Mitch Benn’s Rock Assault on Boris Johnson’s Refusal to Accept Consequences of Partygate

Mitch Benn is a YouTuber who makes comic, parody videos attacking politicians and various issues. This piece, ‘We’ll Move On When You Move Out’, takes square aim of Johnson’s attitude that everyone should forget all about partygate. But as the song points out, he was partying while we were burying our dead and obeying the lockdown. It also calls him a lying, rich, upper-class lout, which he is most certainly is, and reminds him that it’s our house he’s squatting in. So sling your hook, Boris. For those of us of a certain age, the song’s particularly fun as it’s in the style of an ’80s Rock anthem.

A Rock Legend Passes – Meat Loaf Dies Aged 74

One of the big stories today, which isn’t about the military build-up around Ukraine and Boris Johnson and his wretched parties, has been the death of Meat Loaf. One of the things that surprised me in the news items about him was that he was in 65 or so films. I was aware that he played Eddie, a zombie in the Rocky Horror Picture Show. I’d also seen him as a man suffering from testicular cancer who joins the underground boxers in the 1990s film Fight Club, based on the book by Chuck Palahniuk. But I wasn’t aware of any others, and certainly not that he’d been in so many.

He’s best known, however, for Bat Out Of Hell, which is now a Rock classic. I can remember the exciting amongst the rockers and metal freaks I was at school with when it came out. It even got played at a school assembly by one of the teachers. He wasn’t disapproving, just using it to illustrate some point about different moods in music. Bat Out Of Hell, in contrast to other, more soothing pieces, was pure, raw aggression. It was, but not violence. It was loud, fast, melodic rock. His co-writer, Jim Steinman, appeared on a Beeb rockumentary a few years ago. The interviewer commented on the operatic quality of the piece. Steinman agreed, and said that it was because he was listening to a lot of opera at the time.

Bat Out Of Hell came out just as the Satanism scare was beginning, and the real-life modern witch-hunters went to absurd lengths to claim that there was a terrible Satanic conspiracy to corrupt American youth. Dungeons and Dragons was supposed to include real spells and was turning young people to crime, sex, and suicide. I’ve friends who were into it, and that very definitely wasn’t the case. D&D was an imaginary Tolkienesque world of goblins, orcs, giants and wizards, but these were the staple characters of children’s fantasy. For the vast majority of youngsters, it was just a great way to spend a couple of evening with your friends. Rock music was particularly singled out for condemnation. Now there are metal bands, which I think genuinely are aggressively anti-Christian. But for many, it’s just theatre, as Satanic as a Hammer Horror flick. Bat Out Of Hell got some of this, because the album cover showed a motorcycle erupting out of a grave watched by a demon. This was occult imagery. It is, but again, it’s fantasy occult imagery. You could and can see pretty much the same kind of imagery on any genre horror, fantasy or sword and sorcery paperback. And there’s absolutely no mention of the occult or the Devil in the track itself. I bought the sheet music awhile ago and I’ve played it. What it tells me is that Meat Loaf liked the dark imagery of rock, and had a taste for awesome motorbikes. As for groups labelled Satanic, back in the ’90s the accusation was levelled at the American band Ossuary. Or it was until they issued a statement explaining that they were all good children of the Roman Catholic church, and their songs attacked the preachers who were bringing the church into disrepute. Then someone had the idea of checking with their parish priest, who confirmed what they said.

But to me, one of the most memorable of Meat Loaf’s appearances on British TV was when he outwitted Clive Anderson. Anderson had his own chat show, Clive Anderson Talks Back, in which he made light banter poking fun at his guests. Sometimes he went too far, and offended them. He did that to the Bee Gees. There’s a clip of them walking off, one by one, after he told them their music was rubbish. Anderson was left with his mouth hanging open, looking pleadingly at them. Finally only one was left, and as he turned to go, Anderson said to him, ‘You’re not going as well, are you?’ ‘Sorry,’ the pop musician replied, ‘but I don’t do lone interviews.’ That never happened to Meat Loaf, but he did think of a getting a few chuckles from his name. ‘What should I call you – Meat? Mr Loaf? What do your children call you?’ Meat Loaf had answer to that: ‘Mostly they call me ‘Dad’.’ as Jazz Club would say on the Fast Show ‘Grrreat.’

Farewell, Big Guy. You will be missed, and rock is poorer without you.

