A Seasonal Bad Film: Santa Claus Conquers the Martians

This for fans of films that are so bad that a kind of fascination and enjoyment creeps into them, like the kind of movies shown and lampooned in the American series Mystery Science Theatre 3000. The audience for this kind of film – so bad that they were, in their way, great – was growing when I was a schoolboy. I think it started as a mass movement with the publication of the Medved Brother’s book The Golden Turkey Awards, in which they reviewed a series of truly awful movies. This was followed up in the UK with interviews in Starburst magazine, where they talked about their fascination with truly dreadful SF B movies, such as the dire works of Ed Wood and other masters of the horrendously bad. These films included Robot Monster, which was made on the lavish budget of $30 a day. The robot monster of the title was a man in gorilla suit wearing a diving helmet. To make it suitably futuristic, they stuck a pair of TV aerials on it. The guy playing the monster got the job because he owned the gorilla suit. And then in 1983 Channel 4 gave us The Worst of Hollywood. Introduced by Michael Medved, this brought to the British viewing public such masterpieces as Plan 9 from Outer Space, another of Wood’s grandiose, cheap epics, They Saved Hitler’s Brain, Eegah!, The Wild Women of Wonga, one of the lesser known Godzilla films and a raunchy space epic in which sex-starved aliens land on Earth in a spaceship shaped like a giant breast. The season ended on Christmas Eve with the 1964 film Santa Claus Conquers the Martians. This was intended as a seasonal children’s favourite and the story seems to involve Martian adults trying to take over the world by producing a counterfeit Santa. But the real Santa manages to unite both Terran and Martian children against the adults and the invasion plan is thwarted. I can’t say I watched much of it when it was on. I’d come back from a party at a school friend’s and so caught just the ending. This was of Santa and the children singing ‘Hooray for Santy Claus’, and is pretty much as dire as it sounds. Medved added in his afterword to the film that its composer then went on to do the music for the Gong Show. So in memory of that glorious Christmas Eve 39 years ago, I’ve decided to inflict the trailer for this classic of terrible cinema and its theme song, both of which are on YouTube.

Here’s the trailer from Rotten Tomatoes Classic Trailers channel.

And here’s ‘Hooray for Santy Claus’ from PoppiCiullo’s channel.

Of the directors of terrible movies, Wood has particularly become a cult figure. Before release of The Room, and the career of German-born director Uwe Boll, he was generally considered Hollywood’s worst director and Plan 9 from Outer Space the worst film of all time. This flick is about evil UFO aliens invading Earth and resurrecting zombies from Earth’s graveyards. It’s extremely low budget and is known for its spectacularly cheap special effects and duff dialogue. The UFOs were paper plates doused in petrol and thrown into the air. One scene, set in the cabin of an aircraft, is very obviously shot in someone’s front room with the house door standing in for the cabin’s. The leaders of the zombies was played by Bela Lugosi, but this master of horror died half-way through filming. His place was taken by Wood’s wife’s homeopathic healer, who was something like a foot taller than Lugosi. It began with a weird, rambling introduction by Creswell, one of the celebrity astrologers of the period, who dispensed this pearl of wisdom: ‘We are all interested in the future because we will spend the rest of our lives there.’ Well, quite. You can’t argue with that. And it also boasted such immortal lines as ‘Dead! Murdered! And someone’s to blame.’ ‘Gee, I guess that’s why you’re a sergeant and I’m only a patrolman.’

In addition to Plan 9, Wood is also celebrated, or notorious, for the movie Glenn/Glenda or I Changed My Sex. Wood was a transvestite as well as decorated war hero. He was awarded a Purple Heart for his heroism in taking an enemy machine gun nest during World War II. He did so while wearing women’s satin underwear. He also liked to dress as cowboy, and would go out to restaurants either in drag or dress in a sequined cowboy costume, giving out photos of himself to the waitresses. Glenn/Glenda was intended as a sensitive portrayal of the plight of male crossdressers in contemporary America. In the hands of any other director, this would have been possible. But Wood’s direction was clunky and the dialogue predictably bad. It also has a bizarre dream sequence in which chairs and other furniture move about on their own. Bela Lugosi is also in it as God, speaking lines like ‘Dance to this. Dance to that. But beware the little green dragon sleeping on your doorstep’.

