Interesting Engineering Reports British Start Up Company Building New Robot Butler

The science and technology vlog, Interesting Engineering, posted this piece yesterday, 6 June 2023, about

‘London-based Prosper Robotics, a startup founded by former OpenAI employee Shariq Hashme, is engineering a robot butler that may soon be able to tackle all your household chores. This is according to an article by Sifted published this week. The new machine will run on wheels and be equipped with two arms that can be raised up and down to tackle different jobs. “You’ll go to work and they’ll do everything in your home. You’ll have a little time lapse on your app on your phone, showing you what they did,” said Hasme.’

More information was available at: https://ie.social/NBdG3 🚀

Accompanying the article was this image of how the robot will presumably look:

Writers and artists have been speculating about a future filled with robot butlers and other servants since the 19th century. Here’s one depicted in a cartoon from the New York Graphic in 1877. It shows it, with suitably snooty and disdainful expression, waiting on the ‘Orator of the Future’ using the new telephone technology to broadcast his opinions. With the multiplicity of subjects these machines offer their users to view and listen to, it also seems to me to predict the internet and the explosion of information available through social media to a certain extent.

But for many of us, the only robot butler we’d want around is this guy from Red Dwarf.

If he isn’t going to do the dishes and be prepared to tell you in forthright language what a ****head your pompous, irritating fellow space crewman is, I’m not sure I’d want him.

A Disco Version of Star Trek: TNG’s Opening Credits

This is for all the fans of Star Trek: The Next Generation, who enjoy a good laugh as well. It was posted on YouTube by JB Anderton, and it’s very well done. It reminds me of the style of the theme music for the 80s TV version of Buck Rogers in the 25th Century – orchestral, but with disco elements. Although here it’s more disco with orchestral elements. But despite it being very good, there’s still part of me that can hear Arnold Rimmer say, ‘What? You mean you don’t like ‘Wagner Goes Funk’?’

Maureen Lipman Shows Us She’s Really A Tory on Gogglebox

Maureen Lipman’s the veteran British actress and comedienne who’s resigned several times from the Labour party whining about anti-Semitism. She did it a few years ago when Jeremy Corbyn became leader of the Labour party because he was a terrible anti-Semite as shown by the Board of Deputies of British Jews, the Chief Rabbi and the noxiously misnamed Campaigned Against Anti-Semitism and the British press, media and political establishment. Well, the British Jewish establishment hated Corbyn because they’re Zionists, and Israel had defined Corbyn and Jackie Walker – yep, a Black Jewish academic and grannie, who I don’t believe has a single anti-Semitic bone in her body – the No. 10 threat to Israel. Because they stand up for the Palestinians for the same reason they stood up against apartheid South Africa, the campaigns against real racism here in Blighty. And that included firm opposition against anti-Semitism. One of the piccies Mike put up about the former Labour leader shows him warmly greeting a group of Orthodox Jewish gents, who were there to express their appreciation for his support to stop the historic North London synagogue from being redeveloped. I think it was the first, or at least one of the first Haredi synagogues in the UK. Which the Board of Deputies, the political wing of the United Synagogue, wished to tear down and redevelop. But the good Lord forbid anyone from seeing anything sectarian or ‘anti-Semitic’ in their attempt to demolish what is clearly an historic site dear to another part of Britain’s diverse Jewish community. Corbyn definitely ain’t an anti-Semite by any stretch of the imagination, and neither was ever a Communist, Trotskyite or whatever other bogeyman haunts the imaginations of our right-leaning press and political elite.

Lipman’s claims of anti-Semitism in the Labour leadership are also weakened by the fact that she left the Labour party, again citing anti-Semitism, years before, when Ed Miliband was leader. Yes, Miliband, who’s Jewish, the son of Ralph Miliband, highly respected Marxist scholar and immigrant from Belgium, who fought for this country against the Nazi jackboot during WWII. And who was monstered for his trouble by the Heil, who ran a hit piece against him as ‘the man who hated Britain’. Well, he hated the public schools and the British class system, which is entirely reasonable and proper. Especially when it creates thugs and parasites like David Cameron and Boris Johnson. But Miliband senior actually fought for this country, unlike Paul Dacre’s father, who stayed at home and was the rag’s showbiz correspondent. Or Geordie Grieg’s old dad, who was a member of one of the pro-Nazi appeasement groups. Why did she think the Labour party was ridden with Jew-hatred? Again, Israel. Miliband had offered mild criticism of the Israeli state’s abominable treatment of the Palestinians. This was too much for Lipman’s fanatical Zionism, and she stormed out.

