This might interest those of my readers, who are into UFOs and the theories about ancient astronauts. Cartoonist Kayfabe is a channel on YouTube hosted by two independent comics creators, Ed Piskor and Jim Rugg, which reviews and talks about comics. In the video below, which they put up yesterday, the pair review the first issue of comics legend Jack Kirby’s book, The Eternals.
Published in the 1970s, this was based on the theories of Erich von Daniken, that humanity had been visited in antiquity by aliens, who had been worshipped as gods. In Kirby’s strip, the aliens were the Celestials or Space Gods, immense giant humanoids wearing weird armour or spacesuits, rather like the world-devouring Galactus of Marvel’s Fantastic Four comic. In the strip the Space Gods had come to Earth in the distant past, genetically engineering humanity’s pre-human ape ancestors. The result was three species of humanoids, the Eternals, humanity and the Deviants. The Eternals possessed immortality and superpowers, and were taken by humans as gods. One of the Eternals is called Ikaris, which is clearly a version of Icarus, the character from Greek myth. While the Eternals were generally benign and largely aloof from human affairs, the Deviants were actively hostile. Their genome was unstable, with a result that they were monstrous in form and envied and hated Eternals and humans for possessing a stable body plan and good looks. One of the Deviant characters was a man, who looked human, and so was hated by the rest of the Deviants and forced to compete in lethal gladiatorial contests for their amusement.
I first came across the Eternals as a back-up strip in the British version of Marvel’s Star Wars comic. From what I remember, the first tale had Ikaris, in disguise as Ike Harris, leading a party of human explorers into an ancient South American temple. The temple is, in reality, a monument to the Space Gods, who then return to Earth. The temple becomes their landing site, with one Space God standing sentinel over it. This then becomes a forbidden zone to the three other species. The Celestials have come to judge their experiments, taking fifty years to make their observations and gather information. If humanity or the other races fail the test, the Space Gods will exterminate them.
Kirby was a master of cosmic art, and this strip shows how skilled he was at drawing beings from outer space of immense power. The various ancient astronauts depicted in the temple’s carvings and statuary are clearly influenced by the art of the ancient South American Indian civilisations such as the Aztecs and Maya. This very much follows the views of von Daniken and similar authors, who interpreted a carving of an ancient Mayan king from the temple of Palenque as portraying an ancient astronaut piloting a space capsule.
There have been a multitude of comics about flying saucers since Kenneth Arnold made his sighting of a group of mysterious objects over the Rockies in 1947, which launched the modern UFO phenomenon. The Eternals is an example of how a similar, related theory – ancient astronauts – also entered popular culture in comic form. I don’t think the strip actually lasted very long. Either I stopped reading it, or the strip disappeared from Star Wars comic after a few issues. Despite this, the characters have remained part of the MCU and a film based on the strip, which I’ve blogged about previously, is currently being filmed, trailers for which have been released. Kirby’s art is awesome, and the strip marked Jolly Jack’s return to Marvel after a period with DC. I think Kirby had left because of his dispute with Marvel and Stan Lee over who had created many of the most iconic Marvel characters. Although he had returned, there still seems to have been considerable resentment against Kirby at Marvel. Piskor and Rugg comment on the overwhelmingly hostile tone of the letters Kirby’s editors at Marvel chose to publish in the comic.
I really enjoyed the first Eternals story and its premise, though I think I got bored with it as the tale went on. I shall be very interested indeed when the film finally comes out, as I’m currently in two minds whether I want to see it. It could be very good, and it’ll be great to see Kirby’s designs for the Space Gods appear on the silver screen. It’ll also be interesting to see what effect, if any, it has on the paranormal milieu. Will it lead to a revival of von Daniken and the ancient astronaut theory?
I really shouldn’t be surprised at this whatsoever. It was inevitable, and everyone saw it coming the moment Starmer entered the ring in the Labour leadership contest. But I hoped against hope that he would still have some sense of honour and remain faithful to his election pledges. But he hasn’t. He’s finally taken his mask off and revealed his true, Blairite neoliberal face. And in the words of Benjamin J. Grimm, your blue-eyed, ever-lovin’ Thing, ‘What a revoltin’ development’ it is.
