Showing posts with label Politics. Show all posts
Showing posts with label Politics. Show all posts

Thursday, November 05, 2009

Yadda Yadda Yadda


I'm of the opinion, like many others, that those at the very top of the football-playing pyramid get paid rather obscenely inflated salaries. And, even if one can defend them on a market-based rationale, as folk like Simon Kuper and Joseph Stiglitz have done, one might expect the well-paid players to at least contribute their fair share in tax. Such is the thinking of the French government, which intends at the end of the season to do away with tax breaks tied to collective image rights, which limits greatly the amount of tax paid by wealthy footballers, basketball players and rugby players in France. The Spanish government has already moved to plug similar tax gaps, unsurprisingly given the shocking rise to 18% unemployment the country has experienced in the past year.

Of course, football clubs are up in arms about it, particularly as hefty salaries being paid by the big clubs are finally making French teams a force to be reckoned with in Europe, with Bordeaux and Lyon both qualified for the second-round of the Champions' League after four games and Marseille are still in with a chance of progressing. Secretary of State for Sport, Rama Yade has voiced her opposition to the measure, backing the clubs up saying it will make French clubs less competitive. Considering her immediate superior Roselyne Bachelot supports the move, it's not a smart move. And it's one that the young Yade made out of enthusiasm for her portfolio (I've read a number of interviews with her in the sporting press recently and she is rather to eager to please) rather than out of any strong point of principle. But she is bound to pay for her gaffe; Sarkozy has had it in for her ever since she refused to stand for the European elections. The junior sports portfolio was widely considered punishment and now even that is likely to be taken away from her. Le Monde says her days in Sarkozy's UMP are numbered, but it seems that the Socialist Party will intervene to save her from the dogs once she is thrown to them. The PS say they will put her at the top of the list in Hauts-de-Seine for next year's regional elections. I presume she would have to soften her opposition to tax cuts for millionaires first.

Thursday, September 17, 2009

Distorting the Anti-Israel Protests in Toronto

John Greyson's entirely reasonable decision to protest the Toronto International Film Festival's City-to-City spotlight on Tel-Aviv (and the supporting letter from a group of activists, artists and intellectuals such as Naomi Klein, Jane Fonda and Slavoj Zizek) has been predictably distorted and misrepresented by Israel's backers. Greyson cites the war in Gaza (for which both Hamas and Israel were criticised for human rights abuses by the UN this week), the continuation of a long-established apartheid-style policy in the Occupied Territories as reason for his reluctance to allow his film 'Covered' to be shown at a festival which turns a blind eye to the reality of Israel's outrageous flouting of decency and international law:

To my mind, this isn't the right year to celebrate Brand Israel, or to demonstrate an ostrich-like
indifference to the realities (cinematic and otherwise) of the region, or to pointedly ignore the international
economic boycott campaign against Israel. Launched by Palestinian NGO's in 2005, and since joined by
thousands inside and outside Israel, the campaign is seen as the last hope for forcing Israel to comply with
international law. By ignoring this boycott, TIFF has emphatically taken sides -- and in the process, forced
every filmmaker and audience member who opposes the occupation to cross a type of picket line.

The follow-up collective letter to the TIFF protests the spotlight also, correctly pointing out the uncomfortable fissure between a city such as Tel Aviv, that admittedly has its admirable qualities, and the grim reality of Israeli state policy:

The emphasis on 'diversity' in City to City is empty given the absence of Palestinian filmmakers in the program. Furthermore, what this description does not say is that Tel Aviv is built on destroyed Palestinian villages, and that the city of Jaffa, Palestine’s main cultural hub until 1948, was annexed to Tel Aviv after the mass exiling of the Palestinian population. This program ignores the suffering of thousands of former residents and descendants of the Tel Aviv/Jaffa area who currently live in refugee camps in the Occupied Territories or who have been dispersed to other countries, including Canada. Looking at modern, sophisticated Tel Aviv without also considering the city’s past and the realities of Israeli occupation of the West Bank and the Gaza strip, would be like rhapsodizing about the beauty and elegant lifestyles in white-only Cape Town or Johannesburg during apartheid without acknowledging the corresponding black townships of Khayelitsha and Soweto.

Israel's supporters haven't been long making their voices heard: Marvin Hier of the Simon Wisenthal Center told a press conference that "Tel Aviv is one of the freest cities in the world, warts and all: a model city of diversity, freedom of expression and tolerance, for Arabs and Jews." He added: "It is the height of hypocrisy to single out Tel Aviv. These protesters cannot masquerade their hatred toward Israel." One need only point out the fact that the Tel Aviv distict population is comprised of only 2% Palestinian Arabs, a shockingly low number for a city built on razed Arab villages, to show Hier's model of diversity to be the nonsense it is.

Then a number of Hollywood Jews (their words, not mine) have signed a letter of counter-protest, employing some breathtaking hyperbole to denounce the anti-Israel protest as 'a blacklist', saying that "Blacklisting them [Israeli films] only stifles the exchange of cultural knowledge that artists should be the first to defend and protect. Those who refuse to see these films for themselves or prevent them from being seen by others are violating a cherished right shared by Canada and all democratic countries."

Let's go back to what Greyson said in his letter (my emphasis):

Let's be clear: my protest isn't against the films or filmmakers you've chosen. I've seen brilliant
works of Israeli and Palestinian cinema at past TIFFs, and will again in coming years
. My protest is against
the Spotlight itself, and the smug business-as-usual aura it promotes of a "vibrant metropolis [and] dynamic
young city... commemorating its centennial", seemingly untroubled by other anniversaries, such as the 42nd
anniversary of the occupation. Isn't such an uncritical celebration of Tel Aviv right now akin to celebrating
Montgomery buses in 1963, California grapes in 1969, Chilean wines in 1973, Nestles infant formula in
1984, or South African fruit in 1991?

and the collective letter of support (my emphasis once again):

We do not protest the individual Israeli filmmakers included in City to City, nor do we in any way suggest that Israeli films should be unwelcome at TIFF. However, especially in the wake of this year’s brutal assault on Gaza, we object to the use of such an important international festival in staging a propaganda campaign on behalf of what South African Archbishop Desmond Tutu, former U.S. President Jimmy Carter, and UN General Assembly President Miguel d’Escoto Brockmann have all characterized as an apartheid regime.
Now, call me old-fashioned, but a diligent close reading of those two statements reveals to me no hatred of Israel or its film-makers but rather points out the iniquity of doing what is in effect propaganda work for the Israeli state. I don't blame the likes of David Cronenberg, Jerry Seinfeld or Minnie Driver for standing up for Israeli filmmakers and it's quite possible that their knowledge of the controversy was at best flimsy or distorted by the pre-drafted letter of protest they were asked to sign. One must also bear in mind that the majority of the signatories are American, and in much of the US, on the left as well as the right, criticism of Israel is routinely tarred as anti-semitism. But all those signatories should at the very least read the two letters as they were actually published. There is no hatred of Israel nor is there any overly-emotive chest-beating.

