We are developing the social individualist meta-context for the future. From the very serious to the extremely frivolous... lets see what is on the mind of the Samizdata people.
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“For centuries, the cherubic faces of choirboys in white ruffs have been part of church culture”, said the Guardian. Whenever a news report begins by saying that a tradition has endured for centuries you know that tradition is about to die. Sure enough the story which I quote tells of the ending of that aspect of historical Anglican culture in one cathedral at least:
Decision to disband Sheffield cathedral choir strikes discordant note
But is this change progressive or not? The next line of the story lets the hard pressed Guardian reader know what attitude to take:
Choristers usually came from privileged backgrounds, were coached by expert music masters at fee-paying schools attached to cathedrals and churches, and performed exquisite choral music, often in Latin.
Some of that has changed. The first girls were admitted, at Salisbury cathedral, almost 30 years ago and choirs have become more diverse.
Now Sheffield cathedral is going a step further, disbanding its choir in order to make a “completely fresh start” with a new team of choristers that reflects and engages with a changing city.
The cathedral would pursue “a new model for Anglican choral life here, with a renewed ambition for engagement and inclusion”, said a statement on its website.
The population of Sheffield and the surrounding area was growing, getting younger and becoming more diverse. In recent years, the cathedral had welcomed refugees and supported people living on the streets, Bradley said.
“We need to be engaging with people who are part of this changing city. We believe strongly in equality and giving as many children as possible the opportunity to sing at the highest level.”
The appeal of church music was wide but was sometimes “presented in a way that can be seen as elitist”, Bradley said.
That was in late July. Since then this apparently obscure local story about the disbandment of one cathedral choir has been widely reported. These are just a few of many examples:
Why is Sheffield Cathedral’s choir being disbanded for ‘inclusivity’? – the Spectator
Sheffield Cathedral Choir disbanded in “complete fresh start” for music and diversity – the website of the radio station Classic FM
Dean defends disbanding of Sheffield Cathedral Choir – Church Times
Sheffield Cathedral closes choir and looks for new one to reflect urban diversity – the Times
Diversity is no reason to scrap Sheffield’s cathedral choir – the Telegraph
As some of those titles indicate, the decision to close down the Sheffield cathedral choir has angered people who have not been to church for years and would not normally much care for church music. Why has it resonated so widely? I think I know why, and the knowledge depresses me. Until a few months ago I would have said that the UK had done relatively well in promoting an inclusive, non-racial sense of patriotism in which immigrants were seen as “joining the team” and adding their culture to the indigenous culture rather than displacing it. The maiden speech of Kemi Badenoch, my MP, expressed this idea well. “I chose to make the United Kingdom my home”, she says, and speaks of the British Dream: “It is a land where a girl from Nigeria can move here aged sixteen, be accepted as British, and have the great honour of representing Saffron Walden”.
But that ideal of inclusive patriotism is being eroded by decisions like this one. It is scarcely surprising that white British people begin to see diversity as a threat to their culture when they are told that a part of their culture that has gone on for centuries is to be abolished in the name of diversity.
Andrew Doyle reports:
Titania McGrath has written a book for children in order to teach them how to resist indoctrination and think exactly like her.
Doyle has done more than anyone else to publicise how wokery is at least as much a posh white girl thing as a downtrodden ethnics thing. Discuss.
Apparently there’s a chapter in it on Robin DiAngelo.
I cannot knit and I am not on Instagram, but as someone who sews and is into politics, I cannot think how I came to miss this article from Gavin Haynes when it came out in January of this year. After seeing it recommended on the UK Politics subreddit, I hastened to post it here:
How knitters got knotted in a purity spiral
Mr Haynes discusses purity spirals throughout history, then narrows his focus to a couple of examples from 2018/19:
Our documentary analysed just two latter-day purity spirals — Instagram knitting culture and young adult novels. Both seemed perfectly-sized to be taken over — they were spaces big enough to have their own star system, yet small enough for the writ of a dominant group to hold.
In each, a vast tapestry of what were effectively small businesses competed for attention online by fluidly mixing personal and professional brand. On social media, opinion, diary and sales often existed within the same posts. Each individual small business was uniquely vulnerable to being un-personed, ‘cancelled’. But, simultaneously, each could benefit enormously from taking on the status of thought leader — from becoming a node that directed moral traffic.
To take the example of Instagram knitting: the unravelling began with a man called Nathan Taylor. Gay, living with HIV, nice as pie, Taylor started a hashtag aimed at promoting diversity in knitting, Diversknitty, to get people from different backgrounds to talk. And he did: the hashtag was a runaway hit, spawning over 17,000 posts.
But over the following months, the conversation took on a more strident tone. The list of things considered problematic grew. The definition of racism began to take on the terms mandated by intersectional social justice ideology.
