learned about Fascism, he got from Judge Dredd; everything about racism, from Strontium Dog, and everything about feminism from Halo Jones. And he now considered it the most subversive thing he could do was to help produce open-minded, critical young people. And it isn’t just racism. When Thatcher tried to criminalise positive teaching of homosexuality in school – that it is perfectly natural – the British comics industry responded with the anti-homophobia anthology AWRGH!, whose initials stood for Artists and Writers Against Rampant Government Homophobia. Comics in the 1980s and ’90s sold much more than they do now, and so they made a very large number of young people aware and alert to these issues. It partly explains why British society has broadly become more tolerant, despite continuing bigotry in some areas. Like the right-wing of the Tories and UKIP.

This is also why I found Mills’ story of how the Board of Deputies of British Jews complained about a story in Crisis utterly amazing. Crisis was another adult comic, which dealt explicitly with contemporary issues of western imperialism, the power of the multinationals and the exploitation of the Developing World. The comic had featured a story about the beating of a Palestinian protester in Gaza, based on a real event told to Mills by a Palestinian. The Board complained because the lad’s broken body, left lying in the road, looked to them a bit like a swastika. As Mills himself said, it wasn’t there because comics creators aren’t that clever. But I was left amazed at the thought that anybody could accuse anyone in mainstream British comics at the time of racism or anti-Semitism, given how radical and anti-racist so many of them were.

It’s also why the accusation by the Campaign Against Anti-Semitism earlier this year against Mike is so outrageous. I’ve blogged before in Mike’s defence pointing out that he very definitely is not racist and not anti-Semitic, having both Black and Jewish friends and participating at College in a performance commemorating the victims of the Shoah. Mike read these comics, with the anti-racist and anti-bigotry message which they strove to impart to their readers. I realize that no doubt there were many people who read them, without really taking the anti-racist, anti-bigotry subtext onboard, but even so many people in the comics milieu were and are liberal in their attitudes towards tolerance of minority and marginalized groups.

But the Campaign Against Anti-Semitism and the rest of the Zionist lobby have no qualms about smearing genuine anti-racists, and people who have written about and denounced anti-Semitism and other forms of racism and persecution, like Jackie Walker, Ken Livingstone and Tony Greenstein. And there is the real danger that by doing so, not only will they libel and smear decent people, but trivialize real anti-Semitism in doing so.

I’ve blogged earlier this evening about the fine job Richard Coughlan did in producing his videos debunking Holocaust denial. But British and American comics and their creators, like Pat Mills, Alan Moore and Stan Lee and Jack Kirby, the creators of the X-Men, and that strip’s writers and artists since, have also contributed greatly to attacking racism and bigotry in the strips they produced.

Pat Mills Going Underground on Class and Politics on Comics

September 19, 2017

This is another video to add to the two others I’ve posted in which Pat Mills, one of the great creators of modern British comics, talks about industry and the political dimension to his work. In this video, he talks to Afshin Rattansi of RTUK’s Going Underground.

Mills starts by talking about how, when he first got into comics, he was frustrated and it was only when he started to look back on it and analyze it that he realized he was annoyed by the lack of working class role models in comics. They were all members of the upper middle classes. It’s why in 2000 AD he wanted to include working class characters and heroes, and why he liked Jeeves in the Jeeves and Wooster books, because here was a working class character, who makes a complete mockery of his master. But what brought home to him how the system is so completely opposed to working class heroes was his attempt working on a story for Dr. Who. He wanted to include a working class spaceship captain. The spaceship itself was to be a kind of abattoir in space, and he based the captain’s character on a real person, the captain of dredger. This would have made it realistic, and the captain of such a vessel would not have been like Richard Todd. But he was told by the script editor that this was unacceptable, and he could not have a working class spaceship captain.

When Rattansi asks him whether this censorship is internal or imposed from outside, he remarks that it’s a good question, and he believes it to be a bit of both. In the case of anti-war stories, it’s imposed from outside. That was brought home to him when he was involved in an exhibition on anarchy and comics. He wanted to include Charley’s War, the anti-war strip from Battle, as there was nothing more anarchist than that. But this was refused, just as the centenary of the outbreak of the First World. It was why TV never showed any of the great anti-war programmes and films about it, like Blackadder Goes Forth or the Monocled Mutineer.