As regular readers of this blog will know, I'm a great admirer of recent Israeli cinema, particularly the films of Avi Mograbi, Ari Folman, Shlomi and Ronit Elkabetz, Eran Riklis, Raphaël Nedjari, Keren Yedaya and Eytan Fox. Films by some of them were screened in the TIFF. Israeli films deserve to be seen, not least because they sometimes offer an honest, objective account of Israeli society that is at odds with some of the brow-beating nationalism of right-wing Israelis and their Zionist supporters (Fox's The Bubble is, ironically, a clear-eyed account of Tel Aviv's shortcomings as a 'diverse city'). But Israel, or Tel Aviv, cannot be treated the same as other countries as long as its government continues to flout international law, proceed with policies that border on ethnic cleansing, while at the same time having the gall to accuse those who oppose illegal West Bank settlements of supporting the same. It is likewise disingenuous of an Israeli filmmaker such as Samuel Maoz to claim he might not have won the Golden Lion at Venice, as he did for his war film Lebanon, had Jane Fonda or any other signatories been on the jury. Israeli films get a fair crack of the whip in international film festivals and I know nobody who suggests that they should be boycotted or shunned. Ken Loach was accused of censoring Tali Shalom Ezer's Surrogate at the Edinburgh Film Festival last year when he called for a boycott. But his target was not Shalom Ezer or his film, but rather the fact that the organizers had accepted money from the Israeli government to pay for Shalom-Ezer’s travel costs.

It's true that boycotts of Israel, be they academic or cultural, should be applied with care and discretion (I have no qualms whatsoever about applying economic boycotts) and though they are supported by some on the Israeli left, such as Ilan Pappe and Neve Gordon, they are opposed by others such as Uri Avnery. It is also true that some of those who take a pro-Palestinian stance are motivated more by hatred of Israel than a sense of justice for Palestinians. But the calls of protest against the Toronto International Film Festival were nothing but measured and reasonable.


Update

All credit to Roger Ebert, who, having initially condemned the protest, revised his position when presented with more facts. He said

I'm writing this the day after first posting this entry. I now regret it. The point I make about artists is perfectly valid but I realize I wasn't prepared with enough facts about the events leading up to the Festival's decision to showcase Tel Aviv in the City-to-City section. I thought of it as an innocent goodwill gesture, but now realize it was part of a deliberate plan to "re-brand" Israel in Toronto, as a pilot for a larger such program. The Festival should never have agreed to be used like this.

It's a brave, honest retraction, and one which aims to please neither side of the debate. It also confirms my suspicions mentioned above that some of the Hollywood figures that signed the condemnation of the protest might not themselves have been fully aware of the situation. It all underlines the importance of getting information out to combat the hasbara lies. Even staunch supporters of Israel can view things clearly when they are provided with the truth.


Wednesday, September 16, 2009

Disco Infernal

This is a film that has been and gone most places but I'll give it a mention because I wasn't on blog duty when it came out a few months back. Tony Manero is the tale of Raúl, a 52-year-old ne'er-do-well obsessed with Saturday Night Fever in the dark days of the military dictatorship in Chile in the late 70s. His dream is to appear in a TV talent contest as a John Travolta clone. So far, so-Full Monty. But Tony Manero is a far more scabrous, unobliging work, an ill-mannered riposte to the idea that popular culture (especially American pop culture) can provide redemption in the face of political repression. In this film, pop music is, at best a malign distraction from the evil within, at worst a vector for the rotten state of a country whose ruling élite has placed its consumer concerns above human ones. It reminds me of the lines parrotted by Pinochet supporters as the old bastard was held under house arrest in London ten years ago: "Before the General came to power, you couldn't even get blue jeans in Chile. He saved our country."

Apparently at its Cannes screening 18 months ago, several Hollywood studio executives left violently angry, incredulous anyone could envisage their product used for dark ends. Job well done, Pablo Larraín, whose second film this is. One of the films of 2009 so far.

Apologies for the lack of subtitles in the clip:




Friday, September 11, 2009

The Colonel's Protection Racket

Fred Halliday has a fine piece at Open Democracy about Libya on the 4th anniversary of Colonel Gaddafi's 'revolution' which led to the establishment of the Jamahiriya. Halliday's article is thorough and based on first-hand experience and a wide knowledge of the country. There's also an abundance of links and references that will inform most about this most secretive of Arab countries. Interesting asides tell us of Gaddafi's fondness for bestowing and removing names - he has Arabised the names of Western products from 7-Up to Johnny Walker (which brings us back to this).

Halliday is no admirer of Gadaffi nor an equivocator on his regime and its anti-imperialist rhetoric. His conclusion is apt, particularly so, in light of the probable innocence of Abdlebaset al-Megrahi for the Lockerbie bombing:

Libya is far from the most brutal regime in the world, or even the region: it has less blood on its hands than (for example) Sudan, Iraq, and Syria. But al-Jamahiriyah remains a grotesque entity. In its way it resembles a protection-racket run by a family group and its associates who wrested control of a state and its people by force and then ruled for forty years with no attempt to secure popular legitimation.


Libya’s regime at 40: a state of kleptocracy | open Democracy News Analysis



Technorati Tags: , ,

UMP's 'Macaca Moment' Still Some Way Off

Brice Hortefeux, Nicolas Sarkozy's former chief Immigrant Hunter, and the current Minister for the Interior, is the centre of a row surrounding a 'bit of slagging' he indulged in at the UMP université de l'été (a party-political version of the Irish 'summer school'). A young French-Arab party member, Amine Benalia-Brouch, is on the end of some ribbing by Hortefeux, who remarks approvingly that he 'eats pork and drinks beer' and doesn't 'correspond to the prototype.' At the end Hortefeux says "Il en faut toujours un. Quand il y en a un, ça va. C'est quand il y en a beaucoup qu'il y a des problèmes." ("You always need one. When there's one, it's fine. It's when there's a lot of them that there are problems.")