Well, she was on Gogglebox last Friday with Giles Brandreth watching and commenting on last week’s ‘great telly’ (sic). One of the pieces they were watching was Matt Hancock’s resignation because of his Ugandan discussions, as Private Eye calls it, with his secretary. Lipman thought that all the abuse was dreadful, considering how well he’d done as Health Secretary. Yep! She really said that. Well, as Kryton once said about Rimmer on Red Dwarf, ‘Oh for a world class psychiatrist!’ Either that or she’s been taking some, er, heavy duty non-prescribed medication with her evening glass of Horlicks. Because Hancock’s record as Health Secretary has been abysmal. He’s corrupt, giving vital contracts away to companies, simply because his mates run them. He was unable to get proper supplies of PPE, thus causing some of our professional and heroic frontline staff to die unnecessarily and putting the lives of others in serious danger. Especially staff from the Black and Asian communities, who were particularly vulnerable and hard hit. Care homes were left exempt from measures that were in place to protect hospital patients, thus causing even more deaths among the elderly and infirm. He is responsible for running down and privatising the NHS, as part of long term Tory and Blairite policy, so that waiting lists are growing. And it’s thanks to him and Boris that Britain had the worst death rate in Europe and the second worse in the world.

There are three explanations why Lipman believes a glaring incompetent like Hancock has done a good job. The shame at appearing in Carry On Columbus back in 1992 has, after 21 years, finally caught up with her and driven her mad. Arguing against this is that Julian Clary and Alexei Sayle also appeared in it, and although it wasn’t their finest hour, both of them are still mentally hale and happy. On the other hand, perhaps whatever herbal tea she may take contains the active ingredient in Cannabis. There are strong arguments for its medical use, such as to treat the pain from some diseases as well as the sickness some cancer patients experience. But I don’t think Lipman is on it, or anything containing it or other drugs. She seems far too genteel and personally wholesome.

Which leaves the third explanation: she never was really Labour. She may have joined the party or supported it for tribal reasons. Her family, like many Jews a generation or so ago, supported Labour. But as the very Jewish Tony Greenstein has shown, that allegiance changed as the Jewish community became more prosperous. 62 per cent of Britain’s Jews are upper middle class, and accordingly vote Tory. Lipman appears to have been a Blairite Red Tory, who particularly liked Blair because he was an outright supporter of Israel. That changed when Miliband became leader and showed he had something of a backbone when it came to condemning the Jewish state’s atrocities against the Palestinians.

But Blair wanted the privatisation of the Health Service, something no real Labour party member or supporter should ever back. And it appears Lipman supports it too from her comments about how well Matt Hancock has done as Health Secretary.

That bit on Gogglebox tore the liberal mask off, and showed the Tory face underneath. She never was a real member of the Labour party, and the party lost nothing from her loud and mendacious departure.

Couple of Videos on the Model Work on the BBC SF Comedy, Red Dwarf

These are another couple of videos I found on YouTube. In the first, model makers and special effects technicians Bill Pearson and Steve Howarth talk about their work on series 10 of the show. It’s a deleted scene from the film Sense of Scale, which appears to be a movie about the work of model makers like the two. It’s one of a number of videos about the creation of model effects for films and TV series like Red Dwarf, Space: 1999, Alien, Aliens, Outland, Flash Gordon, the 1990’s version of Total Recall, Coneheads, The Fifth Element and The Empire Strikes Back by piercefilm productions.

RED DWARF X miniature effects – YouTube

The second video comes from the channel of someone styling themselves Duane Dibley (the Duke of Dork). As fans of the series will know, this is the stylistically challenged alter ego of the Cat. In it, Bill Pearson talks about his work on series 4 of the show when production was moved to Shepperton. He talks about how some of the props and effects ended up in skips, including one that was damaged by Craig Charles. Money was tight, and so instead of building the scutters from scratch, as they had in the first series, they used parts from radio controlled cars and electric screwdrivers instead. They also recycled props and bits of set from other shows, including a Science Fiction film Ridley Scott had completed filming there. It was only after the series ended that Patterson realised he had never made one of the major vehicles in the show. But his chance finally came when he asked to make one to be given as a prize in a quiz show.

