OK, I know this will come off as a little harsh, heartless and probably as deeply lacking in compassion or empathy, but let me say that, first of all, someone needs to say it, and why not me? Although I’ve lived in New York City since I was 6 (well, with a few breaks here and there), I was actually born in Oklahoma City. And even though I do acknowledge that it’s distasteful to mention this “so soon,” it has to be said now, before the vote goes to Congress.

So here the fuck it is: NO EMERGENCY FUNDS FOR OKLAHOMA. There, I said it. Sorry, but fuck ‘em. Why do I say this? Is it simply because their scumbag senators (Tom Coburn and Jim Inhoffe) dragged their feet for MONTHS on voting for aid for New York and the Sandy-impacted areas here in the Northeast? Yeah, that’s part of it. A big part of it. Is it because both of them ultimately voted AGAINST Sandy-aid to this area? Yeah, that’s a big part of it, too. But it’s more than that. Much more, and soon you’ll see it too, so give me a minute to make my case…

The first thing that should be noted is that Oklahoma is one of the biggest, fattest, Federal-funds gobbling hobo states in the nation, receiving $1.36 in federal funds for every dollar in taxes it pays to the federal government (It’s also the 10th least unionized state with 5.5% union membership). Meanwhile, my state, New York, received just 79 cents back for each dollar that we paid, and we paid a helluva lot more in taxes than Oklahoma did. In other words, it’s fair to say that New York keeps Oklahoma afloat. We pay to keep Oklahomans employed and we pay to keep up their infrastructure via the federal funds Oklahoma vampirically sucks out of our state, to the detriment of our students and our fucking roads. And yet, Oklahoma senators were stupid enough to vote against Sandy aid? Huh? WTF? Please don’ hit me massah I’ll get back in de house!

At least a good pimp knows to sweet-talk his working girls when he needs to keep the cash flowing. But Senators Tom Coburn and Jim Inhoffe are incompetent boobs. Their reverse NIMBY shit is for the birds: What happens in their backyard isn’t as important as what happens in mine? Come on up to New York and say that to our faces (Peter King is a moron, but he’s right some of the time...).

Let me pause for a second and consider that not all of Oklahoma supports that incredibly hypocritical Repuglicant policy. There have to be some counties that recognized just how insane and self-defeating their bullshit policies are.Right? WRONG. Lookie here. Yep. All Oklahoma Counties voted for Romney. They were ALL “red” counties. (And both Senators, of course, are Repugs. I didn’t bother looking up if there were any Democratic Congresscritters, though I think there might be a couple.) Let’s also remember that Romney wanted to abolish FEMA. That’s right. Every Oklahoman county voted for the dumb scumbag that wanted to kill FEMA. So let’s give them what they wanted: NO FEMA FOR OKLAHOMA.

Now you’d think this is bad, almost a case to vote against aid to Oklahoma, but here’s the kicker. The real thing that makes me fuckin’ angry. Let me put it simply…

If I built a shack on, say, active train tracks and then, shortly thereafter, my shack was demolished when a freight train came through, how would you feel if I asked you for some money to rebuild my shack on those same goddamn train tracks? Without a doubt you’d say, “Fuck Off.” Well that’s what we have in Oklahoma City, and believe me I know: Oklahoma, Kansas, and the Texas Panhandle are all a part of “tornado alley” here in these United States. Remember The Wizard of Oz? That was Kansas, kids, right next door to Oklahoma. In other words, they get lots of tornadoes there every year and everybody knows it. It’s not a surprise, and maybe not (arguably) due to global warming or anything. And yet they’re playing Russian roulette again and again and again, very frequently losing. And they want us to bail them out? (Fun fact: Oklahoma building codes don’t require basements because it’d be more expensive.) New York, meanwhile, has NEVER been flooded before. New York flooding? NOW THAT’S A FRIGGIN’ DISASTER and yet, Oklahoma voted against aid to New York? And now they want US to bail THEM out… AGAIN?

Fuck that. No aid to Oklahoma for the tornadoes. Sorry, folks, you shot off a couple of rounds at your golden goose and now we’re gun-shy.

Scram.

Fuck off.

Go ask your pals in Kansas for the money.

How to help Oklahoma tornado victims

 
In 1964, The British Labour Party was elected into government with a slim majority of 4 seats. Such a small majority made governing the country difficult for canny Prime Minister, Harold Wilson. Therefore, after 17 months in power, Wilson called a second election. In support of winning re-election, the Labour Party’s magazine, Tribune asked a selection of writers and artists who they would vote for in the 1966 General Election. In response, sensing Labour might not hold to their socialist ideals, poet Christopher Logue wrote the poem “I shall vote Labour.”

