Posts Tagged ‘Disney’

A Small Family Sex Show in Bristol Cancelled Because of Petitions and Death Threats

April 26, 2022

As a Bristolian, I feel I have to add my fourpence worth about this controversy. One of the arenas of the culture war is over sex education in schools and especially sex education, with particular concern about the teaching or promotion of homosexuality and transgenderism. Parents and politicians are concerned about proper age-appropriate teaching of these subjects. The controversy seems to be particularly acute in America, where various, mostly right-leaning journos, activists and media pundits like Michael Walsh have criticised videos posted on TikTok of teachers coming out to young pupils and announcing that they’re gay, non-binary or trans. There have been instances where primary school children have been asked about which gender they identify with, as apart from their biological sex. One teacher proudly announced the ‘gender closet’ in which children can get changed into the clothing of the opposite sex when they want to keep it secret from their parents. There have been very sexually explicit books published for schools about gay and gender issues, containing the kind of imagery that once upon a time only used to be found in hard porn. And schools have also been told that, if a child trans, they should not inform his or her parents. As a result, there have been meetings of outraged parents confronting their local school boards in various towns and cities across the US. The Republican governor of Florida,, Ron de Santis, has just passed his so-called ‘Don’t Say Gay’ act, which forbids the teaching of anything about sex and sexuality, including heterosexuality, from ages 5 – 9. The Disney corporation and various LGBTQ+ employees have been particularly incensed by it, and have tried to mobilise opposition against the bill. This was in conjunction with a leaked video showing some of its top brass saying that they want half of all their characters to come from ethnic minorities or the gay community. As a result, right-wing Republicans like Walsh are calling for an end to Disney’s autonomy in the state and its tax exemption. I have to say that this shows a somewhat skewed morality. As a massively profitable global enterprise, Disney should pay its fair whack of tax like the rest of us proles. And especially because conditions for its workers in China are so dire that they’ve had to install suicide nets in their factories to stop the wage slaves toiling over their merchandise from killing themselves.

The Tobacco Factory, one of Bristol’s many theatres, put its collective feet firmly into this mire of controversy last week when they announced they were hosting ‘A Small Family Sex Show’ by theatre company ThisEgg. The show was described as woke, Queer and feminist, ,and intended to teach children about sex, using personal experiences, covering sexual orientation, gender identity, boundaries and so on. The show was described as suitable for children of five upwards, and included a section where the performers were free to take their clothes to the extent they felt comfortable. This could be total nudity, or else the removal of bottoms but not underwear, or even just simply staying clothed. The content included teaching children about masturbation, touching as well as other, much more dubious and extreme practices. Quiet-voiced Benjamin Boyce, an American YouTuber who discusses topics like gender identity, went through the description of the show’s contents on their website. This also included various explicit drawings. It was a weird mixture of sex with information about theatre, such as pointing out that the areas to each side of the stage that are hidden from the audience are called the wings. It also promised to teach children about White privilege and supremacy. In the video introducing the show, it’s producers introduce themselves with their pronouns and a description of their race, complexion, hair colour and so on. They seem to have been White, and Boyce wondered why they thought such descriptions were necessary when everyone could see what they were like. But it was the sexual subjects they show intended to teach which naturally attracted Boyce’s astonishment and disapproval. Again and again he wondered aloud how it wasn’t grooming. And others wondered too, on both sides of the Atlantic, with many being very firmly convinced it was.

Karen Davis, a gender critical Black American YouTuber, covered it on her channel. She was concerned that it was aimed at a time when children were only just learning to differentiate between fiction and reality, and that you could not like people while still being civil to them. She was also concerned that it would break down barriers about sex between children and adults, barriers that children naturally have for very good reasons. She was concerned that it was teaching kids not to believe their own eyes and feelings about whether an adult presented a danger, and would so make them vulnerable to predators. Davis has very strong and uncompromising views on the trans issue and she goes further in her opposition than some other gender critical folks. But in this instance her views seem to be very well grounded. She frequently cites the medical and academic literature to support her opinions, which are also informed by her work as a special needs teacher for children. She has also previously worked in centres for people with mental health issues. She knows whereof she speaks. And one of her concerns was about the theatre companies name. ‘Egg’ apparently is trans slang for someone on the verge of being trans, who needs to be ‘hatched’. I wondered if the name wasn’t inspired by a cult BBC show about a group of graduates living in London called This Life, one of whose characters had the monicker ‘Egg’. The show claimed it had the support of one of the organisations charged with protecting children, but a glance at that organisation’s website – it might have been the NSPCC – showed that the show was in conflict with the organisation. This said on their website that one of the signs that a child was being abused or near to a child who was, was sexuality explicit talk.

