A Rock Legend Passes – Meat Loaf Dies Aged 74

One of the big stories today, which isn’t about the military build-up around Ukraine and Boris Johnson and his wretched parties, has been the death of Meat Loaf. One of the things that surprised me in the news items about him was that he was in 65 or so films. I was aware that he played Eddie, a zombie in the Rocky Horror Picture Show. I’d also seen him as a man suffering from testicular cancer who joins the underground boxers in the 1990s film Fight Club, based on the book by Chuck Palahniuk. But I wasn’t aware of any others, and certainly not that he’d been in so many.

He’s best known, however, for Bat Out Of Hell, which is now a Rock classic. I can remember the exciting amongst the rockers and metal freaks I was at school with when it came out. It even got played at a school assembly by one of the teachers. He wasn’t disapproving, just using it to illustrate some point about different moods in music. Bat Out Of Hell, in contrast to other, more soothing pieces, was pure, raw aggression. It was, but not violence. It was loud, fast, melodic rock. His co-writer, Jim Steinman, appeared on a Beeb rockumentary a few years ago. The interviewer commented on the operatic quality of the piece. Steinman agreed, and said that it was because he was listening to a lot of opera at the time.

Bat Out Of Hell came out just as the Satanism scare was beginning, and the real-life modern witch-hunters went to absurd lengths to claim that there was a terrible Satanic conspiracy to corrupt American youth. Dungeons and Dragons was supposed to include real spells and was turning young people to crime, sex, and suicide. I’ve friends who were into it, and that very definitely wasn’t the case. D&D was an imaginary Tolkienesque world of goblins, orcs, giants and wizards, but these were the staple characters of children’s fantasy. For the vast majority of youngsters, it was just a great way to spend a couple of evening with your friends. Rock music was particularly singled out for condemnation. Now there are metal bands, which I think genuinely are aggressively anti-Christian. But for many, it’s just theatre, as Satanic as a Hammer Horror flick. Bat Out Of Hell got some of this, because the album cover showed a motorcycle erupting out of a grave watched by a demon. This was occult imagery. It is, but again, it’s fantasy occult imagery. You could and can see pretty much the same kind of imagery on any genre horror, fantasy or sword and sorcery paperback. And there’s absolutely no mention of the occult or the Devil in the track itself. I bought the sheet music awhile ago and I’ve played it. What it tells me is that Meat Loaf liked the dark imagery of rock, and had a taste for awesome motorbikes. As for groups labelled Satanic, back in the ’90s the accusation was levelled at the American band Ossuary. Or it was until they issued a statement explaining that they were all good children of the Roman Catholic church, and their songs attacked the preachers who were bringing the church into disrepute. Then someone had the idea of checking with their parish priest, who confirmed what they said.

But to me, one of the most memorable of Meat Loaf’s appearances on British TV was when he outwitted Clive Anderson. Anderson had his own chat show, Clive Anderson Talks Back, in which he made light banter poking fun at his guests. Sometimes he went too far, and offended them. He did that to the Bee Gees. There’s a clip of them walking off, one by one, after he told them their music was rubbish. Anderson was left with his mouth hanging open, looking pleadingly at them. Finally only one was left, and as he turned to go, Anderson said to him, ‘You’re not going as well, are you?’ ‘Sorry,’ the pop musician replied, ‘but I don’t do lone interviews.’ That never happened to Meat Loaf, but he did think of a getting a few chuckles from his name. ‘What should I call you – Meat? Mr Loaf? What do your children call you?’ Meat Loaf had answer to that: ‘Mostly they call me ‘Dad’.’ as Jazz Club would say on the Fast Show ‘Grrreat.’

Farewell, Big Guy. You will be missed, and rock is poorer without you.

The sheet music for the album Bat Out Of Hell, which was written and composed by Steinman, arranged for piano with guitar tablature and lyrics, has been published by International Music Publications Ltd. Apart from the title track, it has ‘You Took the Words Right Out of My Mouth (Hot Summer Night), Heaven Can Wait, All Revved Up With No place to Go, Two Out of Three Ain’t Bad, Paradise by Dashboard Light and For Crying Out Loud’.

