Last week, Mike from Vox Political was on a net gathering on YouTube discussing Is Labour Anti-Semitic? Reaching Over the Noise, a documentary made with the express purpose of refuting the monstrous lies and smears made by John Ware’s wretched Panorama documentary, ‘Is Labour Anti-Semitic?’ If you watched this nasty piece of very yellow journalism, you’d be convinced that Jeremy Corbyn’s Labour party certainly was, and the individuals identified as anti-Semites were the most utterly contemptible Nazis. Reaching Over The Noise, however, shows the opposite: Ware’s film was one long tissue of egregious lies from start to finish, which smeared and vilified thoroughly decent people.
Panorama Lies Refuted by Corbyn’s Jewish Supporters
The internet gathering Mike attended was to publicise the film. It was hosted by Lizzie, of Unity News Network, and apart from Mike the other guests were Jason Cridland of Dorset Eye and former Labour party member and activist Sian Bloor. They were there because they had helped raise the £2,000 needed to make the movie. The meeting began with clips from the film, including a little talk introducing it by Chris Williamson, the former Labour MP who was forced out and smeared as an anti-Semite because he dared question the witch hunt. This was followed by various Orthodox Jews in broad-brimmed hats, long coats, beards and side ringlets. One of these men appeared to me to be a rabbi, as he was elderly with a white beard, which suggested the sage wisdom of a man of God. All of them said that the accusation that Jeremy Corbyn was anti-Semitic was pure nonsense. This was followed by a Jewish woman, who described the effect the smears had had on her. She was made to feel she wasn’t really Jewish. But she was, just ‘the wrong type of Jew’. This is how these smear merchants work. Judaism has never been a monolithic religion or community. There’s the old Jewish adage, ‘Two Jews, three opinions’. The Talmud, Judaism’s second holy book after the Bible, contains the debates about theology and the correct interpretation of the written and oral Law of the great rabbis. Frequently these discussions simply conclude with ‘and so they disagreed’. Zionism, as the peeps in this meeting pointed out, was originally only a minority opinion amongst Jews. Most of them wished to remain in the countries of their birth, to be accepted as fellow citizens with equal rights as their gentile compatriots. But the Israel lobby wishes to recast Judaism into a single community rigidly behind Israel. Anyone who challenges this is immediately denounced as an anti-Semite. If they’re Jewish, they’re accused of self-hatred and being a ‘traitor’.
All of the people at the gathering had been smeared as anti-Semites, either because they supported the Palestinians, Jeremy Corbyn, or simply for standing up for historical truth and refuting the lies about some of those smeared. And they each described how the Blairites in the party, Zionist activists like GnasherJew and the Campaign Against Anti-Semitism had smeared them with the active collaboration of the press and media. Like alleged Times journalist Gabriel Pogrund.
Labour Activist Sian BloorSmeared by Sam Matthews and Gabriel Pogrund
The discussion started with Sian Bloor. Bloor was smeared after someone mistakenly sent information about her supporting Jewish Voice for Labour and its main woman, Naomi Wimborne-Idrissi, to Sam Matthews. Despite appeals not to, scumbag Sammy then passed it on to Pogrund. Who promptly did to her what he did to Mike: publish an utterly mendacious article claiming that she was in trouble with Labour because she was an anti-Semite. In fact Bloor had been under investigation, but for an entirely different reason, and been exonerated. But after Poggy’s smears the party went into proceedings against her as a Jew-hater. When she tried to clear herself, she got a letter from Schillings, the Labour party’s highly expensive libel lawyers, telling her that what she’d written was libellous. The stress of all this has shattered Bloor’s nerves and left her unable to work. What she found particularly disgusting was that Scumbag Sammy appeared on Panorama claiming that the anti-Semitic attacks on him had made him feel suicidal. A case of the bully posing as victim.
Mike, Ken Livingstone and the Nazis’ Real Support for Zionism
Mike then came on to recount his experience. He’d been targeted and smeared as an anti-Semite and Holocaust denier by Poggy because he’d written a long piece defending Ken Livingstone’s remark that Hitler initially supported the Nazis. Mike admits that Leninspart has said some genuinely questionable comments later. He doesn’t defend them, only the mad newt-fancier’s statement about Hitler and Zionism. Which is absolutely correct. The Nazis and the main German Zionist organisation signed a pact, the Ha’avara Agreement, in which Nazi Germany pledged to smuggle German Jews into Palestine, then under the British Mandate. This is all historical fact. It’s mentioned on the Jewish Virtual Library and in the works on the Holocaust by Zionist Jewish historian David Cesarani. But like Trump, these fanatics live in a world of ‘alternative facts’. Mike was particularly interested in Bloor’s identification of Sam ‘Scumbags’ Matthews, as I think he should be referred to, as he had never been able to get the identity of the snitch in the Labour party who passed on his details to the press. But from this is looks like it could well be him. Mike was able to get the press regulator to rule against the articles smearing him which appeared in the Times, Scum, Jewish Chronicle and so on. Bloor had also been successful in getting some of the papers to retract the articles. But not the Times, because they had expensive lawyers which ordinary peeps can’t afford to challenge. Speaking in a completely different context, the veteran British ufologist Jenny Randles once said that under British justice you were ‘guilty until proven rich’. Absolutely.
Jason Cridland Smeared and Doxed by GnasherJew and the Campaign Against Anti-Semitism
Cridland then came next, to tell how he’d been doxed by the odious GnasherJew and the Campaign Against Anti-Semitism. He’d been contacted by a reader, who’d been falsely accused of anti-Semitism. The two Zionist organisations had gone further. They’d produced a map showing where supposed anti-Semites lived, complete with their names and addresses. The woman was on this map. And so, she revealed, was Cridland. This had left them extremely worried for their safety. One woman, who had been so smeared, who was in fact Jewish, had had her car torched as a result.
Posting people’s personal details on the net so that others can attack or harass them is despicable. It’s completely out of order. It’s been one of the tactics used by real anti-Semitic, Nazi organisations. Way back in the ’90s the NF or BNP in Brighton decided to publish in their vile rag the names and addresses of local ‘reds’. They were stopped when local trade unionists published theirs in turn. I suppose doxing might be justified in cases like it with real Nazis, like the banned National Action, who really do believe all that vile nonsense about secret Jewish conspiracies against the White race and who are dangerous and violent. But not for ordinary, decent people.
In addition to this, litigious Countdown numbers person Rachel Riley raised her metaphorical head. Cridland had a couple of cops appear at his house to talk to him, as Riley had complained that he was anti-Semitic. In fact after talking to him they decided he wasn’t, and the conversation moved to how she could be prosecuted for wasting police time.
Political Context
The meeting then moved onto a general discussion about official attempts to silence campaigns for Palestinian rights. The Tories wish to ban the BDS campaign as anti-Semitic, as has been done in America. But the Boycott, Divestment and Sanction campaign isn’t anti-Semitic or anti-Israeli. It does not seek to prevent people purchasing from Jewish or Israeli businesses, only those that are in the Occupied Territories. And many of its supporters and activists are Jews. They also talked about Keef Stalin’s campaign of purging socialists from the Labour party. Many of those purged as anti-Semites had been so demoralised by the direction the party was taking under his misgovernment that, rather than being upset over their expulsion, they were glad to leave. They also made the point that what stopped Labour getting elected wasn’t the anti-Semitism witch hunt, but Brexit. As for the people themselves and their political views, Lizzie and Jason Cridland made the point that they weren’t party political. They didn’t support the Labour party, but supported Jeremy Corbyn because of his policies. Sian Bloor was targeted because she was particularly close politically to the Labour leader. She had been part of the original group, JC4PM, which became Momentum. The smears were about silencing and purging Corbyn and his supporters in the Labour party, who wished to return it to genuine socialism after Blair as much as attacking support for the Palestinians.
