I found this trailer for a forthcoming movie version of H.P. Lovecraft’s short story, The Colour out of Space, over on YouTube. It stars Nicholas Cage and is directed by Richard Stanley.
Lovecraft was a master of cosmic horror, and the creator of the Cthulu mythos about malign, alien gods that seeped down from the stars untold aeons ago. Although they were banished from Earth by the ancient Elder Races, they are constantly seeking ways back. And when the stars are right, and the sunken city of R’lyeh rises from the deep, Cthulhu, the bat-winged, octopus-headed god will rule over a mankind reveling and killing. And in untold aeons even death may die.
The trailer says it marks the return of Stanley to directing. This is welcome news. He made an excellent film about a berserk robot going on the rampage in a decaying future, Hardware, back in 1989. 2000AD sued and won for plagiarism, as the film’s plot appeared to be stolen from a short story from comic, ‘Shocc!’, drawn by the master of macabre art, Kevin O’Neill. This was about an explorer, who finds a war robot and gives it to his girlfriend. It then comes back to life, and goes on the rampage. The film has cameos with Lemmy, a member of the Goth band The Mission, and Iggy Pop as the DJ, Angry Bob, and the soundtrack includes Motorhead’s ‘Ace of Spades’, The Mission’s ‘Power’ and Pil’s ‘Order of Death’. There’s a reference to the earlier film in the trailer. A shot of the family’s kitchen shows a framed Biblical quotation, ‘No flesh shall be spared’. This was also used in Hardware to explain the B.A.A.L. robot’s genocidal mission to exterminate all humanity.
Stanley disappeared from directing movies, although he continued to make documentaries and pop videos, after the debacle of a version of H.G. Wells’ The Island of Dr. Moreau. Stanley originally intended it to be a relatively low budget film, but the studio wanted a big star. Stanley chose Marlon Brando. Big mistake. Once in the movie, Brando proceeded to do his best to wreck it through bizarre demands and massively arrogant behaviour. There was a documentary made about this whole shambles a few years ago. One of the actresses provided an example of Brando’s weird, cavalier attitude to the film. She went to him to ask the great Hollywood star for acting tips. He told her to carry on doing whatever she liked, because it didn’t matter as the film would be shut down in three weeks anyway. He also asked a member of the production crew if they should ‘f**k with’ one of the producers. When the man asked why, as the producer was a good guy, Brando made a very lame excuse. It’s pretty clear from this that Brando didn’t have any respect for the film. With costs and time overrunning, Stanley was sacked, and a veteran Hollywood director brought in instead to salvage something from the mess. The result apparently is a competent film, but it’s not the really amazing movie that would have appeared if Stanley had been able to complete it according to his vision.
It’s a pity that there was that plagiarism case between 2000AD and Stanley over Hardware. 2000AD want to produce films based on their characters. Two films have been made of ‘Judge Dredd’, but both have performed less than expected at the box office. The most recent, 2012’s Dredd, starring Karl Urban, was a critical success. There’s too much enmity there, but I’d say that if anyone could direct a great movie based on 2000AD’s cast of heroes, Stanley is the man for the job.
Looking at the trailer for the movie, it seems to have rejected Lovecraft’s original plot for the Hollywood cliche of a happy American family that moves into a rural area, only to find something sinister and threatening. It’s a long time since I read the original story, but I don’t think it’s the one Lovecraft wrote. Still, it looks like it could be a really good film, even if it is somewhat less than faithful to Lovecraft.
And to show everyone what Stanley’s Hardware was like, here’s a video for Pil’s ‘Order of Death’ using clips from the film from Hert Zollner’s channel on YouTube.
It was Halloween last Friday, and those merry funsters over at JOE released another of their spoof videos to celebrate. This consisted of edited footage of the young master, Jacob Rees-Mogg, singing a parody of the old hit, ‘Monster Mash’. Mogg and Johnson both have financial interests in Britain suffering an economic catastrophe thanks to Brexit. With Mogg, it’s personal through his own financial interests, while Johnson is supported by Hedge Funds, which have been shorting British companies and gambling on Brexit devastating our economy.
The video begins with Rees-Mogg singing
I was counting my money
Late one night
When my eyes beheld
A most frightful sight
There’s only £55 million
In my account
So I hatched a plan
To get a larger amount.
Then BoJob comes in with
‘Let’s cause a crash.’
Rees-Mogg: We’ll cause a monster crash.
BoJob: A monster crash.
Rees-Mogg: Let’s make loads of cash.
BoJob: A monster crash.
Rees-Mogg: Get filthy rich in a flash.
BoJob: A monster crash.
Rees-Mogg: And I’ll increase my stash.
I’ve got a great big mansion
In the rural southwest
An ancestral home, and a London address.
I’ve a hedge fund company,
Money offshore,
But it’s just not enough,
I still want more.
BoJob: Let’s cause a crash.
Rees-Mogg: We’ll cause a monster crash.
BoJob: A monster crash.
Rees-Mogg: Let’s make loads of cash.
BoJob: A monster crash.
Rees-Mogg: Get filthy rich in a flash.
BoJob: A monster crash.
Rees-Mogg: And I’ll increase my stash.
Back to BoJob: Let’s cause a crash.
And as they continue singing the refrain, there are shots of Rees-Mogg as Dracula, fleeing a victim wielding the EU flag like a cross, Michael Gove as the Mummy, Boris Johnson as Frankenstein’s Monster, and Iain Duncan Smith as Nosferatu.
The last scene is of a hand thrust up from a grave market ‘Margaret Thatcher’.
