The Torygraph has published a piece today revealing that a letter has come to light from the Surrealist painter Salvador Dali from the 1930s, in which he reveals just what an anti-Christian, fascist sympathiser he really was. It dates from 1935. Dali had already been suspended from the Surrealists the year before because of comments praising Hitler, amongst other things. In a nasty bit of social snobbery he said that the train crashes he most enjoyed were those in which only third-class passengers were killed. The Torygraph article also states that in another letter in which he claimed that one of the reasons why he was expelled from the Surrealists 1939 was his positive view of the lynchings in America. He loved Hitler, was fascinated by the Swastika and apparently thought the Nazi party were an example of Surrealism in action.
Uggh. Pass the sick bag!
The Torygraph article begins
‘Salvador Dalí wanted to enslave races he considered inferior and establish a new “sadistic” world religion, a newly-discovered letter has revealed.
In the letter, which was written by Dalí in 1935, the artist proposed the enslavement of “all the coloured races” as part of a new world order that would be “anti-Christian and materialistic, based on the progress of science”.
“The domination or submission to slavery of all the coloured races” could be possible, Dalí wrote, “if all whites united fanatically”. He also insisted on the need for “human sacrifices”.
As Europe was threatened by the fascist regimes of Hitler in Germany and Mussolini in Italy, Dalí’s letter to André Breton, the French writer and co-founder of the surrealist movement, speaks of the need for “new hierarchies, more brutal and strict than ever before” to “annihilate” Christianity.
“I believe that we surrealists are finally turning into priests,” Dalí wrote.
Scornful of Christianity’s “altruism”, he added: “We don’t want happiness for ‘all’ men, rather the happiness of some to the detriment of others”.
The letter was recently discovered in the digitalised personal archive of Sebastià Gasch, an art critic from Barcelona who died in 1982. It was published on Thursday by Spain’s El Pais newspaper.’
Dali scarpered to American during the War, returning afterwards to Spain as a supporter of the Fascist leader, General Franco.
Dali was a great artist but a revolting human being. He was greedy for fame and money, which is why some of the other Spanish Surrealists nicknamed him ‘Avida Dollars’. Malcolm McLaren presented a programme on him on Radio 4 a few years ago, in which he compared the publicity-hungry, media-savvy Dali with contemporary British artists like Damian Hurst and Tracey Emin. Well, Dali did share with Hurst, Emin and the rest of the Young British Artists the urge to shock as well as the pursuit of fame and cash, but YBAs, for all their excesses can never be accused of Nazism. Dali also wasn’t averse to selling his friends out to the authorities. Dali emigrated to America with Luis Bunuel, who also hailed from Catalonia. The two had worked together on the Surrealist films Un Chien Andalou and L’Age d’Or, both now regarded as classics of cinema. Surrealism was a mixture of Freudianism and Marxism, and many of the Surrealists were members of the Communist party. Bunuel was one of them. On arrival in the Land of the Free, Dali snitched that Bunuel was a commie to the FBI, and made little effort to excuse himself for doing so when Bunuel confronted him on his betrayal. Bunuel himself emigrated to Mexico where he continued to make Surrealist, anti-Christian films.
I’m fascinated by the Surrealists and love Dali’s art, but the man himself is quite a different matter. I can well believe, despite his later conversion to the Catholicism, that at heart he was an atheist with a hatred of the religion to which he nominally belonged. I didn’t realise he was so racist, however. This was definitely against the Surrealist ethos, which was firmly against imperialism, but patronised the world’s indigenous peoples as seeing their art and culture based as based on the Freudian unconscious. This was the respectable scientific view at the time, but modern anthropologists have rejected it. Instead they see indigenous art and culture as the products of centuries or millennia of conscious intellectual development and no more based on the irrational or Freudian unconscious than our own.
As one of the best known of the Surrealists, Dali is a fascinating figure and he painted some of the greatest works of 20th century art. But as this letter shows, he was in many ways a squalid human being.
Alejandro Jodorowsky is a Chilean-French film director and comics creator. He was responsible for a number of very bizarre Surrealist films, such as Holy Mountain, one of which features a battle between the Incas and invading conquistadors as enacted by frogs in period costumes. In the 1970s he tried to make a film version of Frank Herbert’s classic Dune, which would have starred Orson Welles as Baron Vladimir Harkonnen, his son, Brontis, as Paul Atreides, and Mick Jagger as Feyd Rautha. Concept art was by H.R. Giger, Salvador Dali, Chris Foss and legendary French comics artist, Jean ‘Moebius’ Giraud. Dali would also have played the Emperor of the Universe. However, the great Surrealist stipulated that he would only act for half an hour. So Jodorowsky planned to make a robotic Dali to play the Emperor for the rest of the film. The film was, however, abandoned when the producers stopped funding due to mounting costs. Jodorowsky and Moebius weren’t dismayed, and used the material they had already produced for the film as the basis for their comic book, The Incal. Although it was never made, Jodorowsky’s Dune has influenced a number of later SF movies and a film version of The Incal is now underway.
In this video, hosts Ed Piskor and Jim Rugg look through Panic Fables, produced when Jodorowsky was living in Mexico. Jodorowsky had been teaching mime at university, but was now blacklisted. He could no longer teach or make films. He therefore turned his creative talents into comics. Panic Fables describe themselves as teaching initiatory wisdom. This doesn’t surprise me, as I go the impression that Jodorowsky has a very strong interest in esoteric mysticism. However, this doesn’t impress one of the Kayfabers. He’s from Pittsburgh, and so when someone talks about mystic knowledge, it seems to him to be all about separating the rich from their money. The pair are nevertheless impressed by Jodorowsky’s creativity, commenting on his drawing style and unique use of colour in the strips. They also wonder what American influences may have reached Jodorowsky from north of the border, as it was published at the same time the first underground comics were beginning in America, and both Jodorowsky’s work and the undergrounds mark a radical departure from contemporary comics.