The Psychology that Smears Innocent Anti-Racists
During the talk Bloor commented that the witch-hunters and smear merchants really didn’t care about the harm they were doing to ordinary people. This raises the whole issue of their mentality, as people have been harmed and even taken their lives. I think it’s worse than that. Not only do they not care, but they actively see their opponents as enemies to be destroyed. I’ve got the impression that they really believe, whether they are religious or atheist, that the modern state of Israel is the culmination of Jewish history and that anyone who opposes it really is a Nazi. They really do seem to view themselves as the modern successors to Judas Maccabaeus, the great Jewish hero who fought against the pagan forces of the Greek general Antiochus IV Epiphanes. That general really was an enemy of the Jewish people. He banned the Torah, forbade circumcision and the observance of the Law, and desecrated the temple in Jerusalem. He was a genuine anti-Semitic tyrant. Unlike the people they now smear and vilify, who simply want justice and equality for the Palestinians.
Just to show you how utterly insane this attitude is, you think of some of the people, who have been smeared as threats to Israel by these nutters. Four-fifths of them are Jewish, and they include convinced anti-racist activists, like Marc Wadsworth, and victims of genuine racism and anti-Semitism. Jackie Walker is a respectable Jewish granny and academic, whose demeanour, at least from what I’ve seen online, is more that of the lecture hall and seminar room than any kind of violent confrontation. Much the same can be said about Naomi Wimborne-Idrissi. None of the people accused and smeared, including those in the meeting, remotely resemble any real, fanatically genocidal anti-Semites. But this is, I fear, how GnasherJew, the Campaign Against Anti-Semitism and Starmer’s coterie sees them.
Toby Young, Hack, Eugenicist and Anti-Semitism Tsar
Real Nazis are horrific, but they’re also so grotesque they can be easily lampooned. P.G. Wodehouse sent up Oswald Mosley and the British Union of Fascists as Spode, the leader of the Black Shorts, who stood to defend the British knee against the Asiatic immigrant horde. The ranting and raving of Hitler has provided endless comic material for anti-Nazi satirists and comedians ever since the War. In a saner, more just society the smears and lies told by the Ware, the Israel lobby and the Blairites would similarly be laughed out of court. But unfortunately it isn’t. And so we have the grotesque judicial travesty of decent people being tarred as racist by those who really are. Like the right-wing Labour politico, who published anti-Roma material as part of his election campaign. I think he may have been made one of the Tories’ anti-Semitism tsars. The other, and this is not a joke, is Toby Young.
Yes, that Toby Young. The Toby Young who wrote a creepy piece in the ’90s for GQ in which he described how he’d been a ‘lesbian for a day’. Tobes had decided he wanted a bit of hot lesbian action, and so dressed in drag to see if he could get off with any of the ladies in New York’s lesbian bars. As bad as it was at the time, it’s arguably worse now. Part of the controversy over the transgender issue is the propositioning of lesbian women for sex by biological men who identify as women . Lesbians aren’t attracted to the male body, but queer theory erases biological sex in favour of gender, social sex. And so when these women turn the men down because of their biological sex, they’re accused of transphobia. But there’s worse than Young’s dated, dodgy article from the ’90s. Private Eye caught him attending a eugenics conference. Yup, selective breeding to improve the race. The doctrine the Nazis believed in. And while Tobes isn’t a racist, many of the people he was mixing with were.
But we’re expected to believe that Jeremy Corbyn, Jackie Walker, Ken Livingstone, Chris Williamson and the above folks are the Nazis.
More comics stuff, and a rather longer video than usual at 1hr 9minutes, but the subject deserves it. Steve Ditko is one of the great, legendary figures of American comics. He’s probably best known for creating Spiderman and the occult hero Dr. Strange with Stan ‘the Man’ Lee for Marvel. But as this video shows, Ditko worked for many other American comics companies – DC, Charlton, Dale and EC among them as well as self-publishing his personal works. In the video, the Kayfabers Ed Piskor and Jim Rugg go through the volume Ditko Unleashed: An American Hero, which accompanied an exhibition of the great man’s work. The book’s bilingual in English and Spanish, which suggests that the exhibition may have been in Spain. The volume not only describes Ditko’s career, but gives plentiful illustrations of his art.
Ditko, like Kirby, came from a blue-collar, working class background. He went into art school to study cartooning, as he wanted to be a comics artist. His career was uneven, working for a number of different publishers and in a variety of different genres – monster, science fiction, horror as well as the superheroes for which is he is best known. He also worked with some of the great names in American comics. At times he inked the awesome Jack Kirby, at other times he was inked by Frank Miller, the artist and writer chiefly responsible for turning Daredevil into one of Marvel’s leading heroes. I think he may also have been inked by John Byrne, one of the major artists behind the New X-Men. He was admired by many of these new artists. The epic Jim Starlin, in one edition of his Warlock comic, ‘One Thousand Clowns’, dedicated it to Ditko for showing us a new reality. Starlin’s art was rather more naturalistic, but he also used the same floating paths and mystic portals in his work. He also went through several hard times in his career. At one point he moved away to New York to recover from tuberculosis, then, as in Britain, a major killer. There were also years when he struggled, as many others did, to get work. He also worked on a number of merchandising tie-ins, like Micronauts and Rom: the SpaceKnight, which were intended to promote toy figures. I read the comics, which were excellent without having any interest in buying the toys, which might indicate they were too successful. Like the adverts for Cinzano Bianco wine with Leonard Rossiter and Joan Collins. Everyone enjoyed them and they’re still fondly remembered by peeps of a certain vintage, but the people watching the ads couldn’t remember the brand of booze and so didn’t buy it. Ditko, like Kirby, broke off from Marvel for a time, before he returned, working on the above tie-ins along with the robotic superhero Machine Man.
Ditko, Politics and Morality
Unlike Stan Lee, who was a liberal, Ditko was very Conservative, a follower of Objectivism, the philosophy of supercapitalist ideologue Ayn Rand. He also had very black and white views on morality, which were expressed in his personal creations, Mr. A and The Question. He believed that heroes should be heroes, their morals pure and uncompromised. True to his ideals, he turned down work when the characters he was being asked to depict didn’t live up to them. A few years ago Jonathan Ross made a documentary for BBC 4 or one of the other channels searching for Ditko. One of those interviewed was Brit comics titan Alan Moore, who described meeting Ditko at Ditko’s home. He says that Ditko had a very narrow, inflexible view of morality, telling Moore, like one of his characters, that there were only two ways, a right way and a wrong way. Ditko’s politics are very definitely not mine, and I’m very much aware that in the real world, things are very often never a case of black and white but more shades or grey and motives can be less pure than we’d like. But after the comics industry went through a phase in which they tried to make their heroes darker – Batman: The Killing Joke is one of the foremost – and it was difficult telling the heroes from the villains, it’s refreshing to have someone who believes in old fashioned heroics.
The Kayfabers believe that if he were working today, Ditko would be cancelled or at least severely annoy and alienate 50 per cent of his audience. I think the first is certainly true. There has always been a left-wing message in American comics and an awareness of social issues. In the late 1960s into the 1970s both Marvel and DC tackled issues like racism and the rise of the feminist movement. As a response to the latter, Marvel created the Valkyrie, original a woman scientist who revolted against the patriarchy after having the credit for her discoveries stolen by her male colleagues. The Hulk comic also questioned American militarism, while Captain America, in disgust at Watergate and the contemporary corruption of American politics, renounced his patriotic monicker to become Nomad. Of course it wasn’t long before he rediscovered his faith in the rightness of the American way and put his uniform back on. However, Lee has also said in an interview that he was careful not to make the message too shrill so that it alienated readers that didn’t share his politics. Now many Conservative and moderate left comics creators and fans believe that in many strips, the political message has become too overt at the expense of traditional qualities like plotting, characterisation, dialogue and sheer fantasy. This was the motive behind Comicsgate a few years ago, when a number of comics creators, like Ethan van Sciver, broke away from the main comics companies of DC and Marvel to set up on their own.