Super Models (Featurette With Red Dwarf Model Maker Bill Pearson) – YouTube

Red Dwarf is one of my favourite SF shows, and one which, in my view, deserves its longevity and cult status. It’s really fascinating to hear from one of the team of talented artists, model makers and technicians which gave this show its great SFX. These still stand up today when miniature work has largely been superseded by CGI. Pearson mentions this in the first video, saying that he’s proud of their work on Red Dwarf, but thinks that he’ll now spend the rest of his life working in low budget projects, because the major films and TV series have gone over to CGI instead. This is a pit, as I’ve a great deal of nostalgia and respect for the practical special effects used in the Science Fiction and Horror movies I grew up with. As spectacular as the CGI graphics can be, there’s still a popular demand for old style practical effects. Harbinger Down, a horror film that came out a couple of years ago, was made using these traditional special effects techniques to cater to audience keen to relive the pleasure of the type of effects they’d enjoyed in Alien and John Carpenter’s The Thing.

Pearson, Howarth and the others, who worked on shows like Red Dwarf are immensely talented artists, and I hope their skills will continue to be in demand by producers and directors, who appreciate the value of good, practical special effects.

Short Video on Richard Trevithick’s Real Steampunk Bus

I’ve already put up one video about the great Cornish inventor, Richard Trevithick, who created the ‘Puffing Devil’, a passenger-carrying steam engine for use on the roads. I found this video on Patrick Reed’s channel on YouTube. Taken from the National Geographic channel, and narrated by Chris Barry, the actor behind Red Dwarf’s Rimmer, this very short video describes another of Trevithick’s awesome steam vehicles. This was a London bus. It was so ground-breaking and unprecedented when it was first demonstrated, that shops were closed as the streets filled with people desperate to see the new invention. The video shows a modern replica of the vehicle, and describes how it worked. By placing the boiler within the main water tank, steam could be produced at a higher pressure, and with the placement of its piston about the tank it was far more powerful than Watt’s steam engines. Sadly, however, the steam carriage was far too radical and ahead of its time to catch on.

Trevithick’s London “Bus” – YouTube

Nevertheless, Trevithick’s machine was one of the first of a series of steam carriages that inventors in Britain and elsewhere continued to develop throughout the 19th century. In the 1820s there was briefly a steam bus service in Edinburgh. That pioneering invention was halted because of problems getting through the turnpike roads the bus had to use, and opposition from the cabbies and their horse-drawn vehicles. This did not, however, prevent scientists and engineers continuing to experiment and develop new steam passenger vehicles. This culminated in the invention of the internal combustion engine when Karl Benz and others decided that coal was not a suitably efficient and powerful fuel for these machines, and so turned to oil and petrol instead.

80s Space Comedy From Two of the Goodies

Astronauts, written by Graeme Garden and Bill Oddie, 13 episodes of 25 minutes in length. First Broadcast ITV 1981 and 1983.

I hope everyone had a great Bank Holiday Monday yesterday, and Dominic Cummings’ hypocritical refusal to resign after repeatedly and flagrantly breaking the lockdown rules aren’t getting everyone too down. And now, for the SF fans, is something completely different as Monty Python used to say.

Astronauts was a low budget ITV sitcom from the very early ’80s. It was written by the two Goodies responsible for writing the scripts for their show, Graeme Garden and Bill Oddie, and based on the personal conflicts and squabbling of the American astronauts on the Skylab programme six years earlier. It was about three British astronauts, RAF officer, mission commander and pilot Malcolm Mattocks, chippy, left-wing working-class engineer David Ackroyd, coolly intellectual biologist Gentian Fraser,and their dog, Bimbo,  who are launched into space as the crew of the first all-British space station. Overseeing the mission is their American ground controller Lloyd Beadle. Although now largely forgotten, the show lasted two seasons, and there must have been some continuing demand for it, because it’s been released nearly forty years later as a DVD. Though not in such demand that I didn’t find it in DVD/CD bargain catalogue.

Low Budget

The show’s very low budget. Lower than the Beeb’s Blake’s 7, which often cited as an example of low budget British science fiction. There’s only one model used, that of their space station, which is very much like the factual Skylab. The shots of their spacecraft taking off are stock footage of a Saturn V launch, the giant rockets used in the Moon landings and for Skylab. There also seems to be only one special effects sequence in the show’s entire run, apart from outside shots. That’s when an accident causes the station to move disastrously out of its orbit, losing gravity as it does so. Cheap matte/ Chromakey effects are used to show Mattocks rising horizontally from his bunk, where he’s been lying, while Bimbo floats through the bedroom door.