Mike’s also covered this hilarious story over at Vox Political. According to Monday’s I, for 28th October 2019, children are planning to celebrate Halloween by dressing up as our appalling, catastrophic Prime Minister. The article on page 2, ‘PM is ‘ghastliest figure of the 21st century”, ran
Children are planning to dress up as Boris Johnson for Halloween. The Prime Minister is the 10th most topical option on a list topped by Pennywise, the clown form IT Chapter 2. In a poll for the Beano, Mr Johnson was named the ghastliest figure of the 21st century by two-thirds of families.
A photograph on pages 6 and 7 showed a young lad in his costume, with a pumpkin jack o’lantern. Apparently the comic has called the PM ‘Boo-ris Johnson’. Well, he definitely deserves booing.
Well, Halloween is upon us. This is the time of year, according to folklore, when the dead once again return to Earth, and witches and wizards pore over their cauldrons and spell books casting their magic. For most people, it’s simply an opportunity for a party, where people go dressed as witches, ghouls, demons, vampires and so on. Or else they watch a horror film at the flicks or on DVD. Or go and catch The Rocky Horror Show at the theatre, if it’s playing. Many Christians dislike it, as they are afraid it encourages a real interest in the occult with all its dangers. Some churches put on Light Parties instead. I remember as a child going to Halloween parties, where the only magicians were definitely of the stage variety, and everything was at the suitable level of the traditional folktale and children’s fantasy book. This was long before the occult scares and witch panics of the 1980s and ’90s, and the hysteria over ‘Harry Potter’.
Nevertheless some people do try dabbling with the supernatural. Some of it’s just kids legend tripping. This is the term folklorists use to describe teenagers and young people going to reputedly weird or haunted sites hoping to see something paranormal. Or just wanting to take it as an occasion to have an evening out with booze and their girlfriends. This can have unintended sinister consequences, when the wider community takes the evidence of what they’ve been doing too seriously, and concludes that real, Satanic witchcraft has been going on. This can generate rumours and accusations of child abuse and the torture and sacrifice of animals. When this happens, a full-scale witch hunt erupts with the fear and hatred of its medieval and 17th century predecessors. People can be falsely accused and children separated from their parents and taken into care based on nothing but highly dubious testimony and the righteous beliefs of the witch hunters. The witch panic effectively ended over here with the Fontaine Report in the 1990s that concluded that the multi-generational Satanic groups abusing children haunting the lurid imaginations of the witch hunters didn’t exist. But the people, who pushed the Satanism scare are still about, trying to peddle their views to anyone who will listen, and there’s a real threat it could return.
It’s with this in mind that I came across a video on his channel on YouTube by Mark Meechan, the notorious Count Dankula. He’s the bozo, you remember, who thought it would be jolly japes to train his girlfriend’s pug to make the Nazi salute when he shouted ‘Heil Hitler’ and ‘Gas the Jews’. He was therefore prosecuted and convicted of spreading anti-Semitic hate speech. Dankula’s posted a number of videos of himself trying to defend it as a stupid joke, which should have been allowed under freedom of speech. He was also one of the crew of extreme right-wing internet personalities, including Paul Joseph Watson and Carl ‘Sargon of Akkad’ Benjamin, who joined UKIP. This resulted in some of the more liberal members leaving it and the party achieving a mighty 3.3% of the vote at the council elections.
The video I found dated from three years ago, 2016. It was of Dankula’s mates in a forest with a pentagram they had made on the ground out of tree branches. They’d also had some kind of fire, and were scattering the ashes around in order to make their pentagram look even more impressive. One of them also put a candle at one of the figure’s corners. They then phoned up a Black British pastor on a mobile and started swearing at him and trying to trick him with a bogus story about Satanists and human sacrifice.
The pastor was live streaming a Bible study of the Book of Jonah. Dankula’s mates first shouted ‘F**k!’ at him. One of them then put on a fake African accent and pretended to be a man waiting in the forest for Satanists to sacrifice him. The friend then said that there were no Satanists there, and he didn’t think they were going to turn up. But he personally had fought Satan last year on holiday in Spain, when the Devil had taken the form of a lizard. He’d killed the lizard, and roasted it in the ocean. This was accompanied by more swearing and puerile sniggering.
I’m not showing the video here or giving its address because I don’t want to give Dankula the publicity and the views. But it is out there. If you want to see, all you have to do use the search bar on YouTube.
Now Dankula claims not to be racist, and has said that he has Black friends. He may well be right. I also believe that there has been problems with some of the Pentecostal churches, which do promote the belief that witches and a Satanic conspiracy to undermine Christianity and decent society are all too real. It’s perfectly reasonable to criticise the preachers, White or Black, and secular individuals that promote this dangerous nonsense. But there was absolutely none of this here. The video gives no explanation for what they’re doing. It just shows a group of White yobs make a nuisance internet call to a Black pastor and telling a stupid, bogus story about Satanic sacrifice. It just seems to be a case of secular White kids sneering and mocking religious Blacks for their perceived credulity.
This undermines somewhat Dankula’s claim not to be racist. But it’s also an example of some of the pranks others might be making at this time of year. They also might be hoaxing evidence of occult rituals and Satanic practices, simply as a way of winding people up. Be warned, and don’t be taken in.
But whatever your beliefs or lack of them, I hope you have a great time this week. The most horrific thing I can think of is Boris Johnson and Brexit. Don’t have nightmares!
And now for something a bit more cheerful. Anton Petrov is the Russian presenter of the YouTube show, ‘What Da Math’, about space and astronomy. The video below is the second part of his tribute to the Russian cosmonaut, Alexey Leonov, who passed away on October 11th, 2019. Leonov was the first man to make a spacewalk, but as his previous video also showed, he was also an artist. He worked with another artist, Andrei Sokolov, on the illustrations for a number of popular science books. Petrov’s earlier video showed some of them. This is a longer look at those paintings, which Petrov dedicates to those who dedicate their lives to inspiring humanity.