I first became aware of this piece of Wood’s oeuvre from a programme earlier in the 70s on daytime TV presented by Dennis Norden, which looked back on some of the lesser known and cheesier films of the past. It’s also a favourite of rock meister Alice Cooper. Cooper was interviewed by Muriel Grey on The Tube, the Channel 4 pop programme also in the 1980s. She asked Cooper what his favourite film was. He replied that it was Glenn/Glenda. She naturally asked him why. He replied that when he first saw it, it completely bemused him and he wondered what on Earth he was watching. This brought forth her classic reply, ‘You’re a strange boy, Alice’. Well, yes, and at one point he was outraged parents and responsible adults all over America for his antics on stage.

Wood has become such a cult figure that in the 1990s there was a biopic about him with the slogan ‘Films were his passion. Women were his inspiration. Cashmere sweaters were his weakness’. I’ve never seen it, but it does fascinate me. Just like his, and those of the other terrible directors continue to find new audiences despite, or because, of their lack of talent.

Kunt and the Gang Sing their Obscene Song about Boris in the Style of the ’70s

You may well be getting sick of me putting up version of Kunt and the Gang’s frank and profane song about Boris Johnson. Swearing is neither big nor clever. But I am fascinated by some of the inventiveness in the performance. This version is of what Kunt and his band would have been like if they had been on the Top Of The Pops 1973 Christmas show. So it’s all bright, Christmas colours, hippie fashions and glam rock. It fits the one or two line lyrics of stars of that period like Alvin Stardust and Gary Glitter, before he was finally caught as a paedophile monster. Of course, the actual chance of something with the amount of profanity of Kunt’s little ditty, let alone his name, being performed on the Beeb at that time was absolutely nil. I can remember when Jules Holland was thrown off Channel 4’s pop music show, The Tube, in the 1980s for dropping the F-bomb. Mind you, it was at six O’clock, well before the watershed. I think the attitude towards obscene language began to change in the ’90s with Have I Got News For You as one of the major offenders. Paul Merton seemed to use it a lot at one time. This was just after nine O’clock. And I noticed that there was an increasing use of really foul language at the same time. I don’t think Merton started it. It was the way the media was travelling at the time. Anyway, I hope to post a few more things today, which I hope will be rather more uplifting and with help to cleanse the palate after this assault on our sense of decency.

But they’re right about Boris.

Radio 4 Tackles Bad Culture

Ho ho! According to next week’s Radio Times for 23rd – 29th May 2020, next Saturday’s The Archive will be on the subject of Bad Culture. This is the type of music, art, literature, film, TV or whatever which is so bad that it’s entertaining. The blurb about it in the Radio Times reads

Steve Punt is joined by Grace Dent, Robin Ince and Laura Snapes to analyse why seemingly bad culture can be so enjoyable, looking at the films of Michael Winner, the songs of Astley and the poetry of Danielle Steele.

The programme’s Archive on 4: So Bad It’s Good?, and it’s on Radio 4, Saturday 23rd May, at 8.00 pm.

Robin Ince, who presents The Infinite Monkey Cage on Radio 4 with Brian Cox, wrote a book a few years ago, The Bad Book Club. This was about some of his favourite terrible books, one of which was the autobiography of John Major’s half-brother, Terry Major-Ball. But people have been particularly bad films for a very long time. I think that goes back to the ’70s at least, when Michael Medved, before he morphed into a right-wing pundit, published The Golden Turkey Awards about some of the worst movies ever made. Then in the early ’80s he presented Channel 4’s The Worst of Hollywood, which screened some of the classics of Bad cinema. These included Ed Wood’s Plan 9 From Outer Space, Godzilla Versus the Smog Monster, The Wild Women of Wonga and Santa Claus Conquers the Martians.