The cover image was dreamed up by Steinman, and painted by fantasy artist and comics legend Richard Corben.

Way back in the ’90s there was a slew of tribute bands – the Bootleg Beatles, Elton Jack and so on. Meat Loaf did not escape. His was called ‘Fat Out Of Hell’.

May he, like Elvis, keep ’em rocking.

Ad Astra: A Tale of Quest, Obsession and Disappointment

Directed by James Gray, starring Brad Pitt, Donald Sutherland, Tommy Lee Jones and Liv Tyler.

I wanted to catch this one at the cinema when it came out last year, based on the trailer I’d seen online. This showed Brad Pitt as clean-cut, square-jawed space captain racing across the lunar landscape in a rover, guns blazing away at the bad guys in theirs. It looked a very convincing depiction of a possible near future. A future when humanity is at last moving out to colonise and exploit the resources of the solar system, but still plagued by geopolitical intrigues and violence. From the trailer, I thought it might be about terrorism on the high frontier, just as the motive for sending the Robinson family into space in the ill-fated 90s version of Lost in Space was a global threat from an insurgency. But it isn’t. It’s instead about humanity’s quest to discover alien intelligence, and the dangerous consequences of one man’s refusal to face the fact that we haven’t found it.

Warning: this review contains spoilers. If you haven’t seen the film, and want to see it fresh, please don’t read on. I’ll put up something else in due course, which you can read without worrying that it’ll spoil your fun.

Brad Pitt plays Commander McBride, a hard-working, intensely focused career astronaut, whose devotion to his duty has led to his wife walking out on him. But because of his intense, single-minded concentration on his duty, he isn’t particularly affected by this. The film begins with a statement that humanity will expand into space, and will continue looking for extraterrestrial intelligence. Then the action begins with McBride in space, working with other astronauts on the outside of a giant space structure. This is hit by massive power surges, causing vital components to overload and explode, hurling pieces of the station and the astronauts desperately trying to fix them off into space. McBride is one of these, knocked off the station by falling debris. But he, and the other astronauts, fall downward to Earth, rather than off into space. Tumbling, Pitt eventually rights himself and parachutes back to the ground. The station is revealed to be no such thing. It’s a giant radio antenna, set up to receive possible signals from the ETs.

The power surge that hit the antenna was one of a series, each increasing in strength, that is causing blackouts and devastation across the world’s cities. Their source has been located near Neptune. It’s believed that their caused by an antimatter reaction, and a lost system commanded by McBride’s father, is believed to be the cause as it was powered by antimatter. The ship was sent out there on a 29 year mission to search for alien signals, far away from the interference of human telecommunications in the inner solar system. However, 16 years into the mission it disappeared. McBride’s father became a hero, and many astronauts tell McBride that it is thanks to him that they took up a career in space. This raises the question of whether McBride senior has indeed found aliens, who are hostile and using the station to disable Earth ready for conquest. This would be the plot in other movies, but not in this one.

Journey to the Moon

McBride is instructed to go to the Moon, from which he will be launched to Mars, to send a message to his father on Neptune, who is suspected of being alive. On his trip to the Moon, he’s joined by a Colonel Pruit (Donald Sutherland), who knew McBride’s father. The lunar base at which they land is a bustling town with a mall stuffed full of tourists and shops selling souvenir tat. McBride says to himself that it’s the kind of thing his father hated, and he would have tried to get as far away from it as possible. Pruitt is due to go with him, but is prevented from doing so at the last minute due to a heart problem. Finding a secluded spot away from the crowd, Pruitt gives him a memory stick, telling him that not everybody believes McBride senior to have been a hero. The stick contains suppressed information that they will do anything to prevent getting out. McBride then goes on to join the team that will take him to the launch site of the ship, that will take him to Mars. The Moon is being exploited by a number of different mining companies, but no territorial rights exist, so, as someone explains, ‘it’s like the Wild West out there.’ Hence the armed guards with McBride when he leaves the base. It’s this part of the programme that appears on the trailer for the movie, with McBride and team racing across the grey lunar landscape while under attack from what can only be described as space bandits. Various members of McBride’s team are killed, but he survives and succeeds in getting to the opposite base. He then joins the crew of the Cepheus, who will take him to Mars.