There have been any number of people on YouTube in Britain and America tearing into the show. Meesh Makeida, a Black British mother, covered it in one of her videos and made it very plain that she definitely would not take her five year old to it. Karen Davis in her video about it compared it to the real, grubby sex shows for adults. Unfortunately, these have been about in my city. The city council voted a few months ago to shut down the, er, ‘gentlemen’s clubs’. And the tone of Park Street in Clifton went up when the strip clubs there closed down in the 1980s.

A large number of Bristol’s citizens also made their opposition to the show very plain. There was a petition against it, which garnered 38,000 signatures. There were also threats of death and violence against the theatre and ThisEgg. This resulted in the show’s cancellation. The producers have claimed that they were forced to pull the show due to the threats, and that these came from a small minority of extremists.

I don’t agree with making death threats, and sincerely hope that those sent did come from a small minority. But the 38,000 signatures on the petition definitely don’t come from a small number of people. I don’t know how many people were actually aware of the show’s existence – I haven’t seen it mentioned on the local news. But offhand I can’t think of anyone who would be happy at such a show being performed in front of children and especially not five year olds.

And grooming is a real and legitimate issue with this play. It appears to be informed by Queer Theory. This, in the view of scholars and critics like James Lindsay, explicitly wishes to break down the barriers between adults and children in matters of sexuality and sexual identity. It’s based on the theories of Foucault, a postmodern philosopher and paedophile. Foucault and other intellectuals tried to get the age of consent reduced to 12 or there about in France in the 1970s, and Foucault himself used to go to North Africa to take advantage of the prostituted boys. One of the issues here is that the gay rights movement in its early stages included many paedophiles and civil rights activists who mistakenly believed that it should be legalised. The gay movement in Britain began making headway when the gay organisations purged the paedophiles from their ranks and made it very plain that gay very definitely did not equal paedo. There are thus fears that the paedophiles are trying to come back in through Queer Theory and the kind of sex education that it produces.

Graham Linehan, the writer of Father Ted, Big Train and the IT Crowd and a very firm opponent of the trans ideology, also discussed the play with American gender critical feminist Kara Dansky. I think Linners believed that ThisEgg were genuine in their concern that children received proper information about sex, just misguided. Dansky, on the other hand, suggested that the company really may have been deliberately grooming children. I hope not. They seemed sincere, but terribly, destructively wrong in my opinion.

When the news that the show was being staged a week ago, some of the commenters on various videos had a dig at Bristol. The city’s terribly ‘woke’, you see, and somehow it’s all the fault of the University. Well, certain parts of the city are very left-wing. People joke about the ‘People’s Republic of Stokes Croft’, for example. Other parts are more moderate or Conservative. And the various initiatives taken by Bristol University, such as lowering admissions for Black and Asian applicants in order to encourage more of them to apply don’t come from a long history of left-wing activism. They seem to be initiated in order to dispel criticism that the university is too elitist and White. But of course, there are left-wing lecturers there, just as there are Tories and others, who keep their political views quiet.

As for theatre in Bristol general, the city has a number of excellent venues. The Hippodrome tends to stage West End musicals like Cats, Return to the Forbidden Planet and even, every so often, the Rocky Horror Show. The Theatre Royal in King Street is one of the oldest in the country, and has produced many of this great nation’s leading thesps. It’s had everything from one man shows by Michael Bentine and John Mortimer, to performances of Into the West, from the film starring Ron Moody as a villain. It also staged more challenging performances about the Vietnam War and its legacy. Another theatre venue, Quaker’s Friars, has staged great plays, one of which was by one of the great 18th century French playwrights, as well as a production of the Hollywood classic Key Largo. And before it decided to put on A Small Family Sex Show, the Tobacco Factory had also put on several excellent plays, including puppet shows for children.

I think it’s excellent that the show has been cancelled, but I’m also acutely aware that children do need proper sex education. There was a time when it was not taught in school, and so children were really ignorant about their bodies, the changes of adolescence and reproduction. We should very definitely not go back there, whatever opposition there is to it by right-wingers like Peter Hitchens.

I’m also not entirely convinced that there’s been this controversy about it just when Bristol is facing a referendum over the elected mayor. At the moment it’s Marvin Rees for Labour. Now the mayor and city council generally have had nothing to do with the show, and no-one has said they have. But I’m afraid that the controversy over the play and the constant statements by the right about it being the product of the ‘woke’ left will lead some people to mistakenly connect it to Labour.

