Posts Tagged ‘Pat Mills’

Dimbleby Resigns as BBC Propagandist on Question Time

June 18, 2018

Yesterday, Mike put up a piece commenting on the resignation of former Bullingdon boy David Dimbleby as the host of Question Time. The man Private Eye dubbed ‘Dimblebore’ has been presenting the show for 25 years, and now considers it the right moment to leave. Dimbleby is another BBC presenter, who is very biased towards the Conservatives. Mike’s photograph of him accompanying his piece shows him raising two fingers, with the comment that it’s probably to a Socialist. Mike also cautions against feeling too good about Dimblebore’s resignation, as we don’t know what monster’s going to replace. He wonders whether the secret of human cloning has been found, and whether the next biased presenter of the programme will be Josef Goebbels.

https://voxpoliticalonline.com/2018/06/17/if-david-dimbleby-is-leaving-the-bbcs-question-time-what-horror-will-replace-him/

Last week Dimblebore was off in Russia, presenting a documentary about the country under Putin ahead of the footie there. He wasn’t the only, or even the first person to go. The comedian Frankie Boyle got there over a week earlier, presenting a two-part show about the country, it’s people and football on Sunday evening. Dimblebore was rather more serious in tone, presenting Russia as a country in the grip of a repressive autocrat, and mired in corruption which was strangling the economy.

Dimbleby first explained that Putin was most popular with young people, the generation that everywhere else is rebelling against autocrats, dictators and tyrants. He puts this down to Russians’ experience of economic collapse under Yeltsin. Yeltsin ended communism and dismembered the economy of the Soviet Union, privatising whatever he could. The result was chaos, and massive employment. At one point it got so bad that some factories were paying their workers in the goods they produced. Putin has restored order and economic stability to the country, and so has the support of the younger generation.

He spoke to a great of young professionals, an advertising branding team who were supporters of Putin, working to promote him through images and slogans. He stated that most of the media was controlled by the Russian president, with a few exceptions. He then went to speak to someone from RT’s Moscow branch. Dimbleby explained that some of the staff were British, and asked one of the Brits there whether he was presenting propaganda. The man denied it, said that there was no one watching over him, telling him what to do, and that his conscience was clear. Dimblebore then gave a knowing smirk into the camera.

He then talked to a female presenter on one of the few dissident broadcasters Putin had allowed to remain open. She said that she had not received any threats, but she knew that she could be killed for what she did. But she was still determined to carry on.

He then talked about how those, who criticised the government were arrested and jailed, interviewing a human rights lawyer, who defended them. When asked what people could be arrested and jailed for, the lawyer explained that it could be criticism of the government, or a non-traditional understanding of the Second World War. The other year Putin passed a law criminalising the view that Stalin was partly responsible for the Nazi invasion of eastern Europe and Russia through the Nazi-Soviet pact. From what I remember, I think you can also be arrested for promoting gay rights.

He then spoke to a woman, who was protesting her treatment by the state. She had already been jailed for criticising Putin, but was determined to do so again. She had not been able to get a permit to organise a protest, and so held her own, one-woman demonstration outside the court. This is permitted under Russian law. If you can’t get a permit for a demonstration, you can still protest, so long as there is only one person involved. As she stood with her placard, she was joined by an increasing number of counter-protesters determined to disrupt her protest, and possibly send her to jail. They moved closer to her, and she moved away, telling them to keep their distance. They kept coming, and their numbers kept increasing. Then the cops turned up, and started filming things as they’d been told foreigners were involved. And someone else from one of the TV companies materialised to film the protest as well. Eventually it all ended, and the police and counter-protesters disappeared.

Dimbleby then did a piece about the police’s brutal suppression of dissent, complete with footage of the cops beating what looked like a feminist protester from Pussy Riot.

He also touched on gender roles. He talked to a hairdresser, while having his haircut, who told him that Russia still had very traditional gender roles, in which women wanted a strong man to provide for them.

Putin has also succeeded in reversing the declining Russian birthrate. Instead of falling, it is now rising, with medals and benefits given to couples who have large families. He showed one woman and her husband, who were being presented a medal by Putin for having ten children.

He also went off to talk to a youth organisation, that was set up to get children, including boys of junior school age, interested in the army. The group’s name translates as ‘Net’, and is run by army officers. The children there wear combat uniforms and learn to shoot using air rifles, which they are also taught how to strip down. They were shown blazing away at targets, and competing with each other over who could reassemble a gun while blindfolded the quickest, with Dimblebore cheering the winner. And it wasn’t all boys. One of the youngster there looked like a girl. Dimblebore asked them if they wanted to join the army, to which they gave a very enthusiastic ‘Yes’.

He then went off to speak to a prelate from the Russian Orthodox Church about its support for Putin, where he described Putin as an autocrat attacking human rights and threatening peace in Europe. The prelate responded by saying that there were those, who did not agree with his view. And that was that.

He then went off to discuss the massive corruption in Russia, and how this was undermining the economy as more and more investors and companies left the country because of it. Russia has 144 million people, but it’s economy is 2/3s that of Britain, or about the size of Italy’s, and is declining.

Now all of this is factually true. John Kampfner, in his book Freedom For Sale discusses Russia as another state, where the population has made a deal with its leader. They have absolute power, in return for which they give their people prosperity. Except that, according to Dimbleby, living standards and wages are declining. Putin has passed laws against the promotion of homosexuality, there are massive human rights violations, including the jailing of the type of people, who would have been called dissidents under Communism. Journalists, who haven’t toed the Archiplut’s line have been beaten and killed.

Other aspects of the Russian state, as revealed by this programme, would have been immediately recognisable to the generation raised by Communism. Like the corruption. It was rife under Communism. The Bulgarian journalist, Arkady Vaksberg, wrote a book about it, The Soviet Mafia. And Gogol took a shot at official corruption under the Tsars back in the 19th century in his play, The Government Inspector. So no change there.

As for the Russian Orthodox Church supporting Putin, it was always the state church under the tsars, to which it gave absolute support. The watchword of the tsarist regime was ‘Autocracy, Orthodoxy and the People’. And its support of autocratic leadership didn’t begin under Putin. After the restrictions on religion were lifted in the 1990s, the BBC journalists interviewed some of its clergy on their shows. And the clergy had the same preference for absolute state power and total obedience from the people. Putin made the relationship between the Church and his government closer by granting them a sizable share of Russia’s oil.

The youth groups designed to get children interested in joining the army are also little different from what already went on under the Soviet system. Secondary schoolchildren did ‘military-patriotic training’ to prepare them for national service as part of the school curriculum. It was led by retired army officers, who were often the butt of schoolboy jokes. They were taught to handle weapons, complete with competitions for throwing grenades the furthest.

And let’s face it, it also isn’t much different from what used to go on over here. I’ve known young people, who were in the army and naval cadets. And the public schools used to have the CCF – the Combined Cadet Force – which the Tories would dearly love to bring back. And boys, and some girls, do like playing at ‘War’, so I’ve no doubt that if something like the Russian group was set up in this country, there would be many lads and girls wanting to join it.

Russia has also too been a very masculine society with very traditional ideas about gender and masculinity, despite the fact that most engineers were women, who also worked as construction workers and many other, traditionally masculine areas. One of the complaints of Russian women was that the men didn’t do their fair share of standing in queues waiting to get whatever groceries were in store.

And the medals and rewards to the women, who gave birth to the largest number of children is just another form of the Heroic Mother Awards under the Soviet Union. Putin’s Russia continues many of the same aspects of the country’s society from the age of the tsars and Communism, although Dimblebore said the country was going backward.

I’ve no doubt it is, but the programme annoyed me.