Panic Fables are obscure much less well-known than Jodorowsky’s films or his comics with Moebius, The Incal and then The Metabarons. But the video about them give an insight into his considerable creativity during this period, when the Mexican authorities were trying to close him down.
Here’s another piece of fascinating SF news from Quinn’s Ideas on YouTube. Apparently the New Zealand director, Taika Waititi is adapting Alejandro Jodorowsky’s SF comic/ graphic novel, The Incal. Jodorowsky’s a Chilean-French surrealist film maker and comics writer, among whose bizarre cinematics works is The Holy Mountain. I can’t remember if it’s that film or one of his others that contains a battle between Conquistadors and Incas played by frogs in period costumes. Jodorowsky tried to make a version of Dune in the early ’70s. This would have starred his son, Brontis, as Paul Atreides, Orson Welles as Baron Vladimir Harkonnen and Mick Jagger as Feyd Rautha. The concept artists included Salvador Dali, H.R. Giger and Chris Foss. The film was never due to the producers pulling the funding as costs escalated. However, as Quinn explains, Jodorowsky used some of the material and ideas he had developed for the movie and, with French comics maestro Jean ‘Moebius’ Giraud, turned it into The Incal.
There are three books in the series, Before the Incal, The Incal and Final Incal.The Incal was the first published with art by Moebius, who did not draw the other three books although the art is still good. Jodorowsky’s Dune, although never made, nevertheless inspired a series of other movies including Star Wars and Luc Besson’s The FifthElement. The books follow the adventures of John De Fool, whose name is quite intentional and who is a fool figure while simultaneously being the most important person in the universe. The book’s are about his quest to obtain the Incal of the title, the most valuable object in the universe. Quinn wonders if the character of Fry from Futurama may also have been inspired by him. Futurama’s artwork is similar and Fry is also a fool. Quinn states that The Incal is very strange and not for everyone. In addition to it, Jodorowsky also created the Metabarons comics, which contains rather more of his Dune material. Quinn states that he knows Waititi best from his comedy films. One of these was the vampire comedy, What We Do In The Shadows. He therefore wonders how he’ll get on with the more serious material in The Incal, although this also has elements of comedy. Quinn also makes the point that it’s a great time for SF film and television, with Dune in the cinemas, Asimov’s Foundation on Apple TV and the news that Dan Simmons’ Hyperion is also being adapted.
This is interesting news, though I do wonder just how similar The Incal and the Metabarons are to Frank Herbert’s novel. I suspect that while they were inspired by Dune they’re actually very different. From what I understand of Jodorowsky movie, it would have been significantly different from Herbert’s book. And while I hope that this goes ahead, I also wonder how successful the film will be amongst anglophone audiences. Moebius and The Incal are well-known amongst comics fandom. BBC 4 screened a documentary about the great French comics artist a few years ago and I remember how, way back in the 1990s, his international cache was so strong, Marvel persuaded him to draw the Silver Surfer strip for them. However there is the problem of whether audiences outside France will be familiar enough with the comics to want to see the film. The film Valerian and the City of a Thousand Planets was based on the long-running French SF strip, Valerian. This was a flop, and it has been suggested that one of the reasons it did was that international audiences simply weren’t familiar enough with the French strip to be interested. I’m not sure how true that is, as I think the film should still have been able to draw in audiences on its own merits even if most people didn’t know about the source comic. The Incal, however, might be in a better position in this regard as I think more SF fans across the world have heard about Jodorowsky and Moebius. Jodoroswky is involved with the film in any case, and so it should be very interesting to see how Waititi translates it to the big screen.
As I’ve said before, I’ve mixed feelings about the imminent demise of GB News. It is a right-wing news network, deliberately founded to provide an ‘objective’ alternative to the ‘wet, woke’, BBC with Andrew Neil, former editor of the Sunset Times, Economist and head of the board that runs the increasingly far-right Spectator, as its main man. Well, the channel has failed to attract viewers, advertisers have been put off by what they see as its racist bias, and its main broadcaster now is former chief of the Brexit party, Nigel Farage. Neil has jumped ship like the proverbial rats and it’s highly debatable how long the channel’s investors will put up with it before they finally pull the plug. Plus Rupert Murdoch is planning his own rival in the shape of TVTalk. This won’t have the financial problems of GB News, because it’s going to be financed through subsidies from the other parts of Murdoch’s empire of filth. Which means that Britain could be getting a version of Fox News, a channel so untrustworthy and which tells so many lies that researchers found that people who took no news at all were better informed that viewers of Fox. Salvador Dali once said that he was intent on cretinizing the public. Dali was immensely talented, but greedy, treacherous, perverted and a supporter of General Franco. He died some time in the late ’70s or ’80s. But his mission to turn the west into a region of dribbling morons is being carried on by Dirty Rupe.
On the other hand, GB News does provide a valuable service by inviting guests to speak, who have been blogged or silenced by the other channels and media for their controversial views. These include critics of postmodernism, including Critical Race Theory and the transgender ideology like Helen Pluckrose. Another critic of the transgender ideology is Graham Linehan, the writer of such comedy greats as Father Ted, the IT Crowd, Big Train and co-creator of Black Books. In this interview with Andrew Doyle on GB News’ Free Speech Nation, Linehan talks about his activism challenging the transgender movement. He’s motivated by fear and outrage at the way he feels vulnerable people, especially girls and young women, are being misled into believing themselves to be transgender and the immense harm that such needless transitioning is doing to their bodies and minds. The puberty blockers not only halt the transition to physical adolescence but there is also evidence that it stops the crucial brain development that comes with it. The people given these drugs therefore stay locked in an emotional childhood. The double mastectomies performed on transitioning women leave the patient with no sensation in their chests. The use of male sex hormones causes the womb to atrophy and adhere to other organs, so that the transmen given these hormones often have to have hysterectomies in their 20s. He argues that there is no respectable science backing up the claims of the transgender movement, and that what science there that supports some of their claims comes from very small studies, and so is scientifically highly debatable.