Facing calls for his resignation, Hortefeux says it's all a misunderstanding, saying that he was joking about Mr Benalis-Brouch's Auvergnat origins rather than his Arab ones. I can buy that, but Hortefeux's off-colour banter is still more Ann Winterton than Larry David, playing to the heaving, bullying mentality of the crowd surrounding him. There's an ugly air of hazing about the incident, even if Mr Benalia-Brouch says he wasn't at all offended. I'm sure he's experienced far worse in his 22 years and upon joining the UMP, he had surely resolved to put up with at least some of it. Not that that excuses Hortefeux's comments, which had more than a touch of Michael Steele's recent inept efforts to draw Black Americans to the Republican Party. Hortefeux's remarks are more xenophobic than racist but they prove what most of us knew when Sarkozy was on the verge of getting elected: that the rise of a Sarkozy-UMP government would lead to the decomissioning and sidelining of Jean Marie Le Pen and the Front National, but not the defeat of the Frontiste credo. The central tenet of Front National thinking, that Arabs, Muslims and Africans have no place in France has its echo in the current government. Forget about Rama Yade, Rachida Dati, Fadela Amara and other cosmetic cabinet appointments: the UMP is still overwhelmingly the party of the white French bourgeoisie. And they don't intend to open up to anyone different any time soon.

I suspect Hortefeux will ride out the calls for his resignation but one wonders when the UMP finally undergoes its 'Macaca moment' and finds it might have to rethink its willful exclusion of those whom it has managed to get by well enough well enough until now. Of course, Sarkozy and Hortefeux's preferred way to stave off that evil day is to track down and expel 30,000 of the blighters every year.

Le dérapage de Brice Hortefeux à l'université d'été de l'UMP - LeMonde.fr



The Strange Politeness of the US Congress

'Faut-il cracher sur Joe Wilson?' as the French would say. The South Carolina Congressman has been the villain of the piece ever since his boorish two-word heckling of Barack Obama Wednesday during the President's healthcare address to Congress. Alex Massie thinks not. He mounts an amusing defence of Wilson, who is, in Graham Greene's expression, probably not 'man enough to be damned' in any case. But Massie is more concerned by the culture of deference that prevails in the chambers of the US congress, raising the President, whom Massie correctly points out, was in political, not executive mode, on Wednesday night, to the level of monarch. Heckling, as per Westminster, should be part of the game, and should not be subject to sniffy moralising on either side of the aisle. It would also, as Alex says, force the President to raise his game. It would be far better for US politics, and society in general, if this sterile environment in Congress were done away with and the focus of political debate shifted there from the poisonous surroundings of news TV and talk radio (and MSNBC, I'm talking about you as much as at Fox).

In Praise of Joe Wilson - Page 1 - The Daily Beast


Tuesday, September 08, 2009

Twits for Peace

Something from last weekend. An opinion piece, written by a former US national security advisor, in the normally lucid and admirable Christian Science Monitor that calls for Twitter to be nominated for the Nobel Peace Prize. Yes, really. Iran is the main reason cited, given the widespread use of Twitter by pro-democracy activists in the post-election protests. The CSM even gets a bit emotive on it, indulging in foamy rhetoric last seen in Stanley Kramer's heyday:

Without Twitter, the world might have known little more than a losing candidate accusing the powers that be of alleged fraud. Without Twitter, the people of Iran would not have felt empowered and confident to stand up for freedom and democracy. They did so because they knew the world was watching. With Twitter, they now shout hope with a passion and dedication that resonates not just with those on their street, but with millions across the globe.

My word, what utter nonsense. Those that know me know I'm not behind the door when it comes to tweeting and I have no intention of joining the chorus of jobbing journos who see imminent social decay in people's micro-blogging. But let's keep things in perspective. Twitter was a useful tool for Iranian protestors to disseminate images to the world, not least images of the murder of Neda Agha-Soltan, though it is questionable how useful it was for organising protests given that Iran had a relatively small number of Twitter users and given how easily traceable users are on it. And there is of course the fact that many decoy feeds were set up by Iranian authorities. Evgeny Morozov is a great deal more sensible about this and internet activism and security are his domain, knowing a thing or two about repressive regimes (he's of Belarussian nationality). He cautions against a 'cyber-utopianism' which imagines that web applications such as Twitter can be used to bring down authoritarian regimes.

Iran's protests would have happened without Twitter; to suggest otherwise is to insult both the bravery and the sophistication of those that organised and participated in them. It's an absurdly solipsistic view of westerners to imagine that the mass protest against a thirty-year-old theocracy might be suddenly given fresh impetus by a tool that most of us use for diversion. If Twitter should get the Nobel peace prize, why not give it to the printing press, the telephone, the human voice? Has the world really run out of humans striving for peace and justice that we must reward a web application conceived with little other than instant messaging in mind?

There is also a disturbing vertically-integrated culture of heroes and villains in this 'Twitter revolution theory', it's all plucky secular Iranians against the Mullahs, plucky little Georgia against the big bad Russian bear, the plucky Venezuelan bourgeoisie against Hugo Chávez. And Morozov is guilty of this himself, in his analysis of the 'Moldovan Twitter revolution'. Moldova, earlier this year, was the first instance of Twitter being used to organise and publicise protests. But what few people mention is the fact that the protests were against an election victory in polls judged free and fair by observers. While I can understand the frustration of Moldovan youth who bristle at living under a democratically-elected communist government (I have liked few of the governments I myself have lived under) the moral force of the protests was not persuasive. And, among people in the west, there's a rather strange assumption that people who use Twitter for political ends must be on the side of the angels. A quick look at a few Twitter feeds will convince otherwise. A little bit of perspective on Twitter would be welcome. It's safe to say that many authoritarian regimes and protests against them will long outlast micro-blogging as we know it.


Tuesday, August 25, 2009

Jeremy Scahill, Another Journo Doing His Job Properly

If I'm going to praise Jon Stewart, I should also proffer plaudits to The Nation's Jeremy Scahill, whose ongoing reporting investigates Blackwater and the CIA's collusion in the alleged murder and torture of Afghans and Iraqis. The other night on 'Real Time With Bill Maher', he took aim at fellow journos, such as fellow panelist Chuck Todd, for their lack of due diligence in reporting the affair. Todd had previously dismissed the matter as 'political catnip' and that reporting it more vigorously would turn it into 'a political foodfight' that would ultimately allow Blackwater off the hook. Todd's point might, in other circumstances appear commendably clear-headed and pragmatic but Scahill's reply trumps him, saying that 'the only way you prevent future torture is to prosecute past crimes.' The fact that Todd allegedly complained to him off-air about sullying his reputation on TV shows where his priorities lie.