The drama played out in the time-honoured way:
Finally, just as the guillotine had eventually come for Robespierre, Nathan Taylor, who had founded the #Diversknitty movement, found himself at its sharp end.
When Taylor tried to inject positivity back into Diversknitty, his moral authority burnt up inside minutes. A poem he’d written asking knitters to cool it (“With genuine SOLEM-KNITTY/I beg you, stop the enmity”) was in turn interpreted as a blatant act of white supremacy. When the mob finally came for him, he had a nervous breakdown. Yet even here, he was accused of malingering, his suicidal hospitalisation described online as a ‘white centring’ event.
Gavin Haynes also made a half hour Radio Four documentary telling the same story. (A BBC iPlayer sign-in is required to listen.) I am about to listen to it now.
No, this is not one of my clickbait headlines. The video is from 2000 and at 1:03 we see a younger, slimmer Boris express commendably libertarian views on the right to be naked in conversation with two people exercising that right.
Sad to say, an older, fatter Boris has recently “ditched ‘libertarian’ position on obesity after coronavirus battle”, according to PoliticsHome.
The Prime Minister is not the only one to cut a poor figure compared to his earlier self. His host on that trip to Glastonbury – for there it was that these events took place – was the singer and songwriter Billy Bragg. Bragg has always been a massive lefty, of course, but in that video from the turn of the millennium he came across as enjoying the exchange of political barbs with Johnson. In contrast, the Billy Bragg of a few days ago who wrote this miserable article in support of cancel culture in the Guardian comes across as an old man abasing himself before the cult of youth.
“The purity of a revolution can last a fortnight” – Jean Cocteau
I thought from the start that most of the “solutions” the Black Lives Matter protesters demand would make the lives of black people worse, but (as with the Me Too movement before it), the BLM movement would never have got off the ground if there were not justifiable anger at real abuses.
To fight real abuses is hard. It might require thought. It might require compromise. To fight images of dead men is much more exhilarating. Don’t worry, you still get to crack heads.
The Leicester Mercury reports,
Gandhi statue campaign ‘a distraction’ from Black Lives Matters – Leicester East MP Claudia Webbe
Leicester East MP Claudia Webbe says a campaign to remove the statue of Mahatma Gandhi risks being a distraction to the Black Lives Matter movement.
A 6,000 name petition is calling for the sculpture of the Indian leader and civil rights campaigner to be taken down from the plinth in Belgrave Road where it has stood since 2009.
The petition was launched after a statue of Bristol slaver Edward Colston was toppled during a recent Black Lives Matters protest and dumped in the city’s harbour.
The organisers of the Gandhi statue petition said he was a “fascist, racist and sexual predator” who brought “inconsolable suffering” to millions of people during the partition of India before his assassination in January 1948.
That has enraged many people from the Indian community in Leicester East.
You don’t say!
Ms Webbe spoke out on the issue of the Gandhi statue after her predecessor as MP Keith Vaz arrived with city councillors and community volunteers to throw up a symbolic human ring around the piece of art.
Mr Vaz, who stood down as an MP after more than 30 years representing his city constituency prior to December’s General Election, had vowed to “defend it personally”.
Julius Caesar, Act III Scene III:
CINNA THE POET: Truly, my name is Cinna.
FIRST CITIZEN: Tear him to pieces; he’s a conspirator.
CINNA THE POET: I am Cinna the poet, I am Cinna the poet.
FOURTH CITIZEN: Tear him for his bad verses, tear him for his bad verses.
CINNA THE POET: I am not Cinna the conspirator.
FOURTH CITIZEN: It is no matter, his name’s Cinna; pluck but his name out of his heart, and turn him going.
THIRD CITIZEN: Tear him, tear him! Come, brands ho! fire-brands: to Brutus’, to Cassius’; burn all: some to Decius’ house, and some to Casca’s; some to Ligarius’: away, go!
The BBC reports:
Sir Robert Peel statue removal calls ‘targeting wrong man’
Anti-racism campaigners calling for the removal of statues of a former British prime minister have been accused of targeting the wrong man.
There are several statues of Sir Robert Peel, who founded the modern police.
But city leaders said people appeared to be confusing him with his father, of the same name, who opposed the abolition of slavery.
In contrast the Robert Peel of the statue, to quote Wikipedia, “often started from a traditional Tory position in opposition to a measure, then reversed his stance and became the leader in supporting liberal legislation. This happened with the Test Act, Catholic Emancipation, the Reform Act, income tax and, most notably, the repeal of the Corn Laws.” He also, most pertinently, laid down the principles of policing by consent that many forces would do well to re-learn. Oh, and as Prime Minister he “supported William Wilberforce’s Anti-Slavery Bill wholeheartedly” against the opposition of many in his own party.
So there you are. Two Robert Peels, father and son, same name but very different people. This whole statue-toppling thing is stupid but a little mix-up like that did not exceed the base level of stupidity. Easy mistake to make.
