Posts Tagged ‘Queen’

More Musical Satire! May Sings ‘No Deal Brexit’ to the Tune of ‘Ice, Ice Baby’

November 23, 2018

This is another great little piece of comedy posted on YouTube by Joe.com.uk, back at the beginning of October, 2018. It shows May singing ‘No Deal Brexit’ and describing how useless her negotiations and preparations for leaving the EU are, all to the tune of Vanilla Ice’s ‘Ice, Ice, Baby’. Or rather, to the riff at the start of Queen’s and Bowie’s ‘Under Pressure’, as this is what Vanilla Ice used, and then were successfully sued for plagiarism by the two above legends of rock. Which could be a kind of metaphor for Tweezer herself: completely lacking in inspiration and any real achievement, so has to steal the ideas of others. Like she has from Corbyn’s Labour party when they’ve got too popular in the polls for her comfort.

The lyrics run

Let’s get on with it
No Deal Brexit,
No Deal Brexit,
No Deal Brexit,
Alright, stop, collaborate and listen!
Brexit is back with a brand new edition
No deal is the latest sensation
because I made a mess of these negotiations
Should we be worried? I don’t know
But I’m stockpiling food
like there is no tomorrow!
The DUP control the new world order
Why can’t the EU see
There won’t be a hard border
Deadly at the negotiating table
Most definitely not weak and unstable
The Chequers plan was my last resort
But take reassurance from
the blue and gold passports!
People should listen
to the message that I send them
‘No Deal’ is better than a second referendum.
Single market access? We can’t solve it
Immigration though,
we can finally control it!
No Deal Brexit
No Deal Brexit.

Warning: This video contains footage of May ‘dad dancing’. It also contains images of her before her aides gave her a makeover to make her look less of harridan. But they couldn’t hide what’s in her soul, though. That still comes through very clearly. Also, when she bobs her head up and down in time to the beat, it reminds those of us of a certain age of the awesome, computer generated video jockey, Max Headroom, when he experienced a glitch on his show. There is a difference between them, though. Max had wit, charisma and sharp suits, all of which Tweezer completely lacks. She does have his massive ego though.

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Sam Seder on Disney’s Animatronic Donald Trump

December 20, 2017

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

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

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

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

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

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

Jodrell Bank and Amateur Radio Telescopes

December 18, 2015

BBC 4 a few weeks ago broadcast a documentary on the history of Jodrell Bank, Britain’s pioneering radio telescope. Bernard Lovell, its founder and director, had been one of the scientists working on the development of radar during the War, and the radio telescope was originally built using parts left over from the project that were due to be scrapped. In the early days it was very much an ad hoc operation. The size of the telescope’s dish has the radius it has because that was the distance between the van holding its key components in the early days to the edge of the field. The programme covered the history of the telescope from its very beginnings to today. It described how the telescope came into its own in the late 1950s and 1960s when it was the only instrument that could independently verify the first Soviet space missions and their conquest of space. This also caused additional pressure on Lovell, as there was official demand for him to monitor space missions in the USSR, which detracted from his real interest in exploring the heavens through the radio signals sent out into space from stars, nebulae and galaxies.

The Russians also liked and admired Lovell, so much so that on scientific trip to the Soviet Union, the Russians showed him some of their highly top secret space installations, and hinted that he would be very welcome if he left Britain and joined them. Obviously the great man did not take up the offer. Eventually such pressure proved so great that he was off work suffering from depression, and even considered leaving science altogether. Lovell was a Methodist, and to the surprise of his children, at this point in his career he considered joining the clergy. He didn’t, but went back to charting the heavens.

Other highlights of the telescope’s fifty-odd year history was the discovery, by Jocelyn Bell-Purnell, of pulsars. These are neutron stars, small, highly compact stars at the end of their lives, which broadcast a signal into space. The stars are small, about 40 miles or so in diameter, and spin quickly, so it appears that the signal is being sent in pulses. They’re also regular, so that in the first few days when they were discovered one of the theories about them was that they were a signal deliberately sent out into space from an extraterrestrial civilisation. After more pulsars were discovered in the following days, the scientists were able to give the true explanation of their origins.

Since its heyday, much larger telescopes and arrays have been built. Jodrell Bank nevertheless still remains important, contributing valuable research in this area of astronomy.