I shall vote Labour

I shall vote Labour because
God votes Labour.
I shall vote Labour to protect
the sacred institution of The Family.
I shall vote Labour because
I am a dog.
I shall vote Labour because
upper-class hoorays annoy me in expensive restaurants.
I shall vote Labour because
I am on a diet.
I shall vote Labour because if I don’t
somebody else will:
AND
I shall vote Labour because if one person
does it
everybody will be wanting to do it.
I shall vote Labour because if I do not vote Labour
my balls will drop off.
I shall vote Labour because
there are too few cars on the road.
I shall vote Labour because I am
a hopeless drug addict.
I shall vote Labour because
I failed to be a dollar millionaire aged three.
I shall vote Labour because Labour will build
more maximum security prisons.
I shall vote Labour because I want to shop
in an all-weather precinct stretching from Yeovil to Glasgow.
I shall vote Labour because
the Queen’s stamp collection is the best
in the world.
I shall vote Labour because
deep in my heart
I am a Conservative.

Christopher Logue was a poet, writer, journalist, dramatist, screenwriter, actor and performer. Born in Portsmouth, in 1926, Logue was an only child of middle-aged parents. After school, he served in the Black Watch regiment, from which he was given a court-martial for selling stolen pay books, and given a 16-months’ jail sentence.

On release, he moved to Paris and started his career as a writer and poet, ‘out of complete failure to be interested by what was happening in London at the time.’

‘It was so drab. There was nowhere to go. You couldn’t seem to meet any girls. If you went up to London in 1951, looking for the literary scene, what did you find? Dylan Thomas. I thought that if I came to the place where Pound flourished, I might too.’

In Paris, Logue met writer Alexander Trocchi (who saved Logue from an attempted suicide), and the pair set-up and edited the legendary literary magazine Merlin, which premiered work by Samuel Beckett, Eugene Ionesco, Chester Himes, as well as Logue and Trocchi. The pair also wrote pornographic novels for Maurice Girodias’ Olympia Press, and briefly met William S. Burroughs, Allen Ginsberg and Gregory Corso in the late 1950s.

George Whitman, propietor of Shakespeare and Co., described the pairing of Trocchi and Logue as:

‘True bohemians, Beats before Beats officially existed. Christopher was the scruffy poet, quite down and out most of the time. He definitely fancied himself as Baudelaire or somebody like that.’

In Paris, Logue toyed with Marxism, and was once famously put down by the author Richard Wright.

‘You’ve got nothing to fight for, boy—you’re looking for a fight. If you were a black, boy, you’re so cheeky you’d be dead.’

But Logue lost none of his mettle, or his socialist convictions and he continued to be a gadfly throughout his life. In the 1960s, he collaborated with Lindsay Anderson, giving poetry readings at the National Film Theater between features. He was a pacifist and a member of Campaign for Nuclear Disarmament, taking part with Bertrand Russell on the marches to Aldermarston.

He appeared at Peter Cook’s club The Establishment and wrote songs for jazz singer Annie Ross, and had one recorded by Joan Baez. He also appeared at the Isle of Wight Rock Festival, and contributed the wonderfully bizarre “True Stories” to Private Eye magazine. He acted for Ken Russell in The Devils, wrote the screenplay for Russell’s Savage Messiah, and acted in Terry Gilliam’s Jabberwocky. Logue’s poetry was incredibly popular, even appearing in posters throughout the London Underground. His most famous works were Red Bird, a jazz colaboration with Tony Kinsey, and War Music, a stunning and critically praised adaption of Homer’s Illiad. He was awarded the 2005 Whitbread Poetry Prize for his collection Cold Calls.

Logue died in 2011, and Wilson won the 1966 election with a majority of 96 seats.

This is Christopher Logue reading “I shall vote Labour” in 2002, as filmed by Colin Still.
 

 
Described by barney75f7u12 as ‘Probably the most inspiring thing I’ve ever found on Reddit.’

Another version was previously released without the figure in the “Guy Fawkes” mask.
 
Via Reddit
 

 
The London offices of Shell, BP, Statoil and Platts, the world’s leading oil price reporting agency, were raided yesterday by European Commission inspectors, investigating allegations of collusion in price-fixing over the past 11 years.

After last year’s Libor scandal, these new allegations of price-fixing look set to be a further damning indictment (if ever that were needed) of capitalism and the unfettered greed of its corporations.

If the allegations are true, then it again shows how prices are based NOT on true cost, but on an arbitrary figure dreamed-up to give as much money to a selfish, spineless, avaricious few.