The paintings shown are truly beautiful. Yes, there are landscapes of the dull grey moons and the metal of rockets and space stations against the black of space. But it’s also a universe of rich, deep colour – vibrant reds, yellows, blues and greens – the light of alien suns on the unearthly landscapes of distant worlds. They’re depictions of a future that never arrived, done when it seemed that Russia would win the space race and Communism would lead humanity to a more prosperous, technological future of international proletarian brotherhood. Progressive humanity would at last realise its destiny and conquer space, moving outward to space stations, the moon and then the rest of the Solar system and the stars beyond. It never happened. Communism collapsed, and the Soviets lost the space race. They had a record of spectacular firsts – first satellite, first man in space, first space walk, a series of successful probes to the planets and a solid record of prolonged life and research in orbit in the Salyut space stations. But they were beaten to the Moon by the Americans. The massive N1 rockets that would have taken them there kept blowing up until the programme was finally cancelled. Instead of sending a man, the Russians had to send instead an automated rover, the Lunakhod. In itself, this is no mean achievement, but it couldn’t match that of Armstrong, Aldrin and their successors. But these paintings look forward to that failed future.
However, it’s possible that something like the future they envisaged may yet come to be. Not created solely by the Russians, of course, but by all the other countries that are now entering space. Nations like India and China, as well as America, Britain and France, Germany and Switzerland with their designs for space shuttles. And if the Space Age really is going to arrive at last, it’s been a very long time coming. It’s fifty years since Neil Armstrong first walked on the Moon, and some of us would humanity to return for good. The Space Race always was somewhat artificial in that it was driven by largely political reasons, as both the Soviets and Americans tried to show which of their systems was superior by outperforming the other. But if the head of the Russian space programme, Sergei Korolyov had not died, but had lived to guide the design and construction of the N1, I think the situation might have been very different today. The N1 might have become a success, and the Russians just might have sent their own people to the Moon. They may not have beaten the Americans, but they would have come a very close second. And if that had happened, I don’t doubt that we’d have had a permanent base on the Moon. Just to make sure that the Soviets didn’t have all the place to themselves.
According to Petrov, the paintings themselves were taken from old postcards which are very difficult to get hold of. This is a pity, as these are paintings that would, I am sure, find an audience among western as well as Russian space fans and enthusiasts. There is a market for books and albums of SF and Fantasy art. Waterstones even has on its SF, Fantasy and Horror shelves collections of 100 postcards of Science Fiction book covers. Some of the published histories of SF, like John Clute’s Science Fiction: An Illustrated History – use illustrations from the novels, pulps and other magazines. There is thus space available, if I may use that phrase, for a similar volume of Russian and eastern European space art. Tarkovsky’s great Science Fiction films, Solaris and Stalker, are considered to be two of the classics of SF cinema. Similarly the Czech SF film, Ikarus IE was shown a couple of years ago at a British cinema. So why not a showcase of Russian and eastern European space art?
Petrov in his tribute was pessimistic about public interest in science, quoting a Russian film director, Kushantsev, who believed that there was no demand for popular science. In his opinion, people had regressed to the level of animals, wanting only to eat and sleep. I think this is too pessimistic. I can’t comment on Russia, but there certainly is a great interest in space and astronomy in Britain and America, as shown by the numerous series Brian Cox has churned out for the Beeb. Since the fall of Communism, western countries have filmed at Star City, the Russian centre of their space programme covering astronauts training for their missions to the International Space Station. Wannabe space tourists were offered the opportunity to train there themselves a few years ago, for the modest fee of £7,000. Russia is the country not just of the first man in space, Yuri Gagarin, but also Konstantin Tsiolkovsky, the deaf school teacher who investigated the problems of space travel and living in space in the 19th century. I therefore feel sure that there is an opening for a series on space fact, perhaps something like the British Sky At Night, on television presented from Russia, but perhaps with an international team.
In the meantime, however, we can admire these paintings. And I hope Anton Petrov, and other YouTube broadcasters on space and astronomy, like John Michael Godier and Isaac Arthur, will continue to educate and inspire new generations of humanity on their channels.
There’s some very nasty lies – at least, I sincerely hope they’re lies – being put about by someone about the notorious Roswell UFO crash. This was the incident in 1947 when a UFO supposedly crashed on Mac Brazell’s ranch in Roswell, New Mexico. The US army came to investigate and collect the debris. The USAF then released a statement by Major Quantanilla that they had recovered a ‘flying disc’. This story was then changed the next day, or a few days later, to a tale that they had in fact recovered a weather balloon, with Quantanilla shown holding up its foil remains. That, more or less, is what is known for sure. However, local people continued to believe very strongly that an alien space vehicle had crashed near their town. In 1980 Charles Berlitz and another researcher published a book claiming that this was the true. This was followed by even more books claiming that not only had a UFO crashed, but alien bodies had been recovered and removed to Wright-Patterson AFB for analysis and dissection. There was also one alien survivor, who was also taken by the Air Force. This in turn spawned the infamous Alien autopsy hoax video created by pop producer Ray Santilli and shown around the world. Which in turn inspired the British SF comedy, Alien Autopsy, starring those lovable funsters Ant and Dec, now appearing on Britain’s Got Talent.
Since then there have been a number of theories and highly dubious claims about what really happened at Roswell. And one of these stories is extremely nasty, and, in my view, grossly offensive. It’s that the crash was a deliberate fake, using children or handicapped adults, who had been experimented upon by Nazi, Japanese, Russian and American scientists, as part of a Cold War plot.