What irritated me was Dimblebore’s knowing smirk to camera when the guy from RT denied that he broadcast propaganda. Now I’m sure that RT does. There’s videos I’ve seen on YouTube from RTUK, which could fairly be described as pro-Russian propaganda.

But what annoyed me was Dimblebore’s hypocrisy about it.

The Beeb and Dimbleby himself has also broadcast it share of propaganda supporting western foreign policy interests, including imperialism. Newsnight has finally got round, after several years, to covering the Fascists running around the Ukraine under the present government. But the Beeb has emphatically not informed the British public how the pro-western regime which was put in power with the Orange Revolution, was created by the US State Department under Obama, and run by Hillary Clinton and Victoria Nuland. Far from being a grassroots movement, the revolution was orchestrated by the National Endowment for Democracy, which has been handling the US state’s foreign coups since they were taken away from the CIA, and one of George Soros’ pro-democracy outfits.

Putin is also presented as the villainous aggressor in the current war in the Ukraine, and some have compared his annexation of Crimea and invasion of eastern Ukraine to the Nazi annexation of the Sudetenland. But Crimea had been a part of Russia before 1951, when Khrushchev, a Ukrainian, gave it to that state. And Putin is not looking to take over the country either. The population of Russia is 144 million. Ukraine’s is a little over a third of that, at 52 million. If Putin really had wanted to annex it, he would have done so by now. And under international law, as I understand it, nations are allowed to intervene in foreign countries militarily to defend members of their ethnic group that are being persecuted. That was the pretext for the Nazi annexation of the Sudetenland, and it’s also the reason why Putin’s invaded eastern Ukraine. But it’s legal under international law. And I don’t doubt for a single minute that Russians, and Russian-speaking Ukrainians, were being persecuted by the new, pro-Western government.

In his documentary, Dimbleby met a very angry, patriotic Russian, who told him that the British had tried to invade Russia three times in the past three centuries. Once in the 19th century during the Crimean War; then in 1922 during the Russian Civil War. And now we were preparing to do the same. He angrily told us to ‘get out!’. Dimbleby looked shocked, and said to him that he couldn’t really believe we were ready to invade.

This was another continuation of the Soviet paranoia and hostility towards the West dating from the Communist period and before. Russia has always felt itself encircled by its enemies since the tsars. But the man has a point. We did invade Russia in 1922 in an effort to overthrow the Communist regime. Pat Mills has talked about this in his presentation on comics he gave to the SWP a few years ago. He tried to get a story about it in Charlie’s War, the anti-war strip he wrote for Battle. This is another piece of history that we aren’t told about.

And when Gorbachev made the treaty with Clinton pledging the withdrawal of Soviet troops from eastern Europe after the collapse of Communism, Clinton in turn agreed that these state would not become members of NATO. He broke his promise. They now all are, and NATO’s borders now extend to Russia. At the same time, western generals and NATO leaders have been predicting a war between Russia and NATO. One even wrote a book about it, 2017: War with Russia. Thankfully, 2017 has been and gone and there has, so far, been no war. But with this in view, I can’t say I blame any Russian, who is afraid that the West might invade at any moment, because it does look to me like a possibility.

And there are other matters that the Beeb and the rest of the lamestream news aren’t telling us about. They’re still repeating the lie that the invasion of Iraq was done for humanitarian reasons, whereas the reality was that western corporations and the neocons wanted to get their hands on Iraqi state industries and privatise the economy. And the American and Saudi oil industry wanted to get their mitts on the country’s oil reserves.

The civil war in Syria is also presented in simplistic terms: Assad as evil tyrant, who must be overthrown, and Putin as his bloodthirsty foreign ally. Assad is a tyrant, and one of the causes of the civil war was his oppression of the Sunni majority. But we are constantly being told that the rebels are ‘moderates’, while the fact is that they still have links to Islamists like the al-Nusra Front, the former Syrian branch of al-Qaeda, and ISIS. Nor have I seen the Beeb tell anyone how the Syrian rebels have also staged false flag chemical weapons attacks against civilians in order to draw the west into the war.

And objective reporting on Israel is hindered by the pro-Israel lobby. Any news item or documentary, which shows Israel’s horrific crimes against Palestinian civilians is immediately greeted with accusations of anti-Semitism from the Israeli state and the Board of Deputies of British Jews. I’ll be fair to the Beeb. Some of their presenters have tried to give an objective reporting of events, like Jeremy Bowen and Orla Guerin. But they’ve been accused of anti-Semitism, as was Dimblebore himself when he tried to defend them. In this instance, the bias isn’t just the fault of the Beeb. But it is there, and newsroom staff have said that they were under pressure from senior management to present a pro-Israel slant.

Domestically, the Beeb is very biased. I’ve discussed before how Nick Robinson in his report on a speech by Alex Salmond about Scots devolution carefully edited the SNP’s answer, so it falsely appeared that he had been evasive. In fact, Salmond had given a full, straight answer. Salmond’s reply was whittled down further as the day went on, until finally Robinson claimed on the evening news that he hadn’t answered the question.

And numerous left-wing bloggers and commenters, including myself, have complained about the horrendous bias against the Labour Party and Jeremy Corbyn in the Beeb’s reporting. Dimblebore himself has shown he has a very right-wing bias on Question Time, allowing right-wing guests and audience members to speak, while silencing those on the left. Not that he’s alone here. Andrew Marr has done exactly the same on his programme on Sundays.

Dimblebore is, quite simply, another right-wing propagandist, with the Beeb backing current western imperialism. His smirk at the RT journalist’s denials of doing the same is just gross hypocrisy.

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Review: Joe Sacco’s ‘Palestine’

May 12, 2018

(London: Jonathan Cape 2001)

This is one of the classics of the graphic novel. Joe Sacco is an American journalist. He spent two months with the Palestinians in late 1991 and early 1992 in Gaza and the West Bank during the time of the first Intifada. He wrote and drew Palestine after his return to the US, basing it on his notes, publishing it as a nine-part comic strip. These were later collected into a single volume to form the graphic novel. The book also has a kind of introduction, ‘Homage to Joe Sacco’, from Edward Said, the author of Orientalism, critic of western imperialism and attitudes to the Arabs, and himself a Palestinian.

This is precisely the type of book the Israel lobby does not want people to read. Not BICOM, not the Campaign Against Anti-Semitism, which was set up because Gideon Falter, its founder, was worried about British attitudes becoming more hostile to Israel after the blockade of Gaza, not the Jewish Labour Movement, formerly Paole Zion and the companion party to the Israeli Labor Party, not the various ‘Friends of Israel’ societies in the political parties, Tories and Labour, nor the Jewish Leadership Council and definitely not the Board of Deputies of British Jews. All of them shout ‘anti-Semitism’ at anyone who dares to publish anything critical of Israel, or show the barbarity with which it treats the Palestinians.

The book shows Sacco’s experiences as he goes around Israel, the West Bank and Gaza, talking to both Palestinians and Israelis, meeting them, entering their homes, and listening to their stories. He starts the book in Cairo, the beginning of his journey to Israel, and to which he returns at his departure. During his time there, he visits the Vale of Kidron, the Arab quarter of Old Jerusalem, Hebron, Ramallah, Jabalia refugee camp in the Gaza strip, as it then was, Balata, another refugee camp on the West Bank, Nablus, the town of Gaza itself, and finally Tel Aviv.