Bristol’s a great city, with great theatre. A Small Family Sex Show isn’t one of them, and shouldn’t have been booked.

Children do need proper sex education, given at suitable ages and using appropriate material. They cannot be left ignorant, but should not be exposed to material that is too explicit either. Especially when there is the danger that real abusers could use to approach children, no matter how well-intentioned the people behind such material are.

Cartoon Kayfabe Reviews Book on the Art of Jack Kirby

July 5, 2021

This is one for all the comics fans. Jack Kirby is one of the truly great figures in American comics. With Stan Lee he created some of Marvel’s best known and most beloved comics characters, like Captain America. Kirby grew up when the immigrant Jewish community in New York was still poor and rough, and like many other similar communities, riddled with gangs. Kirby said he came from the type of background where the best job a man could aspire to was being a mechanic, and I think he was seen as being a bit odd for wanting to be an artist. Nevertheless, he managed to realise his ambition and get away from the gangs, although he also said that part of him enjoyed running with them. 5′ 2” and pugnacious, he wasn’t averse to stepping up to the challenge if someone threatened him. The famous cover of Captain America beating up Hitler was published before America entered the War and upset the American Nazi party. One of the Hitlerites came into the hotel where Kirby was staying at the time, demanding a word with him. To the consternation of his workmates, Kirby got up and went down ready to sort the man. But by the time he got down to the lobby, the Nazi had departed. Probably luckily for the Nazi. Nevertheless, the fear of Nazi reprisal was so strong that Stan Lee and Kirby were both given FBI protection for a time.

One of the book’s editors/producers is Eastman, of Mutant Ninja Turtles fame, and the book is an overview of Kirby’s long artistic career, from when he was just starting out as an aspiring artist to his retirement. I was never a great fan of Kirby, as although he could do cosmic like no one else could, drawing huge, awesome machines and men and women like gods, I didn’t think he could draw the ordinary human form very well. But the book shows that he was actually a very good naturalistic artists with fine sketches of the major figures and celebrities of his time. One of whom was Adolf Hitler.

Kirby seems to have worked at anything and everything to pay the rent. At one time he was an artist on the Disney cartoons, drawing the figures for the moments between the main action. But he was learning all the time and ambitious, looking for new and better jobs and taking with him the skills he learnt. During his comics career he not only worked on superheroes, but also cowboy, commando and romance comics, turning to these parts of the industry when the superhero genre was decimated by the moral panic of the 1950s. He also did his patriotic duty and served in the army during the Second World War, and this fed into the war strips he drew afterwards. The self-portraits Kirby drew of himself before and during his army years show the immense change armed combat had wrought on him. Before he enters the army he’s clean cut, but afterwards he becomes more lined and grizzled. He shows the same effect on soldiers on the cover of one of his war comics. This features a man writing a letter home to his mother, saying that the invasion of Europe was just like a day at the beach. The man’s face betrays otherwise, and Kayfabe and his companion note the 1,000 yard stare. Apparently when the servicemen wrote home, they really did describe the War in those terms as they obviously really didn’t want to cause their families to worry about them.

Kirby’s final years were overshadowed by a quarrel with Stan Lee over who created the Marvel characters, with Kirby claiming that he was the real creator of some. He left Marvel and carried on working long after he should have retired on strips like Devil Dinosaur. Towards the end of his career it looks like this amazing artist was being helped by others in the studio. But in his prime Kirby was extremely prolific. At his height in the 40s-50s he was producing a hundred pages a month. I think that’s why his human forms are so sketchy – he was churning them out and an incredible rate, too fast for very naturalistic art, simply to put food on the table for himself and his family. He also incorporated many of the latest developments in popular art into his comics, like pop art and black light, in order to connect with readers and appeal to their changing tastes.

One of the most remarkable episodes in his career was the use of his concept art for an abandoned film project as cover for a CIA operation to rescue the hostages in Iran. Kirby had been hired to work on a film version of Roger Zelazny’s Lord of Light. Although the film wasn’t made, the CIA used the art as part of the cover for their operation, which was that they were film makers seeking to make an SF film in the country.

Kirby was indeed one of the giants of the comics industry, and Kayfabe’s review of the book, which I think came out in the ’80s or 90s, is an excellent review of his long and amazing productive career. The characters he and Lee created still continue to enthral readers across the world, and, I hope, to inspire future generations of comics artists and creators.

