Tendance Coatesy

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Posts Tagged ‘Culture

Cult Figure Robbie Travers Surfaces in New Gallery Exhibition.

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Royal Academy Summer “Fringe” Exhibition: Book now 

 

 

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From Art Critics, Billy, Heg and AT. 

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Written by Andrew Coates

June 13, 2018 at 11:54 am

Posted in Culture, Free Speech

Tagged with , ,

Sir Michael Caine is a Bleeding Tax Dodging Brexiteering Ponce.

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Those who follow films will know about this, a coming Live event which will be in cinemas across the country in a weeks.

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Tax Dodging Ponce.

British film icon Michael Caine narrates and stars in ‘My Generation’, the vivid and inspiring story of his per-sonal journey through 1960s London. Based on personal accounts and stunning archive footage this fea-ture-length documentary film sees Caine travel back in time to talk to The Beatles, Twiggy, David Bailey, Mary Quant, The Rolling Stones, David Hockney and other star names.

The film has been painl/”stakingly assembled over the last six years by Caine working with Producer Simon Fuller, Writers Dick Clement and Ian La Frenais and Director David Batty to tell the story of the birth of pop culture in London, through the eyes of the young Michael Caine:

“For the first time in history the young working class stood up for ourselves and said, we’re here, this is our society and we’re not going away!”

Wally of the Week – Sir Michael Caine.

Actor Michael Caine claims to be “a socialist” in spite of having been involved in a tax avoidance scheme and previously leaving Britain to avoid the top rate of tax in the 1970s/

Sir Michael Caine, CBE is a man who flip-flops like no other and whose political views are best described as “chaotic”. Though a man known for fleeing Britain for America to avoid high taxes in the 1970s and a man named as an investor in a tax avoidance scheme named Liberty in 2014, the pro-Brexit actor has this week called himself a “socialist” and went as far to say: “I wouldn’t live in a country that didn’t pay income tax”.

 In an interview with the Catholic newspaper The UniverseSir Michael remarked:

 “I’m a socialist, basically. I want as much money as possible for poor people, to help whoever’s in trouble. I wouldn’t live in a country that didn’t pay income tax”.

“What you have to do is keep emotion out of it. You can’t say: ‘We hate these rich people, we’re going to tax them to smithereens’. You’ve got to have them stay in your country and pay the tax”.

A public supporter of Margaret Thatcher, David Cameron and even Tony Blair, Sir Michael was forced to pay a significant sum to Her Majesty’s Revenue and Customs after being exposed as part of the Liberty scheme and also made a fool of himself in another regard. The actor also told The Universe:

 “In order to do something good, I don’t just do work which is no good. I don’t do commercials’.

In 2013, he was paid a six-figure sum to film a commercial for Sky television. How conveniently the man forgets.

This is his latest gobshite.

 

Here.

Written by Andrew Coates

February 17, 2018 at 12:43 pm

Taylor Swift: an envoy for Trump’s values and Nazi Icon? The Guardian’s Editorial.

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Trump Backs Swift.

The Guardian view on Taylor Swift: an envoy for Trump’s values?

Swift’s songs echo Mr Trump’s obsession with petty score-settling in their repeated references to her celebrity feuds, or report in painstaking detail on her failed romantic relationships (often, there is crossover). The message is quintessentially Trumpian: everyone is out to get me – but I win anyway. Seeded with clues to the identities of her famous associates, her lyrics reel in and solidify a hardcore fanbase – usually young, female followers known as “Swifties” – who passionately defend her honour on social media by attacking her detractors.

Swift seems not simply a product of the age of Trump, but a musical envoy for the president’s values.

The danger is even greater according to this reliable News Site, Vice, which the Guardian’s Newshounds have consulted

Can’t Shake It Off: How Taylor Swift Became a Nazi Idol

Nazis and members of the “alt-right” consider Taylor Swift an Aryan pop queen who is “red pilling” America into a race war through her pop hits.

Hard-bitten reporters have dug the following out.

Taylor Swift – A Nazi Icon?

