Last week, French comedian, actor and activist Dieudonné M’Bala M’Bala gained international attention when, in a move backed by French President Francois Hollande and the country’s highest court, his comedy tour was banned in several French cities. The bannings followed a January 6 announcement from France’s interior minister Manuel Valls that he considered Dieudonné’s performances anti-semitic and a “a grave disturbance of public order”.
To be honest, I can’t say I’m familiar enough with Dieudonné to know whether he is anti-semitic or, as has happened to many others, he was given that label because he’s anti-Zionist or just critical of certain policies of the Israeli government. However, given his background it’s highly unlikely that he’s racist. He himself is of mixed race, his father being a white artist and his mother a black accountant originally from Cameroon. He was raised mostly by his mother since they divorced when he was one. His first comedy partner and childhood friend was Jewish, and in the 1997 and 2001 legislative elections in Dreux, he campaigned against racism and ran against the National Front.
Even if Dieudonné was a racist and anti-semite he should not have been censored (though it’s true if his performances weren’t banned I may not have heard of him). No matter how offensive one might find someone’s words and ideas, the best policy is open discussion and debate so people can decide for themselves what to believe and what to reject.
In “Bad Boy Bubby” (1993), an Australian film by writer/director Rolf de Heer, Nicholas Hope gives a brilliant performance as Bubby, a man who’s been kept confined and abused physically and emotionally by his mother for 35 years. He eventually escapes and has a number of chance encounters which reveal different aspects of himself and society. The first portion of the film is the most brutal, but as Bubby ventures out into the world the film’s tone lightens a bit and becomes more of a traditional (yet still twisted) dark comedy. Bad Boy Bubby is definitely not for all tastes and is initially difficult to watch, but is ultimately rewarding for its uniformly great performances, writing and direction.
Yesterday Amiri Baraka, a longtime activist and one of the great American poets, passed away at age 79. The cause of his death, at Beth Israel Medical Center in Newark, New Jersey, was not immediately released, but he was hospitalized in the facility’s intensive care unit since Dec. 21 and had a long struggle with diabetes.
Reflecting the exploratory and always-evolving nature of his mind, Amiri’s career path connected him to the Greenwich Village Beat community, the Black Nationalists, the Black Arts Movement (which he founded in 1964), and Marxist-Leninists. Though his beliefs during different stages of life may have different labels, he was consistently committed to justice, unity, social change and the struggle against oppression. As a revolutionary organizer, cultural critic, poet, novelist, essayist, historian, playwright, publisher and orator, Amiri Baraka’s words and ideas have influenced and inspired untold numbers of people around the world. His works have also been the source of much controversy, outrage and condemnation, at least during the initial time of their release.
One of Baraka’s last great acts as a rabble-rouser was his recitation of his poem “Somebody Blew Up America” before 2,000 people at the September 2002 Geraldine R. Dodge Poetry Festival held in Stanhope, New Jersey. This was incredibly courageous because throughout the country (especially on the East Coast) just one year after the attacks, questioning the official 9/11 story was enough to make one viewed as a conspiracy theorist, an apologist for terrorists, possibly traitorous, and/or insensitive to victims and their families. To do so and implicate the Israeli government, as Amiri Baraka did in his poem, led to accusations of antisemitism from the Anti-Defamation League. Many at the time believed the accusations even though under closer scrutiny it was obviously untrue because in the poem he clearly condemns the murder of Jews in the Holocaust and the lines in question could more accurately be described as anti-Zionist.
Who know why Five Israelis was filming the explosion And cracking they sides at the notion?
Amiri Baraka was appointed Poet Laureate of New Jersey just one month before delivering “Somebody Blew Up America” to the public. Despite pressure from the powers that be to resign immediately, he steadfastly refused. In his own words, from an October 2, 2002 post on his website: “I WILL NOT ‘APOLOGIZE’, I WILL NOT ‘RESIGN!'” Governor Jim McGreevey and state legislators discovered there was no legal way to remove Poet Laureate appointees so in an act revealing their fear, hatred and desperation, they abolished the post in July 2003. This is just one chapter of many from Baraka’s often history-making career, but it’s emblematic of his courage, integrity, dedication to truth, and stubborn stance against injustice. This isn’t to say he was a saint or superhero. None of us are without fault, but what we can learn from Amiri is that development of political thought and civic engagement can and should be lifelong processes, and one can remain true to oneself yet open to new ideas and experiences. Above all, his life is a reminder that simple words (especially when composed and unleashed with skill at the right place and time) contain immense power; sometimes enough to change the world.