The sheet music for the album Bat Out Of Hell, which was written and composed by Steinman, arranged for piano with guitar tablature and lyrics, has been published by International Music Publications Ltd. Apart from the title track, it has ‘You Took the Words Right Out of My Mouth (Hot Summer Night), Heaven Can Wait, All Revved Up With No place to Go, Two Out of Three Ain’t Bad, Paradise by Dashboard Light and For Crying Out Loud’.

The cover image was dreamed up by Steinman, and painted by fantasy artist and comics legend Richard Corben.

Way back in the ’90s there was a slew of tribute bands – the Bootleg Beatles, Elton Jack and so on. Meat Loaf did not escape. His was called ‘Fat Out Of Hell’.

May he, like Elvis, keep ’em rocking.

Sufi Shayk Talks about Reptoid Djinn

Sufism is Islamic mysticism. It’s all about achieving a mystical union with the Almighty, and it’s organised into various orders and brotherhoods rather like western monasticism. The orders are led by a shaykh, a spiritual leader, and they use different methods of achieving the state of mystical union. Some use music, while others, like the famous Whirling Dervishes of Istanbul, revolve in a kind of mystic dance. It can be a very syncretistic form Islam, taking elements from other faiths. I found this peculiar video on YouTube from the Muhammadan Way Sufi Realities channel on YouTube. Entitled ‘Why Reptilian Jinn Posses Members of the Elite? Shapeshifters Archon Annunaki Sufi Meditation Center’, it seems to show very strongly the influence of western UFO conspiracy theories, particularly about reptoid aliens popularised by David Icke.

The shaykh in the video, who seems to be based in Los Angeles, is responding to a question about reptoids. However, he regards them not as aliens, as per Icke and the western UFO peeps, but as a particular variety of the djinn. The djinn are supernatural creatures in Islam, created by Allah out of smokeless fire. They live for many hundreds or thousands of years. Like humans, they are of different religions, so that there are Muslim, Christians and Jewish djinn, but they also have supernatural powers. Shaitan, or Satan, the Devil, is one of these djinn in Islam and not a fallen angel as in Judaism and Christianity. The shaykh answers the question by telling his followers and viewers that these reptoid djinn get sent to possess the rich and elite in what sounds like a Faustian bargain with them. This may physically affect the possessed person, with them losing their head and body hair. It is through such possessions that the Devil gains control of businesses and corporations, including the music industry. Thus the aspiring musicians that sign on to record and music companies owned and controlled by those possessed by the reptilian djinn are rewarded with audiences of tens of thousands and become immensely wealthy.

I find it interesting as it appears to be a particularly Muslim form of two conspiracy theories that have been going round the west for decades. One is the belief, formulated by David Icke, that the world’s elite, the rich and powerful, are really reptoid aliens. The other is that there is a Satanic conspiracy within the music industry, and all the stories and urban legends about various pop bands, mostly Rock and Heavy Metal, being really Satanists and including secret satanic messages, recorded backwards, on their records and CDs.

John Simpson, one of the Beeb’s foreign correspondents, wrote an excellent book on Iran a few years ago. He noted that the Iranian people, whom he loved and respected, were very inclined towards conspiracy theories. I think that probably comes from the country’s long history of authoritarian rule, first as an absolute monarchy and then as a repressive Islamic theocracy. I think it’s also the product of the vast changes the country has experienced as it made the transition from a traditional, agricultural economy to a modern, mass, industrial society accompanied by rapid westernisation. These changes caused immense social stresses and bewilderment, with the new values often in conflict with traditional attitudes and made worse by the shah’s brutal personal rule. The shah gradually assumed total political control of the country during his White Revolution following the CIA-organised coup against Mohammed Mossadeq. Mossadeq was the last democratically elected prime minister of Iran, and was overthrown because he dared to nationalise the oil industry and run it for Iranians rather than it’s foreign owners, like BP. As the shah became more dictatorial and autocratic, so dissent increased until it culminated in the 1979 Islamic Revolution. It’s to be expected that conspiracy theories should arise in a society where there is no freedom of speech experiencing rapid change, and where a significant section of the population believe this is out of their control and orchestrated not for their benefit, but instead by mysterious, malign outsiders. I also have the impression that other parts of the Muslim world, like Pakistan, are also prone to conspiracy theories for much the same reason.

International trade, migration, telecommunications and the internet has brought the world closer together, and so weird conspiracy theories in one part of the planet can spread to the others, which may interpret them according to their own culture and beliefs.

Thus David Icke’s reptoid aliens have instead become reptoid djinn, who are seeking to lead humanity away from God through the music industry.