Space Rescue

On the way there, the crew receive a distress call, which they are obliged to answer. McBride tries to deter them because of the vital importance of the mission, but is unsuccessful as he is travelling incognito and so can’t reveal just how his mission overrides international space law. The SOS comes from a Norwegian scientific research station. McBride and the ship’s captain, Tailor, cross over to investigate. They don’ find any survivors, who have been killed by escaped baboons or some other ape used for research. These kill Taylor, and try to kill McBride, but he shuts them behind a door and decompresses that section, killing them. Crossing back to the Cepheus, the give Tailor a space burial.

McBride finally gets a chance to watch the video on the stick. It shows his father, (Tommy Lee Jones) announcing that the crew have mutinied. The mission has been unsuccessful, and so they wish to return to Earth. McBride as therefore suppressed it by putting them all in one section of the station and decompressing it, killing them all, innocent and guilty alike. This obviously leaves McBride shaken.

Mars and the Radio Call

On Mars, he’s taken from the launch complex to the base, where he is taken under great secrecy to a soundproof room, from which he reads out a scripted message to his father. This occurs several times, and are unsuccessful. On the next attempt, he goes off script and makes a personal appeal. He suspects that he has been successful, but the commanders won’t tell him. Throughout his journey, McBride is subjected to psychological testing before he is allowed to continue. He fails this for the first time, and is taken back to a comfort room – a room in which reassuring pictures of flowers are projected on the walls. He is told that he will not be continuing his journey. The crew of the Cepheus will instead go on alone to meet his father. They are equipping the ship with nuclear weapons to destroy the station before it can generate further power surges that will destroy civilisation. McBride is freed from his captivity by the station’s director of operations, a Black woman, whose parents were on board the station and murdered by McBride’s father. McBride has to rush through an underground tunnel to the launch complex, including swimming through a subterranean lake. He finally emerges in the system of tunnels, that will take the ship’s exhaust away from the ship itself when it launches. The countdown has begun, and it’s now a race against time for McBride to get aboard before he’s incinerated when the rocket fires its engines.

Encounter at Neptune

He succeeds in getting aboard and the ship launches. However, the crew are instructed to restrain him using any means necessary. In the ensuing struggle, he accidentally kills them. He then takes over the mission. He inserts the various tubes which will feed him intravenously during the 179-day mission, informs base what he intends to do and has done, and that he will now go dark.

He eventually arrives at the station, and comes aboard, moving through the decomposed section in which the bodies of the murdered crew are still floating. He brings one of the nuclear bombs on board with him. He meets his father, who blithely tells him what he did, and that he cared nothing for either his son or his mother. It is plain that he doesn’t want to come home, as although he hasn’t found alien life, he is convinced it’s out there. He just hasn’t found it yet. McBride sets the bomb, and tries to take his father back to Earth. But on the journey to the Cepheus, McBride senior pulls away from him, dragging him with him as the two are tethered together. The father tells McBride to let him go, McBride releases the tether, and his father floats off into space. McBride then jets back to the station, to rip off one of the panels so that he can use it as a shield against the icy particles and dust making up Neptune’s rings as he jets through that on his way back to the Cepheus. He then returns home, making a successful descent back to Earth, where friendly hands help him out of his capsule. Earth is safe, and his brought back all his father’s information on the countless alien worlds he discovered.

The film ends with McBride back in a military canteen, performing a kind of psychological evaluation on himself. He muses that his father was driven by his obsession to find alien life, and his disappointment at not finding it blinded him to the wonders of the worlds he had found. He is well-balanced, and focused on the tasks at hand, but not to the exclusion of the ability to love and be loved in return. There is a hint that this new attitude is bring his wife back to him.

Ad Astra as the Reply to 2001, Solaris, and Contact.

