Farage vs. Corbyn – Richie Allen and Gilad Atzmon delve into the post-political condition

May 24, 2019  /  Gilad Atzmon

Richie is joined by the musician, author and political commentator Gilad Atzmon. In a provocative and insightful article on gilad.co.uk this week, Gilad writes; “How it is that once again a right wing populist has won the minds and hearts of working people? How is it possible that Jeremy Corbyn, who was perceived by many of us as the greatest hope in Western politics, has managed, in less than three years, to make himself an irrelevant passing phase? How is it possible that the Right consistently wins when the conditions exist for a textbook socialist revolution? Nigel Farage, Britain’s Donald Trump character, is by far the most significant man in British politics. Farage stood up against the entire political establishment, including the media and the commercial elites and has promised to change British politics once and for all. So far, it seems he is winning on all fronts.” This is a must-listen interview.

Support The Richie Allen Show by donating at www.richieallen.co.uk Richie has been producing and presenting television and radio programs for the best part of twenty years. The Richie Allen Show airs Monday – Thursday at 5 PM GMT and at 11 AM UK Time each Sunday.


My battle for truth and freedom involves some expensive legal services. I hope that you will consider committing to a monthly donation in whatever amount you can give. Regular contributions will enable me to avoid being pushed against a wall and to stay on top of the endless harassment by Zionist operators attempting to silence me.

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Why Farage Wins the Country and Corbyn Wins Only a Party

May 22, 2019  /  Gilad Atzmon

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By Gilad Atzmon

Nigel Farage, Britain’s Donald Trump character, is by far the most significant man in British politics. In just a few weeks he has gathered huge political momentum. In tomorrow’s European Parliament elections he appears likely to score more votes than Labour and the Conservatives combined. Farage stood up against the entire political establishment, including the media and the commercial elites and has promised to change British politics once and for all. So far, it seems he is winning  on all fronts.

How it is that once again a Right wing populist has won the minds and hearts of working people? How is it possible that Jeremy Corbyn, who was perceived by many of us as the greatest hope in Western politics, has managed, in less than three years, to make himself an irrelevant passing phase?  How is it possible that the Right consistently wins when the conditions exist for a textbook socialist revolution?

Unlike political commentators, my explanation for this reoccurring political phenomenon is of a metaphysical nature.

 The Left’s vision of temporality is a linear structure of historical progress that proceeds from ‘a past’ to ‘a future.’ Left ideology is structured around an ever progressing time line. The Left always promises to make things better in the future, to fight austerity, to care for the many not the few, to bring about equality and tolerance, etc. None of this is happening at present.  This leaves the Left as a promise that is supposed to fulfill itself in an imaginary ‘tomorrow.’

 But this is not how the Right’s political argument is structured. In fact the Right and Fascist argument is far more sophisticated from a metaphysical perspective.  In my recent book, Being in Time, I contend that the Right ideologist understands that for the working class, utopia is ‘nostalgia.’ Trump won his voters’ trust by promising to make America great again. He vowed to plant the past in the future, reversing the time line. He promised to march America backward. Nigel Farage is using the same tactic, appealing to the same sentiments. He promises to make Britain a kingdom again not just a corner island in a dysfunctional globalist setting, a.k.a the EU. Farage is riding on the longing for a better past.  Corbyn was a political star only because he is a nostalgic character, an old lefty. For a time, he also reversed the time line, but neither he nor any of his advisers were clever enough to grasp the secret behind the ‘Corbyn revolution’. They let a magical moment of popularity  evaporate. Corbyn has become a cliché. His approval rating is 25%, not exactly promising for a candidate for prime minister.

 Within the context of Left thinking, past, present and future are chronological, set to follow each other in consecutive order. Within Right wing philosophy, time’s tenses change positions irregularly. Trump and  Farage put the ‘past’ in the future. They promise to march us back. They appeal to the masses because the human spirit, in its search for unity, transcends linear chronology. The Right wing ideologist capitalises on the human search for essence, for a logos and for transparency. In this regard, humans are historical creatures. They are capable of seeing the future in the past and vice versa.

 Can the Left, in its current from, win the trust of the people? I think it is unlikely. The Left, as I describe it above, is removed from the human spirit. It is in a state of detachment. For ethics, equality and tolerance to prevail, we need a profound study of the human spirit not lame discussions of dialectical materialism.