Class in Astronauts and Red Dwarf

It’s hard not to compare it with the later, rather more spectacular Red Dwarf, which appeared in 1986, three years after Astronaut’s last season. Both shows centre around a restricted regular cast. In Red Dwarf this was initially just Lister, Holly and the Cat before the appearance of Kryten. Much of the comedy in Red Dwarf is also driven by their similar situation to their counterparts in Astronauts – personality clashes in the cramped, isolated environment of a spacecraft. The two shows are also similar in that part of this conflict from class and a Conservative military type versus working class cynic/ liberal. In Red Dwarf it’s Rimmer as the Conservative militarist, while Lister is the working class rebel. In Astronauts the military man is Mattocks, a patriotic RAF pilot, while Ackroyd, the engineer, is left-wing, Green, and affects to be working class. The three Astronauts also debate the class issue, accusing each other of being posh before establishing each other’s place in the class hierarchy. Mattocks is posh, but not as posh as Foster. Foster’s working class credentials are, however, destroyed during an on-air phone call with his mother, who is very definitely middle or upper class, and talks about going to the Conservative club. In this conflict, it’s hard not to see a similarity with the Goodies and the conflict there between the Conservative screen persona of Tim Brooke-Taylor and Bill Oddie’s left-wing, working class character.

Class, however, plays a much smaller role in Red Dwarf. Lister is more underclass than working class, and the show, set further in the future, has less overt references to contemporary class divisions and politics. The humour in Red Dwarf is also somewhat bleaker. The crew are alone three million years in the future, with the human race vanished or extinct with the exception of Lister. Rimmer is an ambitious failure. For all he dreams of being an officer, he has failed the exam multiple times and the B.Sc he claims is Batchelor of Science is really BSC – Bronze Swimming Certificate. Both he and Lister are at the lowest peg of the ship’s hierarchy in Red Dwarf. They’re maintenance engineers, whose chief duties is unblocking the nozzles of vending machines. Lister’s background is rough. Very rough. While others went scrumping for apples, he and his friends went scrumping for cars. The only famous person in his class was a man who ate his wife. The three heroes of Astronauts, however, are all competent, intelligent professionals despite their bickering. Another difference is that while both series have characters riddled with self-loathing, in Red Dwarf it’s the would-be officer Rimmer, while in Astronauts is working class engineer Ackroyd.

Britain Lagging Behind in Space

Other issues in Astronauts include Britain’s low status as a space power. In a speech in the first episode, the crew express their pride at being the first British mission, while paying tribute to their American predecessors in the Apollo missions. The Ealing comedy The Mouse on the Moon did something similar. And yet Britain at the time had been the third space power. Only a few years before, the British rocket Black Arrow had been successfully launched from Woomera in Australia, successfully taking a British satellite into orbit.

Personal Conflicts

There are also conflicts over the cleaning and ship maintenance duties, personal taste in music – Mattocks irritates Ackroyd by playing Tubular Bells, publicity or lack of it – in one episode, the crew are annoyed because it seems the media back on Earth have forgotten them – and disgust at the limited menu. Mattocks is also shocked to find that Foster has been killing and dissecting the mice he’s been playing with, and is afraid that she’ll do it to the dog. Sexism and sexual tension also rear their heads. Mattocks fancies Foster, but Ackroyd doesn’t, leading to further conflict between them and her. Foster, who naturally wants to be seen as an equal and ‘one of the boys’ tries to stop this by embarrassing them. She cuts her crew uniform into a bikini and then dances erotically in front of the two men, before jumping on them both crying ‘I’ll have both of you!’ This does the job, and shames them, but Beadle, watching them gets a bit too taken with the display, shouting ‘Work it! Work it! Boy! I wish I was up there with you boys!’ Foster also objects to Mattocks because he doesn’t help his wife, Valerie, out with the domestic chores at home. Mattocks also suspects that his wife is having an affair, which she is, in a sort-of relationship with Beadle. There’s also a dig at the attitudes of some magazines. In the press conference before the three go on their mission, Foster is asked by Woman’s Own if she’s going to do any cooking and cleaning in space. Beadle and his team reply that she’s a highly trained specialist no different from the men. The joke’s interesting because in this case the butt of the humour is the sexism in a certain type of women’s magazine, rather than chauvinist male attitudes.

Cold War Espionage

Other subjects include the tense geopolitical situation of the time. Mattocks is revealed to have been running a secret espionage programme, photographing Russian bases as the station flies over them in its orbit. The others object, and Ackroyd is finally able to persuade Beadle to allow them to use the technology to photograph illegal Russian whaling in the Pacific. This is used to embarrass the Russians at an international summit, but the questions about the origin of the photos leads to the espionage programme being abandoned. The crew also catch sight of a mysterious spacecraft in the same orbit, and start receiving communications in a strange language. After initially considering that it just might be UFOs, it’s revealed that they do, in fact, come from a lonely Russian cosmonaut. Foster speaks Russian, and starts up a friendship. When Mattocks finds out, he is first very suspicious, but then after speaking to the Russian in English, he too becomes friends. He’s the most affected when the Russian is killed after his craft’s orbit decays and burns up re-entering the atmosphere.