The next bit, however…
Despite acknowledging the mistaken identity, campaigners are still calling for the Leeds statue to go.
[…]
Although organisers recognised they had initially referred to the wrong person, they said they wanted it removed because “we should not celebrate colonisers”.
The petition states: “With the legitimacy of current policing in question, the history of policing, its origins in colonialism and its role in suppressing dissent deserves greater scrutiny.
“Peel’s statue belongs in a museum, as part of an exhibition for others to learn about the history of British colonialism.”
Edit: There are two petitions currently running on Change.org relating to different statues of Peel. The first is “Keep the Bradford Robert peel statue” and the second is “Keep the Sir Robert Peel statue in Picadilly Gardens”
As the BBC article states, the petition to remove the statue of Peel in Leeds got its target number of signers. You can see it here.
Peel created the London Metropolitan Police in 1829, the ideas for which he developed while overseeing the British colonial occupation of Ireland. He was pivotal in setting up the police forces which maintained British rule in Ireland and a system which led to the poverty, famine and displacement of Irish people. Colonialism and racism – in this case anti-catholic sentiment – are central to British history. Not only that but with the legitimacy of current policing in question, the history of policing, its origins in colonialism and its role in suppressing dissent deserves greater scrutiny.”
That is an extract from the version they wrote after they were made aware that they had misidentified the Robert Peel depicted in the statue.
I am so over the Star Trek franchise. Star Trek, like Star Wars, is an intellectual zombie, a parody of when it was alive, before it was bitten and infected with a virus. Consign the wretched thing to history and move on, there are other new, fresh and genuinely engaging series out there.
Wokeness murdered the Star Trek and Star Wars franchises, to wit the recent dreadful outing as ‘Picard‘.
And yet, Tatiana Maslany’s tour de force ‘Orphan Black‘ (link: massive spoilers) demonstrated you can make a show Woke-as-fuck that is still clever and really innovative: I enjoyed it in spite of the Wokeness. Yet both Star Wars/Star Trek descended into badly made absurdities (I admit I stopped watching Star Wars anything after the execrable The Last Jedi).
So was it ‘Wokeness’ per se that actually zombified those two franchises? Or the fact people got hired to make these expensive clusterfucks on the basis they were Woke, rather than actually being any good at, well, making shows?
Discuss.
In Laurence Fox’s case, get you Officially Denounced – and then a payout for being denounced.
In the midst of a pandemic, this story, comparatively trivial but not without consequences, may have passed you by.
Laurence Fox is an actor and musician. Two months ago he caused rather a stir on the BBC political panel show Question Time. I posted about it here: Has the BBC stopped putting bromide in its actors’ tea?
As I said in that post,
The actors’ union Equity helped spread the story by calling on actors to “unequivocally denounce” their fellow. Yes, those exact words. Equity has now backtracked, but it went to prove Mr Fox’s point.
In the end Equity had to do more than backtrack. On March 13th the Guardian reported,
Equity apology to Laurence Fox sparks string of resignations.
The entire race equality committee of Equity has resigned in protest after the actors’ union apologised on its behalf for criticising Laurence Fox’s views on race and paid an out-of-court settlement to the actor after he threatened to sue them for libel.
I am sure they will be greatly missed.
The former star of the detective drama Lewis also used his appearance on the BBC discussion show to insist it was “racist” for an audience member to call him “a white, privileged male”.
“We’re the most tolerant, lovely country in Europe,” he said at the time. “It’s so easy to throw the card of racism at everybody and it’s really starting to get boring now.”
In the aftermath of his appearance, minority representatives of the actors’ union made a series of accusations on Twitter against Fox, saying he wanted to “berate and bully women of colour attempting to discuss issues of race and gender discrimination”.
Narrator’s voice: he didn’t really.
On Friday, the actors’ union issued a carefully worded statement apologising for the comments, with sources saying a payment had been made to the actor: “We are sorry that in the tweets he was called a ‘disgrace’ by Equity. It was a mistake for Equity as an organisation to criticise him in this way. Nothing in Equity’s later statement was intended as a slur on his character or views, or to suggest that he should be denied the ability to work. We would like to make that clear. Equity and Laurence Fox condemn prejudice unequivocally in all its forms.”
Daniel York Loh, the former chair of the race equality committee, said he and his eight other colleagues on the committee, elected by the union’s minority ethnic members, felt forced to resign as a result of the decision to apologise to the actor.
I think that should read “as a result of the decision to apologise to their own member”.
He tweeted: “Equity and La*rence F*x can issue as many joint statements and apologies as they like. It’s nothing to do with me and I apologise for nothing.”
If Mr Loh says that Equity’s apology is nothing to do with him, I assume that means that he has not just resigned from the union’s race equality committee but from the union itself – which in practice would mean that he has resigned from being an actor. A principled decision indeed.