Ed Wood was the stunningly bad director who also gave the world Glen/Glenda or I Changed My Sex, and Robot Monster. The costume for the latter creature was a gorilla suit with a diving helmet stuck on top. The guy who played it did so because he owned the gorilla suit. I think it’s also in Robot Monster that there’s a 2 minute segment of dinosaurs going on the rampage for no reason at all. It’s because Wood’s studio was right next to that of stop-motion animation master Ray Harryhausen. Harryhausen was responsible for a string of SF/monster movies, including Earth Versus the Flying Saucers, as well as the sequence in the Seventh Voyage of Sinbad where the Arab sailor fights an army of skeletons. Wood used to go round to Harryhausen and use any material that the other director had no use for after editing. That day Harryhausen had cut 200 feet of film out of a film about dinosaurs, and gave it to Wood when he asked him if there was anything he could use. Glen/Glenda is about a man struggling to come to terms with his transvestism. It’s a serious subject, which in the hands of a good director would no doubt be highly praised by critics. But this was made by Wood, so it’s abysmal. Like Plan 9 From Outer Space, it has Bela Lugosi in it. He plays God in a dream sequence in which he says ‘Dance to this, dance to that, but beware the little green dragon sleeping on your doorstep.’ This makes no sense at all. The film is, however, one of Alice Cooper’s favourites, or so he told Muriel Grey on Channel 4’s pop programme The Tube a long time ago. When she asked him ‘Why?’, he replied that it was because it made him wonder just what he had just watched because it was so weird. Her reply was classic: ‘You’re a strange boy, Alice’. Yes, and he’s made a whole career out of it. Wood was himself a transvestite with a passion for cashmere sweaters, a fact not lost to the makers of the ’90s film biography of him.

Since The Worst of Hollywood has come Mystery Science Theatre 3000. This is an SF look at Bad Films, in which the crew of an orbiting satellite a thousand watch, and make rude remarks about, terrible movies. The SF author, Jack Womack, responsible for a series of books set in a violent, dystopian future Ambient, Random Acts of Mindless Violence, Heathern and Elvissey, is also an aficionado of weird and Bad books. He supplied a list of some of his favourites in his personal collection, with his comments on them, in an interview he gave in the ’90s to the Science Fiction magazine, SF Eye. They included Bottom’s Up with the Rear Admiral: Memoirs of a Proctologist,  The Elvis Image, which is about a journalist crisscrossing the deep south in search of Elvis impersonators, and Behold! The Protong!!! by Stanislaw Szuchalski. Womack described this as ‘America’s greatest eccentric tells you why Communists are descended from the Yeti’. 

A few years an academic did a study of the type of people who deliberately went to see bad movies. He found that they tended to be of above average intelligence, and also watched transgressive cinema. You know, like the films of John Waters and some of the other cinematic horrors Jonathan Ross discussed in the ’80s in his Channel 4 series, The Incredibly Strange Film Show. They like those for the same reasons they enjoy terrible films, because both provide an experience that is outside the mainstream.

This could be a very funny, interesting programme about some truly awful cultural productions. But will it include any clips from Wood’s wretched oeuvre? 

Channel 4 Threatened by the Tories with Privatisation… Again

The ‘Viewpoint’ column in next week’s Radio Times, for the 8th to 14th February 2020, contains an article by Maggie Brown, ‘Saving Thatcher’s baby’, about the problems confronting Channel 4. It begins

In 2020, Channel 4 is facing a number of challenges. Its staff are scattered to the winds, Channel 4 News is under attack from the Government, and the threat of privatisation looms. Is the pioneering broadcaster, which was launched in 1982 by Margaret Thatcher, facing an endgame?