Soft Drink Sponsorship

There are also digs at commercial sponsorship. The mission is sponsored by Ribozade, whose name is a portmanteau of the British drinks Ribeena and Lucozade. Ribozade tastes foul, but the crew nevertheless have it on board and must keep drinking it. This is not Science Fiction. One of the American missions was sponsored by Coca Cola, I believe, and so one of the space stations had a Coke machine on board. And when Helen Sharman went into space later in the decade aboard a Russian rocket to the space station Mir, she was originally to be sponsored by Mars and other British companies.

God, Philosophy and Nicholas Parsons

The show also includes arguments over the existence or not of the Almighty. Mattocks believes He exists, and has shown His special favour to them by guiding his hand in an earlier crisis. Mattocks was able to save them, despite having no idea what he was doing. Ackroyd, the sceptic, replies that he can’t say the Lord doesn’t exist, but can’t see how God could possibly create Nicholas Parsons and Sale of the Century, one of the popular game shows on ITV at the time, if He did. As Mattocks is supposed to be guiding them down from orbit, his admission that he really didn’t know what he was doing to rescue the station naturally alarms Foster and Ackroyd so that they don’t trust his ability to get them down intact.

Red Dwarf also has its jokes about contemporary issues and politics. Two of the most memorable are about the hole in the Earth’s ozone layer being covered with a gigantic toupee, and the despair squid, whose ink causes its prey to become suicidal and which has thus destroyed all other life on its world in the episode ‘Back to Reality’. Other jokes include everyone knowing where they were when Cliff Richard got shot. Red Dwarf, however, is much more fantastic and goes further in dealing with philosophical issues, such as when Rimmer is incarcerated in a space prison where justice is definitely retributive. If you do something illegal, it comes back to happen to you. This is demonstrated when Lister follows Rimmer’s instruction and tries to set his sheets alight. He shortly finds that his own black leather jacket has caught fire.

Conclusion

Red Dwarf is able to go much further in exploring these and other bizarre scenarios as it’s definitely Science Fiction. Astronauts is, I would argue, space fiction without the SF. It’s fictional, but based solidly on fact, including generating gravity through centrifugal force. But critically for any comedy is the question whether its funny. Everyone’s taste is different, but in my opinion, yes, Astronauts is. It’s dated and very much of its time, but the humour still stands up four decades later. It had me laughing at any rate.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Cartoon: Mock Movie Poster for ‘The Stainless Steel Rat’

Here’s something that I hope will cheer you all up, or at least the SF fans among you. It’s another of my cartoons, though this time it’s not satire, but a mock movie poster for one of my favourite SF novels, The Stainless Steel Rat by Harry Harrison. Harrison was a serious SF writer. One of his novels was Make Room, Make Room!, which was filmed in the 1970s as the dystopian thriller Soylent Green with Charlton Heston. However, he’s probably best known for his series of humorous SF novels, beginning with the Stainless Steel Rat, about the galactic archcriminal, Slippery Jim DiGriz. They’re set in the far future, when humanity has spread across the Galaxy, and living conditions, society and psychology/ social services have all advanced so that crime is all but unknown. All but. Slippery Jim, the ‘Stainless Steel Rat’ of the title, is a career criminal who does it simply for the joy of outwitting the authorities. The interstellar police, however, eventually catch up with him, and he’s forcibly recruited into their ranks. And he’s shocked to find that they’re all former criminals. His boss, Inskip, was a notorious thief who robbed a spaceliner in mid-flight. It’s done on the principle of ‘set a thief to catch a thief’. And his first assignment is to capture a stunningly beautiful woman, who’s murdering her way across space. Spoilers: he finally catches her, she’s given psychiatric treatment to rehabilitate her, she’s also recruited by the space rozzers. Di Griz marries her, and the two then become a team, whose adventures are then told in the succeeding books as they, and their sons with them, travel across the universe solving crimes, overthrowing dictators and stopping wars with alien races.

I was wondering who I’d cast as the heroes, and have as director and the scriptwriter adapting it for cinema. The text on the cartoon shows who I decided upon. It reads

A Terry Gilliam film. From the book by Harry Harrison. Adapted by Douglas Adams.

