Sunday, 15 June 2025

Snatches of Oblivion and Snatches of Renewal: The Lost Months of 2025

Well, we're halfway through 2025, loyal WordJammers, and what a year it's proving to be. Trump's back in, Starmer's on his way out, Ukraine's winning and losing at the same time (so what's new?), Gaza's still eliciting the same hysterical, anti-human responses from both sides of the Israel-Palestine conflict, and Diddy's added a new word to the popular lexicon - although, to be honest, I could happily have lived the rest of my life without knowing what a "freak out" is. We all know the old Chinese proverb that it's a curse to live in interesting times, but, truth be told, that's a load of old bollocks, really. Let's be honest, would you rather live in a time of great, seismic geopolitical shifts that are almost Manichean in scope, or one of dreary, "moral" stability where the stranglehold of Permanent Washington/Whitehall/Brussels/etc. make life resemble a Disney+ sitcom?

"But Richard," I hear a stifled, albeit imaginary, cry, "we all know that; the real question here is where the fuck have you been all this time?"

That's a tricky one to answer, but I'll do my best. Late last year, two very positive things happened: one was an invitation from a professional filmmaker to collaborate on a project, the other was securing corrective surgery for a minor procedure I underwent as a teenager that had resulted in long-standing complications. The former was quite a boon given the difficulties I've had in recent years of drumming up interest in my work from publishers and producers (it may sound like sour grapes, but it's hard finding an outlet if your satirical focus isn't perfectly in line with their values), while the latter, without going into details, would mark the end of a thirty-year journey to finally resolve an issue that's been eating away at my confidence for much of my adult life. As such, I planned to take a little break from WordJam until after these two important commitments had been met.

Cut to late January: my operation had gone smoothly, and I was plugging away like crazy on a scene breakdown for the film project. All the while, though, an unexpected problem was starting to present itself. It began with a mild feeling of discomfort in my right testicle, although at the time I assumed it was a combination of sitting for hours at a computer while working, and the rest required for my recovery. By late February, the film having folded following difficulty securing finance, I found myself practically crippled with pain that flitted from testicle to testicle. After a late night visit to accident and emergency, which thankfully ruled out a testicular torsion, I was booked in for an ultrasound to check for irregularities. Frustratingly - or reassuringly, depending on your point of view - cancer was ruled out, as was the possibility of an infection, but that, of course, left the problem of what the bloody fucking hell is actually going on with my love blobs.

It's a distressing thing when an intimate problem like this goes unresolved, and even more so when it affects your every day life. As such, I hope my readers will understand why things have been so quiet on WordJam recently. Thankfully, the pain I've been experiencing is starting to reduce, my mood is lifting a bit and life is starting to return to normal, which, despite the medical limbo I've been living with for the last few months, is making me a little more gregarious again. As such, I hope to be posting more on WordJam in the coming weeks. There are a number of pieces I've been working on recently which I'll be putting out soon, although they may need to be backdated so they make sense. You'll know what I mean when I publish them.

Anyway, for now, thanks for your continued support: I can see from the stats there's a very loyal audience out there, and as we're racing towards WordJam's tenth anniversary and a quarter of a million views, rest assured this blog isn't dead - it's just been taking a leave of absence.

Onwards folks.

Friday, 22 November 2024

Coming Soon from WordJam Publishing; P. G. Wodehouse's Jeeves Stories As You've Never Experienced Them Before...

The winds whistling and howling outside Berkeley Mansions were nothing compared to the cyclone brewing inside the Wooster heart that unseasonably bitter March morning. Indeed, one's fairly certain that if King Lear had felt like gloomy young Bertram that particular Wednesday AM he would have challenged the winds to blow and crack their cheeks while standing in the ornate streets of Mayfair, not some newt-infested piece of shrubland in Dartmoor. But then, if poor K.L. had access to the remarkable gizmo that was currently exercising B.W.'s fingers and thumbs he would have spared poor Edgar's ears the proverbial bashing. I paused my rage-fuelled activities on Twitter for a moment to consider what an eighth century iPhone would look like when I was shaken from my reverie by a polite cough. I looked up blinking to find Jeeves standing over the bed brandishing the old eggs and b.

