The Front of the Sun (Picture: The Sun)
We at Shiraz wouldn’t endorse every single one of fun-loving Lord Sewel’s assessments of leading politicians, but much of what he told his lady friends was very shrewd. It would surely be a pity to lose the services of such a witty and insightful political analyst and student of the human condition (what follows is from The Sun and quoting that rag with approval must be a first for us):
What the lewd Lord said about bigwigs…
ON DAVID CAMERON – Most facile, superficial PM there’s ever been
ON BORIS JOHNSON – He’s a joke.. a public school upper class twit
ON ALEX SALMOND – I saw silly pompous prat holding court
ON JEREMY CORBYN – Useless.. a romantic left wing idiot
ON ANDY BURNHAM – He goes whichever way the wind blows
ON LIZ KENDALL – God, what’s her name? Just too naïve really
ON YVETTE COOPER – OK, but not strong. Not bright enough
ON TONY BLAIR – Went to war because of love affair with Bush
ON CHERIE BLAIR – Very ambitious.. obsessed with money
ON LEN McCLUSKEY – Minimalise influence of this f***ing idiot
ON GEORGE OSBORNE – Very, very consummate politician.. he’ll be PM
Paul Canning reports:
When CNN International reporter Lucy Pawle stepped out of a store in London’s West End she could not believe what she was seeing. As a dutiful journo, she got out her phone and snapped away then placed a call to her station. Shortly after she was on the air breathlessly reporting her find; a black ISIS flag was on the London Gay Pride Parade! And no one seemed to have noticed!
Not being a mug, not at all, Pawle wondered if it might be that British sense of humour she’d heard so much about as the lettering appeared to be “gobbledygook”.
The CNN anchor then brought on the ‘security expert’ Peter Bergen who pondered why an ISIS flag would be there when the group hurls gays off buildings.
Pawle should have looked closer. No, scratch that, she should have used her brain. No, scratch that, her editor and the anchor and the ‘security expert’ all need eye tests.
The flag is a parody with the ‘lettering’ being images of dildos and other sex toys. I have no idea who made it and what they were trying to say (will update if I find out) but I can guess. I think they were trying to say FU to ISIS.
About an hour after the report went out and Pawle had started to get laughed at on Twitter the video got taken down by CNN, but Mediate have a copy.
Personally I think the flag parody looks hilarious and I guess that those who saw it did too since no one appears to be complaining. But I can see how some might think it disrespectful or something.
What do you think?
Edit: The artist behind the flag has now been tracked down. The non-anonymous Paul Coombes told PinkNews “the flag of ‘Dildosis’, a conceptual organisation he has set up as a counterpoint to ISIS, established for the advancement of an ecstatic state”.
More about the very brave Coombes at his website http://www.paulcoombs.co.uk/
The sinister case of Asghar Bukari’s missing shoe and displaced slippers: are there no depths the fiendish “Zionists” won’t stoop to?
The death of Stan Freberg, at the age of 88, has been all but ignored this side of the pond. But there was a time (the 1950s and 60s) when as well as being a leading US comedian, he was also a familiar voice on BBC radio. His great spoof recordings were not intended as political satire, but one at least is as relevant – possibly more relevant – today than when he recorded it in 1957:
H/t Gene at That Place
I thought this was satire at first: specifically, an exercise in reductio ad absurdum directed against identity politics. But, depressingly, it isn’t. This is what lies behind the widely-ridiculed NUS Women’s Conference decision to replace conventional applause after speeches with so-called “jazz hands”:
From Gay Star News :
UK students’ union passes policy to stop white gay men acting like black women
UK’s National Union of Students has passed a policy to stop gay men appropriating black female culture.Delegates at the Women’s Conference today, many of them self-identified feminists, have passed plenty of motions.Just one of them was ensuring everyone at the conference understood that some behaviors were damaging.On Twitter, they announced: ‘Some delegates are requesting that we move to jazz hands rather than clapping as it’s triggering anxiety. Please be mindful!’