It’s not an easy read. This is an occupied country during deep unrest, and the threat of violence and arbitrary arrest and detention without trial is every where. There are patrols of soldiers, demonstrations, explosions and stone throwing. And he shows, with quotes, the contemptuous, lofty and hostile attitude the early Zionists and Lord Balfour had for the indigenous population. He quotes Balfour as saying

‘Zionism, be it right or wrong, good or bad, is rooted in age-long tradition, in present needs, in future hopes, of far profounder import than the desire and prejudices of 700,000 Arabs who now inhabit this ancient land. We do not propose even to go through the form of consulting the wishes of the inhabitants’.

Ben Gurion thought it would be simple to expel the Palestinians, because he felt they had no real attachment to their homeland. He wrote that the Palestinian ‘is equally at ease whether in Jordan, Lebanon or a variety of other places’. With the approach of war, he made it clear their expulsion was going to be through military force: ‘In each attack a decisive blow should be struck, resulting in the destruction of homes and the expulsion of the population.’ When that was done, ‘Palestinian Arabs have only one role – to flee’. He also quotes Golda Meir, who stated that a Palestinian people, defining itself as a Palestinian people, did not exist, and ‘we came and threw them out and took their country away from them. They do not exist’. 400 Palestinian villages were razed in the war marking the birth of Israel. Meir’s lie – that the Palestinians don’t exist as a people – is still repeated by Republican and pro-Israel bloggers. Golda Meir was also concerned about the Palestinian population outstripping that of the Israelis, another issue that is still very alive today.

His hosts are polite, welcoming him into their homes, and plying him with tea. But occasionally there is an outburst from one of them, when he’s asked what the point of him being there, of them talking to him, is. Because other journalists have been there too, and they’ve talked to them, and nothing has happened, nothing has changed. They also talk to him about the other factions, and of the peace process. In a separate text at the beginning of the book, he states that, while the peace process set up the Palestinian authority and gave them a government, it changed nothing for ordinary Palestinians, and the occupation and theft of land by the Israelis still goes on.

He also reveals that the Israelis appropriate 2/3 of the land in the West Bank for their own us, which includes the establishment of Israeli settlements, which are illegal under international law. And the governments gives Israelis plenty of incentives to move to them. They’re given a government grant if they do, lower interest rates on loan, the housing itself is cheaper than in Israel, and an income tax rate of 7 per cent. The settlers themselves can be extremely aggressive. Sacco’s hosts tell them about incidents where settlers have come into Palestinian villages, smashing windows and demanding that the owners come out. Of people shot by them, and the trivial sentences given to the settlers guilty of this. They’re given jail sentences of a few months. If they’re convicted in the first place. Palestinians who shoot and kill Israelis are jailed for years. Some lavish homes do exist in Palestine, occupied by Arabs, but most live in very bare houses, often with leaking roofs, which are vulnerable to storms.

His cartoons show what his Palestinian hosts tell him it’s like in prison camps like Ansar III, with crowds of prisoners crammed into small, bare rooms with no heat and poor ventilation. There are also few eating utensils, to the various political factions in the camp – Fateh, Hamas, Popular Front, organise meal times so that everyone gets a turn with the cup and plate to eat and drink. Several of the people he talks to were arrested simply on suspicion. Israeli law allowed them to be held without charge while evidence was compiled, with his captors returning to court over and over again to request a few more days more, until the judge finally listens to their lawyer, has the procedure stopped and the prisoner released. He also shows how the prisoners were tortured through beatings, being forced to stand for hours with bags over their heads, a process permitted under Israel law. A judge ruled that torture could not be used, but what methods were to replace them were kept secret. So many Palestinians have been incarcerated, that a green identity card showing a man has been in jail is a matter of pride. And not to have been to prison correspondingly is a mark of shame.

He talks about how the Israelis have a deliberate policy of not allowing the Palestinians to industrialise, so that they compete with the Israel. The State has also put obstacles in place to prevent Palestinian farmers competing with Israelis. They also deliberately uproot the olive trees many Palestinians grow to support themselves. The Israelis also appropriate most of the water, and dig deeper wells, so that the Palestinians have a much poorer water supply and their own wells are becoming increasingly saline. As a result, unemployment in Gaza was at 40 per cent. And Sacco himself was approached several times by Palestinians, hoping he could do something so that they could leave and go abroad to study or find work.

He describes a school, without electricity, as well as a school for the deaf, which is supported through volunteers and whose staff complain of their lack of training for dealing with people with disabilities. He also hears and illustrates the story of one Palestinian woman, whose son was shot by Israeli soldiers, but was prevented from taking him directly to hospital. Instead she was ordered to go hither and thither, where she was told a helicopter was waiting to take her and the boy. When she gets there, there is no helicopter. She eventually takes him to the hospital herself in a car, by which time it’s too late and the lad dies.

The book also shows the mass of roadblocks and the permit system which Palestinians have to go through to go to Israel. At the same time, Israelis are simply allowed to whiz through in their separate lanes.

Sacco also doesn’t shy away from showing the negative side of Palestine – the anti-Semitism, and particularly infamous murders, like the killing of Klinghoffer aboard the Achille Lauro, and the massacre of the Israeli Olympic team by the terrorist group Black September. This can turn into support for the murder of Israeli civilians. There’s also a chapter on the plight of Palestinian women, This is a society where women are still very much treated as inferiors and subordinates, where honour killings are carried out as the punishment for female adultery. It is also a society where collaborators are murdered, and those, who belong to the wrong faction may also be shot and killed.

The book was written 27 years ago, but nothing really seems to have changed since then. The illegal settlements are still there and expanding. Settlers are still seizing Palestinian homes and property, the apartheid separating Israelis from Palestinians is still in place, unemployment is still high, and Palestinians are still being treated as foreigners, refugees and second-class citizens on their own land.

However, some attitudes are changing. The Israeli liberals Sacco talks to only support the Palestinians up to a point. When pressed, some of them will say that Israel should keep the Occupied Territories, because they seized them in war. Or that they need to keep them for security reasons. But an increasing number of young Jews in America and elsewhere are appalled at the continuing maltreatment of the Palestinians and are becoming increasingly critical and hostile to Israel because of this. And there have also grown up major opposition groups like the human rights organisation B’Tselem and Breaking the Silence in Israel.

The Israeli state and its lobby and supporters in this country and others are increasingly scared. It’s why they’re trying to pass laws to criminalise the Boycott, Divestment and Sanctions movement in America, and to outlaw criticism of Israel in this country through tortuous definitions of anti-Semitism that are stretched to include it. It’s why they’re smearing, with the connivance of the right-wing media, the Blairites in the Labour party, and the Conservatives, decent people, who have fought racism and anti-Semitism, as anti-Semites.

Very long, detailed books have been written about Israel’s brutal treatment, dispossession and ethnic cleansing of the Palestinians. Sacco’s Palestine presenting this as graphic novel, is an example of how comics can also be serious literature, tackling a difficult subject with both narrative and artistic skill and style. I’ve mentioned on this blog before the alternative comics that were also published from the ’60s to the 1980s/1990s on political topics, including the Israeli maltreatment of Palestinians in Pat Mills’ Crisis. Palestine is very much in that tradition, and in 1996 won the American Book Award.

After the Secret Flights to Deport Windrush Migrants, No-One Is Safe in Tory Britain

April 20, 2018

Mike in his articles attacking May and her truly foul decision to destroy the evidence needed for the Windrush migrants to show their right to live in our wonderful country also mentioned that poem by Martin Niemoller. Niemoller was one of the scandalously few Christians in Nazi Germany to oppose the regime. You know the poem. It’s become something of a clich√© – It opens with the various groups the Nazis came for, with the refrain ‘I did not speak out, because I was not’ whichever group was being attacked. It ends with the line that when they finally came for him, there was no-one to stand up for him. This was the reality in Nazi Germany. The Nazis attacked group after group, not just Jews, but also Gypsies, Socialists, Communists, trade unionists, the disabled, and other political and religious dissidents. And it had an effect. The Catholic Centre Party, which could have voted against the Nazi seizure of power, actually voted for it because they were afraid that the Nazis would come and attack them and the Church. It didn’t help. The Nazis had no qualms about dissolving them, along with the other political parties. The only parties that voted against the Nazis were the SPD – the German equivalent of the Labour party, and the Communists.

