Try not to look so worried, Governor…

Why did it take Republican Pennsylvania Governor Tom Corbett—formerly the state’s attorney general—almost three years before he launched an investigation into convicted pedophile and child abuser Jerry Sandusky after the first accuser had come forward?

That’s what Kathleen Kane, Pennsylvania’s new attorney general, would like to know, too. Kane has launched a full investigation into Corbett’s rather odd handling of the case of the politically-connected former Penn State football coach—surely Sandusky should have been arrested immediately or at the very least brought in for questioning with TEN YEARS of damning evidence against him—something that’s been hanging around the unpopular Republican like the stench of a stale fart. A special prosecutor, Kane told the New York Times, would be named within a matter of days.

Via New York:

During that time, Corbett was campaigning for governor, and board members for The Second Mile, the charity founded by Sandusky, contributed more than $200,000 to his campaign. Once he was elected, Corbett’s administration approved a $3 million grant to the charity, which was later rescinded.

Corbett has been haunted by questions about the Sandusky case, and says it took 33 months to arrest Sandusky because at first there was only one accuser and investigators didn’t think they could win a conviction. Kane, who specialized in child sex abuse cases as a former county prosecutor, countered, “It’s never taken me that long” to build a case against a molester.

Kane has been careful to stress that she’ll accept whatever conclusion the special prosecutor comes to, since some see a political element in the investigation. Kane is a popular Democrat, and Corbett is a Republican with low approval ratings and an election coming up in 2014. The investigation could complicate Corbett’s reelection bid, though his involvement in the toxic abuse scandal would probably be a major issue either way.

Personally, I can’t wait to here how Corbett justifies personally approving a $3 million taxpayer-funded grant to Sandusky’s Second Mile charity, when he KNEW that Jerry Sandusky was under investigation for multiple child rapes!

Last year, Jerry Sandusky was convicted of 45 counts of child abuse and sentenced to at least 30 years in prison If Gov. Corbett is shown to have “slow-walked” the matter so as not to rock the boat on his own election prospects, this guy is fucking toast politically (and as a human being). Meanwhile, the Sandusky scandal drags on with several Penn State officials still awaiting trial.

Here’s hoping that they, and Gov. Tom Corbett, get what they deserve. It’s highly probable that Jerry Sandusky continued to molest kids while Corbett and his prosecutors dawdled. Had Corbett worried more about Sandusky’s child victims than his own political future, he wouldn’t be in this mess. Good on Kathleen Kane for taking this bastard on.

 
Without the influence of mercurial Robert Calvert, whose factitious relationship with the band came to an end in 1979, Hawkwind returned to the more reliable world of Sword & Sorcery for their 1985 album The Chronicle of the Black Sword. Inspired by occasional Hawkwind member and collaborator Michael Moorcock’s Elric of Melniboné series of novels, The Chronicle of the Black Sword was an ambitious project that led Hawkwind move into their most Spinal Tap moment when they toured an extended stage show for the album.

A film recording was made of Hawkwind performing The Chronicle of the Black Sword at the Hammersmith Odeon, London, December 1985, which was released as a video. It all looks frightfully dated now, with its mime and dreadful video projection, and is so dark it would appear to have been shot with the lens cap on (which maybe no bad thing) but the quality of Hawkwind’s performance somehow makes it all worth it.

Track List:

01. Narration (“The Chronicle Of The Black Sword”)/“Song Of The Swords”
02. Narration/“Sea King”
03. Narration (“Dead God’s Homecoming”)/“Master Of The Universe”
04. “Choose Your Masques”/“Fight Sequence”
05. “Needlegun”
06. “Zarozinia”
07. “Lords Of Chaos”/“The Dark Lords”/“Wizards Of Pan Tang”
08. “Moonglum”
09. “Elric The Enchanter”
10. “Conjuration Of Magnu/Magnu”
11. Narration (“The Final Fight”)/“Horn Of Destiny”
 

 
The excellent blog Spectra Speaks reports that award-winning African artist Shishani, has just released a video for her new LGBTI Equality anthem “Minority”.