Jeremy Scahill Slams Chuck Todd, Media, Congress Over Blackwater On "Real Time With Bill Maher" (VIDEO)


Monday, August 24, 2009

Jon Stewart, a Real Journalist Among Jokers

After having a go at the US media yesterday, I have to salute one of the truly great American newsmen, who presents a show on the Comedy Channel. Yes, I'm talking about Jon Stewart. People have said that it's a poor reflection on the US media that one of the most probing mainstream journalists is ostensibly a comedian/entertainer when many of the supposedly more serious journalists churn out stuff that is, well, comical in its worth. But that is unfair to Stewart. For all his charm and inflected irony he is a proper, responsible journalist who doesn't make a song and dance about the fact. While it's true that Stewart has a team of researchers and writers that most journalists don't have, his sense of probity and his skill at calmly outlining an argument marks him out from the rest of the field. He was one of the few in the mainstream US media to question Israel's murderous pummelling of Gaza and last week he demolished 'death panel' guru Betsy McCaughey, who, for all her mendacity and hyperbole, is a formidable adversary. It's a long debate but worth a watch. The US needs more journalists like Stewart and more networks and media outlets willing to air dissent. And I have to lift my cap to Comedy Central for its sensible and generous policy of allowing others to embed its videos.



The Daily Show With Jon StewartMon - Thurs 11p / 10c
Exclusive - Betsy McCaughey Extended Interview Pt. 1
www.thedailyshow.com
Daily Show
Full Episodes
Political HumorHealthcare Protests



The Daily Show With Jon StewartMon - Thurs 11p / 10c
Exclusive - Betsy McCaughey Extended Interview Pt. 2
www.thedailyshow.com
Daily Show
Full Episodes
Political HumorHealthcare Protests



The Daily Show With Jon StewartMon - Thurs 11p / 10c
Exclusive - Betsy McCaughey Extended Interview Pt. 2
www.thedailyshow.com
Daily Show
Full Episodes
Political HumorHealthcare Protests

Sunday, August 23, 2009

Why Is There Such Uncritical Acceptance of Abdelbaset al-Megrahi's Conviction in the US?

Abdelbaset al-Megrahi walked free yesterday, having been freed on compassionate grounds by the Scottish executive. The US is outraged, as, understandably are many families of victims of the Lockerbie terrorist attack, and everyone, including Scottish First Minister Alex Salmond, questioned the taste of the hero's welcome afforded Megrahi in Tripoli. The Libyans have pointed out that the welcome was not an official one but that's hardly going to convince the critics. But what few people have mentioned is the fact that those that welcomed Megrahi were not necessarily gloating over the murder of 270 people but because they believe that Megrahi is innocent. And they're not the only ones.

There are accusations flying about, most notably that Megrahi's release was part of a deal the UK struck with Libya to further open the country up to British oil companies. And Seif al-Islam Gaddafi, who holidayed with deputy PM (and former EU trade commissioner) Peter Mandelson on Corfu last month, says that's exactly what happened. Whitehall firmly denies this, leaving us in the invidious position of deciding whether we should believe the son of Muammar Gadaffi or a New Labour government. There are those who rightly point out the shabby behaviour of the British government in all this, who have been able to maintain their good relations with Libya while letting the SNP-run Scottish executive take the flak. Then there are others who suspect that the compassionate release was timed to avoid uncomfortable truths emerging in Megrahi's second appeal.

I'm not sure if I completely agree with the matter of compassionate release in cases of such gravity, but, as victim's father Dr Jim Swire says, that's neither here nor there because, like him, I am convinced that Megrahi had nothing to do with the bomb that brought down Pan Am flight 103. His conviction rests on the flimsiest of circumstantial evidence and on the word of one man, the Maltese shopkeeper Tony Gauci, who claims to have sold Megrahi the clothing that was wrapped round the bomb. Gauci was interviewed by police 17 times and gave conflicting evidence on a number of occasions. It is also alleged he was offered a $2m reward in return for giving evidence, and that he was coached by police, and wined and dined by them in advance of giving his testimony.

Megrahi's defence also argues that the forensic tests on the circuit board of the timer were incomplete, relying on visual evidence rather than on gaseous swabs. The credibility of the three forensic scientists employed by the prosecution is also in doubt, not least because of them Dr Thomas Hayes was involved in the framing of the Maguire Seven in 1976. The defence also says it has a secret document that disputes prosecution claims that Megrahi bought a digital timer from a Swiss company, Mebo and then planted the bomb on a flight from Malta to Germany. In 2007 the Scottish Criminal Cases Review Commission announced there was 'no reasonable basis' to place Megrahi in Malta at the time in question. It has admitted new evidence to allow a second appeal to go ahead, which Megrahi withdrew - needlessly - last week. Its 800-page report has never been published.

The US and British prosecutors originally targeted Mohammed Abu Talb, an associate of the Popular Front for the Liberation of Palestine, who was allegedly contracted by the Iranian government to blow up the plane in retaliation for the downing of Iran Air Flight 655 by the US navy cruiser Vincennes five months previously. But it seems realpolitik intervened during the 1991 Gulf War when the US declined to antagonise Tehran so as to be able to use its airspace during the attack on Saddam Hussein's Iraq. The focus then turned to Libya, none too implausibly, given Muammar Gaddafi's deep enmity towards the US and his previous sponsorship of terrorism, including the LaBella nightclub bombing in Berlin in 1986.

Gaddafi kept Magrahi and fellow suspect Lamin Khalifah Fahima under house arrest for several years until, after protracted negotiations with the US and the UK - and UN sanction - he handed them over to Scottish prosecutors in the Netherlands, where they stood trial, and Magrahi was convicted, in 2000. Since then Libya has gradually eased itself out of its pariah-state status, agreed to scrap its weapons of mass destruction, signed successions of trade deals with Western investors and become Italy's de facto immigration policeman in return for 'reparations' for Italy's colonial past in the country. The fact that Libya accepted responsibility for the bombing in 2003 is uncritically accepted as the cornerstone for the soundness of the case against them, as if the word of a dictator who brutally suppresses dissent at home and who sponsors terrorism abroad would ever be worth anything. The Gaddafi regime has done well out of its co-operation with the Lockerbie prosecution but it now seems to be having second-thoughts with Prime Minister Shukri Ghanem telling the BBC in 2004 that the admission was made - and $2.15billion dollars of compensation to victims' families paid - as the 'price for peace'. Abdelbaset al-Megrahi was the convenient patsy that took the fall for all this.