Linehan is also concerned about the way sexually predatory men may claim to be transwomen in order to get into a position to abuse women. One example of this is the recent Wi spa incident, where a Black woman complained about a naked man in the women’s area. Although this was dismissed by pro-transgender activists as a hoax, further witnesses have come forward. And the perpetrator himself had multiple convictions for indecent exposure as well as burglary. He also talks about the way the Girl Guides have extensive, rigorous rules protecting girls and women if men go away with them, but these rules are somehow relaxed with transwomen, as if all such people were equally safe and nice. He draws a comparison between the paedophile scandal in the Roman Catholic church in Ireland. For nearly a century, the priesthood were a protected caste. As a result, paedophiles could join the Roman Catholic clergy confident that they would be protect from prosecution. Transwomen in his view now form a similarly protected class who are somehow held to be immune from any wrongdoing.
Linehan has, unsurprisingly, been accused of transphobia, which he denies. He states that there are transpeople who support him, and says he has met more transpeople through his activism than possibly his critics. He certainly does have his supporters in the trans community, several of whom have appeared on his YouTube channel, The Mess We’re In. As for the position that transwomen aren’t women, he points out that there are transwomen like Debbie Hayden and Blair White who don’t describe themselves as women. He believes that in the coming years we will see a growth in the number of detransitioners, former transpeople who have found that transitioning has not cured their problems with gender identity and expression.
Linehan also views the trans movement as acting against gay people, particularly lesbians. He has spoken about Pride rallies, where much has been said about trans people, but lesbian women aren’t mentioned. He views the trans ideology as a new kind of conversion therapy designed to stop children from being gay. In his view, homophobic parents are putting gender non-conforming children – kids who play or adopt the dress of the opposite sex – forward as transgender out of the fear that they may be gay. They can’t handle that, and it’s easier for them to accept that they are really people of the opposite sex stuck in the wrong body. He’s particularly convinced of this since he heard a joke going round the Tavistock clinic, one of the main transgender clinic, that if they continue transitioning people, soon there won’t be any lesbians left. He also talks about how many gay people are worried about the way the main gay organisations, such as Stonewall, have thrown all their weight behind the trans ideology. They are afraid that when the transgender craze finally breaks and the bankruptcy of the ideology is finally revealed, then ordinary gay people will suffer because of the strong support organisations like Stonewall gave it.
He also talks about the attempts trans rights activists make to silence their opponents. He describes the abuse gender critical feminists receive and the refusal of TRAs to engage in any kind of dialogue with them. He states that a group of gender critical peeps wrote a letter to one of the papers requesting their opponents to tone the abuse down a bit. Not only was this polite request refused, but one of the signatories, a gay man, suffered attempts to wreck his career simply for signing the letter. James Dreyfus, a gay actor, who has appeared in the comedy programmes The Thin Blue Line and Gimme, Gimme, has also suffered from this. Dreyfus has played the Master in one of the Big Finish Doctor Who audio plays. Yet his gender critical stance has resulted him being airbrushed out of a list of actors who have played the Doctor’s arch-enemy. Trans Rights Activists refuse to appear on programmes or platforms with people like Linehan, stating that they will only debate the issue with trans people. But there’s silence from them when transpeople come forward, who oppose the ideology. They don’t want to debate them either. Linehan has said that the reason one very prominent feminist academic has refused to debate the issue on television is because this woman would be unable to credibly explain how Eddie Izzard is a woman in the same way as people’s mothers.
And Linehan has also suffered for his gender critical feminist views. His own career is comparatively safe, though he mentions that there is one episode of the IT Crowd that the broadcasters tried to censor. This was about one of the characters falling in love with a transwoman. It’s held to be transphobic, but he points out that the joke is actually that the transwoman, although identifying as female, still behaves like a man. Which makes her the ideal partner for the other character, who is quite blokey. His wife, however, suffered far more from attempts to wreck her career, simply because she was married to him.
I realise that this is a very, very, emotive and controversial position, but I strongly believe critics of the transgender movement like Linehan, Kellie-Jay Minshull and others, absolutely deserve to be heard. What should matter in a debate like this is reasoned debate, backed by scientific fact. But I don’t see this coming from the Trans Rights Activists, many of whom, Linehan alleges, really aren’t transgender. Instead I just see abuse, including horrific death threats and violence. For examples of this, go to the Women Are Human site.
I am aware that there are supporters of the new transgender ideology who read this site. I appreciate their fears and their views, and really don’t want them to feel excluded or vulnerable. I repeat: I don’t want to see anyone persecuted, discriminated against or victimised because of their sexuality or sexual orientation. I appreciate that there are people for whom transitioning to the opposite sex may be the best treatment for their condition. The statistics for the number of transpeople murdered in Britain is actually very low – perhaps about three in the last decade or so. It’s far lower than the murders of other demographic groups. But I do understand transpeople’s fears of violence against them. Way back in the 1990s there was a small press magazine for transpeople, Aeon: The Magazine of Transkind. This covered issues such as anti-trans violence. I definitely do not, in any way, support such violence against anyone because of their gender presentationor identification. I am also acutely aware that transgender people are definitely not all paedophiles, rapists or sexual predators, and don’t want to see them tarred as such because of those that are.