It’s a very good movie. The designs of the ships and rovers are very plausible and seem very much based on the old lunar rovers NASA used during the Moon landings on the one hand, and those on the drawing board for Mars on the other. It’s also a very quiet movie. It follows Gravity, and the masterpiece of SF cinema, 2001, in showing no sound in space except what can be heard through the characters’ space suits when they’re hit by the force of an explosion or some other event. It’s also at just under 2 hours a longer movie than most. This is gives it some of the quiet, epic quality of 2001 and Tarkovsky’s Solaris. The interrupted space journey of its hero, from Earth to the Moon and the Moon to Mars and thence Neptune, also recalls that of Floyd, Bowman and the other astronauts of 2001.

But there’s an important difference between Ad Astra and these flicks. 2001 and Solaris are about humanity’s encounter with powerful, but unknowable aliens. These encounters are transformative for the species and at an individual, personal level. In 2001, the aliens’ black monoliths raise humanity up from apes, and then transform Bowman into the Star Child at the film’s climax. In Solaris, the hero rekindles a relationship with his lost love through a simulacrum of her generated by the planet below. This allows him to medicate and discourse on the nature of humanity, honour and the need for humans to value each other. He is then able to descend to the planets surface, where he meets another simulacrum, this time of a dying friend he left on Earth, in a house where it’s actually raining inside. In both films, the aliens are genuinely alien, incomprehensible, but nevertheless interested in humanity and able to be reached out and contacted.

This is a reply to those movies, which is clearly informed by the fact that after decades of searching for alien intelligent alien, we still haven’t found it. Nor have we discovered any life elsewhere in the solar system. It’s possible that it exists on Mars, but if it is, it’s at the level of microbes. This makes the film a kind of anti-2001. It could have been called ‘The Stars My Disappointment’, as a pun on the title of Alfred Bester’s SF masterpiece, The Stars My Destination. McBride’s conclusion – that the scientific information about the myriad alien worlds his father discovered – is still immensely valuable, even if they are uninhabited and lifeless, but the obsession with finding alien life blinded his father to its value – is a good one. But I remember the SF writer and encyclopaedist John Clute saying something similar to Clive Anderson back in 1995. This was during the Beeb’s Weekend on Mars, a themed series of programmes on the Red Planet on the weekend that the NASA pathfinder probe landed. Of course, people are still fascinated by the question of whether Mars is, or has been, an abode of life. Anderson asked Clute if he would be disappointed if they discovered there was no life there. Clute responded by saying that if someone said they were disappointed at that, he would be disappointed in them, as we would still find out so much about the world, which should be sufficiently fascinating itself. Well, yes, but that’s very much the consolation prize. What people have always dreamed about is finding life in space, and particularly Mars. You can’t really blame them for being disappointed if we don’t. As for the message that it’s good to focus on your work, but not so much that it damages your personal relationships, it’s a good one, but hardly an earth-shattering revelation. And in the context of space travel, Tarkovsky says something similar in Solaris. There the hero says at one point that humanity doesn’t need space travel and alien worlds. There is 5 billion of us – a mere handful. What man needs is man. This shows the humanistic focus of Tarkovsky’s movie against its theme of space travel and alien encounters.

Conclusion

Ad Astra is an excellent movie, but ultimately somewhat of a disappointment. It’s to be applauded as an attempt to make an intelligent SF film with a grounding in established science. But ultimately its message that the search for alien life shouldn’t blind us to the possibility that it doesn’t exist, or that it may be extremely difficult to find requiring a search that lasts generations, perhaps centuries, before we find it, isn’t as emotionally satisfying as films in which the aliens are very definitely there. You could compare it to the Jodie Foster film, Contact, in which she played a female scientist convinced aliens exist, and finally succeeds in going out there and finding them. In the vast majority of such movies, the hero is nearly always a believer in the existence of the ETs, who is finally vindicated when they turn up. This is one of the few films to show the contrary. It’s a valuable, perhaps necessary message, but one less attractive to most audiences, who want there to be aliens, if only fictional and contained in the narrative of cinema.