What do Taylor Swift and Nazis have in common? To most, not much. To Nazis, just about everything. When it comes to the Aryan beauties they admire most, modern neo-Nazis seem to take a liking to Taylor the best. According to white supremacist blogger Andre Anglin, Taylor Swift is a secret Nazi in disguise, just waiting for her chance to unveil her aspirations for a fascist regime.

“Firstly, Taylor Swift is a pure Aryan goddess, like something out of classical Greek poetry. Athena reborn. That’s the most important thing,” Anglin said. “It is also an established fact that Taylor Swift is secretly a Nazi and is simply waiting for the time when Donald Trump makes it safe for her to come out and announce her Aryan agenda to the world. Probably, she will be betrothed to Trump’s son, and they will be crowned American royalty.”

Ranker.

This is not the first time in recent months when Swift’s name has entered the political world.

Written by Andrew Coates

November 25, 2017 at 11:39 am

Jeremy Corbyn Christmas Single: Get Pop-Picking Now!

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credit: Liam Scully/YouTube

Robb Johnson and the Corbynistas (Picture: YouTube).

One for all the pop-pickers out there!

The Metro reports (note, some of the words may have been slightly edited).

A Landmark Jeremy Corbyn Christmas single.

If, after a new kind of politics meeting,  you’re getting super extra excited ‘n’  full of energy and enthusiasm  to listen to this breakthrough track, the video is only a – safe – teaser – that’s right, the very best is yet to come.

The debut single is performed by Robb Johnson and the Corbynistas, and features a lot of people in lovely warm Christmas jumpers.

The video opens with Johnson on a street sweetly singing: ‘I’m voting Jeremy Corbyn, I’m voting Jeremy C. I like his ideas, they’re fair and they’re clear, Jezzer and me we agree.’.

And it ends with a group of people melodiously chanting around a table: ‘We’re voting for Jeremy Corbyn, JC 4 PM 4 ME.’

Smashy and Nicey say,” Clashtastic, mate!”ate!

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Written by Andrew Coates

November 14, 2016 at 11:51 am

Ken Loach Wins Palm D’Or with I, Daniel Blake.

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Palme D’or Triumph for the Daniel Blakes of the Whole World. 

Some good news, at last.

Ken Loach has won the Palme d’or at Cannes for I, Daniel Blake.

“Daniel Blake is a 59-year-old joiner in the North-East of England who falls ill and requires state assistance for disability from the Employment and Support Allowance. While he endeavours to overcome the red tape involved in getting this assistance, he meets single mother Katie who, in order to escape a homeless persons’ hostel, must take up residence in a flat 300 miles (480 km) away.”

France 24 reports,

The 79-year-old Briton attacked the “dangerous project of austerity” as he accepted the festival’s top prize from actor Mel Gibson and Mad Max creator George Miller, who headed this year’s jury. “The world we live in is at a dangerous point right now. We are in the grip of a dangerous project of austerity driven by ideas that we call neo-liberalism that have brought us to near catastrophe,” Loach said, adding: “We must give a message of hope, we must say another world is possible.”

And, he continued, “Necessary”.

Le Monde’s review noted that ‘welfare reform’ forms the heart of the film. That in the UK there is a veritable ‘crusade’ against the disabled, to root out those feigning illness (“la chasse aux tire-au-flanc a pris les allures d’une croisade) in a “néo-victorienne” Britain.

Moi, Daniel Blake n’est pas une satire d’un système absurde. Ken Loach n’est pas un humoriste, c’est un homme en colère, et le parcours de l’ouvrier privé de travail et de ressources est filmé avec une rage d’autant plus impatiente qu’elle est impuissante.

I, Daniel Blake, is not a satire about an absurd system. Ken Loach is not a humourist, he’s full of anger, and the progress a worker without a job, and without assets, is filmed with an indignation that is as exasperated  as it is impotent.

This Blog is not an uncritical admirer of Ken Loach. He is against austerity and for social rights, the cause of the left.  But his more specific politics, which include a lengthy membership of Respect and support for the cultural Boycott of Israel, as well as no known activity against Islamist genociders, or support for the Kurdish people in their fight for dear life against ISIS,  are not always the same as ours.