He also comments on the massive influence the American military exerts over the film and TV industry. The Pentagon and the armed forces, including the CIA, have acted as advisors on 500 films and 800 TV programmes, from Meet the Parents to the Incredible Hulk and Iron Man. Mills has said that he has always disliked superheroes as he feels that they are corporate characters, standing for the values of the system. They are there to show people that you can’t be heroic unless you’re a tycoon or an arms manufacturer, who goes out at night to beat up members of the working class. He doesn’t think the military were involved in the last Judge Dredd film, as that was made by an independent, which is probably why it was so good. Rattansi replies that Dredd is still upper middle class, as he’s a member of the judiciary. Mills states in turn that he’s a footsoldier, and that part of the attraction of the character is that he’s also partly a villain. Villains are often more interesting to watch than heroes, who can be quite boring.

He also talks about an incident in which the Board of the Deputies of British Jews objected to one of the strips in Crisis. This was based on a real situation, which Mills had heard about from talking to a Palestinian. In the story, the IDF caught and beat up a Palestinian boy in protest, leaving lying on the ground with all his limbs broken. The Board complained because they thought the lad’s body had been deliberately arranged so that it resembled a swastika. Well, replied Mills, it wasn’t, as comics writers and artists aren’t that clever to sneak those kind of subliminal messages in. And what left him dismayed was the Board was not concerned about what was going on Israel, and which is still going on in Gaza. The incident was also somewhat ironic, in that the Board complained to the comic’s publishers, which at that time was Robert Maxwell, the corrupt thief of the Mirror pension fund. The Board’s complaint fell on deaf ears, and Cap’n Bob ‘told them to get knotted’.

Mills also observes in the interview that they were able to get away with much more in 2000AD as it wasn’t real, it was science fiction. Things are all right if they occur In A Galaxy Far, Far Away. But as soon as it’s real people, the censorship is imposed.

It’s always interesting hearing Mills’ views on comics and the subversion he put into his stories. He also told the story about the Beeb’s rejection of a working class spaceship captain for Dr. Who before, at the conference on Marxism organized by the Socialist Workers’ Party. The producers of Going Underground in the clip state that they contacted the Beeb to check the story, but the BBC had not replied by the time the programme was broadcast.

Mills is wrong in claiming at Jeeves is working class. He isn’t. He’s upper middle. Butlers are ‘a gentleman’s gentleman’, and Jeeves himself makes it very clear in one of the episodes of Jeeves and Wooster that he ‘and the working class are barely on speaking terms’. This is when the Fascist leader, Spode, tries to recruit him, saying that his wretched band need working class people like him. Nevertheless, the broad point remains true: Jeeves is an attractive character for the same reason another fictional butler is, Crichton, in the Admirable Crichton. He’s a servant, who is more knowledgible, intelligent and capable than his master.

I’ve commented in previous blog posts that I think the reason that the authorities don’t want to see any anti-War material broadcast during the centenary of the First World War, is because we still have ambitions of being an imperial power, backing the Americans in their wars around the world and particularly in the Middle East. The Beeb would also probably argue that to broadcast such material as Blackadder would be ‘disrespectful’, or some other spurious excuse.

I was aware that the American military was influencing Hollywood as advisors, but I had not idea how extensive it was. Back in the 1990s the American army advised the director Paul Verhoeven on his adaptation of Starship Troopers. This was an adaptation of the book by Robert Heinlein, who really did believe that only those, who had served in the armed forces should have the right to vote. It’s a notoriously militaristic book, and provoked a very anti-military response from a range of other SF writers, including Harry Harrison, who wrote Bill the Galactic Hero to send up Heinlein. Verhoeven wasn’t impressed with Heinlein’s militarism either. He’s Dutch, and grew up during the Nazi occupation. Thus, while the film can be enjoyed as a straightforward adventure, it also contains a very strong element of satire, such as modelling the uniforms on those of the Nazis.

I was disappointed to hear that the army had collaborated with the producers of The Hulk, as this comic was genuinely countercultural. In the comic, Banner becomes the Hulk after being exposed to the nuclear blast of an atomic bomb test saving Rick, a teenager, who has wandered into test zone. Rick is a classic disaffected teenager with more than a little similarity to the alienated kids played by James Dean. In the 1970s the comic was very firmly anti-military. The Hulk fought the army across America. Banner’s personal enemy was the general in charge of the forces sent to tackle the force, who was also the father of his girlfriend. And while the Hulk was a raging behemoth, what he really wanted was to be left alone. Some of the subversive character of the Hulk came across in Ang Lee’s film, which I actually like, even though no-one else does. But it’s still disappointing to read that the American armed forces were involved.

There’s a touch of irony to Mills speaking on the programme, as ‘Going Underground’ was the first of the two ‘Comic Rock’ strips to appear in 2000AD, the other being ‘Killerwatt’, which introduced Nemesis the Warlock and his struggle against Torquemada, the Fascist grand master of Termight, Earth in the far future. The story, set in the underground maze of rapid transit tunnels within Earth’s vast subterranean network of cities, took it’s title from the track by The Jam.