People’s Vote Celebrities Burnish Their Woke Credentials By Giving False Hope To Remainers

Bono U2 EU flag Brexit virtue signaling

As celebrities and failed politicians prepare to gather for another central London protest against Brexit, their unchanging tactics make clear that this is more about burnishing their reputations as right-on culture warriors than sincerely trying to persuade the British people to change course

John Harris has long been about the only writer at the Guardian worth reading, and today he has some wise words of advice for the organizers and stars of the upcoming march in support of “People’s Vote” on overturning Brexit and remaining in the European Union.

For those who have been living under a rock and therefore missed the incessant publicity of these astroturf, significantly foreign-funded umbrella groups agitating for another vote (termed by activists and unquestioningly sympathetic journalists the “People’s Vote” because presumably the June 2016 vote which they lost turned out not to be a people’s vote) are holding another one of their big marches in central London. They will be meeting in fashionable Park Lane, that bastion of salt-of-the-earth Britishness with which so many potentially wavering regional Leave voters identify, and sauntering down to Parliament Square where they will hear various assembled celebrities and last season’s political grandees tell them the same comforting bromides that they have been repeating for over two years.

John Harris thinks that maybe – just maybe – this “second time lucky” approach will not bring the windfalls which the organizers are hoping for, which presumably include generating mounting and irresistible public pressure for Brexit to be delayed while a new referendum is organized.

Says Harris:

The music, apparently swelling towards a climax that never arrives, sounds like a Coldplay outtake, and most of the faces suggest an entertaining Saturday night in front of the TV. On and on they go: the singer Jamelia, the actor Dominic West, Philip Pullman, Stephen Mangan, Josh Widdicombe, Tracey Ullman, Natascha McElhone, the musician Nitin Sawhney, Gary Lineker, Matt Lucas and good old Dan Snow. Non-famous people seem to be few and far between, with the exception of an unnamed man in front of a football crowd and someone whose caption merely says “a farmer from Scotland”.

Who are these people? The same crowd of luvvies who believe that their celebrity endows them with some special wisdom and insight into geopolitics which the rest of us desperately need to hear. The same people who actively drove wavering voters into the arms of the 2016 Leave campaign.

Harris continues:

Ostensibly, the video is aimed simply at encouraging people to go on the demo, a job it may well be doing reasonably well. But it clearly has a larger reach, and shines light on an increasingly inescapable problem: the failure of the range of forces now pushing against Brexit (from Open Britain, to Scientists for EU and the student campaign FFS (AKA For our Future’s Sake), and Britain for Europe) to do much more than working up their own side, and get anywhere near shifting the balance of opinion in the country.

Slow hand clap. It took two years, but we finally got there. To be fair, Harris probably knew this all along – but then if more instinctively pro-EU journalists, commentators and campaigners had half of Harris’ self-awareness we likely would not have voted to leave the EU in the first place. More:

To be fair to anti-Brexit campaigners, the contortions of the Labour party and the big trade unions are not helping them. But they should also look at their own failings. First, as evidenced by the video, they cannot seem to break out of the stereotype of remain voters as metropolitan and largely middle class, nor push beyond the impression of the anti-Brexit cause as something led by representatives of some awful ancien regime, commanded by Tony Blair, Nick Clegg and Bob Geldof (with supporting roles for, say, the former minister Andrew Adonis and the philosopher AC Graying, both of whom perhaps ought to tweet less).

Overall, there is still precious little awareness that if you put the people formerly known as the great and the good at the forefront of anti-Brexit campaigning, you run the risk of simply reminding millions of people why they voted to exit the EU in the first place. The problem is arguably symbolised by one fact above all others: that by the end of this month, the two biggest anti-Brexit events to date will have been huge marches in London.

This is why I shake my head every time that Tony Blair decides that the nation needs to hear from him on Brexit one more time – that if only he gives one more stirring speech, contorting his increasingly cadaverous face into those positions of faux-anguish and sincerity which once fooled so many of us – that we will immediately stop, see the error of our ways and hand the car keys back to the same determined kidnappers who drugged and abducted us in the first place, just as we stand on the cusp of escape.