But there are real issues surrounding women’s safety, their ability to participate in women’s sports against transwomen, who may have a physical advantage from their former male physique and development. I think there is a problem with psychologically vulnerable young people, particularly girls, being misdiagnosed and put on the track for transition when it is medically inappropriate. One of the other issues Linehan and the gender critical feminists raise is that there are all kinds of medical complications with gender reassignment. It is difficult, painful and expensive, and can lead to poor health for the rest of the life of the transman or -woman. They feel that people with gender dysphoria – the medical term for dissatisfaction with one’s gender identity – are being miss-sold gender reassignment surgery as a cure for this problem when it may not. There are problems with the TRA claim that without surgery, trans-identified people will commit surgery. However, some transpeople have committed surgery, possibly because they have found out that it is not a cure for their problems.
This has certainly happened. Years ago there was a report in the papers about the discovery of the body, police had initially believed, of a young woman. Forensic investigation, however, revealed that this individual was a transwoman. From what I remember of the case, she had drowned herself, leaving a suicide note that read that she now regretted transitioning and wished she could turn back. It’s a tragic case, and I hope whatever side of the debate you’re on, we all agree that everything should be done to stop transpeople, or anyone else, taking their lifefor whatever reason.
These are vital issues, but any criticism of the trans ideology is being blocked and silenced. North of the border the Maria Miller, a gender critical feminist, is being prosecuted for hate speech because she put up stickers saying ‘Scottish women won’t wheesht’ – a Scots term meaning ‘shut up’ or ‘be silent’ – and a looped ribbon which her opponents claim is a noose. The SNP have also gone further and banned demonstrations outside the Scots parliament after the mass demonstration by Scots women and their male supporters a week or so ago. Every attempt is being made to silence gender critical people through the accusations that they are hateful and transphobic. The LGB Alliance, which believes trans is a separate issue and the gay organisations should return to fighting for gay rights, has been accused of being a hate group.
Horrendous as GB News is, I believe it is performing a vital service by allowing people like Helen Pluckrose and Graham Linehan to speak. This is a service that should be done by the BBC as the country’s public service broadcaster. But it isn’t. Linehan has pointed out that the Corporation backs the trans ideology to the extent that one of its children’s programmes presented a White, heterosexual couple as a pair of lesbians on the grounds that the male partner was trans-identified. He has become so disgusted with the Beeb that he has joined the right-wingers demanding the cancellation of the license fee. As for himself, he and Doyle have crossed swords in the past, though the discussion on here is entirely amicable. Linehan states that the debate is tribal, and that before he got involved in it he believed that everyone on the right really was evil. But after coming into contact with them, he finds that they are not. It’s just a different view of the world. Well, in the case of some Tories, that’s definitely the case. But I still believe that Therese Coffey, Esther McVey, Iain Duncan Smith and their ilk, who have been persecuting the disabled, the unemployed and the poor are genuinely evil, and don’t simply have a different opinion. Not with the number of people their policies have killed.
Controversial as they are, programmes and videos like this are an argument in favour of GB News. I’ve no time for the standard media rhetoric about how neoliberalism is absolutely correct and anyone challenging it, like Jeremy Corbyn and his supporters, are evil Trotskyites and communists. That’s all over the media, including supposedly left-wing papers like the Groan and the Mirror. But the culture war issues cut across political boundaries and are the best argument for the channel’s continuation. But it’s these issues that are alienating the younger staff and causing them to leave.
I’m no fan of GB News nor the horrendous Farage and Brillo. I don’t think it’s remotely a loss to British broadcasting that the man who has no problems with Taki writing horrendous anti-Semitic screeds and praises the neo-Nazi Greek Golden Dawn in the pages of the Spectator. But I am afraid that dissenting voices that genuinely need to be heard will be left without a platform when it goes.
And I am very much afraid of Dirty Rupe’s planned replacement.
Alejandro Jodorowski’s Dune is one of the great, unmade films. Jodorowski himself is a Chilean-French film director and comics writer. A Surrealist, he made a series of very bizarre films, such as the western El Topo. In the early ’70s he set about making a film version of Frank Herbert’s classic SF novel, Dune, despite never having read it. This would have starred Mick Jagger as Feyd Rautha, Orson Welles as Baron Vladimir Harkonnen and the great, bonkers Surrealist artist Salvador Dali as the Emperor of the Known Universe. Equally impressive were the artists he hired to produce the concept art and designs for the spaceships and other vehicles and settings for the film. These included H.R. Giger, the creator of the infamous Alien, French comics artist Jean ‘Moebius’ Giraud, and Chris Fosse, the force behind a thousand SF paperback covers. The film was never made, as the producers cut its funding at the last moment. However, the work on the movie was never wasted, as Jodorowski and Moebius used it as the basis for their comic The Incal and The Metabarons. It has also been immensely influential on later SF movies, including Ridley Scott’s ’80s classic, Bladerunner.
These two videos have been made and put up on YouTube by Monochrome Paris, a group that wishes to recreate in CGI Jodorowski’s aborted film. They have so far managed to recreate Duke Leto Atreides’ car, which was designed by Fosse, and Baron Harkonnen’s castle, which was the suitably horrific work of Giger.
I think the two videos are great, and it would be really superb if they were able to recreate the entire movie in CGI. Unfortunately the videos are from 2019 and so I don’t think their proposed movie will ever be made. It would still be good if they were able to produce more videos of some of the other designs for the movie, such as the space tugs towing the containers of spice through space, a space pirate ship and the Harkonnen’s own spaceship, which were all designed by Chris Fosse. They’re included along with his other art, included concept designs for Bladerunner, Alien and Superman 2 in the book 21st Century Fosse.