Award-winning acoustic soul artist, Shishani, has just released the music video for her latest single titled, “Minority”, a catchy, upbeat, acoustic track that calls for freedom and equality for all people despite perceived differences.

Shishani got her big break when she performed at the 2011 Namibian Annual Music Awards in the capital city of Windhoek, where it’s still illegal to be gay. And though, she says, she’s made no real attempts to hide her sexuality, she hasn’t come out as an “out lesbian artist” till now.

“I wanted people to get to know my music,” she says, “Sexuality doesn’t matter. It’s like pasta — asking if you prefer spaghetti or macaroni. It just doesn’t matter… I’m an artist first, before being a gay artist.”

Nambia is one of several African countries where Homosexuality is illegal, and “LGBTI people risk harassment and violence due to a strong culture of stigma in part reignited by religious leaders and government officials.”

As an African musician who identifies as being a part of the LGBTI community, the lyrics of “Minority” no doubt challenge the infamous meme “Homosexuality is unAfrican.” But, Shishan insists, her song is about much more than being gay.

“In Namibia, it also makes a difference what ethnicity you are. “Minority” argues for equal rights for all people regardless of their cultural backgrounds, economic status, sexuality, religion,” she says, “There is so much systemic discrimination against people, for so many reasons.”

The release of “Minority” is timely; January is the month in which outspoken Ugandan LGBT activist, David Kato was bludgeoned to death in an anti-gay attack three years ago, sparking an outcry from fellow African human rights activists. January is also the month in which people in the U.S.–perhaps even all over the world–celebrate Dr. Martin Luther King, Jr., a powerful civil rights leader and icon. His call for freedom and equality of all people has been taken up by activists all over the world, including Shishani, whose lyrics echo his principles of love and unity.

“Homophobia all over the world comes from the same place; colonialism, apartheid, racial segregation. All our struggles are connected.”

Read the interview with Shishani at Spectra Speaks.

Follow Spectra Speaks on Twitter. Shishani on Facebook.
 

 
With thanks to the wonderful June Millington
 

 
Today is Robert Burns’ birthday, and across the world traditional suppers are held to celebrate the life and poetry of Scotland’s national Bard.

I have never been one for those couthy ritualistic gatherings, where toasts are given to the lads and lassies, and where some elder with a tartan to match his face, gives an address to the haggis. For me these suppers have little to do with Burns the man and poet, who could write such beauty as:

But pleasures are like poppies spread,
You seize the flower, its bloom
is shed;

Or like the snow falls in the river,
A moment white - then melts
for ever;

Or like the borealis race,
That flit ere you can point their place;

Or like the rainbow’s lovely form
Evanishing amid the storm. -

Nae man can tether time or tide;

No, I prefer to see Robert Burns as great poet, a revolutionary, a socialist, an egalitarian, who believed ‘a man’s a man for a’ that’ and wrote to inspire a better world:

Then let us pray that come it may,
(As come it will for a’ that,)
That Sense and Worth, o’er a’ the earth,
Shall bear the gree, an’ a’ that.

For a’ that, an’ a’ that,

That man to man, the world o’er,

Shall brithers be for a’ that.

Burns’ idealism was often compromised by the financial demands of his everyday life - and what a life. A poet, a ploughman, a lover, a drinker, a revolutionary, a government lackey, a hero, a destitute. As Andrew O’Hagan points out in this excellent documentary Robert Burns: The People’s Poet, Burns was the equivalent of a rock star in his day, a writer of songs (“Auld Lang Syne”, “Ae Fond Kiss”, “My Luve is Like a Red, Red Rose”, “Comin’ Thro’ the Rye”) and poems (“Tam O’Shanter”, “Holy Wuillie’s Prayer”, “To A Mouse”, “Cock Up Your Beaver”) that enchanted a nation and the world.