Oh yes, and I have to differ with the comments about the presence of tourist malls in space. Yes, such places are full of tat and kitsch, but there are also the sign of a genuinely vital human culture. People aren’t all high-minded, serious creatures, and for genuine, living human communities to be established in space, they can’t all be left to scientists and engineers solemnly probing the secrets of the cosmos or working on the best way to extract and exploit their resources. They’ve also got to be where ordinary people visit, and enjoy the experience of being on an alien planet. And that means buying tat and kitschy souvenirs as well as indulging in deep philosophical meditations. As Babylon 5 also showed with its market, the Zocalo, and its tat. Though in that episode, the stores selling the tourist kitsch were all closed down. 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Afshin Rattansi Asks What Boris Johnson Is Doing in South America

In this short clip from RT’s ‘Going Underground’, host Afshin Rattani raises the question of what Boris Johnson is doing in Chile, Argentina and Peru, and reminds his viewers of the atrocities committed by Chile’s bloody dictator, General Pinochet. Johnson began a tour of these countries yesterday. Rattansi describes all of these countries as allegedly America’s proxies, but particularly Chile. He tells how Pinochet was warmly supported by Johnson’s heroine, Margaret Thatcher. Pinochet overthrew the democratically elected Socialist president, Salvador Allende, in a CIA-backed coup. The dictator was responsible for the murder and disappearance of 40,000 people. There is a sequence, in which Raymond Peredes, the son of the head of the Chilean army under president Allende, describes what happened to his father. He had every bone in his body broken, and was burned with a flame thrower before finally being shot with 20 bullets. His killers, however, did not touch his head, because they wanted him to remain conscious.

Pinochet was arrested by the Labour government after he came to London, following a warrant put out by a Spanish examining magistrate, judge Baltazar Garzon, who charged him with genocide. There is also a clip of Jeremy Corbyn stating that Pinochet does not enjoy diplomatic immunity from the charges, which including hostage-taking, genocide and extraterritorial murder.

But the old brute was defended by Maggie Thatcher, here looking even more aged, decrepit and malignly insane than ever. Thatcher stated that he’d been a good friend and ally of Britain, but now, thanks to his arrest, his health had been broken and the esteem of Britain’s courts around the world damage. So, as you might expect from a Tory premier, who backed Fascists and Fascist death squads throughout Latin America, there’s plenty of sympathy for him and none whatsoever for the tens of thousands he tortured and murdered. After his arrest, he was released by Tony Blair’s government. Rattansi continues that today the country is in the grip of more neoliberal change, which the opposition claims will cause further poverty.

Rattansi goes on to cover Argentina, where he says that Margaret Thatcher arguably helped end one American proxy dictator after she won the Malvinas/Falklands War. However, he states that ‘the bad old days’ could be returning, because the country’s president, Macri, has just taken out a loan with the IMF. Rattansi goes on to report how the president of Peru, Martin Vizcarra, hasn’t been elected yet. He only took power after his predecessor was forced to resign in a corruption scandal. But he was first to welcome US vice-president, when he touched down last week. The clip ends with Pence stating that all Latin America’s problems are due to the president of Venezuela, Maduro.

From this it seems that Boris has gone to these countries, to wee what Britain can pick up once neoliberalism hits these nations once again. In return for loans, the IMF insists that countries approaching it for aid scale down their welfare spending and privatise their state industries, usually by selling them to the Americans. It’s been described as part of the international network of American corporate imperialism. My guess is that Johnson is hoping that we might be able to buy some of the privatised industries in Argentina and also Chile and Peru. And it’s always good to remind people just how nasty Pinochet was, as well as Thatcher’s deep affection for the butcher. This tells you exactly what kind of person Thatcher was, and what kinds of people those who continue to idolise her, like BoJo, are.