The case for Megrahi's innocence is not some obscure 9/11 'truther'-style conspiracy theory. UN observer Hans Köchler questioned the conduction of the trial, detecting political motives. Former Scottish Labour MP Tam Dalyell has long proclaimed Megrahi's evidence as have two British parents of victims, Dr Jim Swire and Martin Cadman, both of whom described Megrahi's trial as a farce. The Scottish Criminal Cases Review Commission saw sufficient irregularities in the trial to allow a second appeal while a retied Scottish police chief has testified that evidence was fabricated by the CIA. All of this points to a strong suspicion that the compassionate release was designed to sidestep uncomfortable disclosures in the appeal. The evidence to hand is almost overwhelmingly in favour of describing the conviction of Abdelbashet al-Megrahi as a miscarriage of justice of such a scale that it makes the framing of the Guildford Four, the Birmingham Six and the Maguire Seven seem minor indeed.

But all of the above either falls on deaf ears in the US or is never reported. Washington's protestations have been matched by victims' families, with Susan Cohen, who lost her daughter Theodora calling Megrahi's release a 'disgrace' and 'vile'. There has been further outcry from newspaper editorialists and from commenters on blogs. But references to questions over the soundness of the conviction are few and far between. One can forgive victims' families their bitterness - and Megrahi, while maintaining his innocence, has done that - and one can also forgive the average American their ignorance, considering the other side of the case is so poorly reported in the media over there. One might cynically point out that a substantial number of Americans still believe Saddam Hussein had a hand in September 11th and that there were weapons of mass destruction in Iraq in March 2003, but my intention is not facile Yank-bashing. The US media are however culpable of a shocking irresponsibility in their coverage of the affair from start to finish. One might expect nothing less from the likes of Fox News and the Wall Street Journal, whose stock in trade is lies and libel. But the behaviour of other media outlets, both old (The New York Times, Washington Post and the Chicago Tribune) and new (Huffington Post) has been exceptionally remiss with all the self-righteous editorialising completely ignoring the strong evidence there is for a miscarriage of justice. Instead Steve Chapman at the Chicago Tribune says 'Libyans celebrate mass murder', a pundit on CNN wonders if the Libyans who cheered Megrahi's return home were terrorists. The Philadelphia Inquirer says Megrahi showed no compassion to his victims. The paper of record says questions arise after Megrahi's release but, of course, these questions pertain only to a possible deal done between London and Tripoli. Megan McArdle at the Atlantic is similarly coy (or ignorant) about the dubiousness of the conviction, while her colleague Eric Tarloff breaktakingly says 'Assuming Megrahi received a fair trial -- and I have read nothing to indicate otherwise -- a life sentence seems the minimal appropriate punishment for a crime of such enormity.' If Tarloff has failed to read anything that casts doubt on whether Megrahi received a fair trial, you have to question his fitness to hold a press card. The Boston Globe similarly omits to mention the flimsiness of the evidence against Megrahi. Even left-wing media are reticent on the matter, with no mention even of Megrahi's release to be found in The Nation, Mother Jones or In These Times. Only the New York Times' Lede blog gives any airing to questions raised in the media the other side of the Atlantic while the Daily Kos wonders, tentatively if there might be something wrong with the conviction.

So why is the US media reporting the story - and opinionating on it - with an almost unanimous disregard for the facts and with moral cowardice, as if questioning Megrahi's guilt would in some ways be an insult to the victims and their families? Why is the US media so uncritical and supine in its acceptance of what is clearly a flawed judgement? Why is it abdicating its responsibility to investigate a story that is crying out for media attention? It proves that David Simon's fears of a compliant, unquestioning media that doesn't do its job properly is already with us. My suspicion is that the US media and those outraged by Megrahi's release are willfully deluding themselves, repressing unwelcome truths in order to facilitate a narrative, to bring 'closure' to the bereaved, who are, understandably never going to recover from what was a terrible loss. An article in the Chicago Tribune says that Megrahi's release 'erases some of the victims' closure'. Larry Wild, whose stepdaughter Miriam Woolf died in the bombing says 'we thought we had judicial closure'. It's natural that grieving relatives should feel this way but the fact that this 'closure' was provided by Megrahi's dubious conviction does not make it right. Some of the US families accept that Megrahi was probably not ultimately responsible but they are still happy to accept his conviction, for want of a bigger fish in the net. In this psychodrama, Megrahi functions, both literally and metaphorically, as a scapegoat, and his role as the villain of the piece has symbolic value even for those who suspect he might not actually be the right guy. And the US media feeds all this. The role of responsible news-reporting is not to provide comfort and succour, not even to those who, like the families who lost loved ones in the Lockerbie bombing; its role is to investigate and query when there are reasonable grounds for doubt. The case against Megrahi is thin, the evidence so circumstantial that it would probably fail to meet probable cause for prosecution in a US court.

Relatives of British victims have been much more objective and clear-eyed in their reaction to Megrahi's conviction. This is understandable, as unlike American families, they have more immediate access to the investigation and have been able to follow it more closely. The fact that it was a Scottish court that produced the miscarriage of justice also gives them an extra vested interest in seeing something more than summary justice done. But the intransigence of some American families, while understandable, is harmful. Jim Swire says he has been unable to have a meaningful conversation with the US families since the 2000 trial and he also says the families were groomed, prepped and isolated by US authorities throughout the trial. Martin Cadman said last week that American families convinced of Megrahi's guilt need to 'get real' - a harsh comment but Cadman, like Swire and Rev John Mosey, knows that the show trial has deepened rather than assuaged the pain and hurt caused by the attack. Swire has been said to be suffering from Stockholm Syndrome by Lord Fraser, the Lord Advocate who oversaw the Camp Zeist trial, an outrageous smear on someone who rightly questions the conviction, and who is supported by many top Scottish legal minds, including Robert Black, who first proposed holding the trial in the Netherlands.

Lost in the diplomatic outrage, the headlines and the motives of Libya - which, again, are not implausible - is a simple matter of legal rectitude. Libya may or may not have been responsible for the attack - its previous admissions of responsibility are not to be taken at face value - and Megrahi is probably no angel either, as few people working for the Libyan secret service (or any secret for that matter) are. The problem is one of due process and the irregularities are so glaring that Scotland's own legal review board has called the conviction into question. Convictions can only be secured on available evidence and testimony, which, in this case, are flimsy to threadbare. We mightn't like it (or like Gaddafi's squalid, brutal regime) but it is highly unlikely that Abdelbaset al-Megrahi planted the bomb on Pan Am Flight 103. That the US media is failing to report this side of the story is a dereliction of journalistic duty.

