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I only learned about Heathcote Williams by seeing his obit today in The Guardian. What a remarkable man and mensch, polemicist, artist, author, and poet. I can’t believe that I did not know about him.
JULY 2 2017
From: https://en.wikipedia.org/wiki/Heathcote_Williams (complete text at this link)
“Heathcote Williams (15 November 1941 – 1 July 2017) was an English poet, actor, political activist and dramatist.He wrote a number of book-length polemical poems including Autogeddon, Falling for a Dolphin and Whale Nation, which in 1988 became, according to Philip Hoare “the most powerful argument for the newly instigated worldwide ban on whaling.”.Williams invented his idiosyncratic ‘documentary/investigative poetry’ style which he continues to put to good purpose bringing a diverse range of environmental and political matters to public attention. In June 2015, he published a book-length investigative poem about the ‘Muslim Gandhi’, Khan Abdul Ghaffar Khan, ‘Badshah Khan’.
– Heathcote Williams, by and about https://www.youtube.com/user/Babylonroyal
– Babylonroyal 144 videos > https://www.youtube.com/user/Babylonroyal
Exploring polemics through poetry and montage. Primarily inspired by Royal Babylon: The Case Against The Monarchy by Heathcote Williams
The Guardian, obit
Heathcote Williams, radical poet, playwright and actor, dies aged 75
His poems blasted the arms trade, consumerism and the tabloids, and he was also an accomplished painter and sculptor
Sunday 2 July 2017 08.54 EDT Last modified on Sunday 2 July 2017 17.00 EDT
Heathcote Williams, the radical poet, playwright, actor and polymathic English genius, has died at the age of 75. He had been ill for some time and died on Saturday in Oxford.
He was the author of many polemical poems, written over four decades in a unique documentary style. They included works about the devastation being wrought on the natural environment – Sacred Elephant, Whale Nation and Falling For a Dolphin – and Autogeddon, a grim and majestic attack on the car.
Williams also wrote several successful stage plays including AC/DC, which premiered at the Royal Court in 1969, and The Local Stigmatic, commissioned by Harold Pinter and revived in 2014 at the Old Red Lion Theatre in London on its 50th anniversary. His most recent play, Killing Kit, was about the life and death of Christopher Marlowe.
Scruffy on screen and off, Williams appeared in several films, often in cameo roles. He was a notable Prospero in Derek Jarman’s 1979 production of The Tempest. Other credits were Sally Potter’s arthouse Orlando, based on Virginia Woolf’s novel, and Hollywood’s Basic Instinct 2.
Williams was a very talented figure. He was an accomplished painter – his vivid works hung at the Oxford home he shared with his partner, Diana Senior – and sculptor. He was an impressive conjuror and a member of the Magic Circle. One of his TV plays, What the Dickens!, featured Dickens performing magic shows for children.
His literary output was prolific. It included a book on Speakers’ Corner in Hyde Park, published when he was 23, and in later life he wrote several poems a month, driven by news and current affairs. As mainstream publishers dried up, these appeared online as YouTube video montages, often narrated by the actors Alan Cox and Roy Hutchins.
At heart, Williams was a revolutionary. The historian Peter Whitfield placed his work in a “great tradition of visionary dissent” stretching from William Blake and John Ruskin to DH Lawrence and David Jones. His poems – blasting the arms trade, consumerism and the tabloids – were “wonderfully innocent” and at the same time “wonderfully streetwise”.
There were comparisons with Percy Bysshe Shelley, the subject of one of Williams’s later long poems, Shelley in Oxford, published in 2012. Both were rebels who wrote with passionate social anger. Like Shelley, Eton-educated Williams didn’t finish his Oxford degree.
In his 60s and 70s, Williams found it difficult to walk any great distance. This confinement did nothing to diminish his creative energies nor his anger at the direction in which society was going in the hucksterish era of Brexit, Boris Johnson and Donald Trump.
Williams retained his principled fury to the end. In 2016 he published Boris Johnson: The Blond Beast of Brexit – A Study in Depravity, an excoriating attack reprising the foreign secretary’s lies, evasion and adultery, sold as a pamphlet from the London Review of Books bookshop. Another work, Royal Babylon, lambasted the Queen.
His last volume of poetry about Trump, American Porn, was published in January. Williams wrote that Trump’s real name – Drumpf – “suggests dumbness, even the passing of wind/ As well as the merciful transience of fame.”