She then describes how the broadcaster has moved its headquarters out of London and into Leeds, with hubs in Glasgow and Bristol with more programmes filmed in the regions, such as Manchester and Wales, and changes to the broadcasting schedules with the introduction of new programmes. One of these will be Taskmaster, taken from the Dave digital channel. Brown comments that the programme’s acquisition by Channel 4 is an attempt to boost audiences, but is also ‘a symptom of the tricky compromises and tightrope that C4 has to walk.’ She continues

It is a public service broadcaster “funded by advertising, owned by you”. It must also rally support as an alternative public service broadcaster to the BBC in the face of a hostile Conservative government that is needled by its mischievous independence and most recent mockery (that melting ice sculpture after Boris Johnson failed to show up for a climate change debate).

But relations with Conservative governments have always been tense, with liberal Channel 4 News and tough current affairs programmes such as Dispatches the lightning conductors. After the climate change debate last November, privatisation was immediately threatened again: a knee-jerk response.

She ends the piece by stating that the broadcaster’s business team will remain in London. She sees this as an indication that the broadcaster will not only confound the pessimist’s predictions of its impending demise, but will actually thrive. The business team have the Thatcherite values of self-reliance, and it’s this quality that will allow the broadcaster not only to survive but flourish.

Hm. Possibly. My own feeling is that if Channel 4’s business team manages to save the broadcaster, it won’t be because of an nebulous ethos of ‘self-reliance’, but because it will reflect the views and demands of metropolitan business. The same businesses that fund the Tory party.

She is, however, right about the Tories having a persistent distrust of the broadcaster. Thatcher set Channel 4 up in order to be an alternative to BBC 2. It was to serve communities that the Beeb channel didn’t, like ethnic minorities. It was also to excel in news coverage, as well as alternative arts and sports. By the latter, Denis Thatcher actually meant yachting. What that meant in practice was that the programme broadcast opera, as well as Indian cinema, a serial of the Hindu epic, the Mahabharata, a history of the madrigal, the pop show, The Tube, and a variety of comedy shows. These included Who Dares  Wins, a sketch show whose cast include Rory McGrath and Tony Robinson, the classic satirical puppet show, Spitting Image, and Desmond’s, which was set in a Black barbers, and launched a wave of Black comedian in Britain. It also had a history of Africa presented by the White afro-centric historian, Basil Davidson, and a news programme about the continent with Black presenters and reporters.  It also showed Max Headroom, which consisted of pop videos hosted by the eponymous Max, the world’s first computer-generated video jockey. Offsetting all the highbrow stuff were sexually explicit films and programmes, which was the closest teenage schoolchildren could get to viewing porn before the internet. It was the sexually explicit stuff that particularly annoyed the Daily Mail, who branded the broadcaster’s controller at the time, Michael Grade, ‘Britain’s pornographer in chief’. The Channel responded to this by broadcasting programmes for gays and lesbians. Amid the furore, one of the most sensible comments was made by the archdeacon of York. When they asked the good churchman what his view of the broadcaster showing a series about lesbians, he replied, ‘Well, who’s going to watch that if there’s Clint Eastwood on the other?’ Quite. Now I understand that one of the channels is bringing back The ‘L’ Word, a lesbian soap opera first shown at the beginning of this century. Quite apart from Channel 4’s own gay soap opera, Queer As Folk.

Private Eye seemed to regard Channel 4 back then as condescending and pretentious. Its literary reviewer sharply criticised a book by its then chief, Jeremy Isaacs, because he made it plain he wanted to bring the British public material like miner’s oral history and so on. When people complained that people didn’t want some of this, Isaacs replied that they had latent needs, needs they didn’t know they had, until someone showed them the material they’d been missing. It was this comment that particularly aroused the reviewer’s ire. But Isaac’s was right. Sometimes you don’t know if there’s a demand for a subject, until you offer people the chance of trying it. And Channel 4 really tried to expand, create and satisfy a market for culture. Oliver Letwin, the former sketchwriter for the Daily Mail and now the Times, actually praised the broadcaster for this in his book, Bog Standard Britain. The broadcaster’s programming always hit and miss. Amid the good stuff there was also much material that was rubbish. And while it had the reputation as rather left-wing, it also carried a programme of political discussion for Conservatives, Right Talk. On the other hand, its opera performances actually managed to reach a decently sized audience, showing that ordinary Brits wanted and would watch highbrow culture.