Students of Colour Object to Oxford Music Curriculum Because of Slavery

The Telegraph ran a story yesterday claiming that they’d received documents showing that Oxford University was considering changing their classical music course. This was because, following Black Lives Matter protests, students of colour at the university had complained that they were left very distressed by the course on European music from Machaut to Beethoven, because this was the period when the transatlantic slave trade was developing. They also made the same complaint about western music notation.

Now this comes from the Torygraph, part of Britain’s exemplary right-wing press, who are known for their rigorous commitment to journalistic truth and integrity, ho, ho. So you wonder if it true, or is the product of some Tory hack’s fevered imagination, like many of the stories about the Labour party produced by Guido Fawkes. Is this all made up to discredit Black Lives Matter?

Thinking about the issue, it seems very much to me that the problem isn’t the curriculum’s links to colonialism, but an attitude of entitlement and the cultural prejudices of the rich and monumentally uninformed.

Let’s deal with their objection that western musical notation developed during the time of the Black slave trade. As the Torygraph pointed out, it didn’t. It developed before the transatlantic slave trade from the church’s Gregorian Chant. This is absolutely true. The origin of the western musical tradition is in the music written for church services. This soon expanded to take in secular subjects, such as the courtly lyrics of the troubadours, the celebration of kings and princes, drinking, war, and just about every aspect of life. As a genre, the emergence of western classical music has nothing to do with the slave trade. Machaut, the French composer mentioned as the beginning of that part of the Oxford music course, lived in the 12th century, three centuries or so before the development of the transatlantic slave trade in the 15th. The modern system of musical notation was also developed in that century by Guido d’Arezzo. The scale, Do Re Mi Fa Sol La Te Do, comes from the initial syllables of a line in the Latin Mass. And whoever thinks that Beethoven is connected to the slave trade is clean out of their tiny mind. Beethoven, I think, was a German liberal with a profound sympathy for the ideals of the French Revolution. His Eroica was originally dedicated to Napoleon, until the Corsican bandit invaded Austria. His Ode to Joy looks forward to a world where nations live together in peace and fraternity. Furthermore, it’s also been suggested that he may have had Black ancestry. Either way, I doubt very much that he had any sympathy for slavery or any other form of human servitude whatsoever.

The complaint about that part of the music course is just so wrong, that I do wonder about the motives of the people making these complaints. Assuming they exist, and that the complaints are genuine. Because the complaints are so wrong, and so ignorant, that either the complaint is some kind of mickey-take, or else the people making them are simply monumentally stupid and lazy. For example, what kind of individual, who seriously wants to learn music, objects to learning the notation? Yes, people can and do play by ear, and many non-western musical traditions don’t have a system of notation. But if you seriously want to play music, and certainly if you’re studying it an advanced level, then understanding its notation is very much a basic requirement. This includes not only classical music, but also Jazz, rock and pop. Much of this is composed through improvisation and jam sessions by the musicians themselves, and its form of reproduction is primarily through records rather than print. But nevertheless, they’re also published as sheet music. I’ve got several books of pop, rock and Jazz music on my shelves. They’re published as sheet music as people not only want to listen to some of these great pieces, but also play them for themselves.

So basic is an understanding of written music as well as the development of western music from the Middle Ages onwards, that I really do wonder if the people behind these complaints actually want to study music, or do so to the extent that they have to do some serious work that might stretch them. It doesn’t look like they do to me. I also wonder why, if they consider western music so intimately linked to colonialism and slavery that it causes them distress, that, if they’re foreign, they wanted to come to Europe to study it.

It’s therefore occurred to me that, if the complaints are real, the people doing the complaining may not actually want to study the subject. They just want the cachet of studying at Oxford. Years ago I read a history of Japan, which warned about giving in to the insularism and xenophobia of many Japanese. The Japanese highly value an education at Oxbridge and/ or the British public schools (God help them!) but they don’t like mixing with non-Japanese. Thus one or the other of Oxford or Cambridge was building a separate college to accommodate Japanese students so they wouldn’t have the inconvenience of mixing with people of other nationalities. Perhaps something similar is the case here? Do they want the prestige that goes with an Oxford education, but have their own racist prejudices about European culture and music?