Photo: Ruth Fremson/The New York Times
Somebody Blew Up America
They say its some terrorist, some barbaric A Rab, in Afghanistan It wasn’t our American terrorists It wasn’t the Klan or the Skin heads Or the them that blows up nigger Churches, or reincarnates us on Death Row It wasn’t Trent Lott Or David Duke or Giuliani Or Schundler, Helms retiring
It wasn’t The gonorrhea in costume The white sheet diseases That have murdered black people Terrorized reason and sanity Most of humanity, as they pleases
They say (who say?) Who do the saying Who is them paying Who tell the lies Who in disguise Who had the slaves Who got the bux out the Bucks
Who got fat from plantations Who genocided Indians Tried to waste the Black nation
Who live on Wall Street The first plantation Who cut your nuts off Who rape your ma Who lynched your pa
Who got the tar, who got the feathers Who had the match, who set the fires Who killed and hired Who say they God & still be the Devil
Who the biggest only Who the most goodest Who do Jesus resemble
Who created everything Who the smartest Who the greatest Who the richest Who say you ugly and they the goodlookingest
Who define art Who define science
Who made the bombs Who made the guns
Who bought the slaves, who sold them
Who called you them names Who say Dahmer wasn’t insane
Who? Who? Who?
Who stole Puerto Rico Who stole the Indies, the Philipines, Manhattan Australia & The Hebrides Who forced opium on the Chinese
Who own them buildings Who got the money Who think you funny Who locked you up Who own the papers
Who owned the slave ship Who run the army
Who the fake president Who the ruler Who the banker
Who? Who? Who?
Who own the mine Who twist your mind Who got bread Who need peace Who you think need war
Who own the oil Who do no toil Who own the soil Who is not a nigger Who is so great ain’t nobody bigger
Who own this city
Who own the air Who own the water
Who own your crib Who rob and steal and cheat and murder and make lies the truth Who call you uncouth
Who live in the biggest house Who do the biggest crime Who go on vacation anytime
Who killed the most niggers Who killed the most Jews Who killed the most Italians Who killed the most Irish Who killed the most Africans Who killed the most Japanese Who killed the most Latinos
Who? Who? Who?
Who own the ocean
Who own the airplanes Who own the malls Who own television Who own radio
Who own what ain’t even known to be owned Who own the owners that ain’t the real owners
Who own the suburbs Who suck the cities Who make the laws
Who made Bush president Who believe the confederate flag need to be flying Who talk about democracy and be lying
Who the Beast in Revelations Who 666 Who know who decide Jesus get crucified
Who the Devil on the real side Who got rich from Armenian genocide
Who the biggest terrorist Who change the bible Who killed the most people Who do the most evil Who don’t worry about survival
Who have the colonies Who stole the most land Who rule the world Who say they good but only do evil Who the biggest executioner
Who? Who? Who?
Who own the oil Who want more oil Who told you what you think that later you find out a lie
Who? Who? Who?
Who found Bin Laden, maybe they Satan Who pay the CIA, Who knew the bomb was gonna blow Who know why the terrorists Learned to fly in Florida, San Diego
Who know why Five Israelis was filming the explosion And cracking they sides at the notion
Who need fossil fuel when the sun ain’t goin’ nowhere
Who make the credit cards Who get the biggest tax cut Who walked out of the Conference Against Racism Who killed Malcolm, Kennedy & his Brother Who killed Dr King, Who would want such a thing? Are they linked to the murder of Lincoln?