To learn more about the Post Political condition read Being in Time-a post political manifesto


My battle for truth and freedom involves some expensive legal services. I hope that you will consider committing to a monthly donation in whatever amount you can give. Regular contributions will enable me to avoid being pushed against a wall and to stay on top of the endless harassment by Zionist operators attempting to silence me.

Donate

Jazz Review: Gilad Atzmon & The Orient House Ensemble in Reading, January 2019

The insane slander campaign against me, my work and my music has boomeranged once again.

The insane slander campaign against me, my work and my music has boomeranged once again.

GA: Last week we played in Reading despite the relentless efforts by pro Israel Labour Cllr Rachel Eden and threatening letters from Campaign Against Antisemitism’s ‘enforcement’ chief. The gig was sold out two weeks in advance. Once again it becomes clear that the insane slander campaign against me, my work and my music has boomeranged. Following is a review of our Reading Concert.

Gilad Atzmon & The Orient House Ensemble “Spirit of Trane” | January 2019

http://www.jazzinreading.com/?p=12229&future=true

Friday 18 January, Progress Theatre, Reading

Gilad Atzmon soprano, alto & tenor saxophones, | Ross Stanley piano | Yaron Stavi double bass, | Enzo Zirilli drums

Their ears assailed by what seemed like an obsessive twenty-three-minute solo outing of ‘My Favourite Things’ on a strange high-pitched serpent-like instrument, the soprano saxophone, large chunks of the audience voted with their feet and beat a hasty retreat from the Guamont State Kilburn on the opening night of John Coltrane’s first, and only, visit to Britain on 11th November 1961. ‘WHATHAPPENED!’ screamed the Melody Maker headline. It left the paper’s Bob Dawbarn, ‘baffled, bothered and bewildered’. The critical debate continued unabated in the jazz press with Benny Green, saxophonist, writer, broadcaster and general know-all, who incidentally didn’t attend the concert (or any that followed in Birmingham, Glasgow or Newcastle for that matter) adding his two-penny-worth by declaring that ‘Coltrane threatens to upset the entire jazz conception’. And thus, John Coltrane added his name to those of Louis Armstrong and Duke Ellington, judged respectively to be ‘too loud’ and ‘too exotic’ when they first played on these shores; in Coltrane’s case he was ‘too loud’, ‘too exotic’ and ‘too long’.

With this occasion in mind, ‘Are you ready to be challenged?’ seemed a fair question for Gilad Atzmon to ask in his inimitable and uncompromising manner as he set the scene for a two-hour concert inspired by the ‘Spirit of Trane’; have we Brits become more attuned to the sound and emotional impact of John Coltrane over the passage of nearly sixty years?

‘Yes!’ came the resounding response from the sell-out Progress audience, in perhaps the nearest experience we shall ever have of listening ‘live’ to John Coltrane. True, there were no marathon solos, or any of the ugly, grating sounds from the latter days of Coltrane’s much-too-short career, and he did break us in gently with the beautiful ‘In A Sentimental Mood’ from the 1962 collaboration with Duke Ellington, and the Latin breeze of ‘Invitation’, but come ‘Moment’s Notice’ he hit the ground running and it was as much as we could do from then on to keep up.

It wasn’t so much the ferocious tempo that was so impressive, but rather the sheer momentum of Atzmon’s playing. Fueled by Enzo Zirilli’s drums, the rock-steady bass of Yaron Stavi and Ross Stanley’s timely contributions at the keyboard, the notes flowed from Gilad’s tenor in a torrent so characteristic of Coltrane and which prompted the writer Ira Gitler to coin the phrase ‘sheets of sound’; each as hard-edged as steel and filled with a haunting melancholy. And yet, however complex the improvisation became it never lost touch with the original theme, suggesting that Coltrane was actually a far greater ‘tunesmith’ than he was ever credited for.

A perfectly sublime untitled ballad, in which bassist Yaron Stavi demonstrated that the art of playing a melodic walking bass solo is still alive and well, provided a welcome breathing space before the band launched into another maelstrom of sound. And Gilad set yet another challenge, or maybe he was simply playing mesmerizing tricks with our aural senses. What was he playing? ‘Scarborough Fair’? ‘My Favourite Things’? Ross Stanley kindly resolved the conundrum in a brief interval chat and confirmed that ‘it was both!’ No matter, the effect was enthralling!

‘Big Nick’, a catchy dedication to ‘Big’ Nick Nicholas, the tenor saxophonist alongside whom Coltrane sat in the Dizzy Gillespie Big Band, and another title from the Ellington collaboration, brought the first set to a light-hearted conclusion.