But clearly this is not a lesson which penetrates the minds of the Smartest Guys In The Room, the people who think that their credentials, jobs and lifestyles give them some kind of exclusive divine right to chart Britain’s course. And so, like a one-hit wonder that won’t go away, they keep playing the same tune to an increasingly bored wider audience.

But it need not be like this, says Harris, who proposes ditching the celebrities and failed ex-politicians in favor of being seen “pitching up in the places that voted leave, and finally listening”. Harris signs off with this parting advice:

And perhaps bear in mind the words of the venerable Gina Miller, uttered at the people’s vote march earlier this year. “It’s time we took things back to the streets and the lanes, the towns and the villages, the meadows and the squares of this country,” she said. So why haven’t they done it?

Why haven’t they done it yet? Maybe because people like Gina Miller and the assembled celebrities agitating to subvert Brexit would never sully themselves by holding their big march in Sunderland (61-39) or Boston (75-25). Hell, they won’t even go so far as Birmingham (50.4-49.6). They wouldn’t be caught dead in any of those places. They’re happy to cut schmaltzy little videos exhorting other people to take the “People’s Vote” campaign to those areas, but Patrick Stewart and Bob Geldof aren’t going to check in to the Premier Inn Coventry and dine at Wetherspoon’s after a long day knocking on doors or accosting shoppers outside WH Smith.

And so we have this ludicrous campaign of unhinged celebrity carnival barkers, bleating their hypocritical demand about another referendum yet refusing to take their message beyond its existing metropolitan strongholds. Remember, these people really do consider themselves so smart. So much more educated, so much better informed, so much more aware of every possible relevant factor concerning Brexit, and yet they have made zero attempt to change the disastrous strategy which saw them lose the last round back on June 23, 2016.

Why? I am becoming increasingly convinced that the reason is that for many of them, this is not about leaving the European Union at all. That like so many other social justice causes, this is little more than a convenient vehicle for second-tier celebrities to clamber onto in order to prove their woke, right-on credentials. In short, the People’s Vote campaign is at least 50% a culture war issue. If even half of these celebrities were really motivated purely by the earnest desire to see Britain saved from economic self-harm, they would have been found during the 2017 snap general election protesting Jeremy Corbyn’s Labour Party and cutting urgent YouTube campaign videos warning people not to vote for the party of renationalization and endlessly high taxes. But they didn’t, because allying with the Conservative party makes for bad PR, while hating on the Tories makes you cool and edgy.

Establishment and celebrity Remainers talk the language of economic damage, but at heart they are fighting a culture war. And to these people, Brexit is to be opposed because as Bono never tires of lecturing us, the European Union stands for everything enlightened and noble on this continent, and the nation state (and particularly Britain) stands for everything retrograde, oppressive and embarrassing. I have been watching this establishment-celebrity hissy fit roll on for over two years now, and I am convinced that the great thrust of their motivation is entirely rooted in the culture war.

Were it otherwise, establishment and celebrity Remainers would have used some of their vaunted intellect to learn from their mistakes and change tack. They would have realized that screeching worst case scenarios of economic doom at a population who were not evaluating the decision to leave the EU purely on economic terms had failed once, and would likely fail again. They would have conceded that having the same tedious, back-slapping conversation in which they and other like-minded souls praise one another for being so compassionate, intelligent and not stupid enough to be manipulated by the Russians was not buttering any parsnips among Leave voters. They would have ventured out into places like my hometown of Harlow, Essex and chatted with voters there – that way they could engage and attempt to convert some Leave voters firsthand while remaining within spitting distance of the M25 when they reached their tolerance limit for mingling with parochial Gammons.