Its average audience, however, was tiny, and there was pressure on the broadcaster, like the Beeb, to produce more popular programmes to give the British public value for money. Hence the channel became much more mainstream in the 1990s. Its audience grew as expected, but the country lost out as the channel no longer tried to expand the public’s minds and tastes as it once had. And as I said, this was lamented by Letwin, among others, a supporter of the very party that had spent so much time decrying and criticising the channel for being too daring and alternative.

If I remember correctly, the Tories have privatised the channel before. There have been at least two part-privatisations, where the government has sold off some of its share in it. One was under Thatcher, when she was privatising everything. I think the other may have been under Major, who continued her programme. I have a feeling that the second privatisation may have been a cynical move by the Tories to try and work up some enthusiasm for the government. It was announced with the fanfare the Tories usually gave the privatisations, presenting them as some kind of exciting generous opportunity granted to Britain’s workers. Thatcher was trying to create a shareholder democracy, where ordinary people would own shares as participants in capitalism. That’s all died the death a long time ago. The shares given to the workers in the privatised industries have all been sold on, and are now in the hands of a few big businessmen. The council houses she sold off have been bought by private housing associations for profit, and there’s now a housing shortage. And the privatisations were never as popular as the Tories tried to make us all believe to begin with. Support for them, according to polls done at the time, never rose about fifty per cent.

Channel 4 news has a reputation for excellence. Which is undoubtedly why the Tories now despise it and are discussing privatisation again. Britain’s publicly owned broadcasters are under threat because they are obstacles to Murdoch, the Americans and the British private broadcasters, who fund the Tories, dominating British television. They also despise them because they’re supposed to be impartial, unlike the private networks, which would be free to have whatever bias their proprietors chose. And besides, as this week’s attempts to dictate to the media, who could and could not attend BoJob’s precious lobby briefings shows, the Tories want to impose ever more restrictive controls over the media. The end result of that process, if it goes on is, is the rigorous, authoritarian censorship of totalitarianism.

I dare say that if the Tories do go ahead and privatise the Beeb and/or Channel 4, it’ll be presented as some kind of great liberalisation. The British public will be freed from having to support them, and they will have to take their chances in the market place, according to the tenets of Thatcherism. But if that happens, public service broadcasting will have been destroyed along with what should have been cornerstones of media impartiality.

But considering how relentless biased the Beeb has been against Labour and in favour of the Tories, their news desk has done much to destroy that already.

Joe on Boris’ Johnson’s Massive Failure as Mayor of London

Boris Johnson and fans prepare for government.

This is another video from JOE, a YouTuber who’s made a number of videos parodying and criticising Boris and the rest of the Tories. In this one he uses Boris’ colossal failure as mayor of London, and particularly his wretched vanity projects, to show what we can expect from the Eton educated blond moron if he got into power. Which he now has, thanks to all his single-helix inbred mutoid followers. Joe walks around the capital as he talks, showing Johnson’s various projects.

Joe begins by asking if, despite his cartoon clownish exterior, Boris can take power seriously. His legacy in London has been to turn it into a playground for the rich. When Johnson announced his candidacy for Prime Minister, he mentioned his record as mayor on poverty, crime, affordable housing and road deaths. But the statistics he used were difficult to source and, at times, exaggerated. Which is why Joe talks about his physical legacy in London’s built environment. These include the conversion of the Olympic Stadium to West Ham’s football ground, at the cost of hundreds of millions of public money and the Arcemittal Orbit, which features the world’s longest tunnel slide. That was Boris’ idea, and was meant to raise £1.2 million a year to help pay for the upkeep of the Olympic park. It instead cost the taxpayer £10,000 a week because entrance to the Park was less than half of what was expected.