Indeed. I remember a few years ago an edition of one of the Beeb’s astronomy programmes in which Dara O’Brien and Brian May were up there. O’Brien is a failed mathematician, having dropped out of a university maths course, while May is a properly accredited astrophysicist. He had, it’s true, a twenty-odd year gap in his career, due to performing with Queen, but he finally handed his thesis in a few years ago. It was duly marked, and he passed. This obviously makes him one of the most rock ‘n’ roll scientists ever. I think in the programme they were supposed to be looking for signals from alien civilisations. They didn’t find any, which probably surprised no one, given that scientists have been looking, off and on, for radio signals from aliens since the days of Project OZMA in the late ’60s and 70s. Despite NASA’s optimistic prediction in 1995 that in five years they would be discovered, no has as yet.

Patrick Moore, one of the greatest science communicators and popularisers, always maintained that astronomy was still one of the very few areas of science where amateurs using modest equipment could make a real contribution. I doubt that there are very many ordinary people outside the big observatories, who have an active interest in radio telescopy. Nevertheless, it is possible to build your own radio telescopes. There’s a piece by Trevor Hill, who was a science teacher at Taunton School in Somerset, about how he built a an array of radio telescopes in the book, Small Astronomical Observatories, edited by Patrick Moore (London: Springer 1986). He did so as part of an attempt to get the pupils interested in astronomy. Naturally, he started off by building a normal, optical observatory for a telescope. He turned to radio astronomy at the suggestion of one of the pupils after the normal astronomy session had been cancelled due to rain. The pupil pointed out that radio waves travel through clouds, and so observation wouldn’t be stopped by bad weather. His article in the book describes the radio telescopes he built. This includes a set of Ham radio aerials set up in an array to receive radio waves from solar flares.

Taunton School Radio Telescope

Trevor Hill’s Solar Flare Radio Telescope at Taunton School

He also provides a schematic of the telescope’s construction. As you can see from the photo, even as a small-scale amateur project it’s still very large. Nevertheless, he states that it was very cheap. With the exception of the computer, it cost about £200 in 1995. Which means it’s almost possible for every man or woman to become their own radio astronomer. Obviously, this was before the boom ended, and Cameron got in to hit everyone with massive debt and advancing poverty.

Here’s Tim O’Brien, professor of astrophysics at Manchester University and the radio telescope’s associate director, talking about the telescope on the 70s anniversary of its establishment. It’s great to hear him say that it remains at the cutting edge of research, and may be so for the next fifty years.

Joshua Bonehill: Hollywood Nazi Troll?

April 30, 2015

I found this interesting little statement by the comedy fuehrer, Joshua Bonehill, on the entry for him on the Rationalwiki site through the link to it on the SlatUKIP page. I’ve posted a number of pieces on Bonehill commenting on his ludicrous attempts to set himself up as some kind of Far Right generalissimo. He is notorious for hacking into other people’s blogs and twitter accounts in order to malign or threaten them. One of his favourite tactics is to claim falsely that they are paedophiles, a particularly vile and dangerous smear. He was also found guilty of making false claims against pub, whose staff were threatened following another of his lies. He claimed that they wouldn’t serve British servicemen in order not to upset Muslims.

Bonehill as Britain’s prospective Fascist dictator, Bonehill posts racist and anti-Semitic material on his blog. He was appealing for people to join his neo-Nazi organisation as members of an elite bodyguard for him, now styling himself the Founder. He was one of the leading names behind a Far Right march against the ‘jewification’ of Stamford Hill, a predominantly Jewish community in London.

The National British Resistance

A few weeks ago he also got in his local paper for launching his latest Fascist party, National British Resistance, in one of the parks in Yeovil. Despite claiming later on his blog that his party’s founding was attended in secret by fifty Fascists, some of whom had flown in from Northern Ireland, the only member of his massive Fascist legion to appear was, er, him.

He pretty much resembles Spode and his Blackshorts , P.G. Wodehouse’s spoof of Oswald Mosley and the British Union of Fascists in Jeeves and Wooster, though ‘Founder’ Bonehill’s antics include stunts that Spode would definitely consider well below acceptable behaviour. Like being thrown out of Tesco for trying to defecate in their frozen food section, or prosecution for trying to break into a police station to steal uniforms and equipment.

Bonehill and Trolling

According to a statement by Bonehill himself, preserved on the Rationalwiki, all this Fascist posturing may be just that: a pose. Bonehill has said that this is an attempt to create a false persona in order to troll the Far Right and anti-Fascists alike, based on David Bowie’s adoption of the Ziggy Stardust persona in the 1970s. The full statements says

“It was after listening to David Bowie’s iconic album, “The Rise and Fall of Ziggy Stardust” on repeat for the best part of a day, I realised that I too could potentially create a “Persona” and play a character but instead of basing my character in the musical world, I’d place him in the political world – Leader Bonehill, the Founder was born.