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

August 8, 2020

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

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

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

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

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

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

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

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

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

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

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

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

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

 

‘I’ Article on ‘Bardcore’ – Postmodern Fusion of Medieval Music and Modern Pop

August 5, 2020

I’m a fan of early music, which is the name that’s been given to music from the ancient period through medieval to baroque. It partly comes from having studied medieval history at ‘A’ level, and then being in a medieval re-enactment group for several years. Bardcore is, as this article explains, a strange fusion of modern pop and rock with medieval music, played on medieval instruments and with a medieval vocal arrangement. I’ve been finding a good deal of it on my YouTube page at the moment, which means that there are a good many people out there listening to it. On Monday the I’s Gillian Fisher published a piece about this strange new genre of pop music, ‘Tonight we’re going to party like it’s 1199’, with the subtitle ‘Bardcare reimagines modern pop with a medieval slant. Hark, says Gillian Fisher’. The article ran

“Hadst thou need to stoop so low? To send a wagon for thy minstrel and refuse my letters, I need no longer write them though. Now thou art somebody whom I used to know.”

If you can’t quite place this verse, let me help – it’s the chorus from the 2011 number one Somebody That I Used to Know, by Gotye. It might seem different to how you remember it, which is no surprise – this is the 2020 Bardcore version. Sometimes known as Tavernwave, Bardcore gives modern hits a medieval makeover with crumhorns a plenty and lashings of lute. Sometimes lyrics are also rejigged as per Hildegard von Blingin’s offering above.

Algal (41-year-old Alvaro Galan) has been creating medieval covers since 2016, a notable example being his 2017 version of System of a Down’s Toxicity. Largely overlooked at the time, the video now boasts over 4.4 million views. Full-time musician Alvaro explains that “making the right song at the right moment” is key, and believes that Bardcore offers absolute escapism.

Alvaro says: “What I enjoy most about Bardcore is that I can close my eyes and imagine being in a medieval tavern playing for a drunk public waiting to dance! But from a more realistic perspective , I love to investigate the sounds of the past.”

In these precarious times, switching off Zoom calls and apocalyptic headlines to kick back with a flagon of mead offers a break from the shambles of 2020. Looking back on simpler times during periods of unrest is a common coping mechanism, as Krystine Batcho, professor of psychology at New York’ Le Moyne College explained in her paper on nostalgia: “Nostalgic yearning for the past is especially likely to occur during periods of transition, like maturing into adulthood or aging into retirement. Dislocation or alienation can also elicit nostalgia.”

The fact that Bardcore is also pretty funny also offers light relief. The juxtaposition of ancient sound with 21st-century sentiment is epitomised in Stantough’s medieval oeuvre, such as his cover of Shakira’s Hips Don’t Lie. Originally from Singapore, Stantough (Stanley Yong), 35 says: “I really like the fact we don’t really take it very seriously. We’re all aware what we’re making isn’t really medieval but the idea of modern songs being “medievalised” is just too funny.”

One of Bardcore’s greatest hits, is Astronomia by Cornelius Link, which features trilling flutes and archaic vocal by Hildegard. It’s a tune that has been enjoyed by 5.3 million listeners. Silver-tongued Hildegard presides over the Bardcore realm, with her cover of Lady Gaga’s Bad Romance clocking up 5 million views. Canadian illustrator Hildegard, 28, fits Bardcore around work and describes herself as “an absolute beginner” with the Celtic harp and “enthusiastically mediocre” with the recorder. Her lyric adaptations have produced some humdingers such as “All ye bully-rooks with your buskin boots which she sings in rich, resonant tones.

HIldegard, who wishes to remain anonymous, believes the Bardcore boom can be “chalked up to luck, boredom and a collective desire to connect and laugh.”

In three months, the Bardcore trend has evolved with some minstrels covering Disney anthems, while others croon Nirvana hits in classical Latin. While slightly absurd, this fusion genre has ostensibly provided a sense of unity and catharsis.

The humming harps and rhythmic tabor beats evoke a sense of connection with our feudal ancestors and their own grim experience of battening down the hatches against the latest outbreak. Alongside appealing to the global sense of pandemic ennui, connecting to our forbears through music is predicated upon the fact that they survived their darkest hours. And so shall we.

While Bardcore’s a recent phenomenon, I think it’s been drawing on trends in pop music that have happening for quite long time. For example, I noticed in the 1990s when I went to a performance of the early music vocal group, the Hilliard Ensemble, when they performed at Brandon Hill in Bristol that the audience also included a number of Goths. And long-haired hippy types also formed part of the audience for Benjamin Bagley when he gave his performance of what the Anglo-Saxon poem Beowulf probably sounded like on Anglo-Saxon lyre at the Barbican centre in the same decade.