There’s also the fleet of new buses Boris ordered, modelled on the classic ‘Routemaster’ design of the 1960s. However, Transport for London was forced to recall them and retrofit them, because the windows on the top deck didn’t open. Because of this the Routemasters were nicknamed ‘roastmasters’ and in one bus, the temperature a 41° C was recorded. This is higher than the permitted temperature for transporting cattle. The changes cost £2 million, and it wasn’t the first redesign. The buses were originally to have a hop-on, hop-off open back and a conductor, but they were phased out because of expense.

And then there’s the Emirate’s Airline, which was supposed to ferry commuters between Greenwich and the Royal Docks. In 2012 the number of people using the cable car was 16. In 2015, nobody used them. The airline initially believed 70,000 people a week would use it. That’s now dipped to 20,000 and its estimated to cost the taxpayer £50,000 every week. It is the most expensive urban cable car in the world.

Boris also intended to build a garden bridge, somewhere between Waterloo and Blackfriars. But this never got beyond the conceptual stage, and cost Britain £43 million.

Joe then appears on the Tube, saying to the camera, ‘He had nothing to do with the Tube. The Tube’s pretty good’.

He then goes on to talk about Boris’ most significant contribution to London – cycling, including his ‘Boris bikes’. The scheme now covers most of the centre of London. It was supposed to cost the taxpayer nothing, but the public ended up spending over £200 million for it over the course of Johnson’s period as mayor. This makes it the most expensive of its kind in the whole world. Johnson’s dedicated cycle lanes increased congestion while he halved the area of the congestion zone.

Then there’s the Peckham Peace Wall. After the 2011 riots, people wrote messages of love on post-it notes and put them on the plywood boards covering Poundland’s smashed windows. After the damage was repaired, the residents didn’t want to lose this record, and so it became a mural. But at the time London was engulfed in rioting, Boris was on holiday in Canada. It took him three days to decide whether or not to come home.

And that, concludes Joe, is London’s legacy and Britain’s future.

The video then ends with a few more shots of London, accompanied by a piece of Jazz-Blues, and couple of out-takes.

Yep, this is the man the Tories have just decided should be our prime minister. And his record as a government minister has been just as abysmal, as various other bloggers and YouTubers are showing.

As the Ferengi used to say on Star Trek, ‘Ugleee! Very ugleeee!’

 

 

 

RTUK on the True Scale of Hidden and Rural Homelessness in the UK

This is another excellent piece from RTUK. And it shows why we’re better off looking at alternative sources of news on the Net than relying on flagrantly biased BBC. Even when those alternative sources are owned by Putin’s Russia.

This report discusses the true scale of hidden and rural homelessness in the UK, which is much bigger than previously considered. Among the chilling statistics, it reports that 1 in 10 people experience homelessness every year, and that homelessness has increased 50 per cent since the Tories took power in 2010. In London, 12,500 people are forced to sleep on sofas or the Tube every night. Nationally, 70,000 people were sofa surfing, 20,000 people sleep in unsuitable accommodation, 12,500 living in squats, 9,000 living in tents. A spokesman for Centrepoint states that the statistics are patchy and unclear, and that homelessness is often unreported by the general public, because they don’t know the homeless people they see sleeping rough. This prevents it from gaining the attention it needs to attract proper political action.

Not all towns deal with the problem in the same way. While most councils try to get the homeless into a hostel or similar, Carlisle is trying to solve the problem by giving the homeless tents, toiletries and other things they need, a policy which is praised by one homeless man, a Mr. Dubka, interviewed on the programme. The programme does report the government’s response, which says that it is committed to tackling homelessness and has devoted £550 million to this goal by 2020. The government is also about to pass the Homelessness Reduction Bill intended to force council to act in cases where people are about to become homeless.

But councils are still finding it difficult to cope, as budgets have been slashed by 70 per cent from 2014, councils are forced to concentrate on the urban centres, a point supported by a spokesman for another charity, Porchlight. The programme also cites statistics collected by Herriott Watts University. It concludes that on the one hand, it’s good that the figures for rural homelessness are finally being included and pressure is being placed on the government to include them in its Homelessness Reduction Act, but on the other funding is still being reduced.