    'Ah, Jeeves,' I said frostily, glaring at him with the annoyance one usually reserves for a child kicking the back of one's theatre seat. 'Am I to assume from the sickly aroma of fried pig carcass and boiled chicken ovulation currently invading the Wooster bedroom that my stern talk with you after returning from the Drones Club last night fell on disinterested ears?'
    'On the contrary, sir,' he replied with his customary, measured bonhomie. 'I recall yesterday evening's declaration with absolute perspicuity.'
    'Yes, well, perspicuous or not, Jeeves, I want to make it absolutely clear that not another piece of dead animal flesh shall pass these lips.'
    'No, sir?'
    'No, indeed, sir. When one thinks of those poor blighters couped up in pens no bigger than a snooker table I go quite weak'
    'May one enquire if the chief architect of sir's culinary volte face will be sharing in this herbivorous demagoguery?'
    'If you're referring to Bingo, absolutely, Jeeves! Well, he doesn't have much choice, really, now he's once again a slave to the quixotic spirit of l'amour - or Tabitha Earthchild, to give her her nom de activisme. She who walks in beauty like the night, of cloudless what-not and etcetera. An intersectional feminist, no-less, Jeeves, engaged in the eternal struggle for social justice necessitating the dismantling of heteronormative, colonial-patriarchal values. Jolly good luck to the little woman, I say.'
    'And presumably sir has had time to reflect on the practicalities of this new-found lifestyle choice since he was put to bed last night in a state of advanced inebriation-?' 
    'Well, I've certainly 'educated myself' on the wider implications, if that's what you're driving at, Jeeves. Or rather, Bingo filled me in between Jägerbombs. Do you realise how much CS gas it generates transporting what's left of old Daisy, Mr. Porker and Tinkerbell to Smith's Butchers? Head-spinning stuff!'
    'Tinkerbell, sir?'
    'It struck me as a good name for a chicken, Jeeves. I was toying with Henry, but it seems rather disrespectful when one considers Agincourt, good old C. of E. and, of course, the motor car.'
    'If I may correct sir's entirely fallacious but wholly understandable blunder, the first automobile - or 'Fardier à vapeur', as it was then called - was in fact invented by a Nicolas-Joseph Cugnot in 1769, and not our colonial cousin Mr. Ford.'
    'A Frenchman, Jeeves?'
    'So his place of birth in the Void-Vacon region of north-eastern France would indicate, sir.'
    'Well, I never,' I said, trying to take in the enormity of this revelation. 'Just think, Jeeves - if Napoleon had used these F.V. contraptions at Tarutino or Waterloo the course of history would have been altered.'
    'Alas, sir, it took some time for Monsieur Cugnot's invention to catch on.'
    'Well, it's a bally shame it caught on at all!' I snapped, Jeeves' observation handily placing me back on my train of thought again. 'All these infernal motorcars filling the air with noxious gas - it's a crime against nature, Jeeves. Do you realise the Earth is boiling? That we've passed the point of no return? And unless we drastically reduce our cardboard emissions and adopt renewable energies all life on the planet will be wiped out in twelve years' time?'
    'I take it sir is referring to carbon emissions?'
    'Yes, those as well.'
    'Well, one need only point to the underreported phenomenon of global greening to see that the promise of a barren, uninhabitable, apocalyptic future is wildly exaggerated, sir.'
   'Global greening, Jeeves?'