But the celebrities and their political puppet-masters didn’t do any of that stuff. Instead, they threw every insult in the book at the other side. They painted the question in stark, good versus evil terms. They put forward air-headed celebrity spokespeople to make pro-EU statements about as emotionally convincing as a Kate Winslet Oscars acceptance speech. They came up with a new, racist word for white male Leave voters: Gammons. They broke out their actuarial tables and publicly looked forward to the death of elderly Brexit voters. And they organized march after insufferable march deep in the heart of Fortress London, the only part of the United Kingdom which most of them know or like.

The campaign for a “People’s Vote” is an exercise in catharsis for ordinary Remainers and an opportunity for virtue-signaling and personal brand-burnishing for the campaign’s celebrity conscripts. It is the least organic political movement in modern British history, and by far the most cynical. Again, most of these people bleating that the British people must be given a say over the terms of our future relationship with the EU never wanted the public to have a say in the first place, and certainly never wanted any public consultation or consensus-building as government after government took us deeper into supranational political union. And now they’re weeping in the streets of London, claiming that another referendum is required in the name of justice and democracy? Give me a break.

This is a culture war and these people are culture warriors – and rather pathetic, transparent ones at that. They certainly are not genuine tribunes of the people. Go ahead, try to change my mind.

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Over-Emoting Is A Growing Distraction In Live Music Performance

Overwrought emotional displays which detract from the music are not new to live performance, but are they becoming more pervasive and insufferable?

In an interesting segment from last night’s Ben Shapiro Show, Shapiro focuses on one stand-out act of celebrity leftist virtue signalling at the recent Grammy Awards in order to riff on performer over-emoting in more general terms.

The specific performance that raised Ben’s ire featured U2’s Bono – an Irishman, it’s worth remembering, not a US citizen – singing in front of the Statue of Liberty, and praising the “shitholes of the world” as the source of America’s greatness, intended as a rebuttal to President Trump’s use of the vulgar phrase in a meeting with members of Congress about immigration.

While looking wistfully at the sky and prancing around in front of the Statue of Liberty, Bono portentously intones into a megaphone:

Blessed are the shithole countries, for they gave us the American Dream.

And to this nonsense, Shapiro responds:

As a musician for many many years, my favourite violinist – as is every violinist’s favourite violinist – is Jascha Heifetz. One of the things I love about Jascha Heifetz is that there is no histrionics. Jascha Heifetz, when he plays the violin – go look at a tape of him – is just stone faced. He just plays, and it’s great.

One of the things I hate the most about modern music is modern music is all based on energy and histrionics. It’s all based on you making faces while you sing, and looking up to the sky like Bono. Look at him, looking up to the sky with his red, white and blue loudspeaker.

This is something that I also find incredibly annoying and distracting. Of course this kind of preening and prancing has long been connected with music, and performers caring more about how they look and portray their socio-political opinions than how they sound on record is hardly a new phenomenon.

Nineteenth century Romantic pianist and composer Franz Liszt cultivated such a following that it coined a term – “Lizstomania” – where women would fight even over his coffee dregs and discarded cigars. And Lizst himself egged on this behaviour, being one of the first concert pianists to rotate the piano so that he would face the side of the stage at a right-angle to the audience, the better that they could appreciate his dashing profile.

Neither are all of the musicians I admire entirely innocent of this behaviour. Conductor-composer Leonard Bernstein also cut a dashing figure and was famous for the “Lenny leap” where he would sometimes clear a full foot from the podium. Glenn Gould, long my favourite pianist, is almost as well-known for his eccentricities – such as humming as he played, sitting on a battered folding chair when giving concerts and dressing for winter even in the height of summer – as he is for his revelatory interpretations of Bach, Beethoven or Brahms. But in the latter’s defence, many of his defining idiosyncrasies were clearly innate rather than studied, and in fact Glenn Gould had so little time for being a celebrity that he stopped giving concerts altogether at a young age to focus his energies on the recording studio.