If this is the case, then it’s a scandal. It’s a scandal because education at one of Britain’s leading universities is being dumbed down for these morons. It’s a scandal because it cheapens the real problems of Britain’s Black community, which were behind many of the Black Lives Matter protests. For example, there’s a programme on the Beeb this evening investigating the reasons Black British mothers are four times more likely to die in childbirth than Whites. It’s a scandal because there are doubtless plenty of kids of all colours in the UK, who would just love to study music at Oxford and have a genuine love of classic music. There’s a campaign at the moment to get more Black and Asians into orchestras. It’s been found that people from these ethnicities are seriously underrepresented. Hence there’s an orchestra, Chinikwe!, purely for non-Whites, in order to produce more Black and Asian orchestral musicians. This has also followed attempts to recover the works of Black classical composers. Back in the 1990s one of the French labels issued a CD of harpsichord pieces written by Black composers. Earlier this year, Radio 3 also played the music of Black classical composers. The best known Black British classical composer, I’m sure, is Samuel Coleridge-Taylor, who lived from 1875 to 1912. His father came from Sierra Leone while his mother was British. He was the composer of Hiawatha’s Wedding Feast, based on Longfellow’s poem, which is still performed by choral societies up and down the country. And yes, it’s written in western musical notation. But these attempts to encourage the performance of classical, orchestral music by Black and Asian performers, and to restore and include Black and Asian classical composers in the western musical tradition, has also been effectively spurned by what seems to be rich, entitled, lazy brats.

The fault therefore seems not to lie with the Oxford music course or with Black Lives Matter, but with an admissions policy that favours the wealthy, even when they are racist and xenophobic, over those from poorer backgrounds, who are genuinely dedicated and talented. If, on the other hand, the people making those complaints seriously believe them, then the response should be to educate them to dispel their prejudices, not accommodate them.

Cartoon: Borice KKKooper – Dead Babies

Hi, and welcome to another of my cartoons expressing my outrage and disgust at the Tory party and the clown, who currently leads it and, unfortunately, our great nation. I’ve used as the basis for these drawings SF/Horror films and pop songs. This one’s based on another pop star, the Rock legend Alice Cooper. And it is to express my utter disgust at the scandalously high infant mortality rate in Britain.

Cooper became notorious in the ’70s for his weird and disturbing stage act, in which he’d behead dolls and even hang himself. He said in an interview on British television some time ago that some people tried to psychoanalyse his attack, and read a bit too much into it. It was claimed that his destruction of the dolls were a metaphorical attack on babies. Cooper denied that it was any such thing. He just hated dolls. It was, he said, possibly something to do with his sister.

But one of his songs at the time was ‘Dead Babies’, about a mother, who neglects her child so that it dies. It has the line ‘Dead babies don’t need looking after’, and includes the sound of a baby crying. It’s a really disturbing track and I’m really not surprised that Cooper drew criticism. He’s a major figure in Rock, of course, but it has also been claimed that he has also been one of the influences on Goth music through his horrific stage act and equally horrific and bleak songs.

And so it seems to me entirely appropriate to attack BoJob and his wretched party for their part in giving Britain one of the highest infant mortality rates in Europe by showing him as an Alice Cooper figure, with a hanged doll and the title of Cooper’s song. As always, I want to point out that I’m not sneering at Cooper, his music or his fans. Certainly not! But I am sneering and mocking BoJob and the Tories. And the idea of Boris as any kind of pop fan, whether Rock or Punk, as I portrayed him in my last cartoon, is pretty ridiculous. Boris definitely comes across as a classical music fan. Nothing wrong with that, but I suspect that when it came to pop music he would be very much like the judge, who had to ask who the Beatles were.

And unfortunately I can very much see our infant mortality rate getting worse under Johnson. Despite the poverty and hardship inflicted on the economy and Britain’s working people by the Coronavirus and the subsequent lockdown, he’s still pushing ahead with his programme of A and E closures. There has been a mass sacking of workers on zero hours contracts, despite claims that this wouldn’t happen. The government has promised to pay workers 80 per cent of their wages if they are unable to work because of the lockdown. But that’s only if their employer agrees. And some of them, like Tim Martin, the head of Wetherspoons, don’t seem to have done. Martin’s apparently told his staff that they can go off and seek work at McDonald’s, if they like. For those made unemployed, there’s still a five-week wait for the money after they claim Universal Credit. Boris has also promised to pay the self-employed 80 per cent of their earnings. But they’ll have to wait until June to get it. For many, that’s going to be too long. As a result, Mike’s reported that people are getting into debt for food just one week into the lockdown.

Tory cuts to the NHS are destroying people’s health, and so is the mass poverty caused by austerity and now the Coronavirus crisis. This will make child poverty and poor health worse, and probably push the infant mortality rate up further, despite the best efforts of our overworked and under-resourced doctors, nurses and other medical professionals.