The victims of Nazi persecution vanished into ‘Nacht und Nebel’ – ‘Night and Fog’. They were snatched from the homes, and vanished without trace, to be tried before special courts, in secret. The secrecy was quite deliberate. It was done to create fear and deter anyone else from protesting against the Nazi regime. Or in the case of Jews, Gypsies, and the congenitally disabled, simply being. One of Hitler’s most notorious comments is his line ‘The people need fear. A healthy fear is good for them’. Torquemada, the science-fictional galactic Fascist villain of the Nemesis of the Warlock Strip in 2000AD, said the same, except he dropped the ‘healthy’ bit. I’m sure the line was a deliberate quote by the writer, Pat Mills, and shows the research he did on the Third Reich that influenced the war stories in Battle and his other strips against racism and Fascism. ‘Nemesis’ was a fantasy, but based solidly in fact and addressing a real issue.

The knock on the door in the middle of the night and arrests by secret police weren’t unique to the Nazis. It was done in Stalin’s Soviet Union, and by authoritarian regimes across the world, right up to the present day. Like Communist China and Israel’s persecution of the Palestinians, to name just two. And I wonder how long it will be before the Fascist, anti-Semitic Fidesz government in Hungary starts doing the same, after their prime minister declared a list of 200 organisations to be subversive followers of George Soros. Who is, of course, a Jewish financier, exactly like the villains of Nazi conspiracy theory.

But we can’t be complacent. Blair tried to introduce secret courts in this country, and Dave Cameron and Nick Clegg did. These are special courts for those charged with terrorism, and where public disclosure of the evidence is judged to be harmful to that old chestnut, national security. Under the legislation, these trial may be held in secret. The accused and their lawyer may not know the identity of their accuser, or the evidence against them. Or even what the charge is.

It is exactly like the perverted judicial systems of Nazi Germany and Stalinist Russia. And once again, literature got their first. Franz Kafka described all this in his novels, The Castle and The Trial. Kafka, however, had a peculiar sense of humour. He said once that these tales are meant to be funny, in an ironic way. I can remember being told at school that irony plays a big part in the German sense of humour – OK, Kafka was a Jewish Czech, but he wrote in German, and I guess he shared their sense of humour. But it wasn’t a joke under the Nazis and the other totalitarian regimes, and it far from a joke now.

The people unfairly deported were thrown out of this country on secret flights, often shackled in contraptions like leg and hip restraints. This follows the ‘secret renditions’, in which foreign nationals accused of terrorism offences were secretly flown out of this country to others as a way of evading our laws banning torture in interrogations. The Tories clearly felt that after doing it successfully to one group, they could do it to others. So from terrorist suspects, they moved on to entirely respectable people, who came here to work and make a better life for themselves. People who endured massive racism and shouldn’t have to put up with any more of it.

If the Tories can do it to one group, they will do it to others. Food banks are another example. They started out to help asylum seekers waiting for adjudication on their right to stay in the UK, who were banned from claiming benefits. But Ian Duncan Smith and his boss, David Cameron, expanded them to cover ever person thrown off benefits under their murderous sanctions regime.

The Tories start by picking on unpopular outgroups, like terrorists and coloured immigrants. And then they push their policies into the most vulnerable groups of mainstream society.

Remember, in the 1970s large sections of the Tory party really thought that Harold Wilson was a KGB agent and the Labour party was riddled with Communists taking orders direct from Moscow. And leading members of the establishment, including Times journo Peregrine Worsthorne, wanted a coup and the internment of those judged to be dangerous radicals. This included not only politicians, but also trade unionists and journalists. You can read about it in Ken Livingstone’s 1987 book, Livingstone’s Labour.

You are not safe, no matter how long you’ve lived here. Even if your a tradition, White Brit. On this evidence, if the Tories continue with their arrests and secret deportations, they will eventually come round to making us vanish into their equivalent of ‘Night and Fog’. Just like the Nazis.

And if we don’t act against this and the other injustices, no-one will stand up for us. Just like no-one stood up for the Jews and the other victims of the Nazis in Niemoller’s poem and real life.

May and the Tories are a clear and present threat to democracy and the security of decent people. Racism and the persecution of immigrants is the start. Get them out, before they turn this country into something very close to Nazi Germany.

The BDJ’s Attempted Accusation of Anti-Semitism in Pat Mills’ ‘Crisis’

April 3, 2018

Pat Mills is the creator of 2000 AD, the Galaxy’s greatest comic, and the co-creator of many of the favourite characters in modern British comics, like Judge Dredd and Slaine, as well as the creator of the anti-war comic strip, Charley’s War, in the British war comic, Battle. Crisis was an explicitly political strip Mills’ launched in the late ’80s and early ’90s. Its ‘Third World War’ strip tackled the politics of food and the exploitation of the Developing World. Mills was also not afraid to tackle other controversial subjects. He was contacted by Amnesty International to do a story about the oppression of the Palestinians by the Israelis. He did, and inevitably the Board of Deputies of British Jews complained about anti-Semitism.

Mills is absolutely no kind of racist or anti-Semite, as you can tell by reading his strips. Many of them tackled racism and bigotry. The mutant heroes of Strontium Dog, for example, were forbidden by law to pursue any other job except bounty hunter, and were kept isolated from the non-mutated rest of humanity in ghettoes. And under the dictator Nelson Bunker Kreelman, there was an organised campaign by the British authorities to wipe them out. The Nemesis the Warlock strip was also a metaphorical treatment of racial and religious persecution. The villain of this strip, Torquemada, named after the head of the Spanish Inquisition, was the grand master of a feudal order thousands of years in Earth’s future, who were dedicated to exterminating all intelligent alien life. The treatment of the issues were metaphorical, but they had their basis in their bigotry and intolerance that has marred human history.

Mills describes the incident on page 155 of his book Be Pure! Be Vigilant! Behave! 2000AD and Judge Dredd: The Secret History:

There were many more ordinary hero stories I would have loved to have produced. Eventually, Amnesty commissioned me to write an Amnesty issue of Crisis. And there were also plans for me [to] do something with Campaign Against Arms Trade. For Amnesty, I wrote about the death penalty in South Africa and Palestinian youth in the Gaza Strip. Both were illustrated by Sean Phillips. One Palestinian kid was so beaten up by the Israeli forces, Sean showed him lying there with his legs and arms a twisted angles.

When it appeared, the watchdog organisation, the Jewish Board of Deputies, complained to Robert Maxwell that this kid’s limbs were in the shape of a swastika. No concern about the kid himself. Or no interest in the story: a damning indictment of the brutality of the Israeli forces. It was like the Board were looking at faces in the fire and seeing what they wanted to see. But they couldn’t try their usual anti-Semitic allegations, which often successfully shuts us all up, because the three key organisers on the project were Jewish. Sara Selwood, Dan Green and Igor Goldkind. They couldn’t all be dismissed as self-haters. Surprisingly, Robert Maxwell, of all people, and hardly a self-hater either, told the Board to get lost. I can get behind his response.