Who invaded Grenada Who made money from apartheid Who keep the Irish a colony Who overthrow Chile and Nicaragua later
Who killed David Sibeko, Chris Hani, the same ones who killed Biko, Cabral, Neruda, Allende, Che Guevara, Sandino,
Who killed Kabila, the ones who wasted Lumumba, Mondlane, Betty Shabazz, Die, Princess Di, Ralph Featherstone, Little Bobby
Who locked up Mandela, Dhoruba, Geronimo, Assata, Mumia, Garvey, Dashiell Hammett, Alphaeus Hutton
Who killed Huey Newton, Fred Hampton, Medgar Evers, Mikey Smith, Walter Rodney, Was it the ones who tried to poison Fidel Who tried to keep the Vietnamese Oppressed
Who put a price on Lenin’s head
Who put the Jews in ovens, and who helped them do it Who said “America First” and ok’d the yellow stars
Who killed Rosa Luxembourg, Liebneckt Who murdered the Rosenbergs And all the good people iced, tortured, assassinated, vanished
Who got rich from Algeria, Libya, Haiti, Iran, Iraq, Saudi, Kuwait, Lebanon, Syria, Egypt, Jordan, Palestine,
Who cut off peoples hands in the Congo Who invented Aids Who put the germs In the Indians’ blankets Who thought up “The Trail of Tears”
Who blew up the Maine & started the Spanish American War Who got Sharon back in Power Who backed Batista, Hitler, Bilbo, Chiang kai Chek
Who decided Affirmative Action had to go Reconstruction, The New Deal, The New Frontier, The Great Society,
Who do Tom Ass Clarence Work for Who doo doo come out the Colon’s mouth Who know what kind of Skeeza is a Condoleeza Who pay Connelly to be a wooden negro Who give Genius Awards to Homo Locus Subsidere
Who overthrew Nkrumah, Bishop, Who poison Robeson, who try to put DuBois in Jail Who frame Rap Jamil al Amin, Who frame the Rosenbergs, Garvey, The Scottsboro Boys, The Hollywood Ten
Who set the Reichstag Fire
Who knew the World Trade Center was gonna get bombed Who told 4000 Israeli workers at the Twin Towers To stay home that day Why did Sharon stay away?
Who? Who? Who?
Explosion of Owl the newspaper say The devil face cd be seen
Who make money from war Who make dough from fear and lies Who want the world like it is Who want the world to be ruled by imperialism and national oppression and terror violence, and hunger and poverty.
Who is the ruler of Hell? Who is the most powerful
Who you know ever Seen God?
But everybody seen The Devil
Like an Owl exploding In your life in your brain in your self Like an Owl who know the devil All night, all day if you listen, Like an Owl Exploding in fire. We hear the questions rise In terrible flame like the whistle of a crazy dog
Like the acid vomit of the fire of Hell Who and Who and WHO who who Whoooo and Whooooooooooooooooooooo!
“Max Headroom: 20 Minutes Into the Future” (1985) was a television movie originally broadcast on Britain’s Channel 4 and served as a pilot for a series co-produced with ABC in 1987. It’s widely considered the earliest science fiction TV movie and series of the cyberpunk subgenre. Part of the reason for its enduring cult status is the sharp social satire of its vision of the future which remains topical to this day.
The film takes place in a corporate dystopia controlled by an oligarchy of media conglomerates. Like in Orwell’s 1984, television is used as a tool for propaganda as well as mass surveillance. Similar to Winston Smith, the protagonist of 1984, reporter Edison Carter works within the system while questioning the ethics of his employer, but unlike Smith, Carter has enough clout and connections to challenge the system and whistleblow while retaining relative autonomy. He is helped by his producer Theora Jones, computer hacker Bryce Lynch, pirate broadcaster Blank Reg, and rogue artificial intelligence personality Max Headroom.
In Max Headroom: 20 Minutes Into the Future, Edison uncovers a conspiracy involving a new commercial technology called blip-verts: subliminal advertising that can cram greater amounts of data into minds of viewers but with devastating side-effects. During the struggle to bring the investigative report to the airwaves, Max Headroom is accidentally unleashed.
If you’ve seen Orson Welles’ late period quasi-documentary F for Fake, then you know about the mysterious art forger Elmyr De Hory. In his freewheeling cinematic essay, Welles explored the funhouse mirror life of de Hory, who found that he had an uncanny knack for being able to paint counterfeits of Picasso, Matisse, Modigliani and Renoir’s work. After some of his fakes were sold to museums and wealthy collectors, suspicions were raised and his legal troubles—and a life spent moving from place to place to avoid the long arm of the law—began.