Fox, a member of a well-known acting family, previously said he was concerned he would not be able to work following the intervention from the Equity race equality committee. A source close to Fox said a particular concern was its call for him to be “unequivocally denounced” for his comments on race, which could have reduced his ability to earn money from roles and make a living to enable him to look after his family.
Having lost its race equality committee, Equity might like to see if it can manage without replacing this expensive luxury.
Seen on a wall in Prague earlier today. Powerful, because most of us do indeed know who Dr. Li Wenliang is, or rather… was.
Seid umschlungen, Millionen!
Diesen Kuß der ganzen Welt!
Be embraced, Millions!
This kiss to all the world!
– Friedrich Schiller’s Ode to Joy, Beethoven’s setting of which is the Anthem of Europe.
Sing all the way through this while washing your hands to help avoid the spread of coronavirus. Other songs recommended for this purpose include Stairway to Heaven and Another One Bites the Dust.
As Trotsky never said about war, and only maybe said about the dialectic, “You may not be interested in politics, but politics is interested in you.”
Richard Morrison is the music critic of the Times and writes for BBC Music magazine. A man at the heart of the arts establishment, one might reasonably think. But he had an unsettling experience not long ago:
Do I talk rubbish? The thought crosses my mind frequently, but with particular force as I chaired a discussion at the annual conference of the people who run Britain’s orchestras. The talk turned to education and I expressed my fervent belief that teaching children to read music is the key that opens up everything.
First jolt: the music director of Arts Council England (ACE), no less, vehemently disagreed with me. Musical literacy doesn’t matter much, she declared. Second jolt: in the ensuing discussion not a single person spoke in my favour. More than 100 people were in the room, all engaged in running orchestras that depend on instrumentalists who can sight-read to an incredible level, and not one agreed that teaching children to read music was a good idea.
After the event I had coffee with someone in the audience. “Of course nobody sided with you,” she claimed. “Everyone here depends on ACE subsidy. Nobody will contradict publicly what the ACE music director says.”
This was not a singular event. As Mr Morrison writes in his Times article, “The arts world is tolerant, as long as you’re left wing and anti-Brexit”,
I wouldn’t recount this small personal trauma except that it suddenly seems so relevant. Today the excellent website ArtsProfessional published Freedom of Expression, a report based on a large survey it conducted last autumn into censorship and self-censorship in the cultural sector. By promising anonymity to participants, it has lifted the lid on a shocking state of affairs.
Here’s a sector that prides itself on tolerance and free speaking. In reality it seems that the opposite is true. Nearly 80 per cent of participants agreed that “workers in the arts who share controversial opinions risk being professionally ostracised”. You can speak freely within your arts organisation, it seems, only if you conform to a narrow set of political and social views.
Take Brexit. I knew that most arts people were fervently against it, but I didn’t realise how much pressure was put on pro-Brexiteers working in the arts to, basically, shut up. One participant claimed that “in our organisation those who voted to leave the EU have been ostracised”. Another noted that “17.4 million voted for Brexit”, but that “most of the opinions of these people, on many subjects, would lose them employment in the publicly funded arts sector”.
The “ArtsProfessional” survey he mentions was introduced here and the findings can be read here (subscription required).
I did wonder why teaching children to read music has come to be regarded as a bad thing. I suspect it is part of the same phenomenon that has caused the Oxford Classics faculty to propose dropping Homer and Virgil from the first part of an Oxford Classics degree.
The Oxford Student newspaper reports that it
…has been notified about a proposal by the Classics faculty to remove the study of Homer’s Iliad and Virgil’s Aeneid from the Mods syllabus, a decision which has surprised many across the faculty.
This proposal forms part of a series of reforms aimed to modernise the first stage of the Classics degree, known as Moderations (Mods), which take place during Hilary term of second year for all students taking Classics courses across the university.
The Mods course, which is assessed by a set of ten exams at the end of Hilary, has been increasingly criticised in recent years, due to the attainment gaps found between male and female candidates, as well as between candidates who have studied Latin and/or Greek to A-Level (Course I) and those who have not (Course II).
The removal of Virgil and Homer papers, which take up two out of the ten Mods papers, have been marketed as a move that will reduce the attainment gaps and thus improve access to the subject.
Educational “attainment gaps” between the official oppressors and the officially oppressed are to be avoided at all costs, except that of providing teaching of a high and even standard to all. What are they afraid of? When the Victorians saw an attainment gap between the upper and the labouring classes they did things like build a University for working people, funded by contributions from the meagre paypackets of quarrymen and farmers. When the early feminists saw an attainment gap between men and women they attained to such effect that the gender gap in the universities is now the other way round. They closed educational gaps by pushing upwards. We don’t even have the honesty to openly push downwards.
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