The Sunday before last, August 23rd 2020, Zelo Street put up a piece reporting the outrage when Sunday Morning Live decided to hold a debate about education. Unfortunately, one of the so-called ‘experts’ they invited on was professional Guido Fawkes windbag was Darren Grimes. A man, who can fairly be said to be one of the most ignorant people in journalism, and that’s against stiff competition like Sarah Vine, Julia Hartley-Brewer and Harry Cole, political editor of the Scum. Way back in the 1930s when the great Surrealist painter Salvador Dali fled to America to escape the Spanish Civil War, he declared that his mission was to cretinise the public. Well, Dali passed away in the late 70s, but he left his great mission to the Tory party. Back in the 1980s Private Eye reviewed one book by the new Tory thinkers that were coming through. I think it was by the late Roger Scruton, but I’m not sure. The book stated that Conservatism, based as it is on tradition, is silent and incoherent until forced into action. This was a clear statement of the anti-intellectualism that’s at the heart of Tory politics. It forced the Eye to ponder whether there was an optimum level of cretinisation. Had Prince Philip reached it? And one those seeming to carry on this mission to misinform the public spreading lies and sheer ignorance is Darren Grimes.
How Grimes gets invited onto the Beeb as any kind of authority is something of a mystery. He’s working class, and has something of a chip on his shoulder about his origins, feeling that he is looked down upon because of this and the fact that he has a northern accent. But this is what happens when you support a party run by elite public school types on behalf of elite public school types. They have elocution lesson at school deliberately to lose any regional accent they have. And this automatic connection between received pronunciation and leadership is explicitly stated by the British military. One spokesman for the British army, quoted in an article back in the 1980s stated very clearly that if you want to be a British officer, you should lose your regional accent otherwise you wouldn’t be respected by the troops. I’ve met a lot of squaddies, and in general they don’t respect the officers because of the bullying, sneering attitude so many of them have towards their men and women, along with stories of stupid orders that have led to disaster given by commanders against the advice of their NCOs.
Grimes also feels he’s despised because he didn’t complete his degree. He’s a failed fashion student. Okay, academic intelligence doesn’t automatically equate to being generally well-informed and intelligent. It’s just one form of it. When I was at school we were told that only 5 per cent of the British population went to university. That changed rapidly with the expansion of higher education in the 1990s with the creation of the new universities out of the older colleges and polytechnics. Then came Blair and New Labour, who wanted 50 per cent of the population to attend university. The result is that something like 46 per cent of the school leavers now go on to university. But this also means that there are plenty of older people, who are naturally very intelligent, but didn’t get a chance to go when they were children. Their intelligence shouldn’t be underestimated. But Darren Grimes isn’t one of them either.
In one of his pieces, he praised the Tories for breaking out of the old New Labour Oxbridge elite. It’s another falsehood, and the truth is exactly the opposite of what he said. New Labour senior figures came from a range of different universities. Blair attended Aberdeen, Gordon Brown Edinburgh. Another senior cabinet minister went to Newcastle Upon Tyne, I believe. It is the Tory administrations of Dave Cameron, Tweezer and now Boris Johnson that’s stuffed full of the Oxbridge elite. And then there’s that little incident of Grimes’ interview with David Starkey, in which he let the Tudor historian get away with all manner of racist nonsense. Including the really offensive statement that slavery couldn’t be a holocaust, because there are ‘too bloody many of them’ now around. Grimes’ appearance on Sunday Morning Live resulted in a number of peeps going on Twitter to ask the obvious question: how did someone as stupid and ignorant as Grimes get invited onto the Beeb. Zelo Street quotes a number of them, beginning with Mic Wright, who said “I studied Education at Cambridge University (2:1). I am a school governor. I have written about education issues for 15 years. I am the first in my family to attend university. I have lots of broadcast experience. And now on [SML] … Darren Grimes, an expert in nothing”. Rosa P asked
“What the hell does [Darren Grimes] actually know about anything? Surely you should have some expertise in any area to give an opinion on the BBC. Grimes, you had little to offer to the discussion other than telling us you did an apprenticeship in media studies … Made the mistake of putting [SML] on. Their expert panel discussing education includes Darren Grimes, whose sole qualification is that he once attended a school. I try to defend the BBC but they do themselves no favours with this nonsense”.
‘Pad’ pointed out the hypocrisy of Grimes himself for appearing on the Beeb when he wants to defund it. “Is Brexit gobshite Darren Grimes, whose Twitter header is a photo of him appearing on the BBC and who was, once again, on the BBC this morning talking utter bollocks, still a part of the ‘grassroots’ campaign to [Defund the BBC]?”
John Traynor’s answer to this conundrum was succinct: “BBC has arsehole Darren Grimes on because it doesn’t understand balance in broadcasting”.
Zelo Street concluded his article with this:
‘What, one has to ask, is the point of inviting pundits with some expertise, who are prepared to research their subject, just to find they have to debate with Darren Grimes, whose USP is to whine about people calling him an idiot. Because he is one.
Having an opinion is not the same as knowledge. Know the difference, BBC people.’