On Monday Mike put up a piece reporting that Starmer had given an interview to the Financial Times in which he blamed his predecessor, Jeremy Corbyn, for last year’s election defeat. He claims that Corbyn’s leadership was the chief topic of debate. That’s probably true, but only up to a point. The long, venomous campaign against Corbyn certainly did whip up a vicious hatred against the former Labour leader amongst a large part of the electorate. Some of the people I talked to in my local Labour party, who’d been out campaigning, said that they were shocked by the vicious, bitter hatred the public had for him. One woman said that it was as if they expected him to come up the garden path and shoot their dog.
But Starmer was also one of the reasons for Labour’s defeat. It was due to Starmer’s influence that Labour muddled its policy on Brexit by promising a second referendum. Johnson’s message of getting Brexit done was much simpler, and more popular. It’s almost certainly why Labour lost its historic strongholds in the north and midlands. These were areas which voted heavily for Brexit. But obviously, as the new leader of the Labour party, Starmer doesn’t want to mention that.
Then he goes on to blame the defeat on Labour’s policies. He claims Labour had overloaded its manifesto with promises to nationalise several utilities, issue £300 billion of shares to workers and promising another £83 billion in tax and spending. However, these policies, contrary to what the habitual liars and hack propagandists of the Tories and Lib Dems claim, had been properly costed.
Now I don’t doubt that the manifesto was overloaded by too many promises. When analysing what went wrong in the local constituency meeting, some felt that it was because the manifesto was too long, contained too many such promises and felt that they were being made up on a daily basis as the election progressed. But the central promise of renationalising the electricity grid, water and the railways were genuinely popular, and had been in the previous election in 2017. And Starmer promised to honour the policy commitments made in last year’s manifesto.
And now he’s shown in this interview that he has no intention of doing so.
He’s also demonstrated this by appointing as his shadow Chief Secretary to the Treasury Bridget Phillipson, another Blairite, who attacked Labour’s 2017 manifesto for offering too much to voters. Mike also reports that a leaked letter from Phillipson to other members of the shadow cabinet shows her telling them that from now on any policies that involve spending must have the approval of both Starmer and the shadow Treasury team before they’re even put in the planning stage.
Mike comments
Clearly, Starmer wants an “out-Tory the Tories” spending policy of the kind that led to then-Shadow Work and Pensions Secretary Rachel Reeves promising to be “tougher than the Tories” on benefits, in just one particularly out-of-touch policy from the Miliband era.
Absolutely. He wants to show Tory and Lib Dem voters that Labour stands for responsible fiscal policy, just like it did under Blair, who was also responsible for massive privatisation and a further catastrophic dismantlement of the welfare state.
Blair also made a conscious decision to abandon traditional Labour policies and its working class base in order to appeal to Tory voters in swing marginals. And the first thing he did was to recruit former Tory cabinet ministers, such as Chris Patten, to his own to form a Government Of All the Talents (GOATS). Starmer’s trying to make the same appeal. And it’s shown glaringly in the choice of newspaper to which he gave the interview. The Financial Times is the paper of the financial sector. Way back in the 1990s it was politically Liberal, although that didn’t stop one of its writers supporting workfare. According to Private Eye, the newspaper was losing readers, so its board and director, Marjorie Scardino, decreed that it should return to being a Tory paper. It has, though that hasn’t helped it – it’s still losing readers, and has lost even more than when it was Liberal. Starmer’s trying to repeat the Labour Party’s ‘prawn cocktail’ offensive, begun under Neil Kinnock, in which it successfully tried to win over the banking sector.
The rest of Mike’s article is a dissection of Starmer’s promises to stop landlords evicting their tenants because of the Coronavirus crisis. These look good, but will actually make housing scarcer and actually increase the problems renters have finding rent. Critics of Starmer’s policy see him as protecting landlords, rather than tenants.