As for Blair’s arrest of Pinochet, that was hopelessly bungled. There was a question about it at the time on the Beeb’s News Quiz on Radio 4. Clive Anderson, who is a lawyer as well as comedian and broadcaster, stated that in situations like that, nations are supposed to issue warning notices that particular individuals will not be welcome in their countries and would be subject to arrest before they arrived there. Blair didn’t. Chile did help us during the Falklands War, which is partly why Thatcher defended him. But he was still a brutal dictator, responsible for horrific and indescribable crimes.

Guy Debord’s Cat: Edwina Curry Claims to be Another Poor Pensioner

Another Tory, who lies about food banks also surfaced two months. Edwina Curry responded to comment by Buddy Hell of Guy Debord’s Cat on Twitter with the statement that she was a 70 year old pensioner, who occasionally works for the BBC and is on low pay and benefits.

The Cat had remarked that it was all right for her to sneer, as she didn’t have to rely on benefits to top up poor wages from work. And that was her response.

The Cat comments further on her reply that

She’s on low pay and she receives benefits? I doubt that. As the poster below remarks, she receives a generous final salary pension to which all former MPs are entitled. Although she may not be, in her words “filthy rich”, she has the kind of income that many pensioners can only dream of. Her appearance on I’m A Celebrity netted her a cool £100,000. As for her appearances on the BBC, let’s put it this way: she won’t be earning peanuts. Currie and her second husband also own two (possibly more) properties.

He also speculates that perhaps she thought he’d forgotten her comments about salmonella in eggs and her four year affair with John Major.

he concludes

If Currie thinks her pension isn’t enough for her to live on, maybe she could get a job at her local supermarket? Just a thought.

See https://buddyhell.wordpress.com/2017/03/15/edwina-currie-just-another-poor-pensioner/

No, Edwina Currie is very definitely not a poor pensioner. In fact, from what I’ve seen of her performances on television, she has absolute contempt for them, just like she and her party has for anyone else who’s poor. About a decade ago she turned up on the Clive Anderson show. Anderson asked her about the furore she caused when she was in Major’s government. The government had decided to cut pensioners’ winter fuel allowance. This understandably upset very many people. Curry’s response was to tell them to ‘wrap up warmly’. She repeated her comments, and added a snide remark about how it would ‘teach them’.

This offhand sneer at poor senior citizens went down as well as you would expect: the audience started booing.

This provoked an amazed response from Curry – she started peering around with the kind of fixed smile people put on when they know something’s not quite right, but don’t understand what. She really, really couldn’t understand how anyone could find her comment offensive.

She’s another one who’d fail the Turing test. In fact, there are probably ZX81s still out there, with 1 byte of memory, that stand a better chance of passing for human.

She also comes across as incredibly thick. She’s an Oxford graduate, and presumably had a very expensive education, but you do wonder how she got in. Way back in the 1990s, when Have I Got News For You was still more than halfway funny, she tried locking horns with Ian Hislop. Answering a question about some legal tussle she’d been involved in, she looked across to the editor of Private Eye and remarked ‘Aren’t you glad I didn’t sue you?’

To which Hislop frostily replied ‘Aren’t you glad, my dear!’

I think she’s now an MP for Derby. She turned up a few years ago on a documentary about starvation in Britain and the rising use of food banks. She was interviewed to give the Tory line. So standing in the middle of a bank’s stores, she repeated the lie that people weren’t using them because they were starving, but because it was cheap food.

Wrong. You can only use a food bank if you’ve got a chit referring you from the Jobcentre.

This was pointed out to her by the presenter. But, like a good little follower of Goebbels on the art of political lying, she repeated the lie.

She also made another appearance on a chat show a few years ago, in which she made much of her Liverpool roots. She put up on the accent, and tried to pass herself off as a real ‘Dicky Sam’.

Liverpool’s a great city. It has given the world the Beatles, Hornby Railways and Meccano. It has a brilliant museum and art gallery, and was one of the first museums in Britain to open a display on its role in the slave trade. In the 19th century, it’s literary and philosophical society was a major centre of scientific research in England. It has also produced the great writer and playwright, Alan Bleasdale. Unfortunately, Edwina Curry has also appeared to lower the tone.

She’s another Tory liar with a contempt for the poor, who tries to hide it behind further lies.