Tories Reveal Authoritarian Roots While Liberals Check Their Shoelaces

None are more hopelessly enslaved than those who falsely believe they are free.Johann Wolfgang von Goethe

Yet again I’m forced to side with the grinning David Davis.  This doesn’t happen often and is embarrassing to admit!.

ConDem Coalition Pledges Broken!
ConDem Coalition Pledges Broken!

It’s all about the government plans to allow full-scale unauthorised real-time monitoring of every person in the UK’s internet activity!  It’s so 1984.

“It was a bright cold day in April, and the clocks were striking thirteen” – (George Orwell: Nineteen Eighty-Four
.

Orwell must be turning in his grave in despair that what he predicted as a warning about what not to do, now looks like coming to fruition.

Remarkably, since wangling themselves into government, the conservative-libdem coalition government is now actually dropping a key part of their manifesto which they laboriously agreed two years ago.  This can still be found on the government website, page 11 to be exact (pdf) .  Here’s what they said:

  • The Government believes that the British state has become too authoritarian…. We need to restore the rights of individuals in the face of encroaching state power – FAIL
  • …reverse the substantial erosion of civil liberties and roll back state intrusion – FAIL
  • … introduce safeguards against the misuse of anti-terrorism legislation – FAIL
  • …end the storage of internet and email records without good reason – FAIL
  • …a British Bill of Rights that … protects and extends British liberties – FAIL

(Actually, the whole Con-Dem pledge list makes good reading to see just how far removed from it our evil diktat of quangos has become.)

So what to do – use TOR.

ID Cards

Johann Wolfgang Goethe
Johann Wolfgang Goethe (Photo credit: andreasmarx)

Not so long ago I was haranguing the former Labour government about their plans for ID Cards, their laws over CCTV and photographing in public places, the reduction  in privacy for individuals and the removal of our civil rights over detention without trial, due cause and 3rd party notification for first 90 days and them 42 days.

I left the Labour Party because of it and have not rejoined.

Huge Vocal Resentment Against UK Government Secret Citizen Monitoring Plans.

try the Tor browser bundle

The new news (I thought it was an April Fool joke initially!) is that Email and web use is ‘to be monitored’ under new laws proposed by this nasty, nasty government.  Happily, there is now a huge and vociferous resentment against this from the general public who can see this evil act for what it is.  Top among them is David Davis!  See this link and the thousands of comments for instance; Backlash over email and web monitoring plan.

Clueless

LONDON, UNITED KINGDOM - JUNE 14

Now, the tories and their liberal stooges have been shown to be both serially evil in their pronouncements and plans, and also serially incompetent of managing almost anything.

Their pathetic management of a minor industrial dispute (the fuel shortage) which did nothing except invoke almost universal resentment of the coalition and reawaken a general awareness of their ineffectiveness comes on top of stripping the very foundations away from one of UK society’s greatest inventions of the Industrial Age, our National Health Service (NHS).

United Kingdom

Top this behavioural abomination with that of the revolving door policy between banking and politics which they continue to promote with zero penalties for failure while the population-at-large have to prop up the whole system with their taxes means only two things to me.

  1. The government must do something desperate to have any hope of re-election in 3 years – this means either war (patriotism is the last refuge of a scoundrel) or economic boom-and-bust gambling.
  2. They will do something desperate to have any hope of re-election in 3 years – this means either war (patriotism is the last refuge of a scoundrel) or economic boom-and-bust gambling.

Astute folk will see this as my prediction for government actions over the next 3 years.

Tories: Keep Friends Happy

Meanwhile, hundreds of extra Tory donors will soon be available to bankroll the “all is good” story.  They will arrive as beneficiaries of the windfall provided as the “former NHS” contracts are handed out to friends, much like Michael Ashcroft benefited from the first round of NHS privatisation during the Thatcher era.  This article on Powerbase and this one (sourced from a now defunct article in The Scotsman) show quite clearly that 1/3 of cleaning contracts went to Ashcroft’s businesses during this time, saying;

MICHAEL Ashcroft, (…) bankrolled an “independent” publicity campaign that allowed his multi-million-pound contract cleaning empire to prosper and led to a change in the law. The campaign was run from the London office of the former Conservative Scottish secretary, Michael Forsyth. A spokesman for Mr Ashcroft confirmed last night that he had contributed to the Public and Local Service Efficiency Campaign (PULSE), which was set up in 1985 to persuade the public sector to contract out services such as cleaning and catering. The campaign had been disbanded by the end of the 1980s after the Conservative government passed the 1988 Local Government Act .  Mr Ashcroft’s Hawley Services Group, a contract cleaning firm later known as ADT, flourished under the new regime, with ADT, winning a third of NHS contracts between 1983 and 1988.

For further information into the depths that the Tories will go to enable all public money to be fed straight to their business friends, see this article which pulls apart the dealings of Ashcroft, discredited Dame Shirley Porter, NIMBY Nicholas Ridley, Chris Chope (the dog turd of Christchurch) and current (dodgy expenses, remember) minister Eric Pickles.

THE PICKLES PAPERS

By Tony Grogan
First published by 1 IN 12 PUBLICATIONS 1989
21 – 23 Albion St. Bradford 1.
Copyright 1 IN 12 Publications 1989
ISBN 0 948994 04 5

Once read, apply the same logic to our dear NHS, and weep again.  The same modus operandi is being used;

  1. discredit the current, imply alternatives are better;
  2. farm out internal monies to external Tory benefactors.