    'Yes, sir. A remarkable occurrence which has led to areas of forest comparable to a continent approximately twice the size of the United States mainland emerging over the last thirty-three years. According to studies, this unprecedented increase in the growth of plants and trees is chiefly fuelled by carbon dioxide. The slight rise in CO₂ emissions over the last century from 0.03 per-cent to 0.04 per-cent has thus provided ready food access for plants while at the same time preventing them rapidly losing water from their stomata. As a consequence, greening appears to have spread to arid landscapes previously unable to support vegetation, such as Western Australia and the African Sahel.'
    I looked at him for a moment in bewilderment, wondering if he had finished his truly extraordinary recall of facts that were as alien to me as a camel is to a polar bear.
    'That's all very well, Jeeves,' I finally replied, falteringly at first but with renewed gusto as the Wooster brain kicked back to life. 'But haven't you forgotten something?'
    'Sir?'
    'Good grief, the animals, man! Surely the forests drawing in all that CO₂ is going to choke the poor little perishers? Never more shall we see the nimble-footed chimpanzee swing his plucky way through the jungle, or the delicate wood vole nesting in fallen twigs if all those horrid emissions are being sucked up by the trees.'
    'Quite the opposite, sir. The carbon absorption produces oxygen, sustaining life. With reforestation and conservation, tree coverage has increased by 2.24 million square kilometres over the last forty-two years, creating a stable home for our bestial friends. And while it is undeniable that human beings have regrettably brought about the extinction of a number of species, this trend is gradually reversing. Over the last five hundred years, Gregorian calendar notwithstanding, just nine species of birds and mammals have shuffled off this mortal coil. Overfishing of the oceans naturally remains a problem, as indeed is plastic pollution in the oceans, sewage spilling into rivers, habitats being fragmented by urban growth and so on, but with careful husbandry and increasing awareness these trends are happily proving reversible.'
    There was another brief pause, after which he added 'sir' as a much-welcomed full-stop. 
    'And the reliance on fossil fuels-?'
    'Far more efficient than wind turbines and solar panels, sir. And if one may expatiate upon this matter with one final but paramount observation, the fanatical scramble towards net zero in the Western world borders on redundancy compared to the consumption of coal, oil and gas in potential superpower countries such as India and China. While they will enjoy an ever-increasing standard of living, we will find our daily comfort at the mercy of barely functional heat pumps, power shortages and an accelerating cost of living crisis.' 
    'You surprise me, Jeeves,' I replied archly, doing up the top button on my pyjama collar to underline my quiet outrage. 'I wouldn't have expected climate denialism from a dashed clever chap such as yourself.'
    'I prefer to think of it as empirical scepticism, sir. I haven't discounted the rise in global temperature, however small - merely expressed a Pyrrhonic view that the narrative disseminated by government agencies and mainstream media outlets does not hold the monopoly on truth.'
    'Well, in future, perhaps you should pay less attention to what this Python fellow says and place just a dash more trust in the wisdom of your superiors and betters.'
    'Very good, sir.'
    'However, I will add on a conciliatory note that your argument about the conservation and, one assumes, protection of wildlife, has made me consider that the occasional rasher of bacon, poached egg, lamb cutlet or sirloin steak will do no harm. After all, I am but one man, Jeeves, and therefore unlikely to drive any of our dumb friends to extinction single-handed.'
    'I'll prepare a fresh breakfast for you, sir,' he replied, the faintest hint of a smile lighting up his fine, chiselled face.