Firstly I created my fictional and satire news website – this was the Daily Bale – and set about generating headlines which quickly went viral throughout 2013. I was responsible for creating myths such as the campaign to ban black pudding and various other oddities that were quickly picked up upon right-wing groups such as the EDL and Britain First to which went viral.

Very quickly I found myself at the head of a large news network and found that I had the power to make many hundreds of thousands of people believe utterly insane and crazy things under the guise of Daily Bale News. To this day, people still share Daily Bale articles and I believe it will withstand the test of time.

[…]

After the Daily Bale I took upon elevating my persona the Leader and Founder to another level which became the “National British Resistance”. The NBR was a Far-Right Nationalist movement led by the fierce and no-nonsense dictator, Leader Bonehill.

Through the NBR I made many outlandish claims for instance one of them was that I could “heal” the Left-Wing through a rebirth process and I also claimed to be a “Right-Wing messiah”. I stood in astonishment as people were eating this bait and taking me VERY seriously to the point where I became the obsession of many social media users.

It wasn’t until the press and media caught onto my activity and started reporting on me as a real person that the ego started to be transferred into the real world. I was invited to speak at meetings and felt almost forced to display this persona in public and this I couldn’t keep on doing because it fundamentally went against everything I believe in as a person.

Yes – I make no bones about it, for the past 16 months I have been trolling relentlessly at the expense of both the Left and the Right – it has been through this trolling that I am now appearing back in court over Daily Bale articles but this was a price I was prepared to pay and knew that my actions would of course have very real world consequences.

Leader Bonehill came alive and consumed me at times, the ego almost controlled me and took upon a very powerful and possessive role in my normal everyday life. I found myself almost believing that I was a “Right-Wing messiah” and had been sent from another planet to free the people and bring about a new great nationalist age – though this of course in reality was absolute bollocks and would never happen.

[…]

Everything I have said and done, right from posing for photographs or the videos I have made are the result of this “Persona”. These do not represent my real views and can instead be seen as a comical ‘act'”.

According to the RationalWiki site, Bonehill has since taken this down, but it’s been archived elsewhere. The piece can be read at http://rationalwiki.org/wiki/Joshua_Bonehill-Paine.

From this, it would seem that Founder Bonehill is a ‘Hollywood Nazi’, the term the Far Right give to those play acting at being Fascists, but who aren’t the real Nazi thing. And there have been any number of them.

The grotesque theatricality of Fascism, with its bonkers leaders spouting their vitriolic nonsense to crowds at from government palaces and the Nuremberg stadium, the whole weird, twisted spectacle of marches, rallies and parades, and the sinister fascination with its regalia – the uniforms, flags, badges, propaganda posters – has attracted a number of characters over the years, who have adopted it not from any sympathy with Fascism, but from a simple desire to shock and upset. To epater les bourgeois.

Hippies and Punk Fascist Styles

In the 1960s there was a Hippy Nazi party in Florida, which probably had no purpose other than to wind up the straights. One section of the Punks in the 1970s deliberately courted controversy by dressing up in Nazi uniform as part of their general assault on staid, conventional society. Sid Vicious apparently wandered around a Jewish area of Paris in Nazi uniform, but surprisingly wasn’t beaten up.

David Bowie

Bonehill claims he was inspired by Bowie and Ziggy Stardust. In fact, the Thin White Duke did was at the centre of controversy in the 1970s because of his apparent Nazi inclinations. He was arrested by West Berlin’s finest for getting drunk and making the Fascist salute outside the remains of Hitler’s bunker on the anniversary of the Fuehrer’s birthday. Or death – I can’t remember which.

Bowie also directly prompted the formation of Rock Against Racism, after he announced on British television that in the elections that year there was only ‘one choice’ to run the country, and so was offering himself as the Fascist candidate.

Bowie obviously isn’t, and never was, a true Fascist of any kind. For all the homosexuality amongst certain sections of the Nazi party, the Nazis themselves hated gay men and sent them to the concentration camps. They also had very strict and traditional ideas on gender roles. A woman’s place was ‘Kinder, Kuche, Kirche’ – children, kitchen, church. As for masculinity, this was belligerent and aggressive. One Italian Fascist slogan proclaimed ‘Fighting is to man, what motherhood is to woman’. Bowie’s bisexual, androgynous persona in Ziggy Stardust would have been bitterly hated and denounced by the Nazis, just as it was by more traditional, staid members of the older generation.