It was his ability to touch the heart and mind of his readers and to make them empathize with his subject matter, whether this was love, revolution in France or simply a mouse:

That wee bit heap o’ leaves an’ stibble,

Has cost thee mony a weary nibble!
Now thou’s turn’d out, for a’ thy trouble,
But house or hald,
To thole the winter’s sleety dribble,
An’ cranreuch cauld!

But, Mousie, thou art no thy lane,
In proving foresight may be vain;
The best-laid schemes o’ mice an ‘men
Gang aft agley,
An’lea’e us nought but grief an’ pain,
For promis’d joy!

Still thou art blest, compar’d wi’ me
The present only toucheth thee:
But, Och! I backward cast my e’e.
On prospects drear!
An’ forward, tho’ I canna see,
I guess an’ fear!

He was idolized by the public, and was a hero and inspiration to the likes of Beethoven and Byron. At a time of great oppression he spoke out against slavery, inequality, and poverty. Burns wanted liberty and fairness for all. Yet he died in poverty, hounded by creditors, and near-broken as a man.

That Rabbie Burns is still read, performed and celebrated 200 years after his death, says all about his importance as a poet and the relevance of his belief for a better world, where all are equal and share the common wealth.

O’Hagan’s documentary Robert Burns: The People’s Poet is no hagiography, but controversially questions many of the assumptions made about this radical poet, and examines the incredible dramatic and often tragic circumstances of his life.

A selection of Burns poems read by the likes of Brian Cox, Robbie Coltrane and Alan Cumming.

Portrait of Burns by Calum Colvin.
 

 
I can never get enough of these bad lip reading things and this is a particularly funny one.

Listen ladies, romance is deception. Romance is a parody. It’s how we get you cuddly and naughty naughty and not questioning men more than a two nights window.”

Best inauguration speech ever!
 

 
There wasn’t anyone artistic in Dale Grimshaw’s family, it was just something to do, and learn along the way. That he had a natural talent was obvious, but he developed it through a difficult and potentially violent childhood – the experience of which informs many of his paintings.

Indeed, it was this kind of emotional power in one of his paintings (a self-portrait) that brought me to his brilliant, visceral and original work. His portrait may have seemed imperious, but his eyes revealed a vulnerability, a tremendous humanity and soul.

Originally a street artist, Dale Grimshaw is now one of Britain’s most exciting and talented young artists, and last year, his one-man show Moreish was a hit with both public and critics. I contacted Dale to ask him more about his life, his work and how he started out.

Paul Gallagher: What was the first turning point in your career as an artist?

Dale Grimshaw: Probably getting in at Middlesex University, formerly Hornsey College of Art. It meant I had to really consider the moves I was making in life. I had no support from anywhere else; just my rented flat, my belongings and myself. It meant I’d have to sell it all and move from Lancashire. It was a springboard to other things and places.

Paul Gallagher: Tell me about your childhood and first artistic ambitions?

Dale Grimshaw: There wasn’t anyone artistic, in the literal sense, in my family. I just naturally continued drawing and painting long after other kids had normally given up all that creative nonsense outside of school.

At secondary school, there wasn’t anyone that took any notice of my abilities. Little did my art teacher know that I was practicing to paint with oil paints I’d nicked from shops at home. Ironically, she was called Mrs. Oil but she would rather hit you than take any real interest. My mom saw I had talent and did her best to encourage me.

I first saw ‘The Stranglers’ written in huge letters on a bus stop wall in the late 70s. I was hooked and fascinated by the idea and mystery of graffiti. I wrote on walls, playgrounds, bus seats, textbook covers, and my own body even. Sadly at the age of 15 I tattooed my own arm with my ‘tag,’ which is still there today, as bold as ever. I hated it for decades… bad karma, anyone?’
 

 
See more of Dale Grimshaw’s work here.