Monday, 14 October 2024

Five Great, Absolutely 100% Genuine Unreleased Carry On Films

Anyone with even a passing interest in British film heritage will know there are 31 canonical Carry Ons, from the tentative steps of Carry On Sergeant in 1958 to the thoroughly execrable Carry On Columbus in 1992 - but did you know there are five complete films that remain locked in the vault at Pinewood Studios, never to see the light of day? Well, you do now, sunshine. So, dear readers, join WordJam as we take a deep(ish) dive into this treasure trove of smutty laughs, slide whistles and sexual dysfunction. Who knows? If we're lucky someone at Studio Canal might even be reading this and set to work liberating these copper-bottomed masterpieces from the archive - although that's highly unlikely as they do sound like the sort of vaguely amusing tosh one might dream up while, say, sitting in the laundrette on a wet and miserable Monday afternoon. Anyway, on with the dog and pony show...

* * * * *

Carry on Deepthroat
(1974)
When bumbling Washington Post reporters Woodward and Bernstein (Jim Dale and Peter Butterworth) investigate a break-in in the women's changing rooms at the Watergate Volleyball Club, they soon discover a top-level conspiracy that implicates none other than President Richard Milhouse Nixon (Sid James). Co-starring Kenneth Williams as Henry Kissinger and Hattie Jacques as the domineering Pat Nixon, rumour has it this production was shelved on both legal grounds and for the appalling quality of the accents.

* * *

Carry On Banging
(1986)
A late entry made during what would become the series' wilderness years, Banging sees Kenneth Connor star as Andipandi Dyatlov, the pompous chief-engineer at the Chernobyl nuclear plant. When his put-upon staff decide to get their own back after filling the coolant chamber with custard, it's a race against time to prevent disaster. Unleashed over concerns of bad taste, the film co-stars Patrick Mower, Jack Douglas, Vicki Michelle, Maria Whittaker and Nosher Powell as Mikhail Gorbachev.

* * *

Carry On Picketing
(1986)
Another lost classic from the era Carry On forgot, Picketing sees the Ironware Lady (Joan Sims) take on Arthur Slagheap (Bernard Bresslaw) when he leads the N.O.B. (National Organisation of Brickies) out on strike after hourly tea breaks are cut from half an hour to 29 minutes. Rank chose not to release the film fearing audiences would wrongly assume it was inspired by the Miners' Strike. Co-stars Windsor Davies as Ian MacTadger and Melvyn Hayes as Labour leader Neil Knockers.

* * *

Carry On Cortéz
(1967)
Arguably the most coveted of the unreleased Carry Ons, made as it was at the height of the series' popularity, Cortéz stars Sid James as the eponymous Spanish explorer who toppled an empire. Featuring what would've no doubt been memorable performances from Kenneth Williams as Montezuma and Barbara Windsor as the improbably blonde, bubbly native girl La Malinche, the film was axed just before completion when a pissed up Charles Hawtrey (as narrator Bernal Diaz) accidentally burnt down the set after carelessly discarding a cigarette.

* * *

Carry On Up Your Auschwitz
(1975)
Kind of does what it says on the tin, really. By all accounts, Kenneth Williams gives a career best performance as camp commandant (pun intended) SS-Obersturmbannführer Groper, while Talbot Rothwell's script excels itself with pratfalls and puns aplenty. Rumour has it the film's most memorable exchange:
GROPER: (Williams) Tell me, Jew, do you vant to go to ze gas chamber?
LEO PUTZ: (Hawtrey) No, thank you, I went this morning.
was borrowed from a now lost episode of I.T.M.A., recorded at the Nuremberg Trials.

Thursday, 5 September 2024

Eight Classic Films, TV Dramas and Spoken Word Albums That Feel Painfully Relevant in 2024

[NB. In keeping with WordJam's house style, films are attributed to director and TV dramas to screenwriter.]

* * * * *

Privilege
(d. Peter Watkins: Universal, 1967)
Any of Peter Watkins' films could've made this list, but in an era where celebrity supposedly equals moral authority, Privilege seems to speak louder than ever. Set at an unspecified time in the (then) near-future, the film depicts a pop star being used by the government as both controlled rebellion and, later, an agent of social conformity. While Privilege isn't one of Watkins' best works (his unique faux-documentary style doesn't quite gel here), if you substitute the main character for, say, Taylor Swift, Megan Thee Stallion or Lizzo you'll find yourself gazing directly into the soulless, aspiration-driven void of contemporary pop culture. Incidentally, several sequences are recreated practically shot-for-shot in Stanley Kubrick's own dystopian classic A Clockwork Orange.

The Year of the Sex Olympics
(scr. Nigel Kneale: BBC, 1968)
Most critical analyses of The Year of the Sex Olympics tend to focus on how Nigel Kneale predicted reality television a good thirty years before it first hit our screens, but this tends to obscure other anticipations that are far more pertinent. In the authoritarian media-industrial complex depicted in the play, the masses are pacified with drugs and pornography to prevent population growth, everyone speaks in bastardised Americanese, entertainment is dumbed down to the absolute lowest common denominator, and any ideas that are deemed likely to elicit emotional responses are promptly stamped out to prevent personal discomfort and self-reflection. Sound familiar? 