And there are two other reasons why the Nazis also wouldn’t have adopted Bowie. Pop music has its roots in the mixture of White American country music, and Black barrelhouse jazz. The Nazis, as racists, hated Jazz because of its origins in Black culture, and what they saw as its permissiveness and sexual decadence. Quite apart from the fact that Bowie wasn’t racist, as shown by his later marriage to Iman, a woman whose name is the Arabic for ‘Faith’.

The impression I had was that Bowie in the 1970s was less a Fascist, than a very confused mam, driven nearly to the edge of sanity by the adulation of his fans.

Laibach and the NSK

Then there’s NSK and the Industrial rock band, Laibach. They were from the former Yugoslavia, and were part of a wider art collective, Neue Slowenische Kunst, or ‘New Slovenian Art’ in English. Way back in the 1980s they produced a very Wagnerian cover version of ‘Live is Life’, by the Austrian pop band, Opus. The video was shot very much in the style of the kind of Nazi propaganda films celebrating the countryside, hiking and healthy peasant values. The whole album, Opus Dei, could be seen as an exercise in the kind of music that would have been produced, had the Nazis decided to cover the Beatles, Rod Stewart and Queen.

According to one, very scurrilous and entirely unreliable website, the group deliberately set out to portray themselves as genuine neo-Nazis, dressing in Nazi uniforms. They did so, not because they really were members of the hordes of European stormtroopers, but simply to frighten and annoy the Yugoslav government. The band themselves were anti-Nazi, some of the images they used in their art was designed by anti-Nazi artists. Matters finally came to head when the band spectacularly announced that they were ending the whole charade at a concert. They apparently declared ‘We are as much Fascists as Hitler was an artist’. The Aryan warriors of the Far Right immediately went into meltdown. I’ve heard tales of British Nazis angrily destroying their records when they heard about how they’d been deceived.

When the civil war erupted in the former Yugoslavia, and real Fascism raised its ugly head in the chaos of violence, terror and brutal ethnic cleansing, NSK fled to western Europe. They’ve still continued to make music. One of their most recent projects was on the score for the Finnish SF film, The Iron Sky. This was about a war between an America led by a female president, not too far removed from Sarah Palin, and a Nazi colony on the Moon founded after the fall of the Third Reich.

Laibach’s imagery and artistic style draws partly on Wagnerian opera and the imagery and non-racial motifs of the Third Reich, but this is very much artistic pastiche. Their album Opus Dei can be seen as a comment on the Fascist cult of the leader, and the Second World War as trans-European international conflict, but there’s no racist or anti-Semitic content in the music or covered songs themselves.

The Imperial league of British Fascists

At a much lower level, there also have been a number of small groups here in Britain that have attempted to pose as Nazis in order to cause panic and outrage. Way back in the 1990s or early part of this century, the sceptical Ufolks at Magonia reported the furore surrounding the appearance of another bunch of neo-Nazis in the greater London area. This group styled themselves the Imperial League of British Fascists, and were photographed in the local press in Nazi regalia. Further investigation, however, revealed that there was no such Imperial League, and the assembled stormtroopers were merely the supposed informant, who revealed the story to the press, and his mates having a tasteless laugh.

The Fake Nazis of German TV News

Something similar happened in Germany at about the same time. The Fortean Times reported a case, where a group neo-Nazis supposedly filmed in secret goose-stepping about and generally lowering the standards of the Bundesrepublik, were also found to be the film-maker’s own mates in fancy dress. The film-maker had started a scam in which he produced bogus footage of fringe groups performing weird rituals, and then sent them in to the local news programmes on German television as supposedly real events. For which he was paid. He started with the KKK, then moved to the Odinists and Germanic Neo-Pagans before finally being caught with the Nazis. A particularly eagle-eyed viewer noticed that some of the stormtroopers were the same people as the Klansmen and pagans in his other films.

It’s a funny incident, but underneath the comedy is the sobering, horrific reality of the Third Reich and its murder of tens of millions purely because of their race and political beliefs. Contemporary Germany is still coming to terms with the Hitlerdiktatur and its horrors, which means that stunts like this go beyond a joke.