Bardcore also seems connected to other forms of postmodern music. There’s the group the Postmodern Jukebox, whose tunes can also be found on YouTube, who specialise in different 20th century arrangements of modern pop songs. Like doing a rock anthem as a piece of New Orleans Jazz, for example. And then there’s Orkestra Obsolete, who’ve arranged New Order’s Blue Monday using the instruments of the early 20th century, including musical saws and Theremin. There’s definitely a sense of fun with all these musical experiments, and behind the postmodern laughter it is good music. An as this article points out, we need this in these grim times.

Here’s an example of the type of music we’re talking about: It’s Samuel Kim’s medieval arrangement of Star Wars’ Imperial March from his channel on YouTube.

And here’s Orkestra Obsolete’s Blue Monday.

 

 

 

 

 

 

Paul Joseph Watson Butthurt Berserk ‘Cos Piers Morgan Won’t Debate Him

April 27, 2020

More hilarity now, though it’s unintentional and comes courtesy of Alex Jones’ British pal, Paul Joseph Watson. Jones is the bonkers American conspiracy theorist responsible for Infowars. This was the internet show that told its audience that the globalists were going to take over the world, stripping us of our freedoms and even our humanity. Obama was going to declare a state of emergency and force Americans in FEMA camps, commencing the mass cleansing of the population. The Democrats were all secretly Satanists and paedophiles. They and big business were in league with aliens/ and or demons to take over the world and create the one-world Satanic superstate of fundamentalist Christian end times theology. Barack Obama was declared to be the Antichrist because he smelt and had flies buzzing round him. Hillary was a lesbian cyborg, who practised witchcraft. NASA was running child slave labour camps on Mars. Feminists and gay rights activists are transhumanists, who want to turn everybody into gender neutral cyborgs. They’re coming to take away Americans’ guns. And the government is putting things in the water that ARE TURNING THE FRICKIN’ FROGS GAY.

It’s a fair question whether Jones actually believes any of this rubbish, or is just exploiting it for the sake of viewers. He was one of the major purveyors of the batshit insane conspiracy theories that are a genuine threat to decent political life. Thanks to Jones’, the bereaved parents of children murdered in the Sandy Hook massacre have been subject to abuse because Jones declared that the massacre didn’t happen and they were just ‘crisis actors’. A Boston pizza parlour has also been subject to abuse and even an intrusion from an armed man after Jones declared that it was at the centre of a Democrat paedophile ring and that the abuse children were kept in a dungeon in the basement. It isn’t, and there is no basement and no children. The gunman had been taken in by Jones’ bilge, and  had come to free the kids he genuinely believed were imprisoned there. After being shown he was wrong, he gave himself up peacefully. It’s a mercy that no-one was killed.

Thanks to antic like the above, Jones has been thrown off a series of internet platforms so that his public profile, and his income, have taken a massive hit. And Paul Joseph Watson, after hanging out with him, has returned to Blighty. He was one of the three, who managed to destroy UKIP under Gerard Batten. When he and another two internet personalities from the far right, Mark ‘Count Dankula’ Meechan and Carl ‘Sargon of Akkad’ Benjamin joined UKIP, prompting those of more moderate views to walk out. The party was already losing members to Farage’s latest vehicle for his colossal political ego, the Brexit Party, and the entry of Watson, Benjamin and Meechan just about finished it off.

Coarse jokes have been made about the precise nature of the relationship between Jones and Watson. One theory is that Watson split from Jones because of the latter’s views about Britain’s NHS. One commenter to a video about Jones and Watson jokingly suggested that Watson was over here because he was tired of being the object of the sexual attentions of Jones and one of the others at Infowars. But whatever the reason, Watson is over here, he’s looking for attention, and he’s angry. And to everyone else, it’s hilarious.

Zelo Street has posted up a rip-roaring piece about Watson going berserk at Piers Morgan on Twitter. Watson wants to debate him, but Morgan’s got better things to do like torment the government in interviews, and has simply blocked him. This has sent the man dubbed ‘Twatson’ by his detractors into what Molesworth used to describe as ‘a fearful bate’. And so he’s poured forth a stream of abuse directed at Morgan on Twitter, beginning with this delightful message.

Cowardly little bitch. Afraid of the fact that I’m more popular and definitely more attractive than you. Mercenary twat. Debate me, you yellow belly crusty boomer sellout fraud cuck wanker dickhead”.