Wednesday, August 19, 2009

Inglorious Basterds: the Making Of

The arguments against Obama's timid healthcare reforms aren't getting any stronger:




Hat tips: Cormac, once again, and Slugger.

Wednesday, May 07, 2008

The Perfect Vehicle for Racism?

Charles de Gaulle famously attributed his surviving an attempt on his life to the design of his armoured Citroën DS. Front National leader Jean-Marie Le Pen is another French poltician who gets around in a heavily-protected motor and now it's yours to bid for on eBay. The FN is a bit hard for cash at the moment and the sale of Le Pen's 1991 Armoured Peugeot 605 follows on the auctioning of the fascists' headquarters in leafy St-Cloud, just west of Paris. The FN is moving to Nanterre, which as well as being home to ethnic minorities that wouldn't be too attuned to the party's 'message', is also a little bit rougher so perhaps Le Pen might need to beef up on security with an updated model.

The car in question has passed an MOT test as recently as the 4th of July last year, is blue (naturellement), equipped with air conditioning, central locking, anti-lock braking, automatic transmission (curious, that), CD car stereo, and despite its daily use by its very active owner, is reportedly in excellent condition. The bidding currently stands at €18,050, to close on Monday evening next, and the seller considers the car to be a collector's item. 'No timewasters', is also helpfully added.

On a not really related point, here is the latest video from Parisian electro duo Justice, which features a gang of French suburban youth (all of them black) going on a rampage, terrorising and attacking passers-by, police and security guards alike. It has been ignored by French TV, which is not surprisingly nervous of the accusations of racism. It has been racking up the hits on YouTube since; a friend of mine, who directs music videos herself, thinks it's racist and a perfect recruitment video for the FN but I think it's simply provocative, not to mention exploitative. (For those that don't know, the members of Justice, Gaspard Augé and
Xavier de Rosnay, are both white and from rather well-heeled backgrounds.) But the video is hardly any more racist than if they used a gang of marauding white football hooligans. Of course there is an inescapable racial angle and the video will goad a lot of viewers to apply their own prejudices when watching it. If you think that mindless violence is representative of black suburban youth that's what you will think when you watch this; many others won't however. But the fact that the young thugs wear hoodies with the very-recognisable Justice crucifix logo, and they attack a microphone boom operator at one point, and the title of the song is 'Stress' suggests a self-reflexive jokiness; that of course will madden and offend some folk even more. But there you are. Interestingly, the director is Romain Gavras, the 26-year-old son of Costa-Gavras, the lefty Franco-Greek director of such films as Z, Missing and Betrayed.


Saturday, May 03, 2008

Those That Have Kerviel Done to Them...


My absence from here over the past few months has caused me to miss some big news and I should forsake commenting on stuff that has long gone stale. I can't however resist going back to the story of Jérôme Kerviel, the French trader accused of being responsible for the loss of 4.82 billion euros, particularly on hearing the news that he is back in work after being headhunted as an IT consultant.

When the story broke in January there was a curious rallying on the French left to support Kerviel, proclaiming him a hero for exposing the mania of financial speculation. While it is quite likely that Kerviel is being held as a scapegoat for his part in the affair (it has been alleged by a number of sources that his employer Société Générale knew of his dealings and tacitly approved of them), the notion that an ambitious young financial trader might have some leftist whistle-blowing agenda is fanciful to say the least.

I find Kerviel fascinating though, mainly because of his very ordinariness, which is in sharp contrast to the magnitude of his financial losses, but also because of his name, which is wonderfully evocative, for English speakers at least. The plosive 'k', common to Breton surnames, followed by a 'v' and an 'l', suggests 'live', 'curve', 'evil' (something that is compounded by that unfortunately sinister-looking photograph of him that circulated in the wake of the affair) and also the late Eval Kineval, a suitable metaphor for Kerviel's acts of financial daredevilry. (English speakers should also note that the name is pronounced with three, not two, syllables, the el at the end carrying the main stress.)

Then there was the news that the story is to be turned, inevitably, into a film. No doubt it would follow the familiar trajectory of the financial scandal movie (most of which are scarcely memorable). Given that there is little of Kerviel's personal or professional life that gives itself to great drama (or drama full-stop) I think it would be more interestingly to dramatise the police interrogation of Kerviel, played along the lines of Claude Miller's brilliant 1981 film Garde à vue in which Lino Ventura's detective interrogates wealthy businessman Michel Serrault on the suspected muder of his wife. Gilbert Adair, on reviewing the film of Nick Leeson's own financial misdealings in Rogue Trader complained that the film was short on facts, relying instead on clichéd scenes of arriviste high living. An interrogation film in which Kerviel guards his hand carefully would be something I would gladly watch and which would tease the truth out of the story a lot better and more beguilingly than reams of newsprint. Somehow I don't think will be the film we'll be seeing though.

Sunday, March 02, 2008

Irish Left Review

Another step in from the cold, if only to alert you all to Seanachie's blogging activities elsewhere, on the newly-launched Irish Left Review, where he is writing on cinema alongside fellow Irish pinkos drawn from Dublin Opinion, Cedar Lounge Revolution,ie-politics, Maman Poulet, Notes on the Front and Irish Election.

As I have said before, Underachievement is not down for good; it will come back at some point in the near future. But, for now, ILR is where it's at, as they say...

Tuesday, September 04, 2007

4 Months, 3 Weeks, 2 Days


Abortion lends itself well to drama, almost too well in fact. A subject that arouses strong emotions on both sides of the polemic is ripe for overwrought dramatisation. Too often the result is disappointing, more the stuff of a TV movie than cinema. Cristian Mungiu's Palme d'Or-winning 4 Months, 3 Weeks, 2 Days is a more sober-minded approach to the topic, and, at the risk of making a grotesquely disproportionate analogy, it is more powerful than your average abortion film just as Primo Levi's writings on Auschwitz, composed in the cold light of his own experiences are more jarring than many a commercialised emotional Holocaust book or movie that has appeared since.