This is the Board of Deputies of British Jews, which is now backing the fake anti-Semitism smears against Corbyn, and which, along with the Jewish Labour Movement, is now moaning about how he’s not really serious about tackling anti-Semitism. Because instead of meeting them, he went off to spend a Passover seder with Jewdas, a left-wing Jewish religious group instead. Which to me shows how pompous and arrogant they are, in claiming that they alone speak for the British Jewish community, when there are many other Jewish groups like Jewdas, who have put their full support behind the Labour leader.

Mills also goes on to describe how he also tackled other controversial topics in the strip, such as the British suppression of the Mau Mau in Kenya. Drawn by John Hicklenton, one of the artists who drew Nemesis the Warlock, the strip was so horrifying that the staid printers threatened not to print it. ‘But’, writes Mills, ‘we got it through and I’m proud to have shed light on at least one aspect of our country’s evil colonial past.’ (pp.155-6).

This would have been very controversial when it appeared, especially as many of the documents were still classified until only a decade or so ago. The British army’s repression of the Mao Mao was indeed horrific, with internment, torture, mutilation and massacre. There’s a book about it, Africa’s Secret Gulags, and a few years ago a group of former Kenyan internees won a court case against the British government for what they had suffered at the hands of the army. This is one of a number of areas where comics in the 1980s did tackle contemporary politics, and stood up for the poor, marginalised and oppressed in Thatcher’s Britain.

I’m not sure Mills would have been so lucky with the strip on Palestine today, though. As we’ve seen, the Israel Lobby now has absolutely no qualms about smearing whole masses of decent, self-respecting Jews as self-hating anti-Semites, as well as respectable, sincerely anti-racist non-Jews. This is utterly despicable, and it’s disgraceful that the Board should be a willing party to such foul libels.

Pat Mills – Be Pure! Be Vigilant! Behave! 2000AD and Judge Dredd: The Secret History: Part Three

March 30, 2018

Although the comic has been revived and managed very successfully by Rebellion and its new editor for the past 15 or so years, some of the joy has gone. The close collaboration between writers and artists has disappeared, and the editor himself avoids close contact with the other creators. This is partly because of budget and time constraints. The attitude throughout the industry now seems to be one of diligent, quiet efficiency, rather than some of the fun-filled, boisterous meetings Mills and the others had, acting out what they wanted the characters to do in an atmosphere of playful fun. Not that it was always the case. Mills also worked hard, and as an editor he was often called up to deal with artists experiencing some form of crisis, including trying to stop one fellow from committing suicide. But the underlying cause of the decline in British comics remains unaddressed. This is the lack of ownership by the creators for their work. He states that this is the real reasons comics are declining, not computer games. They have those in France, but kids are still reading comics. He also talks about the immense fun he had over there with his Requiem: Vamnpire Knight strip, also available in English translation on the Net.

Mills also talks about some of the other strips he has worked on, which have influenced 2000AD, such as Battle, the notorious Action, Crisis and Toxic. Battle was a war comic, which Mills subverted with Charlie’s War, a First World War strip which had an anti-war message. Mills has come across a number of men, who joined the army through reading such comics. He’s very proud that Charlie’s War had the opposite effect, and after reading it one young lad decided he really didn’t want to after all. Mills is very political, and criticises British literature for its lack of working class heroes. He sees this as partly deliberate, as so many of the great adventure writers were connected to the Intelligence Services and the secret state. Names like John Buchan, Dennis Wheatly – who would have been gauleiter of London, had Hitler conquered Britain – and Ian Fleming. He describes how the script editor of Dr. who in the ’80s turned down a story he’d written, as it included a spaceship captain who was working class. The story has since been made into a CD adventure by Big Finish, and there have been absolutely no complaints.

Action was initially suspended, and then banned outright for its violence. It was also controversial as the first strip to feature a sympathetic, non-Nazi German hero in Hellman of Hammer Force. The comic was so hated by respectable society, that one of the presenters of Nationwide, a 70s current affairs magazine show pretty much like today’s One Show, tore a copy up on camera in front of one of the writers. After it returned, the violence because even more over the top to the point where it shocked Mills, leading to its eventual ban.

Mills is unhappy with SF as a vehicle for social comment, as he feels it is ducking the issue. And so he created Crisis and its Third World War strip, which was all about the exploitation of the Developing World and the politics of food. He’s particularly proud of one story about the scandal of Nestle’s baby milk. But this was completely beyond management’s ability to understand why he included this issue in a boy’s comic.

And Mills and his co-creators were also accused of anti-Semitism by the Board of Deputies of British Jews. They did a story about Palestinian, in which a militarised cop, or a member of the IDF, beats a protester so badly, that they break all his limbs, and he falls to the ground. The Board complained that the man’s broken body resembled a swastika, which shows they were reading things into it which weren’t there. The three other creators of the story were Jews, and Mills thought that the Board couldn’t accuse them all of being self-hating. The strip was published by Robert Maxwell, who told them where they could stuff their idea. He was a crook, who robbed the Mirror’s pension fund, but here he did the right thing. You can beat the Israel lobby if you stand up to them.

Mills is clearly a hard-working, passionate enthusiast for comics, and a determined supporter of his fellow writers and artist. He wishes the industry to go back and try to appeal again to young children, although he makes the point they’re ruder than the adult fans, with whom you can have interesting conversations at conventions. He admits that its much harder now to get published in 2000AD, but not impossible, and gives valuable, careful advice to aspiring writers and artists.

As well as a fascinating account of the rise and career of 2000AD, it was for me also quite a nostalgic read. I remember some of the strips Mills wrote for and created, including the comics Whizzer and Chips, Battle and Action. I have mixed feelings about Action. I enjoyed strips like One-Eyed Jack and Death Game 1999, based on the film Rollerball. I wasn’t so keen on Dredger, which did have some horrifying stories. One of these was a Russian dissident punished by having his brain gradually removed by surgery until he was vegetable, and another tale in which a foreign politician is murdered. Sulphuric acid is poured into his shower so that he literally goes down the drain. But the strip I really didn’t like was ‘Kids Rule UK’, set in a future where all adults had died, and Britain was run by violent kid’s gangs. I was bullied at school, and this was for me an all-too frightening concept. I also stopped reading 2000AD for a time, because the stories there were a bit too sadistic. Which was a pity, as I later found out, because I missed some great strips.

2000AD will celebrate its fiftieth anniversary in a decade’s time, thanks to the inspiration of Pat Mills and his fellow creators. And I hope that afterwards the comic will go on to enjoy another fifty years under new, equally enthusiastic, committed and inspiring creators.

Splundig vur Thrigg, as the Mighty Tharg used to say.

Pat Mills: Be Pure! Be Vigilant! Behave! 2000AD and Judge Dredd: The Secret History: Part One

March 30, 2018

Pat Mills is the creator and founding editor of 2000AD, and this is history of the comic as he remembers it, although he recognises that others’ memories may be different and contradict his. It takes its title from the watchwords of his most popular villain: Torquemada, the ultimate Fascist Grand Master of Termight, in a feudal age of space travel, violence and magic far in the future. The book is divided into three sections, each named after one of Torquemada’s three commands. The slogan even turned up on the Berlin wall, which figures. The East Germans had been living under a dictatorship not too different from Torquemada’s. It was anti-racist and anti-Fascist, but still very much a police state, where the country was watched and dissent ruthlessly crushed. A friend of mine also told me that the slogan was used by Adolf Hitler in a speech he gave to the Bund Deutscher Madel, or German Maids’ League, the female equivalent of the Hitler Youth. Which also figures. Torquemada wanted to exterminate every intelligent alien race in the Galaxy, and was constantly making speeches exhorting humans not to ‘have truck with deviant, dally with the succubus’ and so on. In other words, no racial mixing. Which was definitely what the Nazis were trying to indoctrinate these girls with.