Heroism and Its Absence in Modern Genre Film and Literature
One of the problems Az of Heels vs. Babyface and The Critical Drinker is that many of today’s pop culture heroes actually don’t act like heroes. For example, in one episode of Batwoman reviewed by Az, he comments critically on the way Batwoman treats the villain, a woman who has murdered several innocents. When Batwoman confronts her, she tells Batwoman that she’s killed so many people out of rage at her persecution as a lesbian. As a result, Batwoman, a lesbian herself, lets her go. This is simply immoral. The persecution of otherwise perfectly decent people because they’re attracted to the opposite sex is wrong, but it doesn’t justify the murder of innocents. Whatever political views real policemen and women have, they still have to act impartially and arrest those, who break the law and especially those who commit terrible crimes like mass murder.
The Critical Drinker put up a whole video about the failure of contemporary SF heroes to live up to the standards of true heroism with the latest Star Trek iterations as a case in point. He contrasted these were the high standards of professionalism demanded of the captain and crew in the classic Star Trek: The Next Generation. In that series, the characters knew the importance of duty and respecting the command hierarchy even if they disagreed with it. At the same time, Picard and the other senior officers demanded and got the best from their crew. Several of the episodes involved leading characters learning the difficulties of command. There is one episode where one of the characters is training for promotion. Part this training involves trying to find ways to prevent a warp core breach that will destroy the Enterprise. The problem is insolvable until nearly every option has been tried except the one the prospective leader has been consciously trying to avoid: they have to send Jordi into the warp core to fix it, a command which will result in his death. But it’s unavoidable, and both characters know their duty is to their ship. The would-be commander has to give the order, which Jordi calmly accepts. And a hard lesson is learned. Instead, the crew of the new Trek franchises are grossly unprofessional. They bicker over there personal relationships in front of a superior officer, react badly to the stressful conditions they should, as crew aboard a quasi-military spacecraft, be trained to deal with and try to undermine their superior officers. Case in point: one sequence where Kirk and Spock attempt to beat the living daylights out of each other. Yeah, I’m aware that it happened in an episode or two of the original Trek, like the classic ‘Amok Time’, but there were extenuating circumstances. I like Star Trek and have got a couple of the recent Trek films on DVD. But I think the Drinker has a point, even if it comes from a jaundiced, booze-soaked mind. I think we need a few more heroes who are genuinely heroic in the old fashioned sense, even if the social views they hold may be those of the left.
Stylistic Strong Points
But Ditko’s own career also had its contradictions. At one point he was working on BDSM/ fetish comics, and there were certainly questions raised about the spectacular and surreal effects in several of his strips. Many of his characters, like Dr Strange, enter strange realms in which roads float apparently in mid-air, and doors and portals appear leading to elsewhere, like the mobile holes in many a cartoon strip. Strange shoots beams of light and conjures up strange geometrical figures in his incantations. These effects resemble the entoptic imagery seen when people start to hallucinate after using mind-altering drugs. Which led to the obvious question: was Ditko also on ’em. Ditko was too straitlaced to use recreational chemicals, and answered ‘No’. It all came from within, from his own unaided imagination. Which says to me that Ditko had an awesome imagination on his own, and that the really great, creative people don’t need drugs.
I can’t say that I was ever a fan of Ditko, as his artistic style with Marvel seemed rather too simple. I really admired those artists who were rather less stylised and more detailed and naturalistic. Nevertheless, this video shows that Ditko was a master of his art. The Kayfabers point out that he’s great at cityscapes and portraying fluid action sequences in which the characters are constantly in motion. In some of the strips, Ditko also used colour washes to enhance his line art, and the result is stunning. There are also a couple of strips where Ditko’s inkers were beginning to use computers to add inks and colour to his pencils, which are also very striking.
The Kayfabers also think that some of the pictures come from the private collections of people who acquired them less than legally. There is a black market in comics art, and Ditko was a victim along with many others. They won’t name names, of course, because they don’t want to get writs from m’learned friends. But they also state they’re just glad that someone, somewhere has preserved these pictures that would otherwise have been lost. Ditko also suffered into inadvertently giving people his autograph, thus cheating himself of money. He didn’t give autographs. However, if someone wrote to him asking for his autograph, they’d get a polite reply for Ditko saying ‘No’. Which he’d sign. People cottoned on to this, and exploited it.
Comics and Other Genre Artists True Artistic Innovators Deserving Academic Respect
The Kayfabers also lament that Ditko and that other American comics legend, Jack Kirby, weren’t more articulate. If they had been able to use the kind of language critics and intellectuals use about art, they could easily have been up there with Warhol and the Factory. But they were working artists, who had to grind out their strips to make a buck, and so didn’t have time to mix with people in art galleries. I completely agree. It’s been my opinion for a very long time that the truly great, innovative art exploring new visions, directions and tools is that of the space, science fiction and fantasy artists, including book illustrators and comics artists. And there are others who feel the same. I can remember watching one video about comics, in which one of the speakers said he felt angry seeing the work of artists hung in art galleries, who had based their work on comic artists. He felt that the original comics artists should have got the money and their work hung instead. Way back in the ’90s I tried to get one of the art magazines to accept an article in which I argued this point, and showed the stylistic similarities between respect fine artists like H.R. Giger and those of the Soviet austere school and such comics greats as Kirby and the British master of aliens, robots and the grotesque, Kevin O’Neil. Unfortunately, it was turned down because it would have been too expensive to run. But the point remains. And it'[s shown in Ditko’s art. There’s a panel in which the exhibition shows a clear influence on one of Ditko’s weird geometrical designs in a portal in Dr. Strange with a painting from the Russian avant-garde artist Vassily Kandinsky. The two debate whether there is a genuine influence there, before concluding that their probably is. I can easily believe it. Many comics artists have their own heroes and influences in fine art as well as other great illustrators of the past. Way back at the comics festival UKCAC ’90 I remember going to a talk by Charles Vess, who talked about the great artists and illustrators he admired. I can well believe that Ditko absorbed and incorporated ideas from fine art as well as cartooning and illustration, and that his own work pushed these ideas forward into new directions.
The book goes up to 2016, nearly the end of Ditko’s life. He died only a few years ago. Wossy in his quest to find the great man managed to track him down to an advertising agency in the Big Apple. Ditko agreed to meet Woss and the other host, but it all had to be off-camera. The programme concluded with Wossy stating that when they met Ditko he was very sweet, gave them lots of copies of his work, but they couldn’t repeat what he said to them. And so walked off into the New York crowd.
Well, RIP Steve Ditko, one of the greats of American founders. The book and the video by the Kayfabers are a great overview of one of the creators of some of the most iconic modern American superheroes.
Marcus Garvey is a towering figure in Black history, starting up one of the earliest Black rights organisations, the Universal Negro Improvement Association. Black History Month was launched in Britain in October 1987 to mark the centenary of his birth. There are monuments, streets and parks to him in various towns in the UK and in New York. A few months ago a Black writer published a piece in the Radio Times calling for him to be taught in schools. History Debunked has marked Black History Month with a series of video showing that in reality, many of the heroes being commemorated are actually much less impressive. Garvey was very definitely one of these.