I am not surprised that there are a high number of ‘hidden homeless’ in London and around the country. A little while ago I found a study of homelessness in New York, written by an American social scientist and based on his doctoral research in the 1980s and 1990s, when it was briefly a major issue in American politics. It’s actually more difficult to define the scale of the homelessness problem in New York, because many of the homeless aren’t living on the streets. They are sleeping on friends’ couches, or in basements or closets or other areas given to them to sleep in by kindly janitors. And although the problem is much bigger in the 21st century than it was twenty or so years ago, it has practically disappeared as a political issue.

Many of those homeless in New York are graduates. I wonder how many are also people with university degrees in this country, who can’t find accommodation in the cities in which they moved to attend uni, because of a shortage of affordable housing.

The report also makes another excellent point, though one by tacit demonstration rather than open statement. The government has said that it’s devoting £550 million to the problem by 2020. This looks impressive, but as the programme shows, this is actually a cut of 70 per cent. It shows why you should be always very careful about accepting the government’s stats when they are given in isolation without corresponding data to compare it with.

Also, whatever they say, this government will do the barest minimum to tackle homelessness. Due to Tory policies, the wider British economy depends on house prices remaining high. And they can only remain high if there’s a demand for them.

More from Vox Political on the Blairites Doing the Stalinist Hot-Trot

Over the past few days Mike’s put up a few more posts about the Blairites and their attempted purge of the Corbynites in time for the leadership elections.

Among their various antics, they sent a tweet to one victim of the coup, who had been told they did not have the right to vote, in the middle of the night asking them to support Owen Smith. Which is, as Isabel Waby, a friend of Vox Political, observed, simply adding insult to injury. Another person, Catherine Starr, was banned because of an ‘inappropriate’ tweet. She had made the cardinal sin of posting that she ‘f**king loved the Foo Fighters’. Richard Burgon, the Shadow Justice Secretary, responded to this woman’s ban with the jocular comment that he preferred Motorhead, but liking the Foo Fighters was certainly no reason to ban someone. Quite. Nor is foul language on a completely unrelated topic. I realise the ‘F bomb’ is still very shocking to quite a few people, but it’s now so widely used that it is using much of its ability to shock. If you want an example of this, think of the number of times Paul Merton and some of the other panellists on Have I Got News For You have cussed. When I was at school, the use of the word got Jools Holland thrown off the Friday early evening pop show, The Tube. Admittedly, this show was on much earlier, at about 6 O’clock, while HIGNFY is on after the 9 O’clock watershed. But even so, Merton and co are still going, and the shows as strong as ever. Starr was planning to vote for Jeremy Corbyn, so it looks very much like the Blairite National Executive was simply trying to find an excuse to ban her.

Corbyn was moved to tweet his own disapproval about the one-sidedness of the purge: “I’m very concerned that some people seem to have been unfairly removed from the ability to vote in this election. I’ve written to Labour’s General Secretary to raise concerns about members being suspended from voting in the leadership contest often without knowing why, being given an option to challenge or appeal.”

For this, the Labour leader got told by a Scottish Labour councillor, Stephen McCabe, that he should have some faith as leader in the NEC, knowing perfectly well Corbyn can contribute, but can’t control what they do.

Among the other victims of the purge is Ronnie Draper, the General Secretary of the Baker’s, Food, and Allied Worker’s Union. He was told that he was being denied the vote on the basis of an unidentified tweet. He has also been given no opportunity to refute the charge, and no hearing has been set for him to challenge it.

According to Mike, 200,000 people have been denied the vote by the NEC. The process of deciding who gets to vote, and who doesn’t, is overseen by Joanna Baxter. She tweeted that the decisions were made by 2 panels, comprising three people from the NEC, and supporters of Jeremy Corbyn and Owen Smith. She did not, however, give any details on the criteria by which the suitability of the voters was assessed. Furthermore, Baxter is no longer a member of the NEC, and so has absolutely no right or obligation to oversee the purge.