British violinist Nigel Kennedy could likewise hardly be described as a staid, boring performer, yet his eccentricities somehow draw one into the performance rather than distracting or repelling the audience or listener. Watch Kennedy break normal concert protocol by addressing this BBC Proms audience immediately before launching into Elgar’s violin concerto and you’ll see what I mean:

 

But to me there is a definite order of magnitude between the baseline level of emoting that we see in classical music today and the more restrained (on average) approach of even thirty years ago. I confess that as technically brilliant as the likes of superstar pianists Lang Lang or Daniil Trifonov may be, I struggle to watch them because of the on-stage theatrics (in my opinion Yuja Wang does a far better job of being engaging and contemporary without appearing like a cholera patient on a storm-tossed sailboat).

I don’t care if you’re hamming up the rubato while playing some Chopin, there’s no need to lash your head around or make anguished faces as though someone is lurking under the piano pulling out your toenails as you play. But then maybe that’s just because I like my classical musicians the same way I like my journalists and TV news anchors – scruffy and unkempt, too dedicated to their craft to waste time worrying about being a walking shampoo commercial.

Now some of these behaviours and tics – maybe even a majority – can be put down to the understandable exuberance and vanity of youth. But I think a significant minority are inspired by a recognition that being brilliant is not enough unless one also looks and acts the part. And the look and act that audiences increasingly demand and reward is high on emoting, high on dazzling feats of technical brilliance (what Glenn Gould once derisively referred to as “piano-playing” in a self-critique of his earlier work) and lower on the kind of subtlety and introspection which is often needed to bring out the best in even some of the more bombastic repertoire.

And so might it be the case that the real problem with efforts to expand the market for classical music are not the things that usually get traditionalists so worked up – wearing jeans to the opera, mandatory white tie for orchestral musicians, informal lunchtime concerts and so on – but rather the fact that more and more classical performers are adapting to the Age of YouTube by attempting to groan and grimace their way to profundity just like every street busker who sings Lady Gaga’s “Poker Face” at a quarter speed, or Ke$ha’s overwrought performance at this year’s Grammys?

The point of classical music is, unsurprisingly, to convey ideas through the medium of music itself. Of course individual musicians will want to put their own stamp and interpretation on works, either in service of what they believe to be the composer’s original intent or to shed new light on what can sometimes be over-familiar works in the repertoire. But if you frequently find yourself pounding the piano keyboard like you’re playing Whack-A-Mole or sawing away at the violin while grimacing like your appendix just ruptured, you’re probably doing it wrong. The emotion should go through the music and not be lost in the gaudy, inefficient heat exchange of on-stage pantomime.

Performer eccentricities, when unintentional and/or in service of the music, are fine, and sometimes even a blessing. But Ben Shapiro is right; when they detract from the music itself then that can become a problem – in classical music as much as pop music with all the schmaltzy, simplistic political preening of Bono’s preachy Grammy performance.

 

Bono - US - 2018 Grammy Awards Performance - Virtue Signalling - Immigration - Blessed are the shithole countries

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Irony Overload At The Grammys

This article was written on February 13th 2017, back when it was still vaguely relevant

 

Capping off another celebrity awards ceremony in which cossetted stars withdrew to their bubble to rend their designer garments at the state of the world – with the likes of Katy Perry, Busta Rhymes and James Corden running to their safe spaces this year – Recording Academy President Neil Portnow had this to say in his speech at the 2017 Grammy Awards:

We are constantly reminded about the things that divide us. Race, region and religion. Gender, sexual orientation, political party. But what we need so desperately are more reminders of all that binds us together — our shared history, our common values and our dedication to build for ourselves a more perfect union.

I’m sorry, but who has been constantly reminding us of the things that divide us? Who has been incessantly emphasising differences rather than commonalities at every turn? Who has been the loudest megaphone and amplifier for vicious, self-serving and corrosive identity politics throughout the culture over the past decades? Ah yes – it was that branch of the American Left which includes so much of the entertainment industry.

Often in ignorance more than malice, I’ll concede, but the nerve of a man like Portnow to stand before the kind of people who recorded Hillary Clinton’s “Fight Song” and complain that Americans are being deliberately divided by race, region, religion, gender, sexual orientation and political beliefs is almost beyond belief.