The Devils
(d. Ken Russell: Warner Bros., 1971)
The late, great Ken Russell described The Devils as his one and only political film; in many ways, one roll of the dice was all he needed. Using the Loudon 'possessions' in 17th century France as its focal point, the film takes in a decadent and depraved ruling elite using repressive moral dogma to keep the rest of the populace in check, lawfare, moral panic, smear campaigns, social coercion and political theatre to show the abuse of power at its most abhorrent. "Don't look at me!" screams Father Grandier (Oliver Reed in a career-best performance) as he burns at the stake in the film's harrowing climax. "Look to your city! Your city is destroyed... Your freedom is destroyed also." Well, quite.

Lemmings
(National Lampoon: Banana/Blue Thumb Records, 1973)
National Lampoon's merciless Woodstock parody began life as a stage production before being preserved for posterity on record. In addition to capturing a group of brilliant young comedians on the threshold of success (Christopher Guest, Chevy Chase, John Belushi et al), it chronicles a moment in time when alternative culture was becoming a grim, myopic parody of itself. There's nothing wrong with idealism, of course - but as Lemmings reminds us, when dreams of utopia wilfully ignore even the most basic realities it's not unreasonable for people looking in through the correct end of the telescope to call bullshit. 

A Very Peculiar Practice
(scr. Andrew Davies: BBC, 1986-88, 1992)
Inspired by Andrew Davies' experiences as a lecturer in English literature and creative writing at the University of Warwick, A Very Peculiar Practice was intended as both a satire on the egregious mismanagement in higher education during the 1980s and an exquisitely subtle state of the nation address. Far from being an artefact from another time, however, it pre-empts so many frontline issues in the present, seemingly never-ending culture war that it's now painfully obvious Davies was sounding the alarm long before the first shots were fired. Institutional capture; the unholy alliance between self-styled progressive ideologies and big pharma, big tech and the military-industrial machine; cancel culture (exemplified here as traditional academia vs. radical theory); deplatforming: at times, it feels like this brilliantly witty and truly unique series could've been written yesterday. Or tomorrow.

Holding On
(scr. Tony Marchant: BBC, 1997)
Tony Marchant's eight-part, Robert Altman-esque ensemble drama was broadcast shortly after the 1997 UK general election, and although its story of a seemingly unconnected group of Londoners brought together by an unmeditated murder may have been devised during the dying days of John Major's Conservative government, it strongly anticipates the Britain that would emerge in the shadow of Tony Blair's New Labour. This is a world where idealism and opportunity walk hand-in-hand, but promises mean nothing and no one acknowledges responsibility. Whatever your political stripe, Holding On speaks to that deeply human need to connect with others in a society that's forgotten the value of community.

Give Me Immortality or Give Me Death
(The Firesign Theatre: Rhino Records, 1998)
Often (glibly) referred to as America's answer to Monty Python, The Firesign Theatre produced some of the most innovative comedy albums of the 1960s and '70s: their idiosyncratic fusion of socio-political satire and surreal silliness forming the missing link between The Goons and Thomas Pynchon. In the late '90s, they regrouped to record their 'Millennium Trilogy', taking their last pot-shots at the madness of the 20th century before it expired. Give Me Immortality or Give Me Death is the first and finest of these albums, presented as the output of a major commercial radio station on New Year's Eve 1999. Alternative facts, gleeful doom-mongering, media overreach and rampant corporatism collide in a series of bizarre yet all too plausible vignettes that somehow seem to belong in a post-2016 world than the one depicted here. Laced throughout are a series of commercials for an all-purpose, BlackRock-style asset management company whose sales pitch becomes increasingly more sinister as the clock ticks down to midnight ("US Plus: We own the idea of America...").