Bonehill – Not Artist, Just Bully

So, if Bonehill is only posing as Nazi as part of some twisted idea of trolling the public and the Far Right, then he’s not the first by any means. Others have done it long before, and no doubt there’ll be similar idiots doing the same in the future as long as the Nazis and their shock value retain some kind of perceived comedic potential.

Possibly the best thing that can be said of many of these individuals, like the German Nazis in the spoof footage, and the Imperial League of British Fascists, is that they stopped when they were finally caught out. Laibach, by far the best of them, knew when to pack it all in and just carry on as rock musicians. Although their music was partly a pastiche of Nazi forms, they had a following, which recognised this as an artistic statement, rather than a genuine political stance , which allowed them to go on long after they had given up the joke.

Bonehill, by contrast, seems to be just a genuinely malign and unpleasant character, who seems to get some kind of perverse pleasure through being personally insulting and persecuting his victims. He is responsible, after all, for posting grotesquely libellous smears against others, including manufacturing a fake image of a Labour election poster for a particularly controversial Black female politico, claiming that she hates Whites.

There’s no artistic value in these antics. Bonehill doesn’t have the musical talents of Bowie, Sid Vicious, Siouxie Sioux or Laibach, and, unlike some of the provocations of the extreme Left, he can’t and doesn’t justify these as Situationist happenings, as Malcolm McLaren did with the excesses of the Punks. It just seems to be personal abuse and victimisation, simply from a bizarre, malicious delight in tormenting others. It’s bullying, pure and simple, no better than the weird personal abuse meted out online by other, normal trolls, who at least don’t try to justify their actions through appeals to David Bowie’s stage antics four decades ago.

This is, of course, assuming that Bonehill is a ‘Hollywood Nazi’. He may well be, but if he is, it appears that there’s also something inside him that enjoys the feelings of malign power he gets by posing as a wannabe dictator.
Whatever the reality is, he’s unpleasant, and it’s long past time the trolling and vilification stopped.

The Tories as the Party of Gordon Gekko: Part 94 – The Boris Johnson Years

November 30, 2013

I’ve commented several times before that the Conservative Party has all the morals of Gordon Gekko. Remember him? He was the monstrous incarnation of ruthless corporate greed played by Michael Douglas in Oliver Stone’s 1980s film, Wall Street. This had the now notorious scene in which Gekko makes a speech in front of his fellow financiers praising greed. ‘Greed is right’, he intones, ‘Greed is good. Greed … works’. The film ends with Gecko himself ruthlessly betrayed and discarded by a younger protégé, a man Gekko has been raising up through the corporate ladder according to his own set of amoral principles. Here’s the speech:

Unfortunately, it didn’t quite work out like this in real life. The global banking system nearly collapsed due to the colossal greed of leading bankers and financiers through a system of toxic debt and a web of complex fraud. This brought down Lehmann Brothers and a whole host of other firms in Britain and America. The system itself has been saved by a massive bail-out by Gordon Brown, amongst others, with the result that Cameron’s coalition has seized on this excuse to curt welfare services even further under the pretext of ending the massive national debt this incurred.

And the bankers and Tory politicians have learned absolutely nothing. Indeed, they have become every more like Gekko. On Have I Got News For You last night they reported a speech made by London’s mayor, Boris Johnson, this week, in which he expressed pretty much the same appreciation for greed as Stone’s fictional anti-hero. Greed, according to Johnson, was a good thing, as it could, in certain circumstances, lead to economic growth. Now greed as the motor of economic growth and material benefits, with private vices becoming public virtues, was first proposed in the late seventeenth and early eighteenth century by Bernard Mandeville in his Fable of the Bees. This was so shocking to the Christian culture of the time that he was bitterly attacked for his immorality, and denounced as ‘Man-Devil’. The idea was gradually taken up by other economists, including Adam Smith in his Wealth of Nations. Nearly three hundred years later, the idea is now so widely accepted that Johnson thought he could make it without adverse comment to his audience in the City. This is despite the banking collapse, and the recession and rioting, which then followed. One is reminded of the comment about the restored Bourbon monarchy in France after the Revolution: They have forgotten nothing. They have learned nothing.
And they are determined to act more and more like Gordon Gekko with no trace of self-consciousness or irony.

As an aside from this, one of the very few good things to be inspired by Yuppie greed in the 1980s is, in my view, Queen’s I Want It All. The song’s title and chorus seems to me to have been taken from the Yuppie culture of avarice. Unlike Yuppie culture, the song is genuinely bright, optimistic and fun. So to cheer everyone up after this post, and remind us just how great Freddy Mercury was, here it is: