The View from the Bates-Home Motel

         "The dementers are amongst the foulest creatures that walk upon this earth, get near a dementer and they will drain you of good feelings, of life"

                                                                                                    JK Rowling

                                                           "Ed egli avea del cul trombetta (and he made his arse a trumpet)"

                                                                                                         Dante

 

                                                    1 – Heil, Heil Rock 'n' Roll: The Psycho-Follies of Stewart Home

                                                                                              By David Black

In an interview with Charlotte Cooper, Stewart Home says
"......my fun and outgoing side comes from my mom. She wasn't judgemental but if it wasn't for her there are individuals who I did like who I'd have probably never had any negative feelings about. I'm thinking of people like the pro-situ Michel Prigent who she knew, and to the best of my knowledge hid public vendetta against me stems from the fact he has some weird feelings about my mom who he seems to have met through people like beat writer/situationist Alex Trocchi."
{http://www.charlottecooper.net/docs/archive/stewartmum.htm]

In truth, 1) Michel Prigent never knew Home's mother, and therefore, 2) cannot harbour any feelings about her, "weird" or otherwise, and 3) it is Home who is pursuing the "public vendetta."
Why the vendetta? Because in the mid-nineties Prigent, along with Larry O'Hara and myself called Home to account for his strange associations with the fascist rock scene, in particular, one Tony Wakeford.
I knew Wakeford for a brief period in 1976 when, as a 17-year old SWP supporter, he attended a couple of workshops organised by CAST theatre group, of which I was a member. As he was more into music than theatre he went off to form the Crisis punk band, which was slightly surprising as his favourite bands had been Pink Floyd and Henry Cow. Then a few years later, in 1982, CAST director Roland Muldoon told me sadly that Wakeford had become a Strasserite Nazi in the National Front.
In 1982 Wakeford and fellow Crisis renegade Douglas Pearce formed a new band called Death in June, whose musical formula was to whine praises of the Third Reich and the gas chambers over the top of riffs borrowed from Joy Division. In contrast to a NME reviewer, who slagged them off royally for what they were, Home evidently didn't notice the change of line, because he gave them a rave review in A Certain Gesture magazine. And even when Home learned of Wakeford's NF membership, he maintained a relationship for some time with Death in June, because he accepted the myth promoted by Pearce, that the band was "playing with" and "manipulating" fascist imagery rather than actually promoting fascist ideology. Eventually, Home must have realised that "C'est Une Reve" was indeed what it sounded like: a protest song against the trial of Klaus Barbie!
In the mid-eighties Wakeford formed another band of National Front supporters called Above The Ruins, who recorded an album called 'Songs of the Wolf'. By this time Wakeford had joined a new fascist group called IONA, which drew its ideas from Julius Evola, the Italian pagan-fascist who founded the terrorist NAR group. One of the songs, 'A Hundred Flags Are Marching' promoted Evola's vision of Euro-Regionalism combined with Waffen SS "internationalism". Above The Ruins also collaborated with the hard-core Nazi bans Skrewdriver on a White Noise compilation album called 'No Surrender'.
In the late eighties Above The Ruins changed their name to Sol Invictus and became more "mystical," emphasising the paganism (runes, Odinism etc) of Evolanism rather than its racist-terrorist politics. The name-change only helped to fool the foolish and incompetent; and Home was both of these things. Having continued to share Wakeford and co's interest in mystical cretinism, he readily fell for Wakeford's claims that he had given up fascism (though if he had done a bit of basic research he would have discovered that Wakeford had been lying in interviews, saying he had NEVER been involved in fascist politics). To his eternal shame Home, in 1994, wrote a slavering preface to Wakeford's book of song lyrics, entitled 'Above Us The Sun'. Home apparently failed to notice that Wakeford's introduction to the book was stuffed with Evolan concepts: support for the Europe of a Hundred Flags ("We need a Europe based on culture and regions rather than those worn-out states"); pagan Sun-Moon worship counterposed to Judeo-Christianity; and hatred of "plutocracy", cosmopolitanism, and America (the Coca-Cola International").
Hardly surprising then that Home's self-proclaimed leftism was by then beginning to be seen as one of his hoaxes and that Neil Belton, as quoted in Iain Sinclair's 1997 book, 'Lights out For the Territory', described Home as a "next door neighbour to Strasserism." Given that Home considered himself an expert on all of the bands named above (Crisis, Death in June, Skrewdriver and Sol Invictus) and others of that milieu, it must have been very painful for him when it became clear to all that, 1) he had been writing cack about all of these bands for fifteen years, 2) that he has appalling taste in music and 3) like all Bordigists, he has no understanding whatsoever of fascism. He has finally owned up to his mistake, and apparently no longer believes, as he wrote in 1994, "Wakeford is a genius, the knight of faith, just look once again at his lyrics and you will see that this is the case." Despite all this, Home is still pursuing his slanderous vendetta against those who have criticised him. Perhaps he is haunted by the Death in June song, 'The Guilty Have No Pride.'

 

                                                    2 – Time For Some Mobile-Home Truths

                                                                                      By Michel Prigent

                                                           "I got the whole story – but not from Norman. I got it –from his mother.
                                                            Norman Bates no longer exists. He only half-existed to begin with. And
                                                             now, the other half has taken over. Probably for all time."

                                                                                       Dr Fred Richmond, Psycho

Home's obsession with his late estranged mother is reminiscent of Norman Bates in Psycho (he even poses as his mother on his fan site). More generally, Norman Bates-Home is trying desperately to construct himself an historical past, pulling rabbits out of a non-existent hat, in order to present himself as an insider expert on 'sixties counter-culture, when in fact he wasn't there and doesn't remember.
I can categorically declare that, having seen the photograph of Stewart Home's mother he has published. I have never met her. He claims that she hung about with Alex Trocchi's junkie circle. When I met Trocchi at his place in Observatory Gardens, it was always pre-arranged by telephone. The few people I met included Trocchi's wife Lynn, Jamie Wadhawan (maker of two films about Trocchi) and an American actor called Leroy, who acted as Trocchi's assistant and archivist. I also recall bumping into Michael X one day as I was leaving. Many friends can testify to all this and I have to say that I disliked the junkie world of Trocchi, having seen at close quarters the misery it can create – yet another reason for never having met Home's junkie mother, who died in 1979.
Home is such a crap historian of punk and the SI that he refuses to recognise the importance of Malcolm Maclaren's association with King Mob Echo in 1968. King Mob had at least one functioning member of the Internationale Situationniste (the one and only Christopher Gray), but many more gravitated around the group, one of whom was known as Malcolm Edwards. Edwards (Maclaren) learned his craft there and later put it to some use, although he never ploughed his dough into any worthy projects.
Also, consider Bates-Home's support for the so-called Second situationist International in 1961 at the Fifth Conference of the Internationale Situationniste in Goteberg. It was noted in Internationale Situationists (No. 7 April 1962) that a lot of artists "were giving Situationism as a reference or designating their works as Situationist." The SI thus decided to call all art that Situationists did as anti-Situationists. Jorgen Nash of the Scandinavian section of the SI was against this idea. Those who saw themselves primarily as artists had to leave the SI. This was the turning point. The critique of art had been done; it was now a matter of understanding and criticising the political world. May 1968 owes a lot to that split in the SI. This Bates-Home cannot understand; in fact he and his sidekick Fabian Thompsett promoted Nashism to the hilt, and have found support for this position from Martin Jay, the ex-radical sociologist, who once wrote a decent book on Adorno. And what passes for art in 2008? A vast quantity of miserable works in all fields, in which the curators are the true "creators by selection" and the art dealers inflate the works in order to increase the value of the art itself. Until recently Nash was into "happenings" with music, which involved tearing the heads off live chickens (shades of Home's favourite occult bands?) Some art! Some artists! When one sees and hears the art of today it is apparent that art is indeed dead or not far from it. The Supersession of art so dear to the Situationists is one that can be salvaged from the legacy of the SI. To fight for a better life and world without the capitalist relations of production, which are destroying the planet, is a worthy poetical project. Bates-Home is still stuck in the class struggle swamp. As we have seen, he managed to mix neo-nazism and bolshevism. And even though he says he has understood his mistake, he has not earned the right to be trusted. In fact this stinking coward is still in the same moral sewer he inhabited when he drew up a "death list" which included Guy Debord and Salman Rusdie, who at the time had a Fatwa issued against him.