Starmer’s policy does seem to be succeeding in winning Tory and Lib Dem voters.
According to a survey from Tory pollster YouGov, Starmer has an approval rating of +23, higher than Johnson. People were also positive about his leadership of the Labour party. 40 per cent think he’s done ‘very well’ or ‘well’ compared to the 17 per cent, who think he’s done fairly or very badly.
When it comes to Tories, 34 per cent think he’s doing well compared to 25 per cent, while regarding the Lib Dems, 63 per cent think he’s doing well compared to 53 per cent of Labour people.
Mike states that this is humiliating for Starmer, as it comes from people, who have a vested interested in a duff Labour leader.
And Starmer has been duff. He’s scored a couple of very good points against Johnson at Prime Minister’s Questions, but he’s largely been conspicuous by his absence. This has got to the point where the Tory papers have been sneering at him for it, saying that Piers Morgan has been a more effective opposition. It’s a point that has also been made by Tony Greenstein. See: https://azvsas.blogspot.com/2020/05/if-labour-wants-to-win-next-election.html
Even if these stats show that Tory and Lib Dem voters are genuinely impressed with Starmer, that does not mean that he has popular mandate. Tory Tony Blair won over Conservative voters, but that was at the expense of traditional Labour voters and members. They left the party in droves. It was Corbyn’s achievement that he managed to win those members back, and turned the party into Britain’s largest.
But Starmer and the Blairites despise the traditional Labour base. As shown by the coups and plots during Corbyn’s leadership, they’d be quite happy with a far smaller party without traditional, socialist members. And Starmer was part of that. He was one of those who took part in the coups.
Starmer is once again following Blair’s course in wanting to appeal to Tories and Lib Dems instead of working class voters, trade unionists and socialists. He wishes to return to orthodox fiscal policies, which will mean more privatisation, including that of the NHS, and completing their destruction of the welfare state.
He wants it to become Tory Party no. 2, just as Blair did. And for working class people, that means more poverty, disease, starvation and death.
I’ve been avoiding talking too much about politics this week as I simply haven’t had the strength to tackle the issues in as much detail as they deserve. Quite apart from the fact that the issues that have been raised in the media this week – the continuing running down of the NHS, the growth of food banks, homelessness and grinding poverty, all to make the poor poorer and inflate the already bloated incomes of the Tory elite, all make me absolutely furious. I’ve been feeling so under the weather that, quite simply, I couldn’t face blogging about them and making myself feel worse mentally as well as physically.
But this is slightly different.
Slate has published a piece about the guidance notes Alt-Right Trumpist cheerleader Milo Yiannopolis has got from his publishers at Simon and Schuster. In this short video, scourge of anti-feminists, racists and general Nazis Kevin Logan goes through the notes, and it’s hilarious.
There are pages and pages of them. And the more you read, the funnier it gets.
You remember Milo Yiannopolis? He was one of the rising stars of the Alt-Right. He’s anti-feminist, anti-immigration and in many peoples’ eyes, racist, although he’s denied that he actually has any Nazi connections. All this despite the fact that he was filmed in a bar getting Hitler salutes from a party of Alt-Right fans.
He was the IT correspondent for Breitbart, many of whose founders, managers and leading staff are racists, and have been described as such by the anti-racism, anti-religious extremism organisation and site Hope Not Hate. Yiannopolis has constantly denied that he’s racist or bigoted by playing the race and sexuality card. He’s half-Jewish, gay, and his partner is Black. And so he argues that he can’t possibly be prejudiced against people of different ethnicities and gays. Well, possibly. But he has said some extremely bigoted, racist and homophobic comments, quite apart from his anti-feminism.