The second set opened with ‘Impressions’ and ‘Naima’, the name of Coltrane’s then wife, and each bore the imprint of his fascination for Far Eastern philosophy and mysticism. Gilad switched from soprano to alto for ‘Giant Steps’ with the assurance that he would take the tune at a more leisurely waltz time than the breakneck speed of Coltrane’s original recording. He failed … and matched the original in every detail in a breathtaking display of virtuosity.

‘What’s New’ brought another change of instrument. Gilad switched to his tenor, a beautiful product of English craftmanship as he explained, made in 1926. Coincidence or what? 1926 was the year of John Coltrane’s birth. It provided the perfect vehicle for Bob Haggart’s tender ballad more often associated with trumpet players than saxophonists.

I would guess that Gilad’s original composition ‘The Burning Bush’ is open to many interpretations, but for me it stood as a series of lamentations, expressing a sense of near-despair, etched even more deeply by his use of vocal cries to separate each section and Enzo Zirilli’s emotionally charged drum solo and percussive effects. Listening to it was an extraordinarily moving experience.

What better way to round off the evening than ‘Mr. P.C.’; not a description of Gilad Atzmon, but a dedication to bassist Paul Chambers, Coltrane’s colleague in the Miles Davis Quintet and countless other recordings including the monumental ‘Giant Steps’. Nat Hentoff was of course writing about John Coltrane in his sleeve notes to the album. However, his closing sentence could equally apply to Gilad Atzmon:

‘He asks so much of himself that he can thereby bring a great deal to the listener who is also willing to try relatively unexplored territory with him.’

All praise to Gilad Atzmon and the Orient House Ensemble and to everyone at the Progress Theatre for hosting a truly memorable event; a wonderful evocation of the spirit and enduring legacy of John Coltrane.

Review posted here by kind permission of Trevor Bannister.

Photo by Colin Swain Photography 


“My battle for truth and freedom involves some expensive legal services. I hope that you will consider committing to a monthly donation in whatever amount you can give. Regular contributions will enable me to avoid being pushed against a wall and to stay on top of the endless harassment by Zionist operators attempting to silence me.

ATB

Gilad ”

Happy New Year from Gilad Atzmon

December 30, 2018  /  Gilad Atzmon

Everything you need to know about Zionism, Controlled Opposition, The Post Political and Athens vs. Jerusalem so you are ready for 2019.

https://youtu.be/SRX55nHmuUQ

To sign a petition in support of Gilad click here

Lodge a formal complaint with Islington Council: https://www.islington.gov.uk/contact-us/comments-and-complaints?status=inprogress

To support Gilad’s legal fund:  https://donorbox.org/gilad-needs-additional-support

 

Gilad Atzmon on Kevin Barrett’s Truth Jihad talking about the Islington “Blockhead Ban”

December 21, 2018  /  Gilad Atzmon

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Sign the Hands Off Gilad Atzmon petition!

Kevin Barrett: Gilad Atzmon is one of Europe’s greatest saxophonists—and probably the hardest working one. He also may be the “most censored thinker” in the Western world. Everywhere he goes, Zionists (and occasionally anti-Zionists) clamor to have him banned.

Now the censors may have gone too far. After the Islington (London) council banned him from performing with The Blockheads based on a single complaint from an angry Zionist, a wave of support for Gilad, and for free speech, has been washing across the world.

In this interview Gilad says he is grateful that the Zionists have exposed their own neuroses—compare their absurd anti-Gilad discourses to an actual news story about the Islington censorship episode.

click here

We also discuss identity politics, the joys and perils of truth-seeking, the question of whether BDS should be applied to Israeli universities, and the notion that Gilad may in fact be participating in “prophetic Judaism”—a tradition of free-thinking universalism and ethical rigor exemplified by such “self-hating Jews” as Jesus and Spinoza.

To sign a petition in support of Gilad click here

Lodge a formal complaint: https://www.islington.gov.uk/contact-us/comments-and-complaints?status=inprogress

Email: assemblyhall@islington.gov.uk

Contact the Council: +4420 7527 2000

Support Gilad: https://donorbox.org/gilad-needs-additional-support

British Labour? Labour Zionism more likely

December 20, 2018  /  Gilad Atzmon

By Gilad Atzmon

“The only thing necessary for the triumph of evil is for good men to do nothing.”― Edmund Burke

Although some of us still harbor hopes for  Labour leader Jeremy Corbyn, the Labour party has not exactly been a happy collective. Labour can look like a treacherous herd spitting poison and stabbing each other in the back. Bruke might have said that for evil to triumph all that is needed is a few Labourites to accomplish what they do best: being compromised. The following may shatter any hopes you still clung to for a  Labour transition. I apologise in advance.