The mention of Grimes reminded of the very brief description of an evil alien race in Ed McNab’s The Alien Spotter’s Handbook or How to Save the Earth. This was a children’s humorous book published in 1982, which mixed real astronomy with a less than reverent treatment of astrology, as well as Fortean phenomena like frog falls and the Devil’s hoof prints in Devon, the Mary Celeste and so on, with simple stage magic tricks and instructions how to make your own simple telescope and periscope around the fictional narrative that there is an alien plot to take over the world. This was discovered by the fictional Dr. Qwax. Evidence for this malign plot came when experts examined an alien probe that landed in Peterborough. Ostensibly friendly, further investigation revealed that it was far more sinister, with a secret compartment containing computer games like ‘Kill the Human’. It’s written as a guide to uncovering these covert alien invaders, including those who have taken over members of your family, like your dad or granny. There are plenty of the kind of daft jokes children of all ages love, and 2000 AD and the mighty Tharg also get a mention. One of the jokes is a spoof list of pop songs secretly written by aliens. And one of them is The Grymes They Are a-Changin’ by the Metamorphs. This has a footnote helpfully explaining that they are ‘Shape-Changers from a very dense planet. Grymes specilise in Heavy Metal Rock musicians.’
Gyrmes/Grimes – this must be it then. Grimes is really a Gryme, a shape-changing alien from a very dense planet, who has disguised himself as a human as part of this insidious alien plot. It has to be! It can’t be because he actually has any real journalistic talent.
‘Mr H Reviews’ is a YouTube channel specialising in news and opinions on genre films – SF, Fantasy and Horror. In the video below he comments on a piece in the Hollywood Reporter about the production of a new SF movie, which will for the first time star a genuine AI. The movie is simply titled b. Financed by Bondit Capital, which also funded the film Loving Vincent, with the Belgium-based Happy Moon Productions and New York’s Top Ten Media, the film is based on a story by the special effects director Eric Pham with Tarek Zohdy and Sam Khoze. It is about a scientist, who becomes unhappy with a programme to perfect human DNA and helps the AI woman he has created to escape.
The robot star, Erica, was created by the Japanese scientists/ engineers Hiroshi Ishigura and Hohei Ogawa for another film. The two, according to the Reporter, taught her to act. That film, which was to be directed by Tony Kaye, who made American History X, fell through. Some scenes for the present movie were already shot in Japan in 2019, and the rest will be shot in Europe next year, 2021.
The decision to make a movie starring a robot looks like an attempt to get round the problems of filming caused by the Coronavirus. However, it also raises a number of other issues. One of these, which evidently puzzle the eponymous Mr H, is how a robot can possibly act. Are they going to use takes and give it direction, as they would a human, or will it instead simply be done perfectly first time, thanks to someone on a keyboard somewhere programming it? He is quite enthusiastic about the project with some reservations. He supports the idea of a real robot playing a robot, but like most of us rejects the idea that robots should replace human actors. He also agrees with the project being written by a special effects supervisor, because such a director would obviously be aware of how such a project should be shot.
But it also ties in with an earlier video he has made about the possible replacement of humans by their Virtual simulacra. According to another rumour going round, Mark Hamill has signed away his image to Lucas Film, so that Luke Skywalker can be digitally recreated using CGI on future Star Wars films. Mr H ponders if this is the future of film now, and that humans are now going to be replaced by their computer generated doubles.
In some ways, this is just the culmination of processes that have been going on in SF films for some time. Animatronics – robot puppets – have been used in Science Fiction films since the 1990s, though admittedly the technology has been incorporated into costumes worn by actors. But not all the time. Several of the creatures in the American/Australian SF series Farscape were such animatronic robots, such as the character Rygel. Some of the robots features in a number of SF movies were entirely mechanical. The ABC Warrior which appears in the 1990s Judge Dredd film with Sylvester Stallone was deliberately entirely mechanical. The producers wished to show that it definitely wasn’t a man in a suit. C-3PO very definitely was played by a man in a metal costume, Anthony Daniels, but I noticed in the first of the prequels, The Phantom Menace, that a real robot version of the character appears in several scenes. Again, this is probably to add realism to the character. I also think that in the original movie, Episode 4: A New Hope, there were two versions of R2D2 used. One was the metal suit operated by Kenny Baker, and I think the other was entirely mechanical, operated by radio. Dr. Who during Peter Davison’s era as the Doctor also briefly had a robot companion. This was Kameleon, a shape-changing android, who made his first appearance in The King’s Demons. He was another radio-operated robot, though voiced by a human actor. However the character was never used, and his next appearance was when he died in the story Planet of Fire.
And then going further back, there’s Alejandro Jodorowsky’s mad plan to create a robotic Salvador Dali for his aborted 1970s version of Dune. Dali was hired as one of the concept artists, along with H.R. Giger and the legendary Chris Foss. Jodorowsky also wanted him to play the Galactic Emperor. Dali agreed, in return for a payment of $1 million. But he stipulated that he was only going to act for half an hour. So in order to make sure they got enough footage of the great Surrealist and egomaniac, Jodorowsky was going to build a robot double. The film would also have starred Orson Welles as Baron Vladimir Harkonnen and Mick Jagger as Feyd Rautha, as well as Jodorowsky’s own son, Brontes, as Paul Atreides. The film was never made, as the producers pulled the plug at the last minute wondering what was happening to it. I think part of the problem may have been that it was going well over budget. Jodorowsky has said that all the effort that went into it wasn’t wasted, however, as he and the artist Jean ‘Moebius’ Giraud used the ideas developed for the film for their comic series, The Incal. I think that Jodorowsky’s version of Dune would have been awesome, but would have been far different to the book on which it was based.
I also like the idea of robots performing as robots in an SF movie. A few years ago an alternative theatre company specialising in exploring issues of technology and robotics staged a performance in Prague of the classic Karel Capek play, Rossum’s Universal Robots, using toy robots. I can see the Italian Futurists, rabid Italian avant-garde artists who praised youth, speed, violence and the new machine world around the time of the First World War, being wildly enthusiastic about this. Especially as, in the words of their leader and founder, Tommasso Marinetti, they looked ‘for the union of man and machine’. But I really don’t want to see robots nor CGI recreations replace human actors.