I am also aware that BoJob’s partner is pregnant. I wish her and her baby all the best for a safe, healthy pregnancy and delivery, and that both baby and mother enjoy good health. But I want every mother and their children to have this. And that is one of the reasons why I’ve drawn this cartoon – because they aren’t, thanks to Boris and his vile crew.

Here’s the cartoon. I hope you enjoy it, and don’t have nightmares!

 

Ozzy Osbourne Tells Trump to Stop Using his Music

Here’s another great story from yesterday’s I, for 29th June 2019. According to the article ‘Trump warned off Osbourne songs’ on page 11, the dark god of Rock has told the Orange Generalissimo not to use his songs for his rallies or campaigns. The article runs

Ozzy and Sharon Osbourne have ordered Donald Trump not to use the heavy metal star’s music for his political campaigns.

The US President, who is running for re-election in 2020, used Osbourne’s 1980 hit Crazy Train in a video mocking his Democrat rivals.

The clip,  posted to the president’s Twitter page on Thursday, opened with footage of the previous evening’s Democratic debate as the Black Sabbath front man’s song played.

Sharon Osbourne criticised Mr Trump’s use of the song and said he was now “forbidden” from using any of Ozzy’s music.

Rock and Roll!

I don’t think this necessarily comes from any deep aversion to the Republican Party on the Osbournes’ part. If I remember correctly, they stayed at the White House at Bush’s invitation when the soon-to-be butcher of Iraq was elected president. I think it may simply be a case of Osbourne wishing to be seen to be politically neutral, rather than allied with any single party. And I also think a good part of it is also a natural desire not to have his music associated with Trump because of the Cheeto President’s vicious racism and intolerance.

But it also seems very strange to me that the Republicans have decided they like Rock/Metal after the way they and the Moral Majority went after it in the 1980s. This was when the right-wing guardians of western, and specifically American morality started turning their ire on Role Playing Games and rock/pop music. The group Mothers Against Dungeons and Dragons declared that the game was responsible for the suicide of a very troubled young man, and was corrupting kids all over America. Bored teenagers meeting in their parents’ living rooms to play table-top games as wizards, dwarves, orcs, elves, women warriors etc were being enticed into Satanism and the occult.

Ditto with Rock and Metal. The Organisation of Senators’ Wives were running around demanding the record companies put labels on their products to indicate if they had offensive lyrics. Black Sabbath were, I believed, sued by one mother, whose son had tragically taken his life. She claimed the lad had been prompted to do it from listening to the track ‘Suicide Solution’. In fact, as I’ve been told by Ozzy fans, the song is about someone considering suicide, who then rejects it. It is not a glamorisation, and the case was thrown out of court. Rock and Metal were also being blamed for rising crime, juvenile delinquency, and spreading sexual perversions and promiscuity amongst the young. And, of course, Satanism and the occult.

This was part of the Satanism scare in America and Europe at the time. There were supposedly multigenerational groups of Satanists responsible for the horrific abuse of children, including human sacrifice. The claims started with a series of books by people claiming to have survived such abuse, like Michelle Remembers. These launched a very real witch hunt, in which numerous children were taken into care on the flimsiest of evidence, and entirely innocent people were accused as their Satanic abusers. Again the evidence against these was often extremely tenuous to non-existent. It often consisted of little more than memories, which had been recovered under hypnosis by their psychiatrists. A British government report in the 1990s effectively put a stop to it over here, by concluding that such Satanic sects didn’t exist.

Rock and Heavy Metal was an obvious target for the scare, because so many bands used occult or Satanic imagery. This reached its nadir in an infamous edition of ITV’s The Cook Report, in which the investigative journalist asked Ozzy if he really was a Satanist. ‘I find it hard enough to conjure myself out of bed in the morning, let alone evil spirits’, said the great man. On the other side of the Pond, Dee Snyder, the front man of rockers Twisted Sister, was called in to give evidence about the influence of rock music on the young to a congressional inquiry. ‘Wasn’t he worried about the effect unsuitable music has on children?’, they asked him. ‘Yes, of course,’ he replied, ‘and as a parent I’m very careful what my children listen to.’

Rock music 1. The overly censorious moral watch dogs zero.

Given this, and Rock and Metal’s strong association with excess and rebellion, it amazes me that the Republicans have tried to co-opt, because it seems to contradict everything the Religious Right stands for. I know they’re trying to reach out to the young, and many Rockers are politically right-wing, but there’s still a contradiction there.

But all this aside, it’s great that Ozzy and Sharon are standing up to Trump and his very real Fascism. Party on! Excellent!