Nor are all of Loach’s films, for all of their skill and intensity, always as deep as they set out to be.

Of the most recent The Angels’ Share (2012) is amusing but slight tale of Scottish scamps. It is not free, for all its would-be irony, of whatever the Caledonian equivalent of Oirishness is,. The Spirit of ’45 (2013) may seem a strangely uncritical account of the post-war Labour government. Jimmy’s Hall  is a fine story set in the Irish Free state. But it is straining things for this emssage to pass, ” The behaviour of the state’s police is shown and explained to be occurring at a time when Stalin was in full control of the Soviet Union and it is obvious that the state and church are fearful of forces that threaten to destroy them. It is this tension between the ideals of Christianity and the fear of the church and its natural tendency to be reactionary that is the central issue that the film explores.”

It can still be argued that the trio have strong narrative coherence, and, in the case of Jimmy’s Hall, insights into the history of republicans, and the left, in the Irish Free State, and the characters swept up in the struggle for independence, the civil war,  and their fate in in the aftermath, as well as cinematique beauty.

Loach will, nevertheless, be remembered for Poor Cow, Kes, Land and Freedom, and smaller, less technically polished, but robust films such as Raining Stones, Riff Raff and the Navigators, which demonstrate that ‘social realism’ is not always worthy but unwatchable didacticism, and Bread and Roses, which shows politically engaged drama at its best.

That said by tackling head-on the effects of the ‘reform’ of the British Welfare state I, Daniel Blake, hits at a sensitive nerve, and, frankly, righteous indignation is an emotion that’s widely shared about this. Its tale of people pushed from pillar to post,  has been compared to Loach’s exposee of homelessness in the 1966 television play Cathy Come Home ,

The Minister in charge of the system of oppression bearing down on Daniel Blake, Iain Duncan Smith, is now a leading Brexit campaigner.

Appropriately Loach stands on the other side of the European Referendum debate,  the solution is ultimately voting to stay. “we need to “make alliances with other European left movements”.

The film is a worthy successor to last year’s winner, the riveting, Dheepan,directed by Jacques Audiard.

Sivadhasan is a Tamil Tiger soldier during the last days of the Sri Lankan Civil War. After the armed conflict resolves, his side loses and he is forced to move to a refugee camp. There he decides to move to France to take a fresh chance at life. However, in order to secure political asylum, he requires a convincing cover story. He is given the passport of a dead man, Dheepan, and pairs with people he barely knows posing as his family. Along with his supposed wife, Yalini and his supposed 9-year-old daughter, Illayaal, they get on a ship bound for Paris. Upon arrival, he lands a job as a resident caretaker and starts building a new life in a housing project in Le Pré-Saint-Gervais, a northeastern suburb of Paris, which turns out to be another conflict zone for him.

I saw Dheepan only a few weeks ago.

One hopes that Loach’s picture will not take so long to get to our screens.

 

Written by Andrew Coates

May 23, 2016 at 11:10 am

Charlie Hebdo. Lettre aux escrocs de l’islamophobie qui font le jeu des racists. Charb. Review Article.

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 Posthumous Bolt of Light.

Lettre aux escrocs de l’islamophobie qui font le jeu des racists. Charb. Les Échappés. 2015.

“This text was completed on the 5th of January 2015, two days before the terrorist attack against Charlie Hebdo, during which Charb lost his life.”

The Lettre addresses the reader, “If you think that criticism of religions is the expression of racism” “If you think that ‘Islam’ is the name of a people.” “If you think that punishing blasphemers will open the gates of heaven for you.” “If you think that left-wing atheists play into the hands of fascists and xenophobes” “If you think that it is essential to classify citizens according to their religion” “If you think that one can laugh at everything except whatever is sacred to you.” “If you think that popularising the concept of Islamophobia is the best way of defending Islam” ………..

“So, dear reader, this letter has been written for you”

Charb (Stephane Charbonnier) would not learn of the response of those he spoke to on the first pages of the Lettre. He was absent after those seeking paradise murdered him, eleven of his colleagues at Charlie Hebdo, a police officer and four customers of the Vincennes Hyper-Cacher.