Many films have been put on hold because of the Coronavirus, and it looks like the movie industry is trying to explore all its options for getting back into production. However, the other roles for this movie haven’t been filled and so I do wonder if it will actually be made.
It could be one worth watching, as much for the issues it raises as its story and acting.
The Anti-Paki League were another bunch of extreme right-wing racists, who goose-stepped up and down our green and pleasant land in the 1970s campaigning against coloured immigration, and terrorising Blacks and Asians. They had an ugly name, which exactly expressed the ugliness of the organisation. I first became aware of the Leagues existence when I saw a book on them in the former Midland Educational bookshop in Bristol’s Broadmead in the ’70s or early ’80s. The cover showed a crowd in Klan robes about to behead a prone and screaming Black man.
I’ve chosen the Anti-Paki League to focus on here, rather than other, larger anti-immigrant and racist organisation, like the National Front or BNP, because their name also carries with it undertones of Islamophobia. Pakistan is a Muslim state. It was explicitly set up to be the country where Muslims, who felt excluded by the dominant Hindus in India, could live in according with Qu’ran and the Sunna. Not all Pakistani immigrants are Muslim, however. Many of them have been Christians, who have left their homeland because of the increasing violence and intolerance of their Muslim compatriots.
And Islamophobia and connections to other, nakedly Fascistic British anti-Muslim organisations, run right through the Israel lobby and its organisations like the Campaign Against Anti-Semitism and the Jewish Labour Movement. The racism and Islamophobia at the heart of the Campaign Against Anti-Semitism is very clear in its statement that Muslims are more likely than the rest of the British population to be anti-Semitic, whom they also smear as sharing the same Jew hatred.
As for the JLM, their head, Jonathan Newmark, an unconvicted embezzler from Jewish charities, if the allegations against him are true, turned up to disrupt a film on the sufferings of the Palestinians under Israeli occupation, held at the SOAS university. They did so in the company of the Jewish Defence League, the Jewish branch of the Fascist English Defence League, screaming, hurling abuse and waving flags.
Mike’s been unfairly accused of being an anti-Semite, because the uncomfortable facts he covered about Shai Masot’s attempts to plot the removal and replacement of prominent cabinet ministers, which he rightly described as a conspiracy, was held to be an ‘anti-Semitic trope’.
Well, turning up to a screening of film to disrupt it by flag-waving racial nationalists is a Fascist trope. Since the time of Mosley’s BUF, the stormtroopers of the British Nazi right have used appropriated the Union Flag and other emblems of Britishness for their insignia and rallies. The National Front despised Mosley, but they adopted the same tactic to try to win over members.
And Fascists also aggressively disrupt anti-racist and left-wing gatherings, including films. The parallel to their JDL’s disruption of the film on the Palestinians that comes to my mind is the attack Christian Fascists in France in the 1920s made on the screening of Bunuel’s and Dali’s Surrealist film, L’Age d’Or. As Marxists, the Surrealists were extremely anti-religious with a bitter hatred of Christianity. The French Christian far right objected to the film because it showed a monstrance being thrown into a river, and ended with a group of skeletons lying on a rock wearing clerical vestments such as bishop’s mitres.
And the Israel lobby’s connection to mainstream British Islamphobic Fascism don’t end there. A few months ago Jonathan Hoffman, another prominent member of the Israel lobby was photographed getting very chummy with Paul Besser, the intelligence officer of Britain First, if ‘Intelligence officer’ in this context isn’t a contradiction in terms.
These are fake anti-racist organisations. They don’t exist to protect Jews from real anti-Semitism. They exist to defend Israel and its racist oppression of the Palestinians by pretending to defend Jews from anti-Semitism. And they do this by smearing Israel’s critics, including self-respecting secular and Torah-observant Jews, as anti-Semites.
They are Fascists. The CAA should lose its charitable status, and the Jewish Labour Movement, as a Fascist organisation, should be closed down. Real socialists and anti-racist activists should not be tolerating any racist organisation, no matter what it’s ethnicity is, in their party.
Earlier this week there was a piece in the press announcing that the Turner Prize Committee had decided to go public early about which artworks and artist they were considering. I have strong feeling, like many people, about the Turner Prize. Many of the works seem simply designed to shock, with nothing more substantial underneath. Those that aren’t, are simply banal. It’s highbrow kitsch, which says nothing while claiming that it actually does. And I think modern fine art has reached a dead end. it’s anti-art, which constantly raves about Duchamps’ urinal nailed to a piece of canvas. Duchamps did it to make the point that whatever the artist claimed to be art, was art. It’s over a century old, and the joke’s well past it’s sell-by date. It was always an adolescent, childish prank anyway. To some of these art experts, it’s a hallowed artistic statement that must not be blasphemed in any way. You remember those Chinese guys, who were arrested when they jumped up and down on Tracey Emin’s ‘My Bed’? The same two were planning to urinate in Duchamps’ urinal. Which I feel is in keeping with the piece itself, but the mere thought horrified the keepers of official art.
The real artistic boundaries are being pushed, in my opinion, not by the fine artists, or at least, not by those fine artists currently pushed by the very small clique that defines what ‘official’ art is, like Nicholas Serota. Rather, they’re being pushed by commercial artists and film makers, often inspired by the worlds of Fantasy and SF, using computer graphics. One of the foremost of these, in my opinion, is the German artist Jurgen Ziewe. Ziewe lives over here, and has an English wife. And we are fortunate to have such a talented artist. I do wonder what will happen to other talented EU migrants like him after Brexit, who can’t stay in this country because they aren’t married. We’re going to lose a lot of very talented people.