The video states that he was born in 1887 and apprenticed to a printer, but didn’t take to it, and spent some time instead travelling around Central America and Britain. He returned to his homeland, Jamaica, where in 1914 he founded the Universal Negro Improvement Association, whose aims included inspiring Black brotherhood and the civilisation of the backward peoples of Africa. This ran into trouble, as many Jamaicans dislike the word ‘Negro’ as, in my experience, many West Indians still do. More seriously, he was suspected of using the association’s funds to support himself personally. So he moved to Harlem in New York where he set up his organisation there. This again was massively controversial. Garvey was a racial separatist who hated racial intermixing and Blacks, whose skins were lighter than he is. He became even more unpopular amongst Black New Yorkers by going off to meet the head of the Klan. They got on like a house on fire, as Garvey assured the White racist that they both had the same objective. He wanted Blacks to go back to Africa, while the Klan wanted a White America. But what really brought Garvey down was his attempt to found a Black shipping company, the Black O Line. He was prosecuted for fraud as he was caught selling shares in a ship that didn’t actually exist. Both the judge and the prosecution in the trial were Jewish, as were two members of the jury, or so he claimed. He then made an anti-Semitic rant which blamed the Jews as well as the White authorities for his prosecution. And there the video ends.
I think Webb has been rather selective in the video, choosing some of the worst episodes of Garvey’s career. I understood he was forced out of Jamaica by the authorities, who regarded him as a subversive. Not that it doesn’t mean that he wasn’t also unpopular there for the reasons Webb suggests. Webb does mention that in New York he invented various bizarre uniforms for himself and his followers. The image for the video shows Garvey in one of those uniforms, a hat which makes him look a bit like Napoleon. When I was working at the Empire and Commonwealth Museum one of the boxes of items donated to the Museum contained pamphlets from Garvey’s organisation. And they were weird. One of them seemed to be for some kind of rally and listed a whole series of paramilitary ranks and organisations, such as head of the armoured division. It reminded me of the White British Fascists, who invented grandiose names and titles for themselves but have at most a handful of members. The type of people lampooned in the Jeeves and Wooster books in the shape of Spode and his Blackshorts, who seemed to be always going off to address the Eagle battalion in Minchinhampton. Garvey emigrated to Britain, and certainly wasn’t ashamed of the weird Fascist nature of his organisation. He said in an interview with a British magazine in 1938 that Hitler and Mussolini took everything from him. I don’t think they did, and you would have thought that by that time Garvey would have wanted to keep any similarity between his outfit and Fascism very quiet. But he didn’t.
He also seems to have fancied himself as the self-appointed leader and saviour of Africa. In New York he declared himself to be president of the continent, and he and his lieutenants were the government in exile. This was without any input from the African themselves. He carried on calling for himself to be made the Africans’ leader when he emigrated to England. He made repeated request to the Colonial Department to be made its head. The video doesn’t mention that. Nor does it mention that Garvey also joined the Conservative party after he moved here. As I think Webb himself is a Telegraph-reading Tory, I don’t think he wishes to remind people how Garvey entered the party.
A few months ago I drew this cartoon of Garvey to express what I consider to be real Fascist elements in BLM and some of the other, supposedly anti-racist movements. Here it is.
I don’t think he was ever a supporter of the Nazis, but the parallel between his organisation and White Fascism is so close that he is features in books on Fascism, including Mark Christian Thompson’s Black Fascisms (Charlottesville: University of Virginia Press 2007).
Garvey is an important figure in the history of Black Liberation. The Rastafarian religion grew out of his Negro Improvement Association. But it’s questionable whether he should be celebrated. I suspect there are far worthier figures waiting to be discovered and promoted, who people haven’t heard of.
Also in the latest issue of Lobster is main man Robin Ramsay’s fascinating review of Susan Williams’ White Malice: The CIA and the Covert Recolonisation of Africa, (London: C. Hurst & Co 2021). Ramsay begins by quoting Williams’ own summary of the book’s contents, which he says he can’t better. This summary says
‘Nevertheless, pressing on a range of sources has produced some extraordinary findings in relation to the Congo, Ghana and other African territories during their transformation from the status of colony, occupied by a European power, to independence. The best sources have been university archives and individuals who decided to speak about their past involvement with the CIA in Africa, most notably John Stockwell. It appears that the years of finding freedom—between the independence of Ghana in 1957 and the CIA-backed overthrow of Nkrumah in 1966—were also the years of an intense and rapid infiltration into Africa by the CIA. The agency’s operations took place in the territories themselves and at the UN in New York.
The uncovered information reveals an extent and breadth of CIA activities in Africa that beggars belief. These activities took various forms and were performed by an extensive network that included Americans at agency headquarters in Washington; American agents operating under cover; American agents under non-official cover in the field and at the UN; Africans brought to the US and then recruited for use in various countries and situations, such as the Kenyan Washington Okumu; African assets recruited and used locally; third-country agents such as QJWIN and WIROGUE; and cultural patronage through Paris and elsewhere.
Underpinning the success of these activities were dollars. “Money ran the game”, notes [Lise] Namikas. “Even by 1960 standards the CIA had a reputation for spending”. Estimates of how much the CIA spent, she adds are hard to gauge. In 2014, Stephen Weissman wrote that between 1960 and 1968, CIA activity in the Congo “ranked as the largest covert operation in the agency’s history, costing an estimated $90–$150 million in current dollars”. But this did not include the cost of “the aircraft, weapons, and transportation and maintenance services provided by the Defense Department”.
CIA money was distributed, both within the US and in Africa, through a range of conduits, including dummy organisations and pass-throughs such as the Farfield Foundation. Bribes were handed out to selected politicians, to union leaders and to diplomats at the UN. CIA funds were used to pay for soldiers’ wages and for weapons. They paid for front organisations, such as Imbrey’s public relations office in New York, Overseas Regional Surveys Associates. The funds were used to set up airlines under cover and to buy and deliver aircraft, including the Fouga that may have shot down the plane carrying UN Secretary General Dag Hammarskjöld.
Active intervention fostered division between different political groups, such as Holden Roberto’s UPA, heavily backed by the CIA, and the MPLA—both of which were fighting for the freedom of Angola from Portuguese rule. The consequent strife sowed the seeds for decades of suffering in Angola. Plans were implemented for assassinations. Governments were overthrown. The UN secretary general’s communications were accessed in real time in Washington, when he was on a flight in any part of the world, courtesy of the cipher CX-52 machine.
Propaganda and covert influence operations formed a thick web, frequently facilitated by CIA fronts dedicated to Africa, which were set up with the collaboration of powerful businessmen with interests in Africa. The fronts included the African-American Institute, with its headquarters conveniently located just minutes from UN headquarters in New York, and the American Society of African Culture. Both organisations published Africa-focused journals, perfect for covers and heavy with propaganda. Highly respected organisations such as the American Fund for Free Jurists were penetrated by CIA officials using false pretences and were used to funnel funds secretly.
Cultural and educational centres, such as the Mbari Centres in Nigeria and the Institut d’Études Congolaises in Brazzaville, were set up. They organised conferences and events, such as the seminar in Ibadan, Nigeria, attended by an unwitting Lumumba, and the first Congress of African Writers and Intellectuals at the University of Makerere, Uganda. Underpinning all these activities was the hand of the Congress for Cultural Freedom, a CIA front with an Africa programme based in Paris and with fingers in most parts of the world.’ (pp. 509-11)
This shows just how extensive and nefarious the CIA’s activities were during this period of African history. Not that it was the Americans alone who were engaging in dirty tricks in Africa. Rory Cormac also describes the activities of the British state to manipulate African politics through vote rigging, espionage and propaganda in his book Disrupt and Deny: Spies, Special Forces, and the Secret Pursuit of British Foreign Policy.