The price people pay for oil is based on a “benchmark” which is calculated by price reporting agencies based on data received from firms such as oil companies, banks and hedge funds, which all trade oil on a daily basis. It is these submissions which the EC suspect are possibly fraudulent.

A spokesman for the European Commission said:

“The commission has concerns that companies may have colluded in reporting distorted prices to a price reporting agency to manipulate the published prices for a number of oil and biofuel products.

Officials carried out unannounced inspections at the premises of several companies active in and providing services to crude oil, refined oil products and biofuels sectors.

Even small distortions of assessed prices may have a huge impact on the prices of crude oil, refined oil products and biofuels purchases purchases and sales, potentially harming final consumers.”

The price fixing of fuel just doesn’t hit drivers—everything that is dependent on road haulage is directly affected by such underhand collusion—food prices, heating, public transport costs—all are increased and the costs will always hit the poorest worst.

According to the Guardian, Lord Oakeshott, former Liberal Democrat Treasury spokesman, said:

the alleged rigging of oil prices was “as serious as rigging Libor” – which led to banks being fined hundreds of millions of pounds.

He demanded to know why the UK authorities had not taken action earlier and said he would ask questions of the British regulator in Parliament. “Why have we had to wait for Brussels to find out if British oil giants are ripping off British consumers?” he said. “The price of energy ripples right through our economy and really matters to every business and families.”

As yet, there is no fixed date for the conclusion of the EC investigation. Read the full story here.
 

 
Previously on Dangerous Minds

Why the Libor Scandal is the most important story in the world

 
Dennis Hopper plays a George Lincoln Rockwell-like neo-Nazi in this creepy 1963 episode of The Twilight Zone.

Written by Rod Serling and directed by Stuart Rosenberg (Cool Hand Luke), “He’s Alive” is Serling at his preachiest but it’s a message that when it aired in January of 1963 was particularly relevant. At the time, The American Nazi Party and its psycho leader George Lincoln Rockwell were getting International attention. The roots of the White Power movement were beginning to take root and plenty of people were both repelled and drawn to Rockwell and his goose-stepping racist followers.

Hopper’s jittery intensity suits the role perfectly.
 

 
Marko Mäetamm is a multimedia artist, who works within the mediums of video, photography, drawing, painting and the Internet. Over the past 2 decades, Marko has established himself as an original and provocative artist, and his work has been exhibited across Europe.

Born in South Estonia, Mäetamm ‘grew up without any artistic influences,’ and did not consider becoming an artist until he was 18.

‘The first time I thought doing something creative was through this friend, who was a great fan of Prog Rock and Heavy Metal,’ Marko explains. ‘And the first time I felt I really wanted to do something visual or artistic was when I was looking at the these Heavy Metal and Prog Rock album sleeves at his place.

‘This was at the beginning of the 1980s, when Estonia was part of Soviet Union and you couldn’t legally buy any Western music in stores. It was all smuggled in somehow, so you had to know people who knew people who knew other people to get access to original albums of any kind of Western music. It was more common to share tape-recorded copies of the albums rather than to have the original vinyl.

‘So, my first “serious drawings” were copies of all of these album covers and bands.’

Marko jokes that these were ‘terribly bad drawings,’ but it was still enough to inspire his interest, and after 2 compulsory years in the Soviet Army, he studied study printmaking at the Estonian Academy of Arts in Tallinn.

‘It was still the end of Soviet regime, so we didn’t get much information of what was happening in the world of contemporary art. My first influences were all these great modern artists we had to study—Rousseau, Matisse, Chagall, Picasso and so on. That was until I discovered Pop Art, at the end of my studies, and got really into it.

‘This was all happening around the same time the new wave of Young British Artists jumped on the stage, but then nobody was talking about it in Estonia. So it shows you how huge a gap there was between the art here in Estonia, and international art. It took the whole 90-s to cover this gap.’

Dangerous Minds: How would you describe yourself as an artist and how would you describe your art?

Marko Mäetamm: ‘It is always difficult to describe yourself. It is kind of a tricky thing. We never see ourselves the way like the other people do, even when we look in the mirror we actually see our image in a mirror – the eye that we think is our right eye is actually our left eye for other people and so on. And our voice we hear coming from inside us is totally different from the voice other people hear us talking with.

‘But to try to say something - I think I am quite obsessed by my work and I probably need it to keep myself in balance. I say, “I think” because I do think that it might be like that, I don’t really know. And I think that I may not function as good if I didn’t have that channel – art, to communicate with the world. I have come to recognize this by thinking of my own projects during my career. And how my ideas change. People have asked me if I have a therapeutic relationship with my work, and I have always answered that it is absolutely possible. But I really don’t know and I don’t even know if I would need to know it. I don’t know if that would make my work better.’
 