Mike concludes:

So far, it seems you get the boot for comments made at any time since you joined social media – no matter how long ago and never mind whether you have changed your mind since. Use of profanities at any time means you’re out – if you’re a supporter of Jeremy Corbyn. Tweeting support for a point of view put forward by another political party – out. Publicly disagreeing with Owen Smith – out.

It is hard to tell the criteria by which supporters of Mr Smith are likely to be removed from the voting register. Does anybody know?

Mike also has put up the advice, given by one of his commenters, that anyone intending to appeal against the decision to ban them should throw in a Data Access Request for Data held on them under the Data Protection Act. As data holders, the Labour party will be obliged to provide them with all the data they have on them.

Mike also warns that as Baxter complained that she was receiving abuse even before these shenanigans began, she’s now got a running commentary on her twitter feed about the abusive messages she’s receiving. Or claims to have received. As Mike says, it’s unknown whether these are ‘false flag attacks’ or not. But he strongly advises his readers to be polite in any case.

See his article at: http://voxpoliticalonline.com/2016/08/27/labour-member-is-denied-vote-in-leader-election-then-owen-smith-txts-to-ask-for-support/

I remarked before, when the purge began a few days ago, that this is New Labour and the Blairites behaving exactly like Stalin. He took over the Russian Communist party by purging the membership of his rivals’ supporters. Once installed as the president of the USSR, he continued his purges, not by merely throwing his opponents out of the party, but by sending them, and millions of others, to the Gulags and the firing squads as enemies of the Revolution and so forth. Baxter and Smudger aren’t sending people to forced labour camps, but in other respects they’re following Uncle Joe’s tactics. As he said, ‘it’s not who votes that counts, but who counts the votes.’

It’s also all very Kafkaesque. In his novels The Castle and The Trial, the Czech novelist described farcical bureaucratic tyrannies, in which the regime’s victims were arrested, tried and condemned without knowing what their crime was, or who their accusers were. Which is pretty much what’s happening here, with people being told their banned simply on account of ‘inappropriate comments’.

But only Jeremy Corbyn’s supporters, apparently. Lord Sainsbury, who is now supporting the Lib Dems, has, it seems, not lost his right to vote. Never mind. As Mike has put up in a later article today, after the election there will be a reckoning of this bureaucratic tyrants.

More Racism and Homophobia from UKIP: Their Candidate for Oxford West

Hope Not Hate have just posted another piece reporting the racist, Islamophobic and anti-gay comments of another Kipper candidate on his Facebook page. This time, the prospective politico is Alan Harris, the party’s candidate for Oxford West and Abingdon. In addition to his candidacy, Harris is also the chairman of the Kipper’s branch in West Oxford. The article contains screenshots from Harris’ Facebook page in which he claims that ‘f****ing Muslims’ object to British culture, like bacon sandwiches; objects to Morrison’s in London for refusing to sell poppies in case it offends Muslims; and claims that Romanians and Bulgarians are only here for the job centres, and are responsible for robbery on the tube. He also asks the rhetorical question why he can’t say in his own country that black is a colour, and gays are ‘queers’. He also shares a story posted last year by the Bolton branch of the BNP. The article questions whether Morrison’s in London actually did refuse to sell poppies. As for ‘black’ not being a colour, I’ve heard that someone, somewhere, has made a loony pronouncement like this, but it ain’t general. As for not referring to gay people as ‘queers’, well, not only is it Harris’ country, it’s also theirs. And like everyone else, they have a right not to be sneered at. Even so, some gays have adopted ‘queer’ as an attempt to reclaim the word. As for Harris, it appears that he just another prejudiced Kipper with a hatred of Muslims and gays, and inclinations towards the Far Right. Like so many others. I’m starting to wonder if there’s anybody in Farage’s little army, who isn’t a BNP-lite stormtrooper. At the moment it appears that there’s so many of them, pretty soon Hope Not Hate will be just doing articles on the entire membership, one by one.