The book tells how Mills and John Wagner got sick of grinding out stories in a garden shed, lit by paraffin lamps, and moved to London to revolutionise British comics with creation of Battle, Action and 2000AD – the Galaxy’s greatest comic. At this stage of their career, Mills and Wagner were so poor that they couldn’t afford new typing paper after they ran out, and so at one point ended typing them up on tracing paper. The economics of writing stories was such that to make ends meet, you had to write several stories very quickly in a matter of days.

It is this attitude, and the British industry’s contemptible treatment of comics creators, that Mills returns to criticise throughout this book, making a very strong and convincing case that it is these attitudes that have caused the decline in comics in Britain in contrast to France, where they are flourishing. In Britain, comics creators do not own the rights to creations. They can be given to other writers and artists, and their creators are not paid royalties for them. In France, the reverse is true, and so comics creators spend years, decades, writing and drawing some of the greatest strips in the world. Think of such comic greats as Moebius, Caza, and Enki Bilal, and the rest of them, who came out of Metal Hurlant and les Humanoides Associes.

He also had to cope with the lack of interest in any reform from the old guard, who were quite simply just content to go on as they always had, until the industry finally collapsed and they were made unemployed or drew their pensions. They were shocked when Mills bought several books on science, because he was writing and editing a science fiction comic. This was too much for company management, who found the idea of doing research for a children’s comic ridiculous. And then there’s the issue of the studied contempt the management treated artists’ work. They used them on dartboards, or to plug drains. Several artists told Mills flatly that they weren’t going to work him as IPC was the company that closed down Frank Bellamy’s studio. Bellamy, along with Frank Hampson, was the awesome artist who worked on the classic Dan Dare. And his artwork was treated in the same contemptible fashion. As a result, much of it has been lost, although its still a massive favourite at fan conventions and when it comes on the market, rightly fetches high sums.

Mills tells the story of how he came to create favourite 2000AD characters like Judge Dredd, Nemesis the Warlock, Slaine and Finn. He champions the work of artists, who he feels have been unfairly neglected, or even vilified. They include Belardinelli for his contribution to the Slaine strip, which he is proud to have had put back into Titan’s reprints of the strip, as well as SMS, David Bircham, and Fay Dalton. SMS is a superb artist, whose work has appeared on the cover of Interzone, amongst others. He drew the ABC Warriors strip when they were trying to save Termight and the universe from destruction from an artificial black hole, created by Terra’s engineers to give them quick access to space and the Galaxy. One of the results was a whole city like the dimension-twisting drawings of the zarjaz Max Escher. Fay Dalton won a ¬£1,000 prize in a competition to get more women into comics. She draws and paints in a retro style, looking back to the glamour of the 50s. She didn’t last long. It was too sexy for the puritanical Thargs. Then there was the sheer abuse some fans meted out to John Hicklenton, another awesome artist best known for his work on Nemesis the Warlock. Hicklenton was stricken with MS, and sadly ended his life in a Dignitas Clinic. His career and struggle with the condition was the subject of Channel 4 documentary a few years ago. His escape from this ‘medieval, terrorist disease’ was his art, and so it was particularly cruel that he should have subjected to often very coarse abuse.

Mills is also unhappy, and understandably so, about the way his then wife, and co-creator of Slaine, Angela Kincaid, was treated by the other writers and artists. She was the artist on the very first Slaine strip. This topped the reader’s polls that week, but she was very much excluded from the boy’s club of the other creators. No-one rang her up to congratulate her and she was ignored by them. This wouldn’t have occurred if she was a bloke.

Mills takes the time to correct a few myths. He was determined that it wouldn’t be a comic dominated by a main strip, which carried the others, like Captain Hurricane in Valiant. Instead, it was to be a comic of all main strips, including the revived Dan Dare, Mach 1, a superpowered secret agent based on The Six Million Dollar Man, and Shako. This was about a polar bear, who was being chased by the American army because it had swallowed a top secret, radioactive satellite that had crashed to Earth. He also talks about the creation of such fave strips as Ro-Busters, which became the ABC Warriors, and, of course, Nemesis the Warlock and the inspiration for Torquemada.

The evil Grand Master and Judge Dredd were based on two, viciously sadistic monks teaching at his old Roman Catholic school, and, he strongly hints, were paedophiles. One of them was yanked from teaching and sent to monastery in the Channel Islands to sort out his sexual appetites. He was later sacked, and returned briefly as a lay teacher, before being kicked again. The schoolboys made jokes about how the other monks on the island must be similarly depraved, and imagined what shipwrecked sailors would do. Coming up the beach to find the Brothers running towards them, they’d turn and head as quickly as possible back to the sea. But neither of the two were prosecuted. Other old boys have found literary outlets to express their pain and trauma at the hands of these monsters. Mills simply states that his is humiliating Torquemada.

Continued in Part Two.

Awesome! Robot Band Compressorhead Has a Singer At Last

February 25, 2018

As readers of this blog will have gathered, I’ve an interest in robots and robots as musicians. Compressorhead are an all-robot band from Germany, who play Hard Rock and Heavy Metal music. They started as purely musicians without a singer, but have at last built one. He’s called ‘Mega-Wattson’. The robot rolls around on caterpillar tracks, has a structure where a human’s eyes would be that resembles sunglasses, and, as a singer, has a massive mouth full of teeth. Oh yes, and he has a Mohican that raises and goes down in emphasis to what he’s singing. The band also sports a new guitarist and backing vocalist, ‘Hellga Tarr’. Her name seems to me to be a pun on ‘Hell Guitar’. She is very definitely female, as they’ve given her a waist and plastic boobs.

The song’s Motorhead’s ‘Ace of Spades’, and it’s dedicated to Lemmy!

Here’s the clip from YouTube:

This does, however, remind me of piece from the 2000 AD strip, ‘ABC Warriors’, in which the ‘Meknificent Seven’ of robot warriors for truth and justice discuss their favourite bands. It ends with Hammerstein saying that everything was rubbish after Led Zeppelin.

It’s from A.B.C. Warriors: The Volgan War – Volume 3, by Pat Mills and Clint Langley. I don’t agree that everything after Led Zeppelin was rubbish. And this is pure rock and roll. Rock on!

And one of the comments is also funny. One of them suggested that after this, there’ll be Cyborgs banging around down in the mosh pit.

Roger Dean and Nemesis the Warlock’s Gooney Birds

January 11, 2018

Long time readers of 2000 AD may remember the Gooney Birds. These were vast, predatory metal birds evolved from Concorde, that appeared in the second Nemesis the Warlock story, ‘Killerwatt’, back in Prog 178, when one of them attacked a train carrying the strip’s villain, Torquemada, as it passed overland.

Looking through the Sciencefictiongallery tumblr site, which shows pieces of classic and not so classic SF art, I came across this similar piccie by Roger Dean on the page for the 5th February 2014.

It isn’t quite the same thing. Dean’s picture is of a Blackbird spy plane, rather than Concorde, but the idea’s the same. The crowd at 2000 AD took some of their inspiration from the popular culture around them, including pop music. It was why the revived Dan Dare was made to look rather like Ziggy Stardust. The two earliest Nemesis the Warlock stories, ‘Terror Tube’ and ‘Killerwatt’, were published as part of a ‘Comic Rock’ series of strips, which were explicitly inspired by the pop music of the time. In the case of ‘Terror Tube’, this was the Jam’s ‘Going Underground’. In fact, the story had its origin in Mills and O’Neill wishing to stick two fingers up to the comic’s editor, Kevin Gosnell. Gosnell had censored a chase scene in the ‘Robusters’ strip on the grounds that it was too long. So when he was away on holiday, Mills and O’Neill created a story, ‘Terror Tube’, that was just one long chase. As the strip itself acknowledged in its titles, the second Nemesis story, ‘Killerwatt’, was suggested by the album ‘Killerwatts’.