All artworks copyright to Dale Grimshaw
 

 
Full interview with Dale Grimshaw, after the jump…
 

 
What exactly glamor-modeling has to do with revolutionary consciousness isn’t explained - other than making it fashionably chic to the bourgeoisie. Which is ironic, for it was the perceived, pernicious influence of the bourgeoisie (and its revisionist view of capitalism) that led Chairman Mao to instigate his Cultural Revolution in May 1966. While the ad men, magazine stylists and Beatles co-opted Mao’s revolutionary sentiments, the reality for millions of Chinese was a brutal and murderous oppression.
 

A Beginner’s Guide to Mao Tse-tung

The little red book which contains hightlights from The thought of Mao Tse-tung is the most influential volume in the world today. It is also extremely dull and entirely unmemorable. To resolve this paradox, we, a handful of editors in authority who follow the capitalist road, thought useful to illustrate certain key passages in such a way that they are more likely to stick in the mind. The visual aid is Sharon Tate and, to give credit where credit, God knows, is due, she will soon be seen in the Twentieth Century-Fox motion picture, Valley of the Dolls.

‘6.
‘Whoever wants to know a thing has no way of doing so except coming into contact with it, that is, by living (practicing) in its environment

...If you want knowledge, you must take part in the practice of reality. If you want to know the taste of a pear by eating it yourself.’
“On Practice” (July, 1937)

 
More retro revolutionary chic, after the jump…
 
Via WFMU
 

 
Does it not fill your heart with patriotic pride ?
 

 
Thanks to Richard Devine !

 
This snarky little bit of political humor was found in Radical America, a magazine published by Students for a Democratic Society. It’s a little inside baseball, but anyone familiar with the New Left movement of U.S. politics will recognize the references to notorious infighting and pedantry.

“Me Start a Vanguard Party to Lead the Working Class to Revolution? You Must Be Kidding!!”

Over the past few years, Party Builders Associates has aided countless individuals and groups to form vanguard parties intelligently tailored to their own needs. These people are now leading creative, happy lives fighting one another. What we’ve done for others, we can do for you.

A few minutes filling out the following questionnaire may be the best investment you’ll ever make. Your answers will enable Party Builders Associates, preserving strict confidentiality, to work out a party program that is JUST RIGHT for you and your friends.

And now, here’s the questionnaire. We advise using a pencil, since these are by no means easy questions, and your party will not be able to alter the positions taken here without seriously damaging your credibility among the workers.

1) The Russian Revolution turned away from socialism in:
(a) 1917
(b) 1927
(c) 1953
(d) 1957
(e) It hasn’t yet, but my group will be the first to denounce it when it does

2) Black people are:
(a) A nation
(b) A nation of a new type
(c) A super-exploited sector of the working class
(d) Petit-bourgeois
(e) A colony
(f) Please send me more information about this controversial group

3) The main danger facing the workers’ vanguard in the present epoch is:
(a) Right opportunism
(b) “Left” sectarianism
(c) Right opportunism masking as “left” sectarianism
(d) My parents
(e) Other (please specify)

4) Rather than focus on narrow economic issues, my party will offer a cultural critique of life in advanced capitalist countries. The following are signs of capitalist decadence:
(a) Feminism
(b) Trotskyism
(c) Pornographic movies
(d) Recent price increases in pornographic movies
(e) Other (please give exact details)

5) I would like to include the following in the title of my party:
(a) Labor
(b) Workers
(c) Revolutionary
(d) Socialist
(e) Communist
(f) Vanguard
(g) Progressive
(h) October(November)
(i) United
(j) International
(k) World
(l) Movement
(m) M
(n) L
(o) All of the above

Let’s see, who splintered from Students from a Democratic Society?  The Weather Underground, Progressive Labor (Maoists), The Revolutionary Youth Movement. The other Maoists/ Communist Party Marxist-Leninists…

 
A thing of oblique beauty, no?

Brought to you by the obviously irony-free crazy people at The David Horowitz Freedom Center.
 

 
Via Joe.My.God