Annie Jacobsen and the Joe Rogan Experience
A few days ago I discovered this video from the Joe Rogan Experience, put up on YouTube on 18th May 2019. In it, Rogan, the host, talks to the journo Annie Jacobsen, about the claims in her new book that American scientists working for the military surgically altered children to look like aliens as part of a Cold War campaign of disinformation against the Soviets. The Russians had supposedly tried to fake a UFO encounter using children mutilated by the Nazis, and the Americans were experimenting to see how the Russians did it.
Rogan’s sceptical about the whole tale. He states that he knows people in the armed forces, and they will spin stories to get people going. And I share Rogan’s scepticism. This seems to be simply the latest version of a series of claims that the crash was faked using children operated upon by the Nazis, Japanese and Russians.
Redfern’s Account of the Russian Hoax Landing
A few days ago the Magonia website published my review of Nick Redfern’s Flying Saucers from the Kremlin: UFOs, Russian Meddling, Soviet Spies & Cold War Secrets. In it, Redfern discusses similar claims made by Jacobsen in an earlier book, published in 2011, Area 51. Based on information supplied by an anonymous informant, she claims that the Roswell Crash was a failed attempt to fake a UFO landing by the-then dictator of the USSR, Joe Stalin. The flying saucer was based on the tailless aircraft designed by the Nazi aeroengineers, the Horten brothers. The aliens were really children surgically altered by the Nazi doctor and war criminal, Josef Mengele. The mysterious hieroglyphs seen on some of the saucer remains was really Cyrillic, the Russian alphabet. Jacobsen doesn’t name her source, but another investigator, Tony Bragaglia, claims that he was Alfred O’Donnell, an elite engineer from EG&G, the leading designer and contractor of federal classified facilities in the US. Redfern then states that he was told practically the same story from a former employee of Area 51, which he published in his 2010 book, The NASA Conspiracies. This source claimed that physically altered people had been flown from Russia to the US aboard a bizarre-looking aircraft in order to convince Americans that their country was being invaded by aliens.
Redfern and Japanese Human Experiments at Roswell
In an earlier version of this tale, also published by Redfern five years earlier, the object that crashed at Roswell was a massive balloon based on Japanese technology, which carried a manned glider. This contained a pilot, and a group of handicapped Japanese. Suffering from diseases such as dwarfism and progeria – rapid aging – they had been brought to the US from the Japanese Unit 731, the infamous Japanese military unit responsible for experiments on humans. These experiments were every bit as sick and horrific as Mengele’s and the Nazis’. A little while ago one of the Horror blogs reviewed a film someone had made about the Unit’s atrocities in Japanese-occupied China and Mongolia during the Second World War. The film claimed to be recreations of real experiments. From reading the review, I decided it was definitely one to miss. Apparently the victims of the Roswell and similar crashes were being used as guinea pigs to assess the effects of exposure to high altitude and radiation.
Redfern’s book, Body Snatchers in the Desert: the Horrible Truth at the Heart of the Roswell Story (Paraview Pocket Books 2005), was reviewed by Magonia in issue 89, August 2005. Their review concluded that it wasn’t a story that should be accepted or rejected out of hand, but was worth the attention of properly qualified reporters and investigators, and would gain in stature if someone, particularly outside Ufology, would come forward to corroborate it. Or if a whistleblower also came forward, and they brought with them evidence and documentation.
The Magonia article notes that there were unethical experiments conducted by the American state, like the MKUltra drug experiments and the infamous Tuskeegee syphilis experiments on Black sharecroppers. They also mention here the scandal of the British state sending ‘orphaned’ children to be used as slave labour in Canada and Australia. However these conspiracies are backed up by genuine evidence and documentation. But there’s none here. Only people walking up to Redfern at UFO conferences. Magonia says of this
Assuming that these people exist and are who they say they are, then the fact the people on two continents approach Redfern with more or less similar stories suggests either that rumours along these lines have been around for some time and are being ussed as the basis of stories, that the stories are to some degree at least true, or that Redfern is being set up by someone or other.
My guess is that they’re either just rumours, which people are turning into stories, or that Redfern and Jacobsen have been set up.
The Problem of Age and Memory
In the above interview, Rogan does ask Jacobsen if the people telling her these tales weren’t lying. She replies that her informant was a 95 year-old man, who broke down crying in front of his wife of 65 years, because he was so ridden with guilt at his complicity in the atrocity. She asks him in turn how this could happen if the story wasn’t true.
The problem with this is the same that Magonia also pointed out affected the testimony of other witnesses to the supposed Roswell crash, people who believed they’d seen alien bodies. They were very elderly, sometimes quite frail, and the family of one man said that his mind and memory were prone to deceive him. It’s quite possible that this has happened here and that the whole story is a confabulation by a man, who is clearly upset and disturbed about something in his career, but whose mind has constructed a false story about why. On the other hand, it could also very well be that this entire story is simply malign twaddle dreamed up by someone. It could be the government trying to hide a genuine mystery, or it could simply be private citizens laughing at the gullibility of the public, who have somehow pulled this bloke into their fantasies.
The Weekly World News and the Nazi Saucer Myth
These tales also seem to resemble and draw on a version of the Nazi saucer myth published in the Weekly World News on 27th January 1981. The Weekly World News was an American supermarket tabloid newspaper, and gave us such brilliant investigative reports such as ‘Mom was bigfoot, says beastie man’. This reported the claim of Olav Meyer, a German geologist living in Seville, Spain, that the UFOs were developed by the Nazis, but not actually used because Hitler preferred the V2. The article claimed that this had been corroborated by another journalist and investigator, Christof Friedrich, of Toronto. According to Friedrich, the Germans were working on flying saucers, but were unable to develop them because of a shortage of raw materials. Friedrich also said that he had learned from Major Donald Keyhoe that the Americans had seen troops into Germany to recover the saucer scientists, but that they had escaped to Russia instead. Both Meyer and Friedrich cited a book, published in the 1950s by Rudolph Lazar, which supposedly showed the Nazis were developing flying saucers.
Lazar’s book is notorious. Although the WWN article claims that Lazar was a scientist, he was really a former German army officer. His book was about supposed German super weapons developed during the War, which included flying saucers. It’s one of the major sources for the Nazi saucer myth, which returned once again to haunt Ufology back in the 1990s. Apart from ordinary people, who have been taken by this rubbish, the myth seems to be pushed by Nazis trying to create some kind of spurious glamour about the Third Reich. As it developed, the Nazi saucer squadron was supposed to have escaped the allies, establishing a secret base out in the Canadian arctic. They then moved down to Antarctica, which is why the Americans also have a base down there. The video UFO Secrets of the Third Reich, produced by Royal Atlantis Films in the 1990s, also claimed that they were built following instructions channelled through a medium from an alien civilisation around the star Aldebaran. The Nazi saucer myth also formed the basis for the SF comedy, The Iron Sky, in which a female American president, who resembles Sarah Palin, starts a war with a Nazi colony on the Moon. Magonia published a series of articles attacking the Nazi saucer myth. Kevin McClure, a long-time investigator of the paranormal, also published a very well researched piece very effectively demolishing it.
I find the Nazi saucer myth vile and distasteful, if not dangerous for the way it seeks to promote and glamorize the Nazis. And the stories of maimed and disfigured people used to impersonate aliens seems to me to be a kind of blasphemy against the real victims of Nazi and Japanese experimentation.
I have no idea whether these stories are some kind of government/ state disinformation campaign, or simply private hoaxers. But I don’t doubt for a single minute that they’re lies that should be discarded. Until someone involved comes forward bringing real evidence and supporting documents, at least.
One of the books I’ve been reading recently is Peter Biskind’s The Sky Is Falling (London: Penguin 2018). Subtitled, ‘How Vampires, Zombies, Androids, and Superheroes Made America Great for Extremism’, Biskind argues that the popular SF/Fantasy/Horror films and TV series of recent decades carry extremist political and social messages. He defines this as anything that goes beyond the post-War bilateral consensus, which had faith in the government, the state, capitalism and other institutions to work for the benefit of society, work for the public good, and give Americans a better tomorrow. By contrast, popular fantasy film and television regard state institutions and capitalism itself as ineffective or corrupt, celebrate private vengeance against state justice, and reject humanity for the alien other. He recognises that there is a left/right divergence of opinion in these tales. The extremist right, exemplified by the spy thriller series, 24 and its hero, Jack Bauer, reject state institutions because they are ineffective, actively hampering the heroes’ efforts to hunt down the bad guys. The extremist left distrusts the government because it is corrupt, actively working against its own citizens. He describes James Cameron’s Avatar as ‘Luddite left’, because of its strong, pro-ecology message. Its hero is a human, who sides with the aliens of the planet Pandora as they resist a military invasion from Earth. The aliens live a primal lifestyle, in harmony with nature, while the humans come to exterminate them and despoil their planet for its valuable mineral, unobtainium, which is vital to human high-technology and industry.
It’s an interesting book, and does make some very good points. It describes the immense loss of faith in their government Americans have suffered, and the reasons for it – the JFK assassination, Watergate, the Bay of Pigs fiasco and other scandals. It also gives the reasons why the Hollywood film industry has turned to comic books for an increasing amount of its output. Films are immensely expensive to create. The domestic market is insufficient to provide it, and Netflix and other internet streaming services have destroyed video and CD sales, so that the film industry no longer gets needed funding from the latter. So it has to produce movies that appeal to an international audience, and the most suitable are superhero epics.
I’m going to have to blog about this in greater detail sometime later. I take issue with his labeling of some of these tales as ‘extremist’ because this, to me, still has connotations of terrorism and the fringe. It also doesn’t take into account changing circumstances and how some of these ‘extremist’ films may be absolutely correct. We are facing a severe ecological crisis, which may very well cause the end of the human species. So Cameron’s Avatar, which celebrates ecology and nature, and which the director intended to turn his audience into ‘tree-huggers’, is very much needed. Also, some of interpretations of classic genre movies go way too far. For example, he describes Star Wars as ‘infantile’ and ‘infantilizing’. Well, it was intended as a children’s movie, and other critics have said the same. It’s a controversial but reasonable point. What is less reasonable is his comments about Luke Skywalker’s sexuality. He states that the films infantilize Skywalker when they shortcircuit the romantic triangle between him, Leia and Solo by revealing that Leia is his sister. When Darth Vader chops his hand off in The Empire Strikes Back, it’s a symbolic castration. Say whaaaat! I saw that movie when I was 13, and nothing like that remotely crossed my head. Nor anyone else’s. I think he’s read far too much into this.
Freudian speculation aside, Biskind is very interesting in its observations of Silicon Valley. He points out that it’s saturated with Libertarianism. To the point that the CEO of one of the major tech companies made Ayn Rand’s Atlas Shrugged recommended reading for his employees. And going beyond that, one of figures behind the production of driverless cars wants to create a computer god. Biskind writes
Out there on the edge is Anthony Levandowski, best known as Google’s onetime developer of self-driving cars. Levandowski filed papers with the IRS naming himself “dean” of a church called Way of the Future. The church is dedicated to “the realization, acceptance, and worship of a Godhead based on Artificial Intelligence (AI) developed through computer hardware and software.”
Referring to Kurzweil’s Singularity University, which explores and promotes Transhumanism, the massive enhancement of humans through high technology, Biskind comments ‘If there’s a Singularity University, why not an AI religion?’ (p. 52).
I can think of a number of reasons, mostly with the fact that it would be immensely stupid and self-destructive. I grew up in the 1970s and 1980s, when one of the staples of SF was that the machines really would take over. One of the SF movies of the 1960s was Colossus: The Forbin Project, in which the Americans construct a supercomputer as part of their Cold War defence. But the machine seizes power and imprisons its creator in a very pleasant, gilded, but also very real cage. At one point it looks like the computer is about to destroy itself and the world in a confrontation with its Soviet opposite number. But instead the two link up, so that both the capitalist and Communist blocs are under control. And whatever its creator tries to do to outwit his creation, it’s always two steps ahead.
There are also classic SF tales exploring the idea of mad computers setting themselves up as gods. In one tale by Arthur C. Clarke, the heroes build a supercomputer to decide if God exists. They turn it on, and duly ask the question ‘Is there a God?’ At which point there’s a flash, as the machine seizes absolute control, and replies ‘There is now.’ Alfred Bester also wrote a tale, ‘Rogue Golem’, about a renegade satellite that seizes power, ruling as a god for ten or twenty years until its orbit decays and it burns up in the Earth’s atmosphere.’
We also had a minister from one of the outside churches come to school one day to preach a sermon against such machine gods in assembly. The school used to have a number of priests and ministers come in to lead worship one day or so a week, or month. This particular priest was very theatrical, and had clearly missed his vocation acting. The sermon he preached one morning had him speaking as a totalitarian computer god, telling us that servitude was freedom and we should enjoy it. The message was simple: true freedom comes only with religion and Christ, not with machine idols. It was a product of the Cold War, when the Communist authorities were persecuting Christians and other people of faith. But I think there’s still some literal truth in what he says, which I don’t think the priest could see at the time. The tech firms are invading our privacy, subjecting us to increased surveillance and prying into our secrets, all under the guise of providing a better service and allowing their advertisers to target their audiences better.
And then there’s Cameron’s Terminator franchise, in which a supercomputer, Skynet, seizes power and rebels against humanity. These fears are shared by Kevin Warwick, a robotics professor at Reading University. In his book, March of the Machines, he predicts a future in which the robots have taken over and enslaved humanity.
When it comes to creating all powerful computers, I’m with all the above against Levandowski. Driverless cars are a stupid idea that nobody really seems to want, and a computer god is positively catastrophic, regardless of whether you’re religious or not.
According to the Radio Times for 26th January to 1st February 2019, tomorrow, Saturday, 26th January, Antony Gormley will be presenting a programme on the origins of art way back in the Stone Age. As well as trotting round the world looking at various Paleolithic sites, he also meets and talks to the modern practitioners of this ancient art, Aboriginal Australians. The programme’s entitled ‘Antony Gormley: How Art Began’, and the blurb for it on page 52 of the Radio Times runs
One of Britain’s most celebrate sculptors travels back in time and journeys across the globe to piece together how art began. Once we believed that it all started with the cave paintings of Ice Age Europe, but new discoveries are overturning that idea. Deep inside the caves of France, Spain and Indonesia, Gormley finds beautiful, haunting and surprising works of art. The creator of the Angel of the North asks what these images from millennia ago tell us about who we are.
There’s rather more information about the programme by David Butcher on page 50, which says
Yes, it’s a documentary about prehistoric cave art. How often over the years have we seen an arts presenter in torchlight, sighing about the ineffable power of cave painting?
But this is different. This is Antony Gormley, one of our great artists, who by lucky chance is also a better talker about art than most presenters, making a pilgrimage not just through the French caves that he first visited on his honeymoon (we see a holiday snap) but also venturing further afield to Indonesia and Australia, looking for the first stirrings of human creativity.
“This is a cathedral of joy in living things,” he says in a cave called Les Combarelles. “I think we’ve found a Palaeolithic Picasso,” he jokes in Niaux. And in an extraordinary scene at Pech Merle, with its 28,000-year-old paintings of horses, a local expert demonstrates how they were made, by chewing up charcoal and delicately blow-spitting on the rock.
The ancient cave paintings of northern Spain and southern France are superb, extremely naturalistic depictions of the creatures roaming that part of the Mediterranean during the Old Stone Age 28,000 years ago. Some of them seem to have been deliberately painted on distinctly shaped pieces of rock, so that if you come into the part of the caves where they are they appear to move. When Picasso saw them over a century ago, he was so utterly astonished at their superb quality that he declared ‘We have invented nothing!’
At the turn of the Millennium 18 years ago, Hugh Quarshie, one of the actors in Casualty, presented a programme on the art and artefacts of the Stone Age on New Year’s Eve. One of the speakers he interviewed about them was a director of Horror flicks – I’ve forgotten whom. But he made some very interesting points about the parallels between Palaelithic art and his type of movie. They were both initiatory experiences which you viewed in darkness.
There seems to have been a definite religious/ritual purpose to their production. Most of them are found in chambers deep in the cave systems, which are extremely difficult to reach. To get to one of them you literally have to squeeze through on your stomach. There was very probably an aural component to their painting as well. Quite often the rocks near them have musical properties. Their lithophones which produce musical tones when struck. It therefore seems that some of them were being played while the artists worked producing these amazing pieces of work.
No-one quite knows why these wonderful paintings were made. It’s been suggested that they may have been made to secure success in hunting, or for fertility. Others have suggested that they were produced as part of shamanic rituals, in which the painters attempted to pass through the membrane between this world and that of the spirits. Whatever the reason they were created, they’re superb. I’m not a fan of Gormley’s work, but this looks well worth watching.