And there’s more, much more. He rants that Morgan is afraid to debate him because he’s more intelligent, youthful and handsome. And his spirit animal is some kind of bird of prey. He’s not a misogynist, because when he was at school his mother and grandmother would beat up any kid who picked on him. Nor is he an INCEL. He has no trouble picking up girls, especially Muslims. That still doesn’t alter the fact that he is anti-feminist, and has very islamophobic views.

One of the staples of comedy is a character massively losing their temper, like Donald Duck in some of the Disney cartoons. There’s a similar comedic value in watching Watson explode at Piers Morgan’s refusal to get drawn into debating him. Although perhaps we shouldn’t laugh. As Frankie Howerd used to say, ‘Oh, don’t mock. Doooon’t mock! It’s rude to mock the afflicted.’  But faced with such a massive tantrum, it’s very had to follow Howerd’s command of ‘titter ye not’.

Zelo Street concludes their article about this with ‘Piers Morgan is, for all his faults, successful and well-off. And Paul Watson … isn’t.’ And it’s sending Watson up the wall to the immense amusement of everyone else.

See: https://zelo-street.blogspot.com/2020/04/prison-planet-manhood-meltdown.html

 

 

Murdoch’s Daughter Being Considered as Next Beeb Director-General

February 11, 2020

This is ominous. According to an article by Adam Sherwin in yesterdays I for Monday, 9th February 2020, the BBC is considering appointing Elisabeth Murdoch, Dirty Rupe’s daughter, as its first female Director-General. The I’s article seems to think this will be a positive move, as she isn’t supposed to be hostile to the Beeb like her father. And the appointment of one of Murdoch’s family as the Beeb’s chief will supposedly deter Downing Street from making any further attacks on the Corporation. The article runs

Elisabeth Murdoch, the daughter of Rupert Murdoch, who became a successful television entrepreneur in her own right, has emerged as a surprise candidate to run the BBC.

Mus Murdoch, former head of Shine UK – the production company behind MasterChef and Broadchurch – would be seen as an acceptable director-general by the BBC’s Downing Street critics. However, the prospect of the broadcaster being run by a member of the Murdoch family, which has campaigned against the licence fee-funded BBC through its newspapers, will shock many at the corporation.

I has learned that the BBC is appointing headhunters to broaden the search for a new leader, following the announcement that Tony Hall is leaving.

Current favourites include Charlotte Moore, BBC director of vision, the best-placed internal candidate; Jay Hunt, former head of BBC1 and Channel 4, who now leads Apple’s European TV commissioning; Alex Mahon, chief executive of Channel 4; and ITV chief executive Carolyn McCall.

Insiders say the BBC is almost certain to appoint its first female director-general.

The BBC board, led by Sir David Clementi, is seeking a figure with proven leadership in the creative industries who carries enough authority in Whitehall to guide the BBC through tough negotiations over the future of the licence fee.

Ms Murdoch, who pocketed £130m when she sold Shine to 20th Century Fox, ticks many of the boxes. She does not share her family’s antipathy to the BBC, having sold 20 shows to the broadcaster as a producer.

Stepping aside from her family’s succession battle, Ms Murdoch, 51, has spoken in support of the “universal licence fee” but urged the BBC to how “efficiently that funding is being spent on actual content”.

It is not clear if Ms Murdoch would welcome an approach for the £450,000 post. last year she co-founded Sister, a global television production business which developed the acclaimed Sky drama Chernobyl.

Although Downing Street’s choice to lead the BBC would be a longstnding critic such as Rebekah Brooks, CEO of Rupert Murdoch’s News UK, a figure such as Ms Murdoch would prove an acceptable compromise.

In a box article next to this, ‘Power play Smart move?’, Sherwin also writes

Although the appointment of the new director-general is a matter for the BBC board, Dominic Cummings, Boris Johnson’s top aide, has privately warned that a ‘business as usual’ successor to Tony Hall would only hasten the end of the licence fee.

Handing the BBC’s future to a scion of the Murdoch dynasty would be a bold move for the broadcaster.

Elisabeth Murdoch has £300m in the bank, boosted by dividends from her father’s sale of Fox’s entertainment assets to Disney, and has made a number of strategic investments in digital start-ups.

But another option could be Alex Mahon, Channel 4’s chief executive. Hired by Ms Murdoch for her Shine group in 2006, it was Ms Mahon who brought the Broadchurch producer Kudos into the business.

The upside of luring Ms Murdoch, once named the fifth most powerful woman in Britain in a Woman’s Hour poll, is the weight her name would carry in negotiations over the BBC'[s future with Downing Street. “It could be a genius move. They woulnd’t dare f**k with a Murdoch,” said one insider.