At the time Welles met up with Elmyr in the early 70s, he was living in Ibiza and had been the subject of Fake! The Story of Elmyr de Hory the Greatest Art Forger of Our Time written by notorious “biographer” Clifford Irving, who himself figures prominently in the film. During the course of filming F for Fake, Irving (who was later portrayed by Richard Gere in The Hoax), was serendipitously revealed to have forged his own “autobiography” of Howard Hughes (not to mention Hughes’ signature). The resulting film, an essay on the authorship of “truth” in art, is a dazzling, intellectuality challenging masterpiece that can never quite decide if it’s a fake documentary about a fake painter of fake masterpieces who himself was the subject of a fake biographer… or what it is. (It’s no wonder that Robert Anton Wilson was such a fan of F for Fake, which figures prominently in his book, Cosmic Trigger II).
F or Fake also calls into question the nature of “genius”: If Elmyr’s forgeries were good enough to pass off as Picasso or Modigliani’s work, or even to hang in museums under the assumption that they were the work of these masters, wouldn’t Elmyr’s genius be of equal or even nearly equal value to theirs? (Worth noting that it was ego that got in the way of Elmyr’s scam at several points in his life: He was often left apoplectic at hearing how much crooked art dealers were making from his paintings!)
De Hory’s former bodyguard and driver, Mark Forgy, has kept Elmyr’s archive since his suicide in December 1976. In recent years Mr. Forgy has been trying to make more sense of Elmyr’s odd life. From the New York Times:
“I’m so far down the rabbit hole,” Ms. Marvin said in a recent phone interview, “I’m just not going to rest until I find out who this man is.”
A few weeks ago, she and Mr. Forgy traveled to western France and unrolled a dozen de Hory paintings that had been discovered in a farmhouse’s attic. In Budapest, they found birth records, dated 1906, for Elemer Albert Hoffmann, son of Adolf and Iren. No one knows when Elemer upgraded his name, or how he financed art studies in Munich and Paris before moving to New York in 1947.
He claimed that his father was a Roman Catholic and a diplomat, but the Budapest ledgers list Adolf as a Jewish merchant. The Nazis killed his entire family, Mr. de Hory said. But a cousin named Istvan Hont visited the artist’s villa on Ibiza, where Mr. Forgy was working at various times as a chauffeur, secretary and gardener. Mr. Hont, it turns out, was the forger’s brother.
Mr. Forgy knew that his boss copied masterpieces but did not much question their life on Ibiza, in which they kept company with celebrities like Marlene Dietrich and Ursula Andress. “I accepted the amazing with a nonchalance,” Mr. Forgy said in a recent phone interview. Mr. de Hory was the focus of Orson Welles’s 1974 documentary “F for Fake,” and Clifford Irving breathlessly titled his book “Fake! The Story of Elmyr de Hory the Greatest Art Forger of Our Time.”
After Mr. de Hory’s suicide, Mr. Forgy returned to Minnesota. “I went into deep seclusion” working as a night watchman and house restorer, he said. He held onto the papers and paintings. “I have schlepped them around endlessly,” he said. “The walls here in the house look like the Pitti Palace in Florence.”
His wife, Alice Doll, encouraged him in recent years to examine the stacks of false passports, Hungarian correspondence and Swiss arrest reports. Ms. Marvin contacted him last year. She had helped organize a show about faked and stolen art at the National Museum of Crime & Punishment in Washington, including a portrait of a pensive brunette by Mr. de Hory imitating Modigliani.
The researchers are now raising money for the documentary, developing an exhibition for the Budapest Art Fair in November and preparing to interview a nonagenarian de Hory cousin in Germany. They also plan to send paintings for lab analysis. “We’re trying to create a forensics footprint of his work,” Ms. Marvin said.
They already know that Mr. de Hory tore blank pages out of old books for sketching paper and bought paintings at flea markets to scrape and recycle the canvases. His fakes have become collectibles. Last fall, at a Bonhams auction in England, a buyer paid more than $700 for a seascape of crowded sailboats, with a forged Raoul Dufy signature on the front and “Elmyr” on the back.
, then you know about the mysterious art forger 
After the Crash 