Ziewe uses computer graphics, including Virtual models of humans and objects, and fractals, to create prismatic, Virtual, interior worlds full of robots, strange creatures, synthetic humans, fairies, wizards, witches, priestesses and temples. He started out making cards showing dolphins under cosmic skies. He’s a very spiritual guy, in a New Age-y sense, and his work is inspired by concepts from Theosophy and C.G. Jung. Here’s some of the picture from Nigel Suckling’s book about his art, New Territories: The Computer Visions of Jurgen Ziewe (Paper Tiger, 1997).
The Fairy Queen
Picnic In Cyberspace
Journey of a Virtual Traveller
Apart from Ziewe, other artists working in film and television have also been using the concepts of computer graphics. One of the features of the BBC TV version of the Hitch-Hiker’s Guide to the Galaxy that most impressed me in the late ’70s or early 1980s were the, ahem, computer graphics for the pieces of information provided by the Book. In fact, they were hand drawn, because the computers at the time simply weren’t up to the task of creating pictures that detailed. But the art produced as ‘computer graphics’, was superb, and those, who watched the show were deeply impressed. As an example, here’s a piece from YouTube of the Book describing Vogon poetry.
Further examples can be seen in pop videos. Like this one from the American electro-pop band, Information Society, which uses scrolling alphanumerics to suggest passage through cyberspace in a computer game, made for their track, ‘The Prize’.
Other artistic explorations of medically or cybernetically enhanced vision can be seen in the films Pitch Black and The Chronicles of Riddick and the last of trilogy, entitled simply Riddick. Richard Riddick, the anti-hero in these movies, is a violent criminal, a murderer, who somehow ends up doing the right thing. While in slam for his crimes, he paid the prison doctor 20 menthol cigarettes to have his eyes surgically altered, ‘polished’, so that he could see in the dark. In these flicks, we so bits of the action through his eyes. The scene in Pitch Black, where he sees the predatory aliens pouring out of their underground lairs after the marooned crew of a crashed colony spacecraft, is awesomely beautiful. This is the trailer for the movie.
And this is the trailer for The Chronicles of Riddick.
In this movie, the Necromongers use visioners, cybernetically adapted humans, to seek and visually examine areas that are difficult or impossible for normal human eyes to see clearly. And the brief scenes, in which the audience is shown what they see, are also stunning.
But this is low, commercial art, and so unlikely to find any praise by the High Art people, no matter how popular it is, or how technically sophisticated and visually inspired. The best comment on this kind of artistic snobbery comes from the American SF/Fantasy artist and book illustrator, Bob Eggleton.
Being a commercial artist is itself a kind of pigeonhole in the art world, but it is not a label that troubles him. ‘Commercialism for the sake of commercialism is not a sin. What I hate is commercialism packaged as fine art. That’s what Abstract Expressionism about, you’re buying into a trend much of the time. There’s nothing wrong with any kind of art, provided the artist believes in what they’re doing.’
From Nigel Suckling, with introduction by Gregory Benford, Alien Horizons: The Fantastic Art of Bob Eggleton (Paper Tiger, 1995) page 83.
And the YBAs, such as Damian Hirst, Tracey Emin and Chris Offili, were very commercial, as was Salvador Dali long before them. This was pointed out on a programme on the great surrealist on Radio 4 several years ago by Malcolm MacLaren, the genius – well, he obviously thought he was – behind the Sex Pistols.
And here’s Eggleton’s picture of Great Cthulhu, painted for Weird Tales magazine, for all the Lovecraft fans out there.
I realised I’ve digressed a little way from the central topic of this post, the fantastic computer art of Jurgen Ziewe. But these are related issues, showing the way computers, robots, space and high technology – the stuff of Science Fiction – is pushing artistic boundaries in ways that the official fine art of Conceptualism really isn’t doing. I’m also exploring a few ideas here for a much longer article, or series of articles, I intend to do on this sometime.
Chris Foss is one of the great masters of British SF art. Apart from painting numerous book covers, he also worked as the concept artist for Alien, Superman, and the version of Dune that was being made by the Franco-Chilean surrealist, Alejandro Jodorowsky. Sadly, his work for Alien and Dune was never seen. Ridley Scott rejected his depictions of the ‘Nostromo’ for alien, as he thought it was far too interesting and would distract the audience from the main action. And despite extensive preparation, Jodorowsky’s Dune was never made. The studio pulled the plug at the last minute. It wasn’t a wasted effort, however, as the work Jodorowsky and the French comic artist, Moebius, had put into Dune was used by them as the basis for the comic book series, the Metabarons.
A documentary came out a few years ago about the making of Jodorowsky’s Dune. Jodorowsky states that he wanted it to blow the audience’s mind. It was to have the effect of taking LSD, but without actually using the drug. Certainly the concept art looks truly awesome. Apart from Foss and Moebius, Jodorowsky also employed as concept artist H.R. Giger, the creator of the ‘Alien’. Giger produced various designs for Vladimir Harkonnen’s cast, and for a train, very much in his distinctively nightmarish style. Among the actors lined up for the film were Orson Welles as Vladimir Harkonnen and Mick Jagger as Feyd Rautha. Jodorowsky’s son, Brontes, was to play Paul Atreides. And the Emperor of the Galaxy would be played by the great surrealist egotist himself, Salvador Dali. But only for half an hour. So Jodorowsky and his team intended to fill in the rest of the time, that have been occupied by Dali, by using a robotic version of him. It’s a pity that the film was not made, as with those artists and performers, it truly would have been a genuinely mind-blowing experience.
In this clip, Foss talks about how wonderful it was working with Moebius and Giger, but says that he enjoyed it because what he was doing did not interfere with them, and their work did not interfere with his own. Looking on YouTube a few years ago, I found that Foss had put up a series of short videos about himself and his work, so if you’re interested, try looking to see if they’re still there.
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