Jacqueline Pearce David Tennant Don Warrington.

It’s definitely fantasy, because Adams and Pearce have sadly passed away, as has Harrison himself. Tennant would be the Stainless Steel Rat, Pearce, who you will remember was Servalan in the epic Blake’s 7, would be the murderess, Angelina, and Don Warrington would be the police chief, Inskip. Yes, I am thinking of his character in Death in Paradise, so it would be a bit of type casting. But he has done humorous SF before. He appeared in an episode of Red Dwarf in the ’90s as one of the members of a spaceship crew of Holograms, all of whom had massive intellects and egos to match. His character appeared on board Red Dwarf and promptly started making sneering remarks about Kryten and Lister. Kryten was described as nearly burnt out, while he described Lister as some kind of subhuman creature, that could in time perhaps be taught some tricks. Until Lister parodied him with a mock report of his own, in which he informed him that he had a sturdy holowhip in the ship’s armoury and was going to use it on his backside pronto if he didn’t leave. At which point Warrington’s arrogant spaceman vanished. And with a threat like that hanging over him, who could blame him?

Here’s the cartoon. I hope you like it and it give you a chuckle in these grim times and keep your chin up! The Coronavirus won’t last forever.

Frances Barber’s Racist, Anti-Semitic Meltdown at Ash Sarkar and Jon Lansman

Frances Barber is a minor ‘sleb, who appears in bit parts here and there. She turned up in Red Dwarf in the ’90s as one of the forms of shape-shifting genetically engineered organism that fed on emotion. Appearing as a glamorous woman, the creature fed on the Cat’s vanity. She also appeared a little while later in an episode of the sitcom My Family, in which she played a woman with depression, who was part of a poetry group which the son joins. She’s part of the coterie around Rachel Riley and Tracy Anne Oberman, who think that Corbyn and the Labour party really are Nazis. Because criticising Israel as an apartheid state and its ethnic cleansing of the Palestinians means you have to be a fully paid-up anti-Semite ready to get another Holocaust going. And Zelo Street has put up an excellent piece describing and commenting on her meltdown at Ash Sarkar in which she unintentionally displayed how racist she was.

Why the fury? Sarkar had appeared on Question Time, and describes her self as Communist. She then issued a series of tweets declaring that her beloved Labour Party was now the Communist party, attacking Communism as a hateful, despicable regime and sneering that it was ‘good our [Labour] representative – meaning Ash Sarkar – loves it’. There two things at least wrong with that statement, as Zelo Street reminds us. Firstly, just because a regime describes itself as something doesn’t mean it actually is. North Korea describes itself as the ‘democratic people’s republic of North Korea’, but is obviously anything but. And as Sarkar herself reminded Barber, she’s not a member of the Labour party. Barber couldn’t accept this. She asked Sarkar why she was representing Labour. Sarkar replied that she wasn’t, unless she’d been elected an MP and hadn’t noticed. Then Barber had the first of her racist sneers. She responded

“Neither you or Shami Chakrabati [sic] have been elected, but you speak on behalf of Seumus [sic] each time you are on Political programs . We the people hate it. You do not speak for us”.

To which another tweeter, Louise Raw, answered in turn by asking Barber why she was throwing Sarkar in with Shami Chakrabati. Sarkar was a media commentator, Chakrabati the Shadow Attorney General. It couldn’t be because they were both Asian, could it?

Then Barber moved on acting out Godwin’s Law. This states that in an internet debate, sooner or later someone will compare someone else to the Nazis. Barber then commented on the news that there had been a proposal in the Labour party to put a candidate up against Harriet Harman if she chooses to stand as Speaker by declaring that Labour were ‘the Brown Shirts’. And when she found out that Jon Lansman, the head of Momentum had tabled a motion calling for the abolition of the post of Deputy Leader, she again made an accusation of Nazism. ‘As if we didn’t tell you,’ she wrote, Ernst Rohm in action’. As Zelo Street pointed out, she had just called a Jew a Nazi, which is anti-Semitic according to the definition of the term by the International Holocaust Remembrance Association.

Zelo Street concluded

‘Not much use calling anti-Semitism on others if she’s going to indulge in it herself. And that’s on top of the brown people inference. Ms Barber needs to learn one lesson.