Here’s my drawing of British author Howard Jacobson. I’ve read that it was Jacobson, who came up with the slogan ‘For the Many, Not the Jew’ to promote the anti-Semitism smears against Jeremy Corbyn’s Labour party when he was living in New York. Way back in the 1980s he wrote a parody of the Book of Genesis, which Private Eye reviewed. This was at the same time militant Muslims were demanding Salman Rushdie’s head over the Satanic Verses. The Eye said that Jacobson’s novel showed the difference between Jews and Muslims, because if Jews were at all similar to them, Jacobson would have to move in with the other author. The other year Jacobson won a literary award for his The Finkler Question. From the very, very little I’ve read about it seems to be a tale of adultery in Jewish suburbia. This makes him sound like a kind of Jewish male version of Jilly Cooper with literary pretensions.
For some reason the late Clive James seems to have been a fan of his, and I did have some respect for him a few years ago. Jacobson describes himself as a Humanist, but disliked the New Atheists, as many old school atheists did, for their intolerance and abuse. But that vanished when I read that he was responsible for the slogan parodying Corbyn’s ‘For the Many, Not the Few’. Jacobson’s wretched slogan helped keep in power the Tories, who are determined to privatised the NHS and inflict further cuts on the welfare state at the expense of Britain’s working people. A working class, that has always included Jews. It’s also assisted in the seizure of the Labour leadership by Starmer and his crew, who are using anti-Semitism as an excuse to purge the party of socialists and critics of Israel. And their victims have been particularly Jews. All to protect the Israeli state from a possible Labour administration that would have tried to help the Palestinians gain justice and equality, instead of empty words and toothless condemnations of Israel.
I thought of Jacobson’s wretched slogan, and it seemed to me that you could also alter it, beginning with the names of the organisations pushing the anti-Semitism smears: the Board of Deputies of British Jews, Jewish Labour Movement, Campaign Against Anti-Semitism and then
‘For Israel
For the Rich
Against the Poor
Against the Jew’
Because the people behind the smears seem to me to be Tories and Thatcherites determined to help the rich get even richer and drive the poor even further into poverty. And those poor also include Jews, who worry along with everyone else about the way the NHS is being run down, the cuts to state services, how they will pay for the social care their elderly relatives need and suffer from the government and management freezing their wages so they also take a cut in salary in real terms.
Double Down News are another left-wing, alternative news site and agency. In this video, Naomi Wimborne-Idrissi of Jewish Voice for Labour, talks about the abuse and attempts to silence her she and the other left-wing, pro-Palestinian Jews have faced. She describes what a breath of fresh air Jeremy Corbyn was and the hope he gave people like herself, that there would be real change at last after 30 years in the Labour party. She talks about the eminent Jewish academics, who have criticised the establishment’s exclusive concentration on support for Israel as the defining factor in Jewish identity, and the powerful role left-wing Jews like herself have played in combating racism and prejudice all over the world, from the battle against Mosley’s BUF to the American Civil Rights movement and apartheid South Africa.
Anti-Semitic Abuse for Being Pro-Palestine
She begins by describing the abuse she personally got when she was 19 and presented a pro-Palestinian talk at Uni. she was called ‘safe-hating’, ‘the wrong kind of Jew’, ‘anti-Semitic’ and a ‘kapo’. This is especially despicable, as they were the Jewish collaborators with the Nazis in the concentration camps. She is bitterly critical of this type of abuse, not just because it’s especially offensive for people who have really suffered under Nazis and other vicious anti-Semites – she equates it with being called a ‘paedophile’ – but because it also delegitimises the struggle against real Fascists. Here the video shows footage from the notorious Charlottesville Nazi gathering, with the storm troopers of the Alt Right marching along chanting ‘The Jews will not replace us.’ Wimborn-Idrissi’s talk and the abuse she received was covered by the Jewish Telegraph, who put it all on the front page. Which shows you what a despicable, right-wing establishment rag it is.
Heijo Meyer and Israel’s Nazi-like Persecution of the Palestinians
She also gives the real truth about Corbyn’s infamous attendance at the speech given by Heijo Meyer, which was used to pillory Corbyn as an anti-Semite. Of course he’s no such thing, and the video shows images of the greatest prime minister Britain rejected demonstrating against racism, including his arrest for protesting against apartheid. Meyer was a Dutch Holocaust survivor – and the video shows this with Meyer rolling up his sleeve to show the tattoo on his forearm which the Nazis used to mark the inmates of the death camps. Meyer’s was speaking at a Holocaust Memorial Day event. He was describing how the techniques used by the Nazis to dehumanize people like him – Jews – in the camps to enable them to murder them are also being used by Israel against the Palestinians. And what Wimborne-Idrissi says is horrifying is that the parallels are there.
This section of the footage is grim, as it show the Palestinian victims of Israeli aggression – homes in rubble, a disabled person tipped over in their wheelchair by Israeli squaddies, a little girl with horrifically blackened, swollen eyes.
The talk was part of a series of events that also showed other communities had suffered oppression, like the Travellers. But they were shouted down by a very obnoxious, very vociferous group of Zionists. She found it deeply disgusting that these people were trying to shout down and intimidate an eighty year old man, and urged Corbyn to call the rozzers to have them removed. And in fact the fuzz were prevailed upon to do their duty. But unfortunately by that time they’d been successful in drowning out the Travellers, so that people hardly heard a word from them.
The Media Silencing of Left-Wing Jews
Naomi points out that the media refuses give Jews like her a voice. Instead they give space to organisations like the Campaign Against Anti-Semitism as if they were long established and authoritative. There the video show a group waving placards, ‘Labour – For the Many Not the Jew’. This is the mendacious slogan dreamed up by novelist Howard Jacobson when he was in New York. Which is a good and sufficient reason for no-one to buy his books or listen to anything he has to say ever again. It also shows the Beeb’s Kirsty Wark and other journos as an example of this media bias. But Jews have opposed Zionism and Israel for a long time. This is accompanied by images of prominent Jewish critics of Zionism like the awesome Norman Finkelstein and various anti-Zionist Jewish conventions. Some of these are in Black and White, and are of packed, mass meetings. One looks like the Bund. This was the mass socialist party of eastern European Jews. Its slogan was ‘Wherever We Are, That’s Our Homeland’, and they were fiercely anti-Zionist.
She talks about Marek Edelman, one of the heroes of the Warsaw Uprising, who said that ‘to be a Jew is always to side with the oppressed, never the oppressor’. And that was why Jews like her aligned with the oppressed and fought against racism, and why it was just so revolting that their opponents wished to associate Jewry with the type of people they’d always fought against. She tells how the Jewish journalist, Anthony Lerman, has published articles attacking the anti-Semitism smears in the Labour party, and also Kenneth Stern’s criticism of the abuse of the I.H.R.A. definition of anti-Semitism. Stern is the Jewish academic, who formulated it. He meant it to be used in compiling statistics about anti-Semitic abuse. But he is concerned about the way it is being used to silence critics of Israel. He testified on this to Congress, and the video has a clip of his speech. He says he’s worried about the way its being used against Jewish non-Zionist college students and the way organisations are compiling dossiers and passing round opponents on critics of Israel. The anti-Zionist college students should also be heard. This is significant, because I think Stern is himself a Zionist. He’s just a decent man and not a racial fanatic like some of the organisations abusing his definition of anti-Semitism. But unfortunately all you hear are the pro-Israel fanatics. You don’t hear or see anything broadcast or printed by Lerman or Stern, except a few learned articles if you look online.
Fleeing Real Anti-Semitism, and Hope for the Future
She also talks about some of her and her families experiences as refugees from the pogroms and persecutions in eastern Europe, of not fitting because you’re weird with a funny accent. But there has to be hope. Jeremy Corbyn brought 300,000 new people into the party. And an increasing number of a new generation of young Jews, especially in America, are turning away and against Israel.
She concludes by praising Double Down News for giving left-wing Jews like herself a voice, and urges people to support it.
Naomi makes excellent points, and people should hear not just her voice, but the many other Jews like her. She is right to point out, early in the video, that the political and media establishment are anti-Semitic in their attempts to create the impression that Jews constitute a single, monolithic block. That’s what their oppressors have always done.