In France, and across the world, millions expressed their solidarity and love for Charlie and all the victims of the atrocities. But there remained those who responded according to the 19 ready-made ideas about Islam Charb listed. Liberals and those claiming to stand on the left, marked by every single one of them, were prominent amongst those who contributed to a torrent of abuse whose echoes still resonate.

Mark Maguire, on the Stop the War Coalition’s site, stated that Charlie was “a rather unpleasant French magazine” that published “anti-Islamic cartoons”. Others pitched in. It was ‘Zionist’ and ‘neo-conservative’, with the imprint of former Editor Phillipe Val who is said to have promoted these views. It was – it would be an easy task to cite thousands of articles – ‘Islamophobic’. It was vulgar and racist. It specialised in the pornographic mocking of sacred beliefs, above all of Muslims.

The Weekly, as the Socialist Workers Party template set out, was known for its “provocative and racist attacks on Islam”. Norman Finkelstein tried to create an industry out of this holocaust. He declared that the paper was not satire but “sadism” and compared it to the anti-Semitic Nazi Der Stürmer. An apparently anti-racist alliance, Unite Against Fascism (UAF), held a special session at their AGM on why “je ne suis pas Charlie.”

This hostility has not died down. ‘Rules’ for satirists appeared – which Charlie had apparently broken. It should have targeted the “powerful.” Will Self judged that satire ought to “afflict the comfortable and comfort the afflicted”. Literary critics, enforcing these new Aristotlean unities of satirical style – breached no doubt by Rabelais, Hogath’s drawings, and the plebeian Viz comic, not to mention early Soviet anti-religious propaganda – have tried to establish their decree. (1) We could call it ‘satirical realism’. Even cartoonists joined the would-be Zhdanovs of correct caricature. As have authors. Read the rest of this entry »

Hackney, Independent Hipster Republic: New Left Strategy.

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SmKNNke

Innovative Hipster Green Transport.

Faced with the meltdown of British politics the left needs new thinking.

As a service to the movement Tendance Coatesy presents extracts from this (leaked) document, which will be discussed as policy by the Left Unity Party and the Labour Representation Committee (LRC) at their forthcoming conferences.

“The success of comrade Alex Salmond in Scotland and the rise of UKIP shows the need for radical changes in left policies.

Drawing on the best social democratic traditions of the SNP, Beppe Grillo (MoVimento Cinque Stelle), and Lyndon LaRouche Left Unity and the LRC must take steps to change, fo’ shizzel.”

“Our programme begins with the Hipster base of the new vanguard of leftward moving masses.”

“Hackney is Amazeballs, totes!”

But what do we have?

Shit, dude, my bad’

The Independent ‘ipster Republic of Hackney – confederated with the Scottish Radical Independence Campaign – aims to change this.

Our borough is a fest burg – free from the control of the Westminster Monarchy and her Labour, Tory and Liberal political elite.

Our policies include:

  • Promoting  reuse: recycled hamsters, lucozade and taurine drinks in gourds.
  • Niche products: bladderwrack steak and absinthe flavoured chips.
  • A new University of Gerry Healy Studies – with no student fees!
  • Free crystal therapy care.
  • Promoting Hipster Hygiene in a new public baths. Though hipsters participate in the no shampoo and no soap movement, most keep clean with olive oil scrapers.
  • Cuneiform – the original writing form destroyed by Orientalists – to be taught in all schools.
  • Promoting ‘ipster enterprise:

hfs6ytt

How we will we pay for this?

Taking a leaf out of the SNP’s book we plan to offer an attractive package to socially aware and smartly ironic City enterprises to relocate in Hackney with a 20% reduction in all taxes.

Negotiations are underway with Donald Trump to build hipster golf courses on Hackney marshes.

We plan to stand and support no candidates in any elections.

But we will issue the following mordant campaign song,

“Wiv a ladder and some glasses, you can see to ‘ackney marshes, if it wasn’t for the ‘ipsters in-between!”