Mungiu, born in 1968, is one of that generation of Romanians known as the decretei - the children of the decree - the decree being that of Nicolae Ceauşescu in 1966, forbidding abortion and enjoining on all Romanian women to reproduce as a patriotic gesture. The dictator's words 'the fetus is the property of the entire society; anyone who avoids having children is a deserter who abandons the laws of national continuity' dwarf even the worst attempts of Western moralists to exert control over women's bodies. Ceauşescu's abortion ban was part of a drive to increase the populaton of the country by 50% by the end of the century and though it didn't quite succeed, it did produce a generation of sufficiently rebellious youngsters that, like Mungiu, were approaching adulthood in 1989 and toppled the regime that caused them to 'be too many'. Such is the theory put forward by Steven Leavitt in Freakonomics, a not-entirely-persuasive one, but one which does have a good deal of logic to it. Mungiu, in an interview with Libération last week, stated that the moral debate over abortion that exists in the West was never applicable in Romania. People arranged clandestine abortions simply out of necessity and, as he says, partly out of defiance to the regime. It is this relatively simpler context that gives his film more air to breath and greater room for dramatic manoeuvre. It also helps that Mungiu, one of the new wave of hugely impressive Romanian directors, is a masterly technician who also knows how to manage actors perfectly.

The film takes place in a provincial city in Romania in 1987, and it charts the efforts of a young student Gabita to terminate her pregnancy, with the almost-single-handed help of her immensely resourceful friend Ottilia. A dodgy, yet consummately professional, illegal abortionist - superbly played by Vlad Ivanov - is engaged but Gabita's panicked modification of the truth causes problems that have disastrous effects. The film is beautifully shot, alternating between long virtuoso handheld sequences that remind one of the Dardenne brothers' Rosetta and even longer one-take static scenes that forensically observe both the abortion process and the girls' efforts to avoid detection. The lighting is despairingly gloopy, all grey and green tones, and it seemed even bleaker on second viewing, which makes further demands on the viewer. But the performances of all the cast, particularly the afore-mentioned Ivanov and Anamaria Marinca as Otilia, line the film with a surprising amount of humanity that leavens the task somewhat. Mungiu also leaves many things hanging in the film - for instance we are never told why Gabita has left it so late to have an abortion, and it is never exactly clear what the exchange that leads to the central tragic sacrifice articulates - and this once again gives the film a wider resonance than the average issue-of-the-week movie. There are of course many nuances that will only be familiar, I imagine, to Romanian audiences, many of which are delivered by the older generation at a birthday dinner for Otilia's boyfriend's mother. This scene is brilliantly shot in claustrophobic close-up and is the stuff of great drama; it is not even without some biting humour, such as a doctor and probably Party member (played by the ubiquitous Ion Sapdaru) who lashes out at the spoiled, ungrateful young.

4 Months, 3 Weeks, 2 Days is the fourth Cannes prizewinner to come out of Romania in the past three years and though the films have not been commercial successes back home (this one has yet to be released there in fact) their international profile has ensured that the directors Mungiu, Cristi Puiu, Corneliu Porumboiu and Catalin Mitulescu, and others to come, will be able to continue making films. Quite why there is this sudden proliferation of great films from the country is unclear though there is really no reason why a country like Romania with a strong and celebrated artistic heritage and a pained history to accompany it should be short of the raw material to make great films. Some might argue that Mungiu's film is not as great as Puiu's The Death of Mr Lazarescu but it looks likely, in my eyes at least, to emulate it as film of the year.

Tuesday, August 07, 2007

Nicolas Machiavellian

It's been a while since I posted on Nicolas Sarkozy, and a couple of weeks since the intercession of his wife Cécilia seemingly occasioned the release of the Bulgarian nurses and Palestinian doctor in Libya (something I posted on last December), though at the time German sources claimed that negotiations by EU delegates were already well underway and that Sarkozy's instrumentation of his practically-estranged wife was nothing other than a publicity stunt. Following the bluster with which Sarkozy's debut showing at June's EU summit in Brussels was reported in the French media and his stuffing of his cabinet with a number of centre-left fall guys - the most prominent of which is new foreign minister, Bernard Kouchner - it appears that Sarkozy's greatest borrowing from Anglo-Saxon political economy would be the fine art of spin. Many of the more naïve French supporters of Sarkozy claimed before the election that the wee man would make France an international force to be reckoned with once again. He is certainly managing to put that idea about.

Except, of course, that now it has been established that Sarkozy's intervention was a pretext for arranging the sale of a nuclear reactor and other deals with the Libyans. After initially strenuous denials, Sarko's government has stopped trying to counter the accusations first floated in Le Canard enchaîné, a publication that rarely gets such things wrong. The Germans are fast losing patience with the French, after an early rapprochement with the Elysée Palace, and my election-day assessment of Sarkozy and his lack of substantial difference from the fetid political culture of Gaullism is proving to be prescient, even if I say so myself.

Sarkozy, while holidaying in New England, had a confrontation today with a couple of American photographers, grabbing the camera off one of them; his critics here in France are rubbing their hands with glee at this latest dispatch, but I have a certain degree of sympathy for him in this instance. Meanwhile, French rapper Doc Gynéco, a high-profile supporter of Sarkozy, was bottled offstage this weekend at a music festival in Switzerland of all places by a dozen or so bolshy leftists. Interestingly, Sarkozy affirmed upon the release of the Bulgarian nurses that they 'were French', which is a more gracious conferral of honorary citizenship than that offered to tens of thousands of non-nationals that actually reside in France. Though I despise Sarkozy, I readily admit he is a formidable politician. What I can't understand is how he has managed his first couple of months in such a shambolic fashion. The Socialist Party might not even have to reorganise at all if Sarkozy's faux pas continue.

Wednesday, August 01, 2007

'Tis strange

Bizarre news day: Martin McGuinness launches the Derry Gay Pride festival, presumably because his immediate superior, the Reverend Ian Paisley was unavailable to get down with the Foyleside sodomites. And then Kanye West, who has already fiddled about a bit with Swedish indie lads Peter, Björn and John, has asked them to be his backing band at the Gothenburg Way Out West festival next week. Topsy-turvy indeed.

Saturday, July 21, 2007

An Extraordinary Joe

Despite having been a fan of The Clash since I was twelve I was wary of Julien Temple's documentary on the late Joe Strummer, mainly because rockumentaries are too often unilluminating elegies that rarely distance their human subjects from the icons that they became. The tendency of rock fans and 'critics' to take popular music a bit too seriously is also irritating. Things did not look too good when a friend of mine, who had seen it a couple of months ago and who is a Clash fan since the first album came out when he was sixteen, said that he hated Temple's film so much that not since Oliver Stone's The Doors did he await the demise of the hero with such relish.