Roger Dean is known for the superb artwork he did for various record sleeves. So you’re left wondering whether Dean’s depiction of the Blackbird spy plane as swooping bird of prey served as the inspiration for the Gooney Birds in the Nemesis the Warlock story, or if it was just an idea that was going around at the time, and which different artists had independently. Either way, ‘Killerwatt’ and its predecessor, ‘Terror Tube’, blew my teenage mind with their depiction of a ravaged, far-future Earth, populated by weird creatures and under the malign heel of Torquemada and Terminators. They provided a solid basis for the Nemesis the Warlock strip proper when this later appeared, and helped to make it one of 2000 AD’s most popular strips.

Torquemada: 2000 AD’s ‘Ultimate Fascist’ and a Prediction of the Rise of the Brextremists, Kippers and Trump

December 31, 2017

As you’ve probably gather from reading my previous posts about art robot Kevin O’Neill, I was and am a big fan of the ‘Nemesis the Warlock’ strip that ran in 2000 AD from 1980 through the 1990s. The villain of the piece was Torquemada, the former chief of the Tube police on an Earth thousands of years in the future. Outraged by the interbreeding between humans and their alien subjects, Torquemada overthrew the last, debauched emperor, founding an order of viciously genocidal knights, the Terminators. The construction of the linked White and Black Hole bypasses, giving Earth instant access to the Galaxy, also created terrible temporal catastrophes, resulting in creatures from even further into the future appearing in the present. These included the terrible gooney birds, giant predatory Concorde aircraft, which fed on the trains and anything else that travelled over Earth’s devastated surface. Torquemada and his Terminators blamed these disasters on aliens, killed human scientists and engineers, leading humanity into a new Dark Age. The Human race retreated underground, where the Terminators told them they would be safe from the terrible aliens threatening them. Terra was renamed ‘Termight’ – ‘Mighty Terra’, though Mills also gave it the name because the underground society resembled a massive termites’ nest. And Torquemada set up a corrupt, Fascistic, quasi-feudal society, which also included Orwellian elements from the classic 1984.

Pitched against Torquemada was the hero, Nemesis, an alien warlock. Horned and hooved, with magical powers, he resembled the Devil, and at one point, in conversation with his mad, cruel uncle Baal, he explicitly states that his powers are satanic. Nemesis is also the head of Credo, a human resistance movement dedicated to overthrowing Torquemada and restoring freedom and interspecies tolerance to Earth. Also resisting humanity’s aggressive expansion and extermination of other intelligent races were the Cabal, an alliance of various alien worlds.

The strip was possibly one of the weirdest 2000 AD had run, and was too weird for editor Kevin Gosnell, who hated it. But it was massively popular, at one point even rivalling the mighty Judge Dredd. Torquemada became British comics’ most popular villain, winning that category in the Eagle Award four years in a row. He was so popular that in the end I heard that they stopped submitting or accepting the character, in order to let others have a chance.

Torquemada speaks on the radio, in the strip that launched the character and Nemesis, ‘Going Underground’.

Looking back, I have mixed feelings about the strip. I still like it, but I’m not entirely comfortable with a hero, who has explicitly satanic characteristics, nor the villains, who are very much in the style of medieval Christian crusaders. Mills and O’Neill had had the misfortune to suffer brutal Roman Catholic education, and Mills states that where he grew up, everyone involved in the Roman Catholic establishment was corrupt. Everyone. They poured everything they hated about the bigotry and cruelty they had seen and experienced into the strip.

From a historians’ perspective, it’s not actually fair on the Roman Catholic church. Yes, medieval Christianity persecuted Jews, heretics and witches, and warred against Islam. But the great age of witch-hunting was in the 17th century, and cut across faith boundaries. Prof. Ronald Hutton, a History lecturer at Bristol Uni, who has studied the history of witchcraft and its modern revival – see his book Triumph of the Moon – has pointed out that the German Protestant states killed more witches than the Roman Catholics. And those accused of witchcraft in Italy had far better legal protection in the 16th century than those in Henry VIII’s England. You had a right to a lawyer and proper legal representation. If you couldn’t afford one, the court would appoint one for you. Torture was either outlawed, or very strictly regulated. There was a period of 50 years when the Holy Office was actually shut, because there were so few heretics and witches to hunt down.

As for the equation between medieval Roman Catholicism and Fascism, a graduate student, who taught medieval studies got annoyed at this glib stereotype. it kept being repeated by their students, and was historically wrong. This student came from a Protestant background, but was more or less a secular atheist, although one who appreciated the best of medieval Christian literature.

Underneath the personal experiences of Mills and O’Neill, the strip’s depiction of a future feudal society was also influenced by Protestant anti-Catholic polemic, and the theories of the 19th century French liberal, anti-Christian writer, Charles Michelet. It was Michelet, who first proposed that the witch-hunts were an attempt by patriarchal Christianity to wipe out an indigenous, matriarchal folk paganism. It’s a view that has strongly influenced feminist ecopaganism, although academic scholars like Hutton, and very many pagans have now rejected it as historically untrue.

The robes and masks worn by the Terminators recalled not only those worn by Spanish Catholic penitents during the Easter Day processions, but also the Klan, who are an Protestant organisation, which hates Roman Catholics as well Jews and Blacks.

There’s also the influence of John Wyndham’s classic SF novel, The Chrysalids. This is set in Labrador centuries in the future, after a nuclear war has devastated much of the world, except for a few isolated spots of civilisation. Society has regressed to that of 17th century Puritanism. The survivors are waging a war to restore and maintain the original form of their crops, animals and themselves. Mutants, including humans, are examined and destroyed at birth. As with the Terminators, their clothing is embroidered with religious symbols. In this case a cross. Just as Torquemada denounces aliens as ‘deviants’, so do the leaders of this puritanical regime describe human mutants. And like the pro-alien humans in Nemesis, a woman bearing a mutant child is suspected and punished for her perceived sexual deviancy.

In fact, the underlying anti-religious, anti-Christian elements in the strip didn’t bother me at the time. Mike and myself went to an Anglican church school here in Bristol, though the teaching staff also included people from other Christian denominations such as Methodism and Roman Catholicism. They had a real horror of sectarian bigotry and violence, sharpened by the war in Northern Ireland, and were keenly aware that Christians had done terrible things in the name of religion. I can remember hearing a poem on this subject, The Devil Carried a Crucifix, regularly being recited at school assembly, and the headmaster and school chaplain preaching explicitly against bigotry. At the same time, racial prejudice was also condemned. I can remember one poem, which denounced the colour bar in one of its lines, repeatedly turning up in the end of year services held at the church to which the school was attached.

I also have Roman Catholic relatives and neighbours, who were great people. They were committed to their face, but also bitterly opposed to sectarian bigotry and violence. And the Roman Catholic clergy serving my bit of Bristol were decent men and women, though some of those in other areas were much more sectarian. I’ve Protestant friends, who went on to study RE at a Roman Catholic college. Their experience was not Mills’ and O’Neill’s, though I also had relatives, who were estranged from the Church because they had suffered the same kind of strict, and violently repressive Roman Catholic education that they had.