Stay away from Twitter late at night. Or don’t bother, and give us all a good laugh.’

https://zelo-street.blogspot.com/2019/09/frances-barbers-bigoted-meltdown.html

Let’s make a few more points here, just to expand on those already made by the Sage of Crewe. When Sarkar describes herself as Communist, she’s undoubtedly talking about the Communist ideal, before it was substantially altered by Lenin and the Bolsheviks. I’ve put up pieces showing that most Marxists before the Bolshevik coup were democrats, after Marx himself. Except that they believed in a genuine democracy in which the workers took power into their own hands. Mainstream Marxist intellectuals like the Austrian Karl Kautsky hated the Bolshevik dictatorship and their persecution of the former upper and middle class. As for Soviet Communism, this described itself as Marxist-Leninism. In other words, Marxism as interpreted and adapted by Lenin. And when I was studying the Russian revolutionary movement at College, we were told that Lenin had altered Marxist doctrine almost as much, or as much, as the Revisionists.

As for the Labour party, the one thing Corbyn and the rest aren’t, is Communists. Corbyn’s programme of empowering the working and lower middle class by reviving the welfare state, taking the railways and other utilities into state ownership, giving back working people rights at work and restoring trade union power, is really simply a return to the post-War social democratic consensus. The consensus that no-one seriously challenged until Thatcher in 1979, with disastrous consequences. It’s nowhere near the complete nationalisation or the bureaucratic state Soviet Marxism demanded.

And let’s make one thing very clear: Corbyn and his supporters are very far from Nazis. 

Historically, it’s been left-wing Socialists, Communists and trade unionists, like Corbyn and his supporters, who’ve actually stood up physically to Nazism and Fascism in this country. If you want further evidence, go over to David Rosenberg’s blog, Rebel Notes. Rosenberg’s Jewish, and a member of the Jewish Socialist Group. He comes from the tradition of the Bund, the eastern European Jewish Socialist party, who fought for Jews to be able to live and work as equals and fellow countrymen with the gentile peoples of the countries in which they lived. They had no desire to go to Israel and displace a people, who had historically treated the Jews better than Christian Europeans. Which means he’s also a strong critic of Israel. Rosenberg has put up many pieces describing how the Communists, the ILP and trade unionists, including the ’47 Group of Jewish combat vets kicked the rear ends of Mosley and his squadristi in the BU up and down London and the provinces, so that gentiles, Jews, Blacks, Asians and working people in general could live in peace and dignity without fearing the jackboot. See, for example, his article ‘When Stockton Fought Back’, about how the good folk of Stockton on Tees fought Mosley when he tried campaigning in their toon.

See: https://rebellion602.wordpress.com/2019/09/08/when-the-people-of-stockton-fought-back/

His most recent article is ‘When I Listen to Boris Johnson and Hear Mosley’, about the similarities between our anti-democratic populist Prime Minister and Mosley when he was leader of the New Party before its transformation into the BUF.

https://rebellion602.wordpress.com/2019/09/10/when-i-listen-to-boris-johnson-and-hear-oswald-mosley/

It’s a comparison that has become particularly pertinent, especially as the Torygraph a few days ago decided to give space to Jaak Madison, a member of the Estonian conservative party. The article’s been taken down because Madison stated that he found Fascism had many great points, and Madison himself was a Holocaust denier or minimalist.

Corbyn and his supporters are anti-Fascists. The real stormtroopers are nearly all on the right, whatever idiots and liars like Barber, Riley and the rest think, led by a mendacious media and Zionist Jewish establishment. They are the only people, who really stand between us and real Fascism in this country.

As for Barber herself, she clearly thinks of the Labour Party in terms of New Labour, Blair’s Thatcherite entryist clique. They did some good things, but they stood for Neoliberalism and the destruction of the welfare state and privatisation of the NHS. They wanted it to become another Conservative party, and in some ways went beyond the policies of the Tories themselves. They were no friends to working people, both Jewish and gentile. And neither is Riley, Barber and Oberman for supporting them.

Conspiracy Theorist Alex Jones Defends the Size of Trump’s Penis

Okay, I apologise for the crude nature of this post, but it’s weirdly fascinating and gives a bizarre insight into the mindset, not just of Alex Jones, but of much of the Republican party in America.

In this clip from Secular Talk, host Kyle Kulinski talks about a compilation video one of his viewers sent in, of the various times Alex Jones, the mad conspiracy theorist behind the Infowars internet show, defends Trump from the accusation that his manhood is of less than impressive size.

As Kryten said of Rimmer in Red Dwarf, ‘Oh for a world class psychiatrist!’