My guess is that even if Murdoch became director-general, she’d still carry on the and increase the Beeb’s right-wing political bias. I also think that she’d carry out some further privatisation and quiet dismantling of the Beeb for the benefit of its competitors, but not as outright as Cummings and BoJob would quite wish.

Whoever gets installed as the next director-general will still be under pressure to get rid of the licence fee, though I’m sure the Tories would hesitate at attacking one of Murdoch’s own family because of the power of the Murdoch press. On the other hand, she could well reverse her previous positive attitude to the Beeb, and become an enthusiast for its dismantlement once she become D-G.

Whatever happens, the Beeb is still in serious danger. But because of its massive political bias, its traditional defenders on the Left are no longer as willing to support it.

 

‘I’ Newspaper on Scientist Building Artificial Arms from Lego

February 13, 2019

Last weekend’s I newspaper for Saturday, 9th February 2019, carried a profile of David Aguilar, a disabled Andorran scientist, who has been building artificial arms out of Lego since he was a small boy. The article by David Woode, ran

Hand Solo?

A university student who was born without a forearm due to a rare genetic condition has created a robotic prosthetic arm using Lego. David Aguilar, who built three other models before his current one, said “I wanted to see myself in the mirror like I see other guys with two hands.

Is this his first bionic arm?

No. David, 19, began experimenting with artificial limbs as a child. he said his father bought him a lego Titanic set aged five and the colourful bricks became one of his favourite toys. David made his first artificial arm, albeit with limited movement, aged nine. ‘As a child I was very nervous to be in front of other guys, because I was different, but that didn’t stop me believing in my dreams,’ he said.

How does it work?

David uses Lego pieces given to him by a friend. Last year he built a red-and-yellow, fully functional robotic arm, it’s fitted with an electric motor and he can bend it at the joint and flex a grabber attached at the end. His latest prototypes are marked MK followed by the number – a tribute to comic book superhero Iron Man and his MK armour suits.

Could this spawn an army of Iron men and Iron Women?

The rookie inventor from the small principality of Andorra is studying bioengineering at the Universität Internacional de Catalunya in Spain. His post-graduation dream is to design affordable robotic limbs for those in need. He said “I would try to give them a prosthetic arm, even if it’s for free, to make them feel like a normal person, because what is normal, right”.

There’s a lot of research going on into artificial limbs, some of it very inspiring. The robotics unit at the University of the West of England has formed a private company to build artificial hands for children. They’ve produced one with the consent of Hollywood shaped like the hand of the Marvel superhero, Iron Man. I think they were also planning to produce one based on C3PO in collaboration with Disney, if I recall correctly. Aguilar’s clearly a very skilled engineer, and his own experience of disability undoubtedly gives him real, personal insight into what disabled people need in artificial limbs and how they can be best designed for them. I wonder what his work will be like after he’s graduated and, hopefully, begun working on them at a higher level. It should be really good.

In the meantime, I’d really have loved to be able to make a proper, working robotic arm out of Lego, Meccano or any other construction kit when I was child as well as knowing how he does it now.

Cats in Space!

December 28, 2017

No, not the Muppets’ ‘Pigs in Space’, nor the 70s Disney film The Cat from Outer Space, but SF paintings of moggies going where no moggy has gone before. It’s from the SF art site on Tumblr, 70sscifiart. And I dare say that some of them may well have been inspired by the Disney film, or came along to ride the Disney bandwagon after the film came out. On the other hand, there are an awful lot of cat fans, including SF authors and artists like Cordwainer Smith. In one of his stories, The Game of Cat and Dragon, the first human pioneers into interstellar space use humans cybernetically linked to cats to operate the defence systems combating the alien monsters that lurk in the darkness between the stars. Cats are used because they’re the topmost, ruthless predators. But Smith liked cats anyway, and they appear in many of his stories.

This is for all the cat people out there. Enjoy!

Sam Seder on Disney’s Animatronic Donald Trump

December 20, 2017

Well, as Freddie Mercury once sang in Queen’s epic track, ‘Machines’, ‘The machines take over’, and this time there really ‘ain’t no rock ‘n’ roll’. Or as the blurb for this video puts it instead, the Trump animatronic is so horrifying it’ll haunt your dreams.

Disney have created a robot version of America’s most unpopular fascistic president for their Hall of Presidents. The Trumpdroid stands in front of the other animatronic US presidents, and recites a speech, with appropriate gestures and body movements, about his august predecessors were responsible for crafting the American constitution and political structure, and so creating the freedom that Americans enjoy today.