He describes himself as ‘a virtuous troll’. Others just call him a troll. That’s all he is. He’s only good at writing deliberately offensive material, but is otherwise completely unremarkable. But he’s British public school elite, and so Americans, who should know much better, assume that somehow he’s more cultured, knowledgeable, better educated and insightful than he actually is. Sam Seder commented on Yiannopolis that if he wasn’t British, nobody would take any notice of him. I think it’s a fair comment. But it does show the snobbery that goes with class and accent. Incidentally, when I was a kid reading comics, my favourite characters were the Thing in the Fantastic Four, and Powerman, in Powerman and Iron Fist. And it was partly because of their accents. Stan Lee has a terrible memory, and to help him remember which character said what, he used to give them different voices, sometimes based on who was in the media at the time. He made the Thing talk like Jimmy Durante. He was a space pilot, but his speech was that of New York working class. I liked him because he was kind of a blue-collar joe, like my family.
The same with Powerman. He was a Black superhero, real name Luke Cage, who had been subjected to unethical medical experiments to create a superman by a corrupt prison governor after being wrongly convicted. I didn’t understand the racial politics around the strip, but liked the character because he was another lower class character with a working class voice. He also had the same direct approach as the Thing in dealing with supervillains. Whereas Mr. Fantastic, the leader of the Fantastic Four, and Cage’s martial artist partner in fighting crime, Iron Fist would debate philosophically how to deal with the latest threat to the world and the cosmos, according to the demands of reason and science in the case of Mr. Fantastic, and ancient Chinese mystical traditions, in Iron Fists’, the Thing and Powerman simply saw another megalomaniac, who needed to be hit hard until they cried for mercy and stopped trying to take over the world or the universe.
But I digress. Back to Milo. Milo was due to have a book published, but this fell through after he appeared on Joe Rogan’s show defending child abuse. Yiannopolis had been sexually abused himself by a paedophile Roman Catholic priest, but believed that he had been the predator in that situation. From what I understand, the victims of sexual abuse often unfairly blame themselves for their assault, so I’m quite prepared to believe that something like that happened to Yiannopolis. What was unusual – and revolting – was that Yiannopolis appeared to feel no guilt and regret at all about the incident.
Very, very many people were rightly disgust. He got sacked from Breitbart, along with a lot of other companies, his speaking tour had to be cancelled, and the book deal he had managed to finagle fell through.
Well, as Sergeant Major Shut Up used to say on It Ain’t ‘Alf Hot, Mum, ‘Oh, dear. How sad. Never mind.’ It couldn’t happen to a nicer bloke, and Yiannopolis got a taste of the kind invective and vitriol he poured on the ‘SJWs’ and the Left.
He appeared later on to ‘clarify’ his statement – not an apology – saying that he now knew he was the victim of child abuse, and stating that he didn’t promote or approve of the sexual abuse of children. But the damage was done.
Now it seems Yiannopolis’ book deal is back on, though Simon and Schuster really aren’t happy with the manuscript.
Comments include recommendations that he remove the jokes about Black men’s willies, doesn’t call people ‘cucks’, and stop sneering at ugly people. One of these is particularly hilarious, as his editor writes that you can’t claim that ugly people are attracted to the Left. ‘Have you seen the crowd at a Trump rally?’ Quite. I saw the front row of the crowd at BBC coverage of the Tory party convention one year, and they were positively horrific. It seemed to be full of old school country squire types, as drawn by Gerald Scarfe at his most splenetic.
The guidance goes on with comments like ‘No, I will not tolerate you describing a whole class of people as mentally retarded’, and then factual corrections. Like ‘This never happened’. ‘This never happened too.’ ‘No, you’re repeating fake news. There was no Satanism, no blood and no semen’. At one point the editor demands that an entire chapter be excised because it’s just off-topic and offensive.
Here’s the video.
There probably isn’t anything unusual in the amount of editing that Simon and Schuster require. Mainstream publishing houses often request changes or alteration to the manuscript. It happens to the best writers and academics. Years ago I read an interview with the editors of some of the authors of the world’s most influential books. One of them was Germaine Greer’s. Greer had sent in a manuscript about cross-dressing in Shakespeare. A fair enough subject, as there’s a lot of female characters disguising themselves as boys in the Bard’s plays. But she had the insight that Greer was far more interested in gender roles, and suggested she write about that instead. And the result was The Female Eunuch.