This all started with Ted Cruz telling the crowd during the campaigning for the Republican nomination that Trump had tiny hands, and that this meant that certain other areas of his anatomy were also correspondingly small. Mind you, Trump had just claimed that Cruz’s father was responsible for the assassination of J.F.K., which is actually a far worse accusation. My guess is that most people watching Cruz make the accusation probably took it for what it was – a particular low, ad hominem attack, and nothing more. But it’s clearly got under Jones’ skin. Hence the ranting in the video about how well-endowed Trump is, against the lies put out by the media.

Kulinski goes on to discuss how Jones has turned from a critic of the establishment, to its most fervent propagandist through his support of Trump. He likes Trump. It’s as if Trump has cast a voodoo spell over him, as Kulinski describes it. When Obama was president, Jones declared that he was responsible for all manner of conspiracies. Now Trump’s in the Oval Office, the president isn’t responsible for any of those. It’s always the people around him.

He points out just how much of an establishment shill Trump is. He’s doing exactly what his backers in Wall Street and big business want, and is impoverishing ordinary Americans for their corporate profit. He’s the enemy of the middle Class. But to Jones Trump can do no wrong.

Kulinski also discusses some of the other lunatic statements that Jones has made. Jones went on the Joe Rogan Show, where he raved about interdimensional demons and aliens, and claimed that there was a war going on in the political elite between paedophiles and real men, ‘who eat steaks, drink whisky and like women’. Kulinski makes the point of how ridiculous this is as the standard for judging who’s one of the good guys. It means that various truly repulsive Republicans, who have backed every war launched by the presidents, are good guys, merely because they’re heterosexual and have those tastes in food and drink. He also goes on to point out how Jones’ conspiracy theories are demonstrably wrong. Like Jones’ claim that Obama was going to declare a state of emergency, and have everyone rounded up and imprisoned in FEMA camps. Well, Obama’s been and gone, and it never happened. Even worse was Jones’ statement that the Sandy Hook massacre was staged at the pretext for taking Americans’ guns away. He doesn’t mention it here, but this did result in grieving parents being accused by Jones’ viewers of being ‘crisis actors’, and that their children weren’t really shot and killed. Kulinski points out that the legislation that was proposed in the aftermath of the massacre to prevent further outrages like it were a ban on certain types of automatic weapons, magazines of a particular size, and uniform background checks. But the ban on automatic weapons and magazines never got through, because the Republicans blocked it. As for the background checks, this was passed, but was watered down to the point where there are a million loopholes in it. So if Sandy Hook was staged as a ploy to deprive Americans of their firearms, it hasn’t worked.

In fact, Jones’ rants say something about the psychology of part of the Republican base, and the visceral fear of castration that some of them seem to have, associated with socialism, liberalism and feminism. The Republican party stands for a very traditional conception of the sex roles, in which men are expected to be aggressively masculine. The gun culture is part of this. Much of the rhetoric by the Alt Right is about how alpha male they are, compared to all the beta male cucks in mainstream society and the left. When Trump was campaigning for the presidency, Jones did a broadcast about how ‘alpha’ Trump was, and how he’d been having ‘transcendent’ conversations with him. Which, in addition to these comments defending the size of Trump’s genitals, add a kind of homoerotic undercurrent to his attitude to Trump.

Several of Jones’ rants are about the threat to masculinity and biological gender posed by feminism, the UN, and the gay rights movement. In one rant, he declared that the gay rights movement was ‘a transhumanist space cult’ dedicated to removing biological gender and turning us all into genderless cyborgs. Which I’ve no doubt surprised an awful lot of gay people. He also claimed that UN doctors were going to come to cut men’s testicles off. One of the internet news commenters sent up this raging paranoia in one of their vlogs, stating that no, Obama was not going to have them castrated and put in FEMA camps, where they would be forced to carry around greased up lesbians.

Jones’ rants about the size of Trump’s manhood are ridiculous, but they do show the real insecurities about masculinity in the Republican party and the Alt Right. Jones and others like him really do see liberalism and feminism as emasculating movements, which can only be combated by powerful, aggressive alpha males. Hence their support for Trump, and the bitter anti-feminism within the Republican party itself. And not all of those, who hold such views are men. One of those, who has vociferously attacked feminism, and denied that women should have the right to vote is Anne Coulter. And Kulinski makes the point that these genital obsessions have also been played out in the theatre of international relations. Like when he told Kim Jong Un that his nuclear button was bigger. Trump’s concern, and those of his supporters, to show how ‘alpha male’ he is, aren’t just ridiculous, they’re an active danger to the safety of the entire world. As are the stupid conspiracy theories about aliens, paedophiles and FEMA camps promoted by Jones and his Infowars team.

Sam Seder on Disney’s Animatronic Donald Trump

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’.