It’s just more sleaze just like under Thatcher before, backed up with warlike rhetoric.  Remember, only 10 days ago we had the news of billionaire Tory donors at Cameron’s dinner table, and Cameron trying to defend the cash-for-access news that made Labour’s cash-for-questions scandal appear like a sweetshop-ish wheeze in comparison.  See 

Tory Party chairman Lord Feldman was one of the key figures in the ‘cash for access’ scandal which erupted after Tory party treasurer Peter Cruddas was caught offering a private dinner with David Cameron to undercover reporters who posed as wealthy party donors.  Read more: http://www.dailymail.co.uk/debate/article-2123692/Tory-cash-access-row-David-Cameron-crony-pal-cash-questions.html

as well.

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Joe Meek, Captain Beefheart, can’t play music, can’t read music, so what!

In last week’s webcast from Collective Voice (7 Feb 2008), presenter Rory mentioned that Joe Meek, the iconic gay gun-toting creative genius couldn’t read or write music notation or even play an instrument. Yet he somehow made iconic tunes that most people will recognise even if they don’t know who did what.

This is the podcast fed from CV: [audio:http://www.collectivevoice.net/podcast/collectivevoicepodcast-feb0708.mp3]

Because of this reminder, my mind went back to something I read about (specifically) the creation of “Clear Spot”, my favourite “Captain Beefheart and the Magic Band” LP. This interview with Bill Harkleroad (a.k.a Zoot Horn Rollo) is one thing I read that mentions this. There are others. The whole Beefheart thing was like it. He was a control freak who got everyone to do stuff in the same way as Joe Meek; viz. he’s hum or whistle it and the band would have to work out what he (they) meant.


Here’s a small part, quoted verbatim from the website;

http://www.hifimundo.com/zoot/zoot1.html .

I guess we should explain the topic, which is improvisation – regarding groups versus individuals…

You mean as a solo player?

Yeah, versus working within a group.

Interesting that you’re choosing me.

Is that not a good category?

The reason I’m asking is because all the Captain Beefheart stuff was not improvised, none of it was.

So how did that work, starting with ‘trout mask replica’.

80% of it was done by him kind of beating the shit out of a piano, in a rhythmic sense, and having no idea what any of those black and white things were on the piano. And John French, the drummer, transcribed it, notated it all, and would dole out the parts to the players. So he had a concept of being away from tonality, but using rhythm as the main input, because that’s what he had to offer, right, being a non-musician. So John would transcribe it, and then in the process of us working with John to get the parts – you know, when there were seven notes, you’d scratch your head and say, ‘Well, how do I do seven notes with six strings?’ – so then we would invert things and mess around, and try to keep it as close to what he played. For what reason, to tell you the truth, I’m not sure, because he didn’t know what he played after he played it.

So when you were working on the parts, was he there, or did he just sort of…

No, he would bang the parts out and go to bed and sleep.

So you would figure out how to do it, and then he would come back, and then you would all record it?

No, then we would practice it for nine months.

So would he come around and tell you if you were on the right track?

Not as clean as that. Again, we’re dealing with a strange person, coming from a place of being a sculptor/painter, using music as this idiom. He was getting more into that part of who he was, as opposed to this blues singer, okay? So you’re asking the right question, but it’s not an easy answer, right? It’s not a normal situation. We would get these parts, and they would string together. Usually the tempo would be consistent, because he would be writing parts to go together, so that the pulse at least, three against four, or whatever the rhythm was, would be similar. I don’t know if you’ve listened to that album enough to know how the parts would go. Like, you would play your part four times, go to the next section, the next may be three, or whatever. Usually, we would figure that out. He was not a part of that process at all; he waited until there was a whole thing there, and then he would kind of sculpt it afterwards. But if my part took three times to repeat and your part took five times until we touched down again, that’s how long you played the part, or you would cut it in half, if it came out cool, or whatever – but he was not a part of that process. The whole band just kind of did whatever, to have it come out right. At that point, then you would go into the next section and work it out. Any of the tunes that had repeats in them, he would go, ‘Oh, that’s cool! Let’s do it here again.’ He might whistle a line – he was an expert whistler. Just awesome. He could sit there and blow smoke rings while he was whistling.

Wow.

It was like a magic show (laughs). But Imean – be-be-du-be-de-du-be-de-ba-da-du-ba-da-du-ba-da-du, I mean he would just whistle like that. Pretty cool. So we would work off the whistling lines for single-line melodies and things like that, but the parts were all just chiseled out. Again, about 80% of it, because there were a lot of other accidental things, like just a blues tune with a cassette deck like this, and he just started looking through poetry, creating songs.

So then when you went to play live, did you just try to play what you had worked on?

We did more than try, we did. Exactly the same thing, every night. Very much so, we were amazingly the same every time. The only thing that would change was, however nervous we were, the tempos would go up, of course. In that time of the band, it was rote.

Did that change during the time you were with him?

It evolved through all the albums, yeah. Each album it changed. So if we were to take Trout Mask Replica, that’s how it happened, other than the phone call, where he did ‘The Blimp’. I don’t know if you’re familiar with that.

As I said above, check out the full article. It’s a real eye-opener into the world of creativity. “Stinging Gnats”, the Crawling Chaos track was made a bit like this. Each person decided a neat little odd-timed riff to play. By doing the maths the sequence would end up back at square one after something like 35 beats. Then on the nod, it’d slip into a standard 4/4 chorus and then back to the riffs. This was similar to Beefheart’s rhythm generation but without the brainwashing twat in charge!