At a much lower level of literature, Private Eye had a good chortle about one of ‘Master Storyteller’ Jeffrey Archer’s tawdry epics. Apparently the gossip was that it went through seven rewrites. Ian Fleming’s editor for the Bond books, according to one TV documentary, was a gay man with a keen interest in dressing well. Which is why some of the sex in Bond was less explicit than Fleming intended, but also why Bond became suave, stylish dresser fighting supervillains in impeccably cut dinner suits.
No shame in any of this, then. But what makes it funny is that it’s happened to Yiannopolis, who seems to have been too much of an egotist to think that anything like it could ever really happen to him. Looking through the comments, it’s also clear that the editor really doesn’t like his bigotry, and the invective he spews against racial minorities and the disadvantaged. I got the impression that he or she really didn’t want to have anything to do with book, but has presumably been told they had to work with Yiannopolis because the publishers were going to put it out anyway, no matter what anyone else in the company felt.
And the editor’s clear dislike of his bigotry is a problem for Yiannopolis, because he’s a troll, and that’s just about all he does: pour out sneers, scorn and abuse, like a male version of Anne Coulter, another right-winger, who’s far less intelligent than she thinks she is. And I know that grammatically standards are a bit looser now than they were a few years ago, but when you have the comment ‘This is not a sentence’, it’s clear that Yiannopolis is failing at one of the basic demands of any writer from the editors of small press magazines to the biggest publishing houses and newspapers and magazines. They all insist that you should write properly in grammatically correct sentences. But Yiannopolis has shown that he can’t do that either.
As for the kind of literary snobbery that used to look down very hard on comics and graphic novels, while promoting opinionated bigots like Yiannopolis as ‘serious’ writers, my recommendation is that if you’re given a choice between going to comics convention or seeing Milo, go to the comics convention. You’ll be with nicer people, the comics creators on the panels are very good speakers, and themselves often very literate and cultured. I can remember seeing Charles Vess at the UKCAC Convention in Reading in 1990. Vess is a comics artist, but he’s also produced cover art for SF novels. He gave a fascinating talk about the great artists that have influenced him with slides. And one of the highlights was listening to the publisher of DC, Roy Kanigher, who was very broad New York. Didn’t matter. He was genuinely funny, to the point where the interviewer lost control of the proceedings and Kanigher had the crowd behind him all the way.
Which shows what a lot of people really know already: just because someone’s got a British public school accent, does not make them a genius, or that they’re capable of producing anything worth reading. Comics at their best can be brilliant. They open up children’s and adults’ imaginations, the art can be frankly amazing and quite often the deal with difficult, complex issues in imaginative ways. Think of Neil Gaiman, who started off as one of the writers at 2000 AD before writing the Sandman strip for DC. Or Alan Moore.
Yiannopolis is the opposite. All he does is preach hate, trying to get us to hate our Black, Asian and Latin brothers and sisters, despise the poor, and tell women to know their place. He has no more right to be published, regardless of his notoriety, than anyone else. And the editor’s demand for amendments show it.
Oh, and as regarding publishing fake news, he’d have had far less sympathy from Mike, if by some misfortune Mike had found himself as Yiannopolis’ editor. Proper journalists are expected to check their facts, which Mike was always very keen on. It was he was respected by the people he actually dealt when he was working as a journalist. The problem often comes higher up, at the level of the newspaper editors and publishers. In the case of Rupert Murdoch, I’ve read account of his behaviour at meetings with his legal staff that shows that Murdoch actually doesn’t care about publishing libellous material, if the amount of the fine will be lower than the number of extra copies of the paper the fake news will sale. Fortunately it appears that Simon and Schusters’ editors don’t quite have that attitude. But who knows for how long this will last under Trump. The man is determined to single-handedly destroy everything genuinely great and noble in American culture.
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