And Seder and his co-hosts are right: it is very creepy. The robotics technology used to animate the machine is really impressive, but it does bear out the observation of one Japanese robotics scientist. I forgotten the fellow’s name, unfortunately, but he shrewdly observed that people are uncomfortable with things that resemble them closely, but are still very different. Hence the human discomfort with robots when they become a little too accurate. Something similar was also said by Red Dwarf’s Kryten way back in the 1990s. Lister, or one of the other members of the ship’s highly dysfunctional crew, ask him why his manufacturers have made him look very much less than a perfect replica of a human. He replies by stating that it’s because this would make people feel uncomfortable around him, for exactly the same reasons the Japanese scientist suggested. And way back in the mid-1970s, an irrational fear of robots – ‘robophobia’, or ‘Grimwade’s Syndrome’, was one of the plot elements in the Tom Baker Dr. Who serial ‘The Robots of Death’. This particular serial was set on a sandminer, a vast mining vehicle, operated by a small human crew under which was a much larger labour force of robots. And the robots start shaking off their servitude. It’s explained in the show that some people have an irrational fear of robots, because although they look like humans, they don’t employ any body language. And so to them they appear as ‘the walking dead’.

Rather more humorously, Seder and his friends joke that the other mechanical presidents are looking at the Trumpdroid wondering how on Earth it got there. And that the President Lincoln android is just about to tell the rest of them that there’s no choice for it now: they have to put the pistols to their heads and blow their little robot brains out. They also joke that it’s rather like the bit on the SF series Westworld, when the robots look down at themselves and finally realise what they are.

Rather more seriously, the clip begins with a discussion between Seder and a caller about the GOP’s tax bill, and why people join the Republican party. He states some join, because they hate the Environmental Protection Agency, and what to use highly toxic pesticides on their land, like Tom Delaye. Others really hate trade unions, and what to destroy them to keep ordinary people poor. But the majority do it to enrich themselves through corporate sponsorship. Such is the state of American politics. And the same comments also apply to the corporate Dems of Hillary Clinton, and to the Conservatives and Blairite Labour over this side of the Pond.

If these characters remain in power, perhaps the world would be much better if the machines really took over. Or the Xenomorphs from the Alien franchise. After all, as Ripley says in the 2nd film, Aliens, when she discovers the way she and the space marines have been betrayed by the Corporation, the aliens ‘don’t f**k each other over for a percentage’.

The Emergence of ‘Cyborg’ Chic?

August 8, 2017

Last weekend’s Sunday People carried a feature, complete with ‘tasteful’ nude piccie, of a former female British squaddie, Hannah Campbell. Campbell, had lost a lower leg while guarding a building in Basra a decade, and was mentally still scarred with PTSD. The accompany photo showed her wearing only Union Flag body paint and her artificial leg.

Aside from the questionable morality of using pictures of women in states of undress to sell newspapers, I’ve absolutely no objection to disabled women – or blokes, for that matter – appearing as sexy or glamorous. I don’t mean in a fetishistic sense, such as amputee fetishism, but simply as people, who remain glamorous and attractive despite their injuries.

But the picture also set me wondering how long it would be before disabled people also became style icons, because of the quality and aesthetic style of their prostheses.

A few weeks ago there was a piece on the news about a company based at UWE here in Bristol, which has developed relatively cheap artificial hands, which people can make for themselves. The designs are only, and I’ve got a feeling some of the components can be manufactured using a 3-D printer. The journos talked to one little chap, who was very well impressed with his new hand. One of the company’s directors also said that they were currently negotiating with Disney for the rights to use some of their characters. They were interested in developing an Iron Man artificial hand, based on the Marvel character’s body armour. I can see children absolutely loving that, and the lad, who wore one of their hands already said that the other kids really admired it. This is great, because the company’s turned something that could easily be a mark of shame – a missing limb, and its artificial replacement – and turned it into something cool.

These two stories have made we wonder how long it will be before models, celebrities, fashionistas and other style icons include those with disabilities, but who have managed to incorporate the latest trends in cybernetic or bionic aesthetics with their own natural good looks or stylish clothes. After all, a few years ago one newspaper, reviewing Britain as the centre of cool design, selected various pieces of technology – I can’t remember whether it was computers or mobile phones – as examples of British design excellence. And just as style is a part of modern computer design, it’s also a factor in that of artificial limbs.

And so there’s the distinct possibility that as the technology advances, so we could see the emergence of a kind of ‘cyborg’ chic, of glamorous people sporting equally glamorous artificial hands and legs. It’d be what the Transhumanists – those extreme technophiles that want to upload their minds into robots and computers – have partly been looking forward to all these years.