 
More art and answers from Marko, after the jump…
 

 
Street interviews conducted by Travis Nuckolls and Chris Baker in Colorado, Springs where people were asked “When did you choose to be straight?”

It’s interesting to watch—you can tell by their expressions, naturally—how viscerally taken aback some of these folks are by the question.

 
h/t Brian Morales

 
For a generation of gay British actors and performers, camp comedy was a way to promote queer culture, through media of television and radio, into the nation’s living rooms.

Up until homosexuality was decriminalized by an act of Parliament in 1967, being gay or, admitting to homosexual acts, was a crime punishable by imprisonment or chemical castration. The latter was used as sentence on the code-breaking genius and computer pioneer, Alan Turing—which gives an idea of the brutality and bigotry of Britain pre-1967.

But through the use of camp comedy, performers such as, Kenneth Williams, Frankie Howerd, Charles Hawtrey, John Inman and Larry Grayson, were able to subvert the horrendous, homophobic orthodoxy of their time.

For me, each of these men were revolutionary, and together with writers like Eric Sykes, Galton and Simpson, Marty Feldman and Barry Took, they were able to subtly change the public’s attitudes to sex and sexuality.

In her Notes on ‘Camp’, Susan Sontag describes camp as a means for promoting integration:

...Camp proposes a comic vision of the world. But not a bitter or polemical comedy. If tragedy is an experience of hyperinvolvement, comedy is an experience of underinvolvement, of detachment.

...The reason for the flourishing of the aristocratic posture among homosexuals also seems to parallel the Jewish case. For every sensibility is self-serving to the group that promotes it. Jewish liberalism is a gesture of self-legitimization. So is Camp taste, which definitely has something propagandistic about it. Needless to say, the propaganda operates in exactly the opposite direction. The Jews pinned their hopes for integrating into modern society on promoting the moral sense. Homosexuals have pinned their integration into society on promoting the aesthetic sense. Camp is a solvent of morality. It neutralizes moral indignation, sponsors playfulness.

Camp may have been a weapon for education and change, but it wasn’t the sole preserve of gay men. Comedians such as Dick Emery, presenters like Bruce Forsyth, actresses like the Late Wendy Richard and Lesley Joseph, and most importantly writers (in particular Marty Feldman and Barry Took, who created the inimitable Julian and Sandy for Round the Horne) helped promote camp comics as innuendo-laden revolutionaries.

What A Performance is a wonderful romp through the lives and careers of some of Britain’s best known and best loved Kings of Camp: Kenneth Williams, Frankie Howard, Larry Grayson, John Inman, Julian Clary, Lilly Savage and Kenny Everett. The documentary contains contributions from Matthew Kelly, Lesley Joseph, Clive James, Harry Enfield, Chris Tarrant, Jonathon Ross, Barry Took, Wendy Richard and Cleo Rocos.
 

 
With thanks to Mark Dylan Sieber
 

 
On the Passage of a few People through a Rather Brief Moment in Time: The Situationist International 1956-1972 is an interesting short film by Branka Bogdanov primarily documenting the work of ultra-leftist French philosopher Guy Debord, author of the influential post Marxist study of 20th capitalism Society of the Spectacle. The film explores Debord’s influence on the Paris riots of May 1968 and the nihilistic aesthetics of the punk rock era.

Interviewees include Greil Marcus, Malcolm McLaren and Sex Pistols graphic designer Jamie Reid.
 

 

 
The collective behind Cosmarxpolitan describe themselves as “Smug college students” with too much time on their hands.

General Secretary of Cosmarxpolitan is Clara, who also blogs at That Girl Mag, and collaborates with The Central Committee of People’s Commissars (Andrew, Ken, Lucas, Mark, and Nicole) to produce these witty and amusing fake Cosmarxpolitan covers. As explained on the site’s FAQ:

The intention of Cosmarxpolitan is to ridicule the awful advice and backwards attitudes of magazines targeted at women; not to poke fun at those who suffered under communist rulers.

For those of you who think that we promote stereotypes that marginalize certain groups and privilege a deeply distorted narrative, it’s because we’re doing our best to channel Cosmo.

Only one of the collective is a Marxist (Ken), the rest are “just bourgeois scum, to varying degrees,” who hope that (once revolution comes) they will be “stripped of the chains of oppression, (and having other things to do), article writing will flourish.”

Vive la (r)évolution, comrades!

Follow Cosmarxpolitan on twitter and check Cosmarxpolitan here.
 

 
More glossy revolutionary covers, after the collective jump…