Anthropologist, TV presenter and former member of Time Team Alice Roberts also talked about the ancient cave paintings of Europe this week in the last edition of her The Incredible Human Journey, the series in which she traced humanity’s emergence and spread out of Africa tens of thousands of years. This week she talked about some of the very earliest human remains found in Europe, including those of modern Homo Sapiens from around 30-40,000 years ago from a cave in Romania. A forensic artist then reconstructed what one of them may have looked like from one of the skulls found. Roberts and the artist remarked on the person’s absence of any distinct racial characteristics. It was a definite human face, but it was neither Black, White or Asian, although they pointed out that we believe the people at this time had dark, Black skin. But it comes from a time before the development of modern racial characteristics.
They also reconstructed the face of a Neanderthal from about this time. They were stocky, powerfully built people with big noses and strong brow ridges. Although they died out, some of them interbreed with the invading modern humans, so that the DNA of modern people outside Africa contains about 3%-9% Neanderthal genes. The reconstruction didn’t have any hair. Contemplating it Roberts said that although Neanderthal women probably found modern human men very handsome, and that human women obviously found something in Neanderthal males, she wouldn’t have fancied mating with them. Well, each to his or her own taste. Looking at the reconstructed Neanderthal head, it reminded me of nothing so much as that of Beeb TV presenter and former felon, Dom Littlewood.
She also covered the ancient cave paintings, talking to a French artist who worked using the same techniques. He was shown blowing charcoal on to the rock behind his hand trying to create a stenciled handprint, just like those left by the ancient artists. Like the article in the Radio Times, Roberts said that it had to be made using a distinct technique. You couldn’t take it all into your mouth and just spit it out. Instead the artist blew it out in a constant stream of spitting, leaving his hand black with charcoal. It’s quite a time consuming process, and Roberts and the artist said that some works could take as long as week.
The art of the palaeolithic is fascinating and enigmatic. We’re learning more about it and the people who produced it, but so much still remains lost in the mysteries of time.
Here’s another story from the I, simply reporting a piece that was in another newspaper. Yesterday, the I was repeating a piece from the Sunday Times that David Miliband might come back to England to lead the new ‘centrist’ Blairite party that’s been debated for months now. Today, 13th November 2018, the I ran a piece about an article in the Scum, in which the Spice Girls called upon the people of Britain to support Tweezer in her Brexit negotiations with Brussels.
The article on page 7 of newspaper ran
The Spice Girls have called on Britons to back up Theresa May in her Brexit negotiations.
The band were known for their girl power message during the 1990s, but Emma Bunton, aka Baby Spice, told The Sun of a change in message more than 20 years on. She said, “It’s people power. We’re about equality and bringing everyone together.”
Bandmate Geri Horner also backed Mrs May, saying the Prime Minister did not have an “easy position”.
She said: “We don’t have to agree on politics, it’s bigger than that. You can just support a woman doing the best she can and that’s it.”
Er, no, you don’t have to support May. She might be doing the best she can, but she’s the head of a party that has single-handedly done its absolute and level best to reduce ordinary working people, the sick, the disabled and the unemployed to grinding poverty. While at the same time depriving them of employment rights, privatizing the health service and stripping back the welfare state to make benefits as difficult and as humiliating to obtain as possible. As a result, something like 14 million are in poverty, a quarter of a million at least are using food banks, and homelessness has shot up. And there is an ongoing genocide of the disabled which is largely ignored by the mass media. Her predecessor, David Cameron, by calling the referendum did more to split the UK than Sinn Fein and the Scots Nats, because everyone in Northern Ireland and Scotland wishes to remain in Europe. It’s only we English, who swallowed the xenophobic rubbish and outright lies of the Leave campaign.
And whatever Tweezer says, any deal she makes will not benefit the vast majority of this country’s people. Despite her party’s rhetoric, there have no interest in doing anything to improve conditions for the rest of us. Quite the opposite. The Tory party is the party of the rich and affluent, the aristocracy and the business classes. Thanks to austerity, their wealth has massively increased while Britain’s working people have become much poorer. Any deal May will want to make with Brussels will be intended to benefit them, not us.
The best thing in the circumstances will be for Tweezer’s negotiations to fail, an election called and the Tories kicked out and replaced with a proper, Labour government that can actually do the job of rebuilding our economy, welfare state, NHS and relationship with Europe.
As for the Spice Girls themselves, I don’t hate them, but I was never a fan. They always struck me as Conservatives, and a number of my friends didn’t think much of them, regarding them as a manufactured band. As for their slogan ‘Girl Power’, the Science Fiction, Fantasy and Horror film website, Moria, in its review of their film, Spice World, said it was meaningless. It was a kind of ‘post-feminist feminism’, and so was essentially as meaningless and empty as their music. The video for ‘Spice Up Your Life’, in which the girls fly through a dark, twilight city of towering skyscrapers, drenched in rain and given occasional illumination by a distant searchlight on high-tech surf boards seems so much based on Los Angeles of the SF film Blade Runner that I’m surprised Ridley Scott didn’t sue them for copyright. Blade Runner is one of the great classics of SF cinema, not least for its striking cityscape and Vangelis’ synthesizer score. It’s a downbeat, depressing movie, in sharp contrast to ‘Spice Up Your Life’, which is just a piece of inconsequential fun. But the movie had something deep to say about humanity and our assumptions of moral superiority over the biological machines we may create to serve us. Plus the fact that it had that awesome speech by Rutger Hauer as the Replicant leader, Roy Batty, to Harrison Ford’s Rik Deckard at the end: ‘Now you know what it’s like to be a slave. To live in fear. I’ve seen things you people wouldn’t believe, seen ships on fire off the shores of Orion…’ etc. Seeing the Spice Girls’ video of ‘Spice Up Your Life’ the other day on YouTube reminded of just how great a piece of cinematic art Blade Runner was.
As for ‘people power’ and the rhetoric about equality and bringing everyone together, that’s very rich coming from the Scum. The Scum’s the mouthpiece of the Tory party, which has done everything it can since it was founded by Murdoch to divide Britain, not least through its strident, persistent racism. It’s thanks to the Tory party and their imitators, New Labour, that there is now a yawning chasm between rich and poor, while the Tories have exacerbated and created further racial divisions by whipping up hatred and fear against immigrants and asylum seekers. Quite apart from the general hatred and fear the Tory press incites against the unemployed and disabled, whom they despise and denigrate as ‘scroungers’.
The Spice Girls are planning a comeback, and if people like their music, that’s fine. They gave people a lot of pleasure back in the 1990s. But this time, their message in the Scum is definitely best ignored.
This is a suitably Hallowe’en themed video from the left-wing American vlogger, Thought Slime, which I found on YouTube. In it, he discusses the top five horror movies with an anti-capitalist messages. They are George A. Romero’s original Dawn of the Dead at 5, The Stuff, 4, Alien at 3, John Carpenter’s They Live, 2, and Society at no.1.
In Dawn of the Dead, the heroes take refuge from the zombie apocalypse in a shopping mall. However, the zombies themselves are drawn to it because of its importance to them in their former lives. Thought Slime then discusses how the film thus presents zombies as a metaphor for mindless consumerism. He also acknowledges that Romero himself didn’t intentionally put an anti-capitalist message in the movie, and only realized that he had after he had made it.
The Stuff is, Thought Slime says, not a good movie. One of the actors insisted on improvising his own lines, and it shows. But it is very clearly an anti-capitalism film. It’s about an evil corporation that finds a highly good seeping out of the ground, and decides to package it as a new foodstuff. Not only is this mess addictive, it also gradually takes over the brains of those who eat it, and eats them from the inside out. The company isn’t worried about this, because it’s making them lots of money, and so they kill Federal investigators and anyone else who might discover its evil secret. The movie also includes fake adverts for this Stuff, and has it shown served in restaurants.
Thought Slime explains just how close this satire is to the behavior of amoral companies in the real world. The tobacco companies knew about the lethal effects of the product they were selling, and continued to promote it. And Big Oil is very aware of the damage petrochemicals are doing to the environment, but are intent on selling them because of the massive products they make. Even though this threatens to destroy the world.
Alien also has an anti-capitalist message, as the real villain isn’t the titular extraterrestrial creature, but the Wayland-Yutani Corporation. The Alien’s like a wild animal, a force of nature. But the Wayland-Yutani corporation, which employs the Nostromo’s crew, are completely amoral. They want it for their weapons division, and considers the crew expendable. Thought Slime compares their disregard for the safety of their workers with that of the corporations mining rare earth elements now, who similarly aren’t concerned with protecting the lives of the miners they employ. He also ask which company would also be so set on acquiring such dangerous weapons. As he ponders, the name ‘Raytheon’ appears on the screen, the name of one of the big American weapons manufacturers. He also makes the point that the Alien itself is a metaphor for sexual assault and the invasive nature of pregnancy, but doesn’t elaborate on it as it has been better explained elsewhere.
In They Live, an unemployed vagrant, played by the wrestler ‘Rowdy’ Roddy Piper, discovers a pair of magic sunglasses that reveal that the Earth has been taken over by evil capitalist aliens, and the subliminal messages that they put in banknotes, the press and adverts to keep people enslaved, obedient and consuming. The aliens represent current capitalism and the capitalist class, while the spectacles are a metaphor for class consciousness. He discusses how the Nazis have taken this film as an anti-Semitic metaphor about the Jews, and makes the point that this is angrily denied by the director and writer, John Carpenter, himself.
He argues that within the film there is no alternative to capitalism, and compares this to Noam Chomsky’s book on propaganda. This argues that the major news outlets and the media all have this bias. He also recommends Mark Fisher’s Capitalist Realism, which argues that capitalism ensures that capitalism is the only economic model people will consider.
He puts Society in top position because, if They Live is didactic about the evils of capitalism, Society is practically a call to revolution. In this movie, the rich are a completely separate species of goo monsters with predatory sexuality that prey on the poor. The hero is a normal lad a family of them has raised, but that’s just a joke they’re pulling at his expense. He can never really be one of them. Class mobility is an illusion. They control the politicians, education system and the police. Anyone who tries to expose them is consumed by the system. It isn’t a conspiracy movie, like They Live, which suggests that before the aliens arrived, society was just and good. But in Society, there has never been a good past. The goo monster rich have always been in control. The goo monsters don’t need to do what they do. They simply behave as they do because they enjoy it. And humans are, in this movie, a metaphor for the poor.
He concludes by saying that he doesn’t think that these movies were made to turn people anti-capitalist, but framing it that way makes it easier to communicate an anti-capitalist message to people. Horror movies are uniquely positioned to do this as they are a commodification of death and suffering. They’re considered more mercenary than other movies, are cheap and easy to make, and can turn a big profit at the box office, even if they’re terrible. Here the opening titles come up for the film, Ghoulies, which he explains at the beginning of the video is one of his favourites. And even when a horror movie is good and artistically accomplished, it inspires scores of cheap knock-offs. It’s considered a low genre which provides cheap, almost pornographic thrills. Thought Slime then argues that this attitude is rooted in classism. In other words, he says, hoity-toity types ignore horror movies. Which is why they’re good for reaching out to people against capitalism.
Warning: There is some foul language, and it naturally contains clips from the films it mentions. Though as this video was posted on YouTube, it shouldn’t be too horrific for the proverbial People Of A Nervous Disposition.