The current saga was launched last month by Mr. Martin Rankoff, an ultra Zionist campaigner,  a man who is not afraid to express himself in the most gruesome manner.

Here is Martin Rankoff’s hate spewing  twitter page.

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Apparently, Mr Rankoff doesn’t like Labour leader Jeremy Corbyn.

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Bad taste humour is something Goyim may not remember from the oh-so-distant past when the Brits reigned supreme in poking fun at those in power. Within the Zionist cyber universe, however, no one is even mildly offended by Rankoff’s attempted humor as he seems to enjoy imagining pushing our mild mannered Labour leader off of his non-carbon emitting bicycle :

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But apparently, the mere thought of my playing the saxophone with the Blockheads at a Christmas celebration pained the humorless Mr. Rankoff. So Mr. Rankoff  wrote to the Islington Council to express his indignation. How could the Council  allow a critic of Jewish culture to play Christmas music? The thought caused him to want to give away his ticket.  All who believe Mr. Rankoff ever intended to attend the Blockheads’ Christmas concert, raise your hand!

For the occasion, Mr. Rankoff managed to restrain his humor and wrote an earnest sounding missive:

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I hardly have an issue with Mr Rankoff,  but it is nice to see him acknowledge what the rest of us know, Mr. Corbyn, whatever his flaws, is not a racist. But Rankoff is doing what many Zionist activists so often do – smear and slander.

Islington is a Labour Council. But it seems the officers involved didn’t bother to check who Mr, Rankoff was or to take a look at Rankoff’s grotesque anti- Corbyn anti-Labour social media profile. In fact, the Leader of the Council Cllr Richard Watts, rushed to appease the man who told Corbyn to shut his Hanukah greeting where the ‘sun doesn’t shine.’

The Following is Labour politician and Cllr Richard Watts email to Martin Rankoff as published  by Mr Rankoff.

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Rankoff professed his delight and  somewhat speak for the “Jewish community at large” as he praised Labour politician Watts for “embrac[ing] the spirit of Hanukah”  by interfering with the artistic offerings of the last standing working-class band in the Kingdom:

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I fully appreciate that Hanukah is a prime holiday for British politicians. It provides an extended opportunity to prove their commitment and loyalty to Israel and its Lobby. But maybe, someone should remind Cllr Watts that most Brits actually celebrate Christmas and that hundreds of music lovers had bought tickets for the Blockheads Christmas concert, and that one may presume that in doing so they intended to hear all of the Blockheads.

Perhaps Cllr Watts didn’t think that Mr. Rankoff would publish their correspondence. In it,  Cllr Watts is caught shamelessly toadying to an enemy of the Labour party and to the Board of Deputies a body that claims to represent British Jews and uses their self-appointed platform to torture  Labour’s leader. Does Cllr Watts perform his embarrassing prostration for his Leader or against his Leader? It is beyond me. The only thing that is clear, as far as I can tell, is that Labour politician Watts made the wrong decision.

In the coming days we will learn more about how the Labour Council zigged and zagged in a most distressing way to justify banning a saxophone from the Blockheads. Instead of simply fixing its mistake, the Council dug itself a muddy ditch. To be continued…

To sign a petition and express your disgust with Islington Council click here

Lodge a formal complaint: https://www.islington.gov.uk/contact-us/comments-and-complaints?status=inprogress

Email: assemblyhall@islington.gov.uk

Contact the Council: +4420 7527 2000

Support Gilad: https://donorbox.org/gilad-needs-additional-support

Gilad Atzmon on The Richie Allen Show talking about the Islingtonian Tyranny

December 19, 2018  /  Gilad Atzmon

Gilad’s interview launches around 14 minutes in.

To sign a petition in support of Gilad click here

Lodge a formal complaint: https://www.islington.gov.uk/contact-us/comments-and-complaints?status=inprogress

Email: assemblyhall@islington.gov.uk

Contact the Council: +4420 7527 2000

Support Gilad: https://secure.squarespace.com/checkout/donate?donatePageId=5c08119121c67c2d9fb14f32

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