A later motion passed was 503: ‘Dear White Gay Men: Stop Approprirating [sic] Black Women’. Put forward by the NUS LGBT Committee, they believe the appropriation of black women by white gay men is prevalent within the LGBTI scene and community. ‘This may be manifested in the emulation of the mannerisms, language (particularly AAVE- African American Vernacular English) and phrases that can be attributed to black women. White gay men may often assert that they are “strong black women” or have an “inner black woman”,’ they said.
‘White gay men are the dominant demographic within the LGBT community, and they benefit from both white privilege and male privilege. ‘They claimed the appropriation is ‘unacceptable and must be addressed’. Passing the motion, they agreed to eradicate the appropriation of black women by white gay men and to raise awareness of the issue.
A second motion passed was the banning of cross-dressing or drag as it could be offensive to trans women: ‘To issue a statement condemning the use of crossdressing as a mode of fancy dress,’ they pledged.
‘To encourage unions to ban clubs and societies from holding events which permit or encourage (cisgender) members to use cross-dressing as a mode of fancy dress’.
This ruling was given an exclusion to queer students who want to use cross-dressing in their everyday lives as a mode of expression and to those who want to cross-play by flipping the gender of a fictional character in fancy dress.
A NUS spokeswoman told Gay Star News: ‘We’re a democratic society, and if members voted for it, these are our policies’.
Several have mocked the policies online, with the New Statesman calling into question the second motion for being ‘remarkably conservative’ for a group ‘otherwise so much at pains to stress the variety and fluidity of gender’.
Others on social media also questioned the first, saying inspiration for the slang like ‘shade’ and ‘spill the T’ was taken from the underground drag culture in the 70s and 80s, Paris is Burning and modern shows like RuPaul’s Drag Race.
The suspension of Cameron’s friend Jeremy Clarkson and the subsequent question-mark over the future of Top Gear (but, I fear money talks, and Clarkson and his show will return), at least gives me an excuse to show you this clip of Stewart Lee (in 2010 I’d guess) on the subject of Top Gear and its presenters. I think Lee’s very, very, funny, but not everyone agrees.
It lasts 14 minutes, and all I’d advise is if you decide to watch it, please watch all the way to the end:
We the people declare our inalienable right to take the piss.
To no person will we deny the right to cock snooks at, give the finger to, take the mickey out of.
(Crying as I post this.)
Above: Hancock (left); McNally (right)
Above: the TV version
Radio 4’s The Missing Hancocks which commemorates the sixtieth anniversary of Hancock’s Half Hour, is a treat for listeners of my generation, who can just about remember the originals. For those who don’t know, the radio show ran for 103 episodes between 1954 and 1959 on the Light Programme and at its height was a national institution. The TV version ran from 1956 to 1961. Twenty of the radio shows have been “lost” (actually, wiped by the BBC in order to re-use the tapes) but the original scripts by Ray Galton and Alan Simpson were rediscovered by the actor Neil Pearson and five (chosen by Galton and Simpson themselves) have now been re-recorded in front of a live audience at the BBC Radio Theatre.
It’s become something of a cliché to describe Hancock’s Half Hour as the first modern sitcom, but that description is probably deserved: it was certainly the first British comedy show to revolve around the characters and to dispense with catch-phrases, set-piece sketches and variety acts. And, on the whole, the shows still work today, largely thanks to Galton and Simpson’s brilliant scripts in which Charles Dickens meets Harold Pinter.
The recreations are superb and Kevin McNally does more than simply impersonate Hancock’s intonation and phrasing – he manages to convey all the pent-up frustration, self-righteousness and delusions of grandeur that constituted the Hancock persona. The rest of the cast are nearly as good, though the chap who plays Sid James doesn’t have quite the right voice.
In my humble opinion, this stuff stands up far better than most supposedly “classic” comedy, including shows of twenty or thirty years later, like the grossly over-rated Monty Python’s Flying Circus and the abysmal Only Fools And Horses, the enduring popularity of which remains the source of complete bewilderment to me.
Of course, it’s difficult to listen to these recreations without remembering the real-life Hancock’s sad decline and tragic end. And the scripts make a fascinating comparison with the show Galton and Simpson went on to write after Hancock effectively sacked them – Steptoe And Son.
This isn’t just nostalgia or show-biz archaeology – it’s genuinely “classic” comedy that still works.