Unfortunately the media has shown that they have absolutely no intention of giving any space to good peeps like Jewish Voice for Labour, Jewdas and the Jewish Socialist Group. The Beeb, a company which increasingly looks like it has a proud future behind it, has been one of the leaders in pushing the anti-Semitism smears. And it wonders why it comes fifth ranked as trustworthy by the British public, lower even than Channel 5.
The Beeb is reviled as left-wing and ‘woke’ by the Tories and their poodle media because of its anti-racist, anti-sexist, anti-homophobic stance, and ’cause they see it as anti-Brexit. But in domestic politics and economics, it’s solidly pro-Tory and pro-Israel. Hence its steadfast refusal to let any other voice be heard, Jewish or gentile, to contradict the anti-Semitism.
But left-wing, sincerely anti-racist folks of all religions and ethnicities have and are waking up to the Beeb’s disgusting bias. Which is why they’re joining the right in switching it off.
If we are going to hear the real truth, it has to come from news sites like Double Down News, Sam Seder’s Majority Report and the David Pakman Show in America, Amy Goodson of Democracy Now! and Abby Martin of Tele Sur, Ash Sarkar of Novara Media and Kerry-Ann Mendoza of The Canary. She’s another anti-racist gentile, who’s been accused of anti-Semitism, despite having a Jewish partner. Seder and Pakman are both Jewish. Seder has described himself as the most Jewish guy you know, and has no time whatsoever for Israel screaming anti-Semitism ever time America cuts its aid budget.
When we hear the truth, more often than not it comes from these broadcasters. Because it surely is not coming from the establishment media.
One of the controversies that has now broken out in the wake of Black Lives Matter has been over the dress and hairstyle Adele adopted yesterday. She was hoping, like many folks, to attend the Notting Hill carnival. But it was cancelled due to the restrictions on large gatherings imposed by the Coronavirus. I’ve heard that they held a Virtual one online instead. Adele decided to signal her support for the carnival by posting a picture of herself in a bikini showing the Jamaican flag and with her done in a Black hairstyle. So the league of those wanting to find any excuse to be offended have accused her of ‘cultural appropriation’.
I really don’t accept this. I believe that she wore the bikini and the hairstyle as a genuine gesture of support to the Carnival and the Black culture that created it. And moreover, without people like Adele adopting Black fashions and Black music, Black culture would not have the acceptance it does among Whites and the racism Black people experience would be much, much worse.
Real Appropriation of Black Music and Culture
I am very much aware that cultural appropriation has occurred. Black people have complained for a long time that ‘the White man stole the Blues’. One of the great stars of the Big Band era, Benny Goodman, is a case in point. Goodman was a White man, but all his hits were written by Black Jazzers. One of the most notorious cases is that of ‘Tar-ra-ra Boom-de-ay’ in the 19th century. It’s credited to a White musician, but he heard it from a Black lad singing it on the streets. And cultural appropriation also doesn’t just apply to Blacks. Native Americans are also uncomfortable when Whites adopt their traditional culture, like some of the New Agers and pagans, who have adopted aspects of their religion. And I can’t say I blame them. But what Adele has done is the opposite, and goes right back to the 1920s and before when White youths began adopting Black fashion and music.
The ‘White Negroes’ of Jazz and Rock-n’Roll and Anti-Racism
One of the first in the 1920s was ‘Mezz’ Mezzrow. He was a White kid, who first immersed himself in the emerging Jazz scene. He adopted Black culture to such an extent that he has been called ‘the first White Negro’. Later on, one the ‘White Negroes’ – I’ve forgotten which one, painted himself with melanin in order to see what being Black in America was really like. I think he got an unpleasant surprise. But this didn’t stop him writing a book pleading for reconciliation between Whites and Blacks. And after Jazz faded with changes in youth culture, it’s place was taken by rock’n’roll. The books on music I’ve read state clearly that it’s a hybrid musical genre – a mixture of White Country music and Black barrel house Jazz. I’ve got a feeling that the primacy given to the guitar in rock and pop, rather than the piano or keyboard, comes from the old Blues master Howlin’ Wolf when he was performing in Chicago. Little Richard, who passed away recently, once claimed in an interview that it was thanks to him Blacks and Whites started dancing together. Before he started performing, he noticed that White the dance floors were full of Blacks tripping the light fantastic, the Whites just stood around the edges watching. ‘White spectators, we used to call ’em’, he reminisced. Then he started playing and they suddenly joined the Blacks on the floor. ‘So a decade before Dr. Luther King, we had integration’.
Nazi Hatred of the White Adoption of Black Culture
And those Whites that did adopt Black music got real hate for it from the real racists. It comes from the old biological determinism that sees culture as the product of biology. By this standard, Whites are somehow betraying their race and degrading themselves by adopting Black music and fashion. Back in the 1980s there was a book, The Best of Signal, which published articles from the big popular Nazi mag of the Third Reich. It was published by a mainstream publisher as I think one of the very many titles on the Nazis, the Third Reich and World War II that appear every year. I found a copy in a secondhand bookshop. One of the articles in it was an explicit attack on the contemporary Jazz scene in America. It showed a groups of American youths – I can’t remember whether they were White or Black – wearing the characteristic ‘Zoot suits’ and made it very plain what the writer and the vile regime he served thought of them. When White kids in the 1950s started listening and dancing to rock’n’roll, Conservative voices accused them of taking over ‘Negro sensuality’.
And the same criticisms was still being voiced in the 1990s. That was the decade that saw the emergence of the Militia movement in the US and the gathering of various neo-Nazi outfits in the Hayden Lakes area, where they started building communes and compounds. These are real Nazis, not the casual racists who are often simply called it for their vile opinions. I think Louis Theroux went to one of them in his Weird Weekends. It was built like an armed fort or concentration camp, complete with watchtowers and barbed wire fencing. The obergruppenfuhrer Theroux interviewed proudly showed him the stack of greeting cards he’d had printed for his storm troopers to send. For most people, it would have been blasphemy, as it showed Adolf Hitler as Santa coming down a chimney bringing presents. In the interview I read, the writer tried to tackle one of these Nazis on the subject of Whites. The reply they got was that contemporary White culture had been corrupted by Black. They listened to Black music, wore Black fashions and danced like Blacks. Except he didn’t say Blacks. He said ‘N***ers’. It’s the same sentiments David Starkey got rightly panned for in 2012 or so when he was asked what was responsible for the riots. He blamed Black music. When it was pointed out to him that a fair proportion, at least, of the rioters were White, he stated that ‘they have become Black’. I don’t doubt that same White racists would condemn Adele for her choice of dress and hairstyle yesterday.
Blacks and Musical Apartheid
And these sentiments are contributing to apartheid in music. One of the complaints that has been voiced in the wake of the Black Lives Matter has been by Black musicians about the racism in their industry. I remember reading newspaper interviews 25-30 years ago by Black British musicians complaining about the musical apartheid they found when they toured America and parts of the continent, like Austria. They found there that music was strictly compartmentalised between ‘White’ and ‘Black’. One section dealt with Black performers another with Whites. I can’t remember who the Brit muso was, but she was really shocked because back here in Blighty she performed for people of all colours. But when she went to America, there was an expectation in the record company that she’d only perform for Blacks. At the same time, she and other Black musos, when they toured Austria, found their CDs and records put in the section of the music stores devoted to Black music.
I’ve also heard since then about the racism and abuse Black artists have had to face when they’ve tried performing in ‘White’ genres. A friend of mine told me a little while ago about the amount of hate the founder of the Heavy Metal band, Living Colour, got. Living Colour was an all-Black band, who wanted to produce awesome Rock. And apparently they got a lot of hate from both sides, Blacks as well as Whites, for daring to play a ‘White’ style of music. A month or so ago Radio 4 one started broadcast a piece about a Black American Country and Western performer. I can’t remember who he is, but I think he’s pretty old and has been playing it for a long, long time. And he’s suffered the same kind of abuse from the same type of people. It’s hard for me not to think that by accusing Adele of cultural appropriation, her critics are supporting the same kind of racist attitudes that would keep Whites and Blacks from appreciating and performing music outside very strict racialised boundaries.
Whites and Black Fashions and Hairstyles
As for Whites adopting Black hairstyles, I’m old enough to remember the ’70s and the big Afros that were in style then. From what I understand, they did so as part of the ‘Black is beautiful’ movement. Instead of adopting White hairstyles, Blacks in America and Britain wanted to wear their hair more naturally. And because of the influence of Black musical culture, so did many Whites. Leo Sayer had one, and when I was child I honestly thought he was Black. I don’t know if anyone from the Black community complained, but as this was also when the NF were back on the rise over here, along with organisations like the ‘Anti-Paki League’ – that’s what they called themselves – I think people had colour had worse to worry about.
I only came across the accusations of cultural appropriation for Whites adopting Black culture in the 1990s, and that was only in the American satirical comedy, Spin City. This starred Michael J. Fox in one of his last roles, as the head of the communications team for a fictional New York senator. In one episode, his Black co-workers are upset because one of the Whites has moved into a Black neighbourhood. And to fit in, he’s started wearing stereotypically Black clothes. Like turning up in an African robe. Fox’s character tries to explain that the man isn’t trying to be racist. He’s just trying to identify with the people of his new community. He also tries to explain to the man that he is, inadvertently, causing offence. The next day the guy comes in very obviously wearing a hat. Fox whips it off to reveal that the guy’s had his hair dressed in dreadlocks.
At roughly the same time that was on, I knew White people with dreads. As there still are. And the Black people I’ve known and worked with had absolutely no problem with it. They told me they had White friends, who looked good with it. Victor Lewis Smith, the satirist, TV critic and practical joke responsible for such shows as TV Bile and Inside Victor Lewis Smith, used to wear dreadlocks. Now I’ve got very mixed views about Smith. Some of his material I found funny, but in other ways he could be anything but. And he was an ex-public schoolboy, and so could be accused of cultural appropriation. But I don’t think anyone did.
Western Black Traditional Culture, Hip Hop Fashion and Ethiopian Dreadlocks
It seems to have begun with some Black Americans claiming Whites were stealing Black culture when they took over Hip Hop fashion in the 1990s. But I also remember one Black celeb scornfully pointing out that expensive trainers and the designer accessories also aren’t a traditional part of Black culture. And then a few years ago there was a video clip going round on YouTube of any angry Black female student haranging a young White lad in an American university because he had his hair in dreads. It was clipped and repeated in posts by Conservative Whites attacking the aggressively intolerant anti-racist culture in parts of American academia. And now that same attitude appears to have crossed the Atlantic.
But what was said about Hip Hop style not being part of traditional Black culture, could also be said about dreadlocks. Don’t mistake me – they are an authentic part of African Black culture. They were taken over by the Rastafarians from the hairstyle worn by Ethiopian warriors. They did so because at the time – I don’t know if they still do – they revered the Ethiopian emperor, Haile Selassie Makonnen as the Black messiah they believed was foretold in the Bible, who would liberate western Blacks from their bondage. But it’s a hairstyle that was introduced from Africa, not one that was preserved in the traditional culture of Black slaves and their descendants. And many of the Blacks who wear it just do it because they like the style, but aren’t Rastafarians. Which, if we’re strict about the issue of cultural appropriation, raises all kinds of awkward questions. If it’s wrong for Whites to adopt Black styles, it could be argued that it’s also wrong for western Blacks, as the same dress and hairstyle properly belongs to its original African people.
Black Performers in White Makeup
And then there’s the question of how you judge Black performers, who have adopted White hairstyles and makeup. There are a number of videos, for example, where Beyonce actually looks White. She has straight hair, which appears blond rather than brown or black, and her skin has been made up to appear very pale. Certainly much paler than she appears in other videos, where she appears much darker. I am not accusing her of racism. But if people start flinging accusations of cultural appropriation around, then it could be applied to Black musos like Beyonce.
Skin Whiteners and the Damage to Black Skin
And incidentally, I am also very much aware of the harm being done to Black people by the feeling that somehow they should try to make themselves appear more ‘White’. Akala apparently discusses his book on race and racism the use of skin lighteners by many Blacks in a desperate attempt to appear Whiter. It’s nasty stuff. These chemicals work by taking off the top layers of skin. Other Black and ethnic minority writers have attacked their use. And there was a nasty incident that got into the pages of Private Eye’s ‘Funny Old World’ column. It was during a boxing match in Ghana. One of the boxers had been using these wretched potions, and as a result he lost the skin on part of his face after a particularly vicious blow from his opponent. Which provides an extreme, and very graphic argument why people shouldn’t use them. Skin has its own natural beauty, whatever shade it is.
I realise this is a long article and that some of the outrage is understandable coming after the condemnation of certain comedians for appearing in makeup as Black characters, like Bo Selecta and Lucas and Walliams in Little Britain. But Adele was not in Blackface, and she is nowhere near the Black and White Minstrels, who were subject of massive controversy in the ’70s before being axed in ’80s because they did perform the old Black minstrel songs in Blackface.
But Adele seems to be coming from a completely different direction. She’s following a century-old tradition in which the White aficionados of Black culture have shown their appreciation by adopting it. People like Mezzrow, who would now be viewed, using the jargon of intersectional feminism, as ‘allies’.
White Youth, Black Music and the anti-Racism Campaigns of the 1980s
It was people like Adele, who helped push back against the NF and BNP in the 1980s. Rock Against Racism before it collapsed thanks to a takeover attempt by the Socialist Workers Party brought Black and White youth together through a series of concerts by some of the great bands of the day. But I’ve friends, who are worried we’re losing that musical culture. I was watching the old episodes of Top of the Pops one of the cable/ satellite channels has been repeating. Yeah, I know it was cheesy and some of the bands that appeared were jokes even in their time. But some of the bands were awesome. The first pop video I ever bought was UB40. In case you’re too young, they were a reggae band with Black and White performers. I bought the video of their tour in Russia. They were one of the first western groups that were able to play when Gorby gave the country glasnost. And they rocked! The video shows the crowd dancing after their translator tells them that they can. This was the country that banned Boney M’s ‘Ra-Ra Rasputin’ as evil and subversive. There were other bands, too, who mixed White and Black performers. Quite apart from White groups like Madness, who played Ska- more Black music – and wore the characteristic suits. Yes, they took over Black music and culture, but it came from a place of affection and solidarity. The kids of my generation saw them bands like them on TV, in concert, heard them on the radio and absorbed the general anti-racist message as it was coming out.
A New Apartheid in Music?
But my friend was afraid that this is being lost because of hardened attitudes that Black and White performers should stay to certain genres within very racially defined boundaries. So racially mixed bands can’t come forward and perform. Because it’s cultural appropriation, or somehow betraying Black culture or some nonsense. Whatever it is, it’s still segregation.
Conclusion
I think before accusations of cultural appropriation are directed at people like Adele, there are some, who should do a bit of reading first. About Mezrow and the adoption of Black culture and music by alienated Whites. There are some classic studies of it. I think one of them has the title ‘White Youth and Black Culture’. They should understand why the Punks took over the Pogo – it came from the jumping style of dancing of the Masai. And at the same time they did so, they were mixing it on the streets giving the real Fascists – the NF, BNP and the rest of the scumbags the hiding they deserved.
Adele’s trying to show anti-racist solidarity. And it’s the people denouncing her for cultural appropriation who are strengthening real racism.