Shoot the Messenger
(scr. Sharon Foster: BBC, 2006)
To my mind the last great television play produced by the BBC, Shoot the Messenger is an extraordinary meditation on race in 21st century Britain that shits all over the racist bilge propagated by grifters like Reni Eddo-Lodge and David Olusoga. Broadcast only once and subjected to a storm of entirely misplaced controversy, Sharon Foster's drama focuses on Joe, an IT consultant who becomes a teacher after reading that black students in inner-city schools are underperforming next to their white peers. When he finds himself dismissed from his job following an allegation of misconduct from a problem pupil, Joe enters a spiral of depression and homelessness which leads him to self-identify as white. Through direct-to-camera address, we follow his journey through multicultural Britain, exploring differing perceptions and facets of black culture. In a world where everyone's told to stay in their lane and categorised into eternal victims or perpetual oppressors, God knows we need intelligent, nuanced and - above all - fearless work like this now more than ever. 

Honourable Mention:
The Future
(Leonard Cohen: Columbia, 1992)
I wasn't going to include music in this list, but since Leonard Cohen's albums blur the line between music and the spoken word it would be remiss not to mention this late masterpiece. Written partially in response to the sweeping geopolitical changes of the early 1990s, The Future rejects the notion put forward by Francis Fukuyama that the 'triumph' of western liberal democracy marks both the end of history and the decline of tyranny in favour of a more cautious worldview: one where, as Cohen growls on the title track, "Things are gonna slide, slide in all directions / Won't be nothing / Nothing you can measure anymore." Elsewhere, tracks like "Democracy", "Closing Time" and "Anthem" appear to sense the disquiet to come with the sort of wry bemusement only someone who's made their way through the looking glass can muster. Indeed, listening to The Future now is an almost eerie experience: so many of our contemporary concerns, from forever wars to neo-secular death cults, seem to be presented here that the overall effect is akin to a kind of precognitive eulogy.

Friday, 30 August 2024

Manic Street Preachers' The Holy Bible @30: WordJam Exclusive!

To mark the 30th anniversary of their ground-breaking album The Holy Bible, the Manic Street Preachers are releasing a new single featuring lyrics from everyone's favourite missing person, Sylvia Plath wannabe, incompetent rhythm guitarist and razorblade enthusiast Richey Edwards! The track, "Gymnasium Charnel House", should drop on Spotify ...erm... soon, but in the meantime, WordJam readers can get an exclusive first-hand look at the lyrics themselves, found down the back of a radiator at Sound Space Studios in Cardiff:

Cut myself with a broken Coke bottle
Capitalism seeps thru
Caspar David Friedrich was German
And Bertolt Brecht too
Stand away from the gap at the station
Observe the max headroom
Your vodka tears are no sanctuary
They're just a tomb

Pay your rent
Pay your rent
Direct debit
Standing order

Neon chrome glitter an oxymoron
You should read Henry Thoreau
The scansion is breaking apart now
And the coherency too
Arthur Rimbaud is fucking modernity
I've seen Betty Blue
All your anxieties summed up
By a pretentious word stew

Pay your rent
Pay your rent
Milton Friedman stole my ice cream

Friday, 23 August 2024

On 'Joy'

Just a question for anyone who's been following the 2024 Democratic National Convention: leaving aside the doublethink, hypocrisy and the sheer absurdity of it all, where exactly is this 'joy' we keep hearing so much about? 'Cos I've got to say, I'm not feeling it. And on a more practical level, I don't quite understand how it's going to jumpstart the US economy, resolve the situation at the border or deal with the fentanyl crisis. Will it reconcile the pro-life and pro-choice camps, or those who think biological sex is real and immutable with those who believe there's no such thing? Is it strong enough to end the carnage in Ukraine and Gaza, and perhaps make the world a safer, saner place? Or is this joy something only a select group of people who hold the 'correct' opinions and have bank balances equivalent to the GDP of Luxembourg are allowed to feel, while the rest of us, much like the workhouse orphans in Oliver Twist, look on with empty stomachs and sad, slobbering mouths, waiting for the bombs to fall?

The answer, my friends, is blowing in the wind. Possibly.