Temple though is a capable director of music films, even if there have been a few duds along the way, such as Absolute Beginners. His two films on the Sex Pistols The Great Rock 'n Roll Swindle and The Filth and the Fury are riotously enjoyable and the opening hour of the Strummer film is amusingly interspersed - in Michael Moore fashion - with footage from Lindsay Anderson's If..., the animated film version of Animal Farm and the 1950s BBC production of 1984, with Peter Cushing as Winston Smith. While Temple's editing is none-too-subtle the choice of Orwell is shrewd as The Clash were a band whose intelligent and quite often pragmatic parsing of political views was very much in the tradition of the independent Left to which Orwell belonged. The Clash were to the forefront of the struggle against the National Front, and as Roland Gift of Fine Young Cannibals points out in the film, they opened punk up to young black British people, with their appropriation of reggae, dub and soul, and later hip-hop, which they did before rap and hip-hop became mainstream. The Clash however also had a clear-sighted view of racial politics and as tracks such as 'White Riot', 'White Man in Hammersmith Palais' and 'Safe European Home' attest, they were never naive enough to believe that reality reflected their own admirable ideals.

Testimonies are offered by people that knew Strummer from an early age such as his relatives and his schoolmates, and by collaborators from the Clash years and the long difficult times that followed. There are also a number of celebrity fans on hand. Some of the interviewees are spot-on, such as Zander Schloss, Jim Jarmusch, Don Letts, Bobby Gillespie and Jesús Aría, a Spanish friend of Strummer's. Others are balefully inane, such as John Cusack, Johnny Depp and Bono, all of whom deliver their peroration with the flatulent gravitas of a South Bank Show interview. The tone is naturally respectful but the more difficult sides of Strummer's character, particularly his avowed Stalinist single-mindedness and his tendency to sleep with his friend's girlfriends, are also included. Where the film scores best is its treatment of the barren years in the late 80s and early 90s when Strummer was adrift and wandering in a creative wilderness. The fact that someone as previously successful as Strummer could have suffered from such a lack of confidence is salutary and makes his comeback when he made a number of fine albums with the Mescaleros in the years before his death all the more remarkable.

There are a number of potential interviewees surprisingly missing, especially Paul Simenon, who, with his successful painting career and return to music with The Good, the Bad and the Queen, could not be considered media-shy. Also absent are Alex Cox, with whom Strummer worked a lot in the years after The Clash, and the Pogues, who can be credited with kick-starting Strummer's drive when they hired him to stand in for the sacked Shane McGowan on tour in 1991.

There are many cynics, myself included, that have sneered at the fashionable lefty that the public-school-educated John Mellor became (I used to refer to him as 'Joe Slummer'), but the film refutes this and the ultimate stamp of magnanimous approval is provided by the hard-as-nails working-class Steve Jones of the Sex Pistols who says that there was no bullshit about Strummer. Instead we see a man who devoted absurd amounts of time to his fans, had a heartening appetite for seeking out new music from anywhere in the whole world, and who was sickened to hear that, during the first Gulf War, American bombs dropped on Baghdad were daubed with the slogan 'Rock the Casbah'. The fact that Strummer and Mick Jones reunited for the only time, not for a corporate tour that might have made them millions, but for a benefit for striking London firemen in 2002, says everything about a man who had his priorities right. This is one reverential rockumentary that is worth watching. Here's the trailer:

Sunday, July 15, 2007

Parity of Esteem

Another Twalfth has passed and as this charming Flickr photo album will attest, the sales of Irish tricolours along the Shankill show no signs of decreasing. Unfortunately I couldn't get hold of the 'money shot' with the Irish flag bearing the legend 'KAT' (Kill all Taigs), which can however be viewed here, courtesy of Slugger O'Toole. Slugger also reports that in Coleraine, a placard on one bonfire mocked the recent death of a 16-old Catholic schoolboy, and Loyalist paramilitaries threatened to kill his father after he removed it.

What I want to know is where is the chorus of condemnation from mainstream Unionism, those folks usually so fond of (rightly) calling on Republicans to condemn violence done in their name? Instead the main condemnation was of the DUP for bending its resolve and making a painful compromise with the Shinners. The Irish Times, meanwhile focussed more on the environmental threat posed by the bonfires (a genuine concern but not the priority in this context).

I have no quarrel with the Orange Order celebrating their day, provided there is no triumphalism and no intimidation of other people, as has been the case with the marches on the Garvaghy and Ormeau Roads in the past. When there is nobody that really cares, as with the marches in Rossnowlagh, the marches go off peacefully but, I suppose that would defeat the purpose for many Orangemen. For more than ten years there have been Twelfth celebrations at Áras an Uachtarán, which is a remarkably magnanimous gesture from its Northern Catholic incumbent.

Nobody is suggesting that Paisley and the Orange Order should start commemorating the Easter Rising but for some Ulster Unionists, a Republican acknowledgement of their traditions is not enough. Now, another 'Love Ulster' parade is planned for Dublin in August or September; the go-ahead has been given, which I say is fair enough. But what do the organisers want exactly? They state that they wish to highlight the Protestant victims of Republican violence, while being seemingly oblivious to the fact that the majority of people in the Republic were fully aware of those murders and abhorred them. There is a discomfiting (and most aberrant) use of the imperative in 'love' there. If you ask me, there is something vaguely vampiric about it. No doubt there will be a few teenage yobs on hand to hurl projectiles at the marchers (despite the exhortations of even Republican Sinn Féin) and they'll trot back over the border happy, confirmed in their bigoted preconceptions about the Republic. When will Ulster unionism grow up and cease cleaving to its persecution complex?

Thursday, July 12, 2007

Rainy Parade

Seanachie, it appears, has been banned from Eamonn Fitzgerald's Rainy Day blog, or so he thinks following the suppression of two innocuous comments he posted recently. One was on Martin Amis' puff piece on the departure of Tony Blair (I opined that Amis was a lot better when he was writing about darts, a subject more his measure than world politics) and the other on Live Earth (I pointed out that the Catholic church - who Eamonn rather likes - has a similar stance on consumerism to that of the German Greens, which he was sneering at). Both failed to get through moderation.

I have always found Rainy Day a curiosity, a well-written erudite blog with some great web discoveries, particularly in the field of music, which Eamonn knows quite a lot about. Its frankly barmy politics, with a vertical integration of neocon support for the failed war in Iraq, unqualified admiration for Pope Benedict XVI and flat earth global-warming scepticism have always puzzled me, as one would think that a man who likes Christopher Hitchens so much might be more heterodox in his political leanings. But the Left likes to line up its causes in a predictable way so there's no reason why a man of the Right can't either; Rainy Day is still an enjoyable read and will not be banished from my RSS feeds, despite the perceived unsuitability of Seanachie's occasional barracking.