One does not have to be a MAGA-shouting Trump supporter to be drearily, expectantly depressed at the glib self-satisfaction, unawareness and utter banality that took place at the Grammy Awards – as well as at last night’s BAFTAs. This blog certainly abhors Donald Trump and all other ignorant, amoral, authoritarian would-be strongmen like him.

But the answer to a democratic outcome one opposes is not to bemoan democracy itself and ignore one’s own part in bringing about defeat. Hugging identity politics ever-tighter and going back before the American electorate with a leadership team comprising Nancy Pelosi, Harry Reid, Hillary Clinton 3.0 and the same vacuous, corporatist policy book will not put a Democrat back in the White House in 2020.

Introspection is not to be expected from the big egos of Hollywood, I think we have all learned that by now. But a large dose of it must appear from somewhere, and soon, or the opposition to Donald Trump will fall as flat as James Corden at his entrance to the 2017 Grammy Awards ceremony.

 

hillary-clinton-fight-song

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Bad “Journalism” Award

The people at Vice.com were unimpressed with the recent cover story at Esquire magazine, devoted to Hollywood star Megan Fox. Actually, “unimpressed” is putting it too charitably:

The cover story of this month’s Esquire is an interview with Megan Fox by Stephen Marche. And, though I haven’t read every single thing that has ever been written, I can say, with confidence, that it is the worst thing that anybody has ever written. Ever.

With our expectations calibrated to a suitably low bar, the Vice takedown zeroes in on some of the worst things about the Esquire puff piece:

MEGAN FOX BELIEVES THAT BEING FAMOUS IS WORSE THAN BEING BULLIED

“‘I don’t think people understand,” she says. ‘They all think we should shut the fuck up and stop complaining because you live in a big house or you drive a Bentley. So your life must be so great. What people don’t realise is that fame, whatever your worst experience in high school, when you were being bullied by those ten kids in high school, fame is that, but on a global scale, where you’re being bullied by millions of people constantly.'”

When I was at school, there was a kid who everyone picked on because they thought he was gay. One day, a bunch of older kids dragged him into the PE showers and forcibly inserted a broom handle into his ass. Pretty sure he’d trade lives with you, Meg.

And then this, on Fox’s approach to escaping fame:

MEGAN’S UNUSUAL APPROACH TO ESCAPING FAME

According to the article, “Megan Fox doesn’t particularly want to be famous anymore.” Obviously, appearing on the cover of Esquire in your underwear to promote a new movie that you’re starring in isn’t the best way to go about this. But what about some other methods she’s tried?

“She’s tried to escape from her fate as a sex symbol. She starred in Jennifer’s Body, a magnificent, delicious, criminally underrated parable about a bombshell who literally devours men.”

“In December, in Judd Apatow’s This Is 40, she plays a woman so gorgeous that the other characters cannot quite believe it.”

And neither of those things made it so she wasn’t famous anymore? Weird!

But the best part relates to particular pet peeve of mine, the overambitious / anatomically incorrect Photoshop attempt made for the cover picture. You may be familiar with the recent image in Vogue China, in which the model appeared to be missing a leg…y’know, just to tidy up the shot a bit:

I think there's something missing.
I think there’s something missing.

While Esquire magazine managed to (more or less) avoid losing any critical parts of Megan Fox’s anatomy in their Photoshop attempt, it nonetheless had many of the unearthly, not-quite-human characteristics that we are accustomed to seeing in glossy magazines:

No.
No.

As the Vice article drily notes:

How many people must have seen that cover before it went to print? And not one of them said, “Uh, guys, her left thigh is shaped like a teardrop, she has a wrist a third of the way up her arm and her vagina is, like, a foot wide.”

Quite. Good job, guys. Of course, the sheer level of half-assery on display here by Esquire will not have cost them anything in terms of reputation or profit. Nobody reads the drively words anyway, and I’m sure that the Editor’s mailbox has not been inundated with complaints about the photograph either.