But Torquemada and the Terminators were far from being a veiled comment on atrocities committed by medieval Roman Catholicism. Torquemada modelled himself on Tomas de Torquemada, the leader of the Spanish Inquisition, whose bloody work he so much admired. But he also explicitly styled himself as the supreme Fascist. By fostering humanity’s hatred of aliens, he hoped to unite the human race so that they didn’t fight each other over differences in colour. But the character was also supposed to be the reincarnation of every persecuting bigot in European and American history. In one story, Torquemada becomes seriously ill, breaking out in vast, festering boils, because Nemesis’ lost son, Thoth, has used the tunnels dug by the Tube engineers to channel away the destructive energies of the White and Black Hole bypasses, to travel backwards in time to kill Torquemada’s previous incarnations. These include Adolf Hitler, natch, one of the notoriously murderous American cavalry officers, responsible for the butchery of innocent indigenous Americans in the Indian Wars, and finally Torquemada himself. Torquemada therefore travelled back in time to confront his former incarnation, and save himself from Thoth.

This was followed by another story, in which Torquemada himself travelled forward to the 20th century. Infected with time energy, Torquemada caused temporal disruptions and catastrophes in the London of the present. He found himself a job as a rack-renting landlord, before founding a Fascist political party. Using Brits’ fears that these disasters were caused by aliens, he became a successful politician and was elected to Number 10.

And one of Torque’s previous incarnations, recovered by Brother Mikron, his pet superscientist, using advanced technological hypnotic regression, was very familiar to British readers with an awareness of the history of Fascism in their country.

Torquemada as Hitler, and very Mosley-esque British Far Right politician. From Prog 524, 30th May 1987.

In the above page, Brother Mikron recovers Torquemada’s past incarnation as Hitler, but only after encountering a later incarnation, in which Torquemada was Sir Edwin Munday, the British prime minister, and leader of the New Empire Party. Munday/Torquemada goes off an a rant on public television, shouting

‘I’ll solve the youth problem! We’ll make our children respectable again! – with compulsory short back and sides! The return of National Service! Order and discipline’.

His name clearly recalls that of the far right, anti-immigration Monday Club in the Tory party, which was at the centre of continuing scandals during the 70s and 80s over the racism of some of its members, the most notorious of whom was Thatcher’s cabinet minister, Norman Tebbit. As a member of the aristocracy, Munday also draws on Sir Oswald Mosley, the leader of the British Union of Fascists and later Fascist movements.

Mosley unfurling his Fascist banner in the ’30s.

The rhetoric about youth is also very much that of the Tories around Maggie Thatcher, who really didn’t like long-haired liberals, hippies, punks and the other youth movements, who had sprung up at the time. They were calling for the return of National Service to stop the rise in youth crime and delinquency.

And this is now very much the attitude of the Kippers and Brextremists over here, who really do hanker after the old days of the British Empire, with all its pomp and authoritarianism. The last thing that incarnation of Torquemada says is

‘We’ll make our country great again!’

This is also based on the rhetoric of the Tories at the time, in which Thatcher was credited with turning around Britain’s decline and restoring her to her glory. In the general election that year, the Tory party election broadcasts showed old footage of Spitfires and Hurricanes racing around the sky shooting down Nazi planes, while an overexcited actor exclaimed ‘It’s great – to be great again!’

No, she didn’t make us great. She wrecked our economy and welfare state, and sold everything off to foreign firms, all the while ranting hypocritically about how she represented true British patriotism.

But it also recalls Trump’s rhetoric last year, during his election campaign. When he announced ‘We’ll make America great again!’ And he’s gone on to use the same neoliberalism as Reagan, Thatcher, and successive Democrat and New Labour leaders, backed with racist rhetoric and legislation supported by White supremacists.

Torquemada was one of 2000 AD’s greatest comments on sectarian bigotry and racism, with Torquemada as its very explicit symbol. Even after three decades, it’s central message about the nature of Fascism, imperialism and colonialism, and the western hankering for its return, remains acutely relevant.

Tharg’s Tribute to Kevin O’Neill: When the Comics Code Banned His Art

December 30, 2017

Yesterday in one of the posts I mentioned the dictatorial grip the Comics Code Authority had over American comics from the 1950s to the mid-1980s. The Code was sent up to reassure and protect the American public after the moral panic over Horror comics in the 1950s. This spread to comics as a whole, which were seen as subversive, morally corrupting and un-American. This included bizarre accusations of Fascism and deviant sexuality aimed at those stalwarts of popular American culture, Superman, Batman and Wonder Woman. The scare decimated the American comics industry, and nearly caused its total collapse.

The Code was set up to ensure that all comics were suitable for a child of seven to read. Its officials were unelected, and in many cases had right-wing views that showed absolutely no understanding of popular politics or culture. It was supposed to be a voluntary organisation, and there were comics creators who worked outside and often against the code. Like Robert Crumb and the underground scene, or the independents Like Dave Sim and Cerebus the Aardvark. In practice, however, those comics were well outside the mainstream, and were only available in head shops and specialist comics stores like Forbidden Planet and the late, lamented Forever People in Bristol.

I discussed how the Code rejected one issue of the Green Lantern Corps, written by Alan Moore and drawn by Kevin O’Neill, on the grounds that O’Neill’s artwork was too grotesque and disturbing for children. This was ironic, as he had been delighting children and adults with his monstrous aliens, mutants, robots and equally grotesque humans for years in the pages of 2000 AD. He was and remains one of comicdom’s favourite artists, and while the other artists who worked on the Nemesis the Warlock strip added the considerable talents to the tale of the Warlock and his foe, the human ‘Ultimate Fascist’ Grand Master Torquemada, I think much of the strip’s initial popularity came from his superb, bizarre artwork.

2000 AD duly paid tribute to him and his censorship by the Comics Code in their anniversary issue, Prog 500, published on 14 December 1986. In it, Tharg took a walk through the contents of his mind, reviewing the comic’s history and revisiting some of the characters that didn’t work. At the end he comes to Kevin O’Neill, who appears as a stunted, crazed sadist. O’Neill admonishes him for censoring the most extreme piece of violence in the strip. Tharg tries to reassure him by reminding him that he won the ‘ultimate accolade’ for which other comics creators all envy him: the day the Comics Code banned his art as totally unsuitable for children. To which O’Neill replies ‘Hmmph. You won’t get around me by flattery’. Unsatisfied, O’Neill then calls down Torquemade, who promptly beats Tharg up.

The different sections of that strip were written and drawn by the different artists and writers, who worked on the comic, so there were different credit cards for them for each section. That section ends with the credits reading ‘Script Therapy: Pat Mills. Art Therapy: Kev O’Neill. Letters: Steve Potter’. Which suggests that the letterer was the only sane one there.

Here’s a few panels.

The real O’Neill is, however, quite different from his portrayal in the strip. It’s been pointed out several times that the fans, who’ve met him, are often surprised that he doesn’t dress in black and silver like the Terminators. And the other rumours about him are also totally untrue. Like he only works at night using a quill pen in the light of candles, and has an occult temple in his basement. I met him at UKCAC 90 in Reading, where I queued with Mike to have him draw a character on the blank badges we’d been given for our fave artists to draw on. O’Neill at the time was a wearing a ‘Solidarity for Nicaragua’ T-shirt, which a left-wing friend of mine at college also wore. He also was wearing a brown leather jacket, and his facial features at the time reminded me a bit of John Hurt. He was affable, enthusiastic, full of nervous energy and completely unthreatening. If you seem him now at comic conventions or footage of them on YouTube, or the occasional interview for television, he’s obviously older and balder, as effects so many of us eventually. He comes across as genial and entertaining British gent, completely unlike the berserk monstrosities that rampage across his strips down the years. Even when he’s telling the stories about how he and Pat Mills went as far as they could in savaging American superhero comics and right-wing, superpatriotic American politics in the violent and nihilistic Marshal Law. Actors, writers and artists aren’t their creations. Fortunately.