Because the opposite side of that coin is that the Whites, who do adopt Black culture are somehow betraying their Whiteness. And that’s always been an argument for real racism and apartheid.
This is something a bit lighter for a Sunday morning. Mr. H Reviews is a YouTuber, who discusses genre film – Science Fiction, Horror and Fantasy. In this video he posted the other day, he praises a new Russian SF film, Sputnik. There are no spoilers, but he briefly sums up the plot. It’s set in in the Cold War, and is about a cosmonaut, who returns from space with something alien. It seems to be in line with films like Alien, although it also reminds me of Britain’s own Quatermass.This classic piece of British SF Horror first appeared as a Beeb TV series in the 1950s, before being filmed by Hammer. It was also about an astronaut, Caroon,from a British manned space mission at a time when we did indeed have our own space programme and were the third space power along with the Russians and Americans. He returns alone from space, his two fellow astronauts mysteriously disappeared, in a coma. It then emerges that he too is carrying a hostile visitor, and is slowly mutating into a threat to all life on Earth. Mr. H. also compares it to the much more recent movie, Life, which is also about a group of astronauts discovering and having to deal with a hostile alien entity in orbit.
Mr. H. is impressed by the film’s high production values, especially as it had a budget of 190,000 Roubles, which equates to about $2.5 million. I can’t say I’m surprised. Russia, for all its role as a global superpower, has a much smaller economy. When Simon Reeve toured it in a BBC documentary series a few years ago, I think he said that it’s economy was the size of Italy’s. It’s tiny for such a large country with a similarly large population. But that does mean that films can be made more cheaply there.
And the Russians are certainly capable of producing SF movies of the same quality as Hollywood blockbusters. A year or so ago before the lockdown I found in HMV a Russian superhero movie, Guardians. This was about a group of men and women from across the Russian Federation – one was from a nomadic people from Central Asia, another from one of the countries in the Caucasus, who have been given superpowers through a secret Russian government programme. But they now have to team up against an old threat – the former chief of another underground project, that was shut down by the KGB, who is now determined to take over the country and the world.
It’s rather like contemporary Hollywood SF/ superhero movies with its theme of secret, unethical government experiments. And of course, as it’s a Russian film, it culminates in a battle over Moscow. If it was American, it would obviously be New York or LA. Guardians is a Russian language film, so you have to deal with subtitles, but it does show that the Russians are capable of producing genre movies of the same standard as Hollywood. And it’s also interesting to see how the Russians take over and adapt the plot and tropes of the western superhero genre.
I haven’t seen Sputnik, and so really don’t know anything about it apart from what Mr. H. says in the review, but it looks interesting. Here’s his video.
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.
There’s been outrage after Keir Starmer sacked Rebecca Long Bailey from her position on the shadow cabinet yesterday. Her crime was simply tweeting about an interview with the actress Maxine Peake in the Independent. Peake and RLB had condemned the training of US police by the IDF, who had taught them to keep suspects and protesters down by putting their knees on their necks. It was this hold that had killed George Floyd. RLB had begun her tweet by stating that systematic racism was a global issue, mentioning that the American cops were taught the hold from seminars with the Israeli security forces.
This outraged the Zionist fanatics and the Tories, like the Tory peer and Murdoch hack Daniel Finkelstein, John Rentoul, the keeper of the Blair flame in the Labour Party, and the noxious Dave Rich, who immediately declared that RLB was peddling an anti-Semitic conspiracy theory and demanded Starmer sack her. But it isn’t a ‘conspiracy theory’. It’s solid fact, as established and verified by Amnesty International. Mike in his piece about this disgraceful scandal has supported RLB’s statement through passages from Amnesty reporting that law enforcement officials from a series of American states – Florida, New Jersey, Pennsylvania, California, Arizona, Connecticut, New York, Massachusetts, North Carolina, Georgia, Washington State, and the police of Washington DC, have travelled to Israel for training. He has also reproduced a passage from the Jerusalem Post reporting that a city in North Carolina has actually banned training and other forms of exchange between their police and the IDF because of the IDF’s brutal repression and maltreatment of the Palestinians. He also points out that what RLB said was not anti-Semitic. She did not say Jews had taught the police the use of the technique. She had said the IDF. The two are not synonymous, no matter what Marie van der Zyl of the Board of Deputies wishes to claim.
Starmer, honouring his obligation to the Board after he signed their ridiculous and highly manipulative 10 pledges, has asked RLB to resign. This was angrily attacked by the peeps on Twitter, including Simon Maginn, Kerry-Ann Mendoza, Ash Sarkar, and Tom London. Even Owen Jones, who has supported the anti-Semitism smears, called it an absurd overreaction.
But as Mike himself has pointed out, Starmer has not sacked Rachel Reeves, the odious right-winger in the party who laid a wreath at the statue of Nancy Astor. Astor was the first British woman MP, but she was also a vicious anti-Communist and anti-Semite, who thought that Adolf Hitler was the right man for Germany and tackling both of these issues.
Mike has also reproduced RLB’s own series of Tweets explaining and clarifying her comments. She states that she put up an previous clarification of her comments, which had been agreed by Starmer, but was told to take it and her retweet down. This means that Starmer is using her Tweet as a pretext to get rid of her. It’s all part of his campaign to purge the Labour Party of the left, and anti-Semitism is just the pretext, not a real cause.
In fact under Starmer Labour has allowed racism to go unpunished. But it’s the racism of his supporters against Blacks and BAME MPs, supporters and activists.
Zelo Street in its article also quotes the Middle East Eye, which states
“The Israeli police force has tried to distance itself from any perceived imilarities, issuing statements denouncing what happened and stating that its officers are not trained to use knee-to-neck techniques. But photographs taken as recently as March have shown Israeli forces using the same restraint on unarmed protesters just yards from the Al-Aqsa Mosque in Jerusalem’s Old City”.
The Street concludes
‘The training of US law enforcement officers by the Israeli military is not an “anti-Semitic conspiracy theory”. It’s not “5G level stuff”. No-one “blames Jews”. But this does enable pundits to look away from holding a catastrophically inept Government to account.
And it allows the Tories to get away with rather more blatant anti-Semitism. The kind that none of those bleating at Maxine Peake seem to notice. I’ll just leave that one there.’
Tony Greenstein, the long-time critic of Israel and Zionism, was so incensed by Starmer’s actions that he has put up an article that also proves very clearly that the training of American cops by the IDF is most definitely not a ‘conspiracy theory’ but solid fact. he has this quote from Neta Golan of the International Solidarity Movement.
“When I saw the picture of killer cop Derek Chauvin murdering George Floyd by leaning in on his neck with his knee I remembered noticing when many Israeli soldiers began using this technique when we were protesting in the West Bank sometime in 2006.”
He has also stated that Starmer’s support for Black Lives Matter is hypocritical, as the Israel lobby despises BLM because it also criticises and condemns the Israeli state’s maltreatment of the Palestinians. He provided more than ample evidence of this in an article he put up yesterday.
He also notes that this isn’t about attacking anti-Semitism. It is about defending the Israeli apartheid state and the bi-partisan imperialist foreign policy in the Middle East that Labour shares with the Tories. He states that a racist and imperialist cannot be leader of a socialist party, and has therefore set up a petition calling for Starmer to go. A link to it is in his article on RLB’s sacking at:
I’ve signed it, as I agree absolutely with what Tony, Mike and Zelo Street have all said. This isn’t about anti-Semitism. It’s simply using the anti-Semitism smears to justify the unjustifiable – apartheid in Israel, and the smearing and purge of entirely decent, anti-racist people from the Labour Party in favour of racist red Tories.
If you feel the same, please consider signing Tony’s petition. Though I’m afraid that it may provide Starmer with more names of people he can purge.
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