(Note: please reproduce only with attribution, doing otherwise is plagiarism, thank you.
Oh! If Neville Chamberlain were only alive today, he’d know what to do!
1. Power mad,legally elected oligarch seeking power under the guise of saving his country from further humiliation and economic disaster = Ditto, revenge for treaty of Versailles.
2. Nuclear capability = the rearming of Germany, against treaty dictates.
3. Olympics = olympics.
4. Fuck the homosexuals = fuck the jews (and gypsies and homosexuals).
5. Invasion of “former territory” with threats of much worse if the world interferes = ditto.
6. Pussy Riot = Book Burning.
7. Posturing, narcissistic delusional psycho personality = ditto.
8. Powerless puppet figurehead (Medvedev) = Kaiser.
9. No funny mustache = funny mustache.
I’ve been meaning to do something about this for maybe twenty years, and I’m not going to waste another minute putting it off. For now, this post will be the barest outline.
Progressives mostly agree that marijuana is still illegal in most states in order to keep the alcohol, paper and timber industries happy. Of course the law and defense enterprises benefit as well, all at taxpayers’ expense. We know that prohibition does not work, and it’s a moot point whether these anti-pot laws will finally crumble before global warming crumbles us.
Anti-prostitution laws are wrong for similar reasons. The foremost reason being that PROHIBITION DOES NOT WORK. Most first world countries “get this,” but USA always has to drag up the rear (no pun intended).
The consequences of anti-prostitution laws are similarly heinous and expensive, financially, ethically and socially (i.e. human suffering etc) as the anti-drug laws. How any of us “feels” about non-prescription drug use or prostitution is irrelevant. We are not talking about prohibitions against child abuse here.
Again, this is just a very broad outline, with much more to come, Ford willing.
Here is how we can force the issue. The first amendment protects porn film participants at every level, actors, directors, producers, film techs and so on, from any kind of prosecution because the first amendment protects their freedom of expression. So all sex-workers need do is set up a computer with video capability and some simple software (or heck, a smart phone with an application), and a printer. Even most smart-phones have video capabilities.
When the sex-worker (SW) and the john (or jane, as the case may) arrives at the designated place where the allegedly illegal act will take place, the following occurs first. Just as cops read arrestees their Miranda rights, the SW informs the client that they are producing a porn video. The SW is the producer, the client is the distributor with COMPLETE CONTROL of distribution. The software or app then produces all the legal verbiage that must be part of a formal commercial film product. The client signs a print out of an agreement confirming the production of this video. As sole distributor, the client has the right to not distribute the video.
Voila, case closed. The SW performs the service (and is named as actor in the video, as is the client), the act is taped. The client gets a dvd (or the video is sent to a designated email address) and signs that he has “received,” the product. Oh, and the software will blur the faces of the participants, if so desired.
At this point, the transaction is 100% legal in all fifty states.
Try to find a hole in that! Again, no pun intended.
#paulryan lies and lies http://ow.ly/dv9Gf
Now there’s a no-brainer. Wouldn’t it have been great if he’d said: “I don’t know what’s in Rush Limbaugh‘s heart… Oh wait, he doesn’t have one, my bad.”
More seriously, if Obama‘s earlier comments during Press Conference, about his talk with Netanyahu isn’t a covert “bomb bomb bomb Iran,” then I’m a monkey’s uncle (actually, we are ALL monkeys’ uncles, but that’s another story).
The Wolf and the Lamb A WOLF, meeting with a Lamb astray from the fold, resolved not to lay violent hands on him, but to find some plea to justify to the Lamb the Wolf’s right to eat him. He thus addressed him: “Sirrah, last year you grossly insulted me.” “Indeed,” bleated the Lamb in a mournful tone of voice, “I was not then born.” Then said the Wolf, “You feed in my pasture.” “No, good sir,” replied the Lamb, “I have not yet tasted grass.” Again said the Wolf, “You drink of my well.” “No,” exclaimed the Lamb, “I never yet drank water, for as yet my mother’s milk is both food and drink to me.” Upon which the Wolf seized him and ate him up, saying, “Well! I won’t remain supperless, even though you refute every one of my imputations.” The tyrant will always find a pretext for his tyranny.
Translated by George Fyler Townsend. Aesop’s Fables (p. 15).