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07.03.2026 16:44
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Snowdrops covered with dew
Look, though #spring
*Bangs head on wall repeatedly*
Barry Blitt, War-a-Lago
Genuinely an honour to have been interviewed by @gabyhinsliff.bsky.social of @theguardian.com about my new book. Which you can buy from @bookshop.org of course.
www.theguardian.com/lifeandstyle...
Well, Maurice Glasman, I think you might be described in Marina Hyde's piece here:
www.theguardian.com/commentisfre...
This is the point about Labour introducing retrospective changes to the immigration system. They set the precedent for any Govt. to say that they can go back on promises to migrants and people of colour as far back as they want.
Never missing an opportunity to be completely wrong
Nothing they talk about more in "left behind communities" than reinstalling the Shah.
Don’t let the door hit you on the way out, Kristi Noem.
Obama has the crowd at Jesse Jackson's eulogy hanging on his every word
Great read on the 2016 referendum, its aftermath and where it all went wrong.
quite apart from Kemi Badenoch's dismal performance on BBC Breakfast, minimising the work of the RAF, she spoke of Labour 'not being built' for conflict because they came into power to do things like 'breakfast clubs' in such a disparaging way, like feeding kids is a joke ambition
Again, Farage, Badenoch and their fellow travellers on X are wildly out of touch with the public on Iran.
Even the majority of Reform supporters oppose their position.
[WARNING: This is a bit graphic.]
A Marine Corps veteran protesting Trump’s War on Iran had his arm broken by Capitol Police and GOP Senator Tim Sheehy. It appears to be a compound fracture.
I remember when ‘Brexit Means Brexit’ became a way for silly people to insist that they supported something they could neither justify nor explain. Obviously the context is very different, but something similar is already happening with the ‘war’ in Iran. And it’s mostly the same people doing it.
It's almost like billionaire agents of discord and hate have created a narrative that is starkly at odd with the reality of life in Britain isn't it.
Demographically, most progressive defectors are frustrated lower middle class Millennials - not affluent urbanites or a PMC ‘lanyard class'. Though they have liberal social values, many are frustrated graduates; Millennials with a mortgage or rent they are struggling to afford - primary school teachers, IT support or clerical workers. In short, the face of the modern social democratic voter.
Labour is losing voters to progressive parties disproportionately.
And they are not mainly "lanyard" professional or working classes, the oppositional forces of Blue Labour and right discourse.
It's squeezed millennials in service careers. Which our politics ignores.
This is what Badenoch, Farage, the Murdoch press, and Paul Marshall's stable of GB News weirdos want us to get behind, and you know what I'm good, thanks...
During WW2, Stephen Bone served as a civilian camouflage officer and later as an Official War Artist attached to the Royal Navy. This work from 1941 depicts searchlights illuminating St Paul's Cathedral in the City of London and St Bride's Church, Fleet Street.
Ben Nicholson's painting (1917) is of Edie Stuart-Wortley who he once thought of marrying; instead she turned to his father William, and married him two years after Ben had painted this portrait of her.
The Curragh.' (1914) This painting by Irish artist Paul Henry is full of drama, accentuated by the use of a high horizon and tall waves as if to remind us of the danger facing the crew of this small boat. It brings home the harsh life of the islanders on Achill off County Mayo.
A view from Anthony Eyton's studio in Spitalfields, East London. He made a number of paintings of the view seen here; this picture was worked on for five years from 1976 during which time the view inevitably changed as houses were refurbished.
'Coastal Defences.' Eric Ravilious painted this work in Newhaven, East Sussex in 1940; as a coastal town it was heavily fortified because of its targeting as part of Operation Sea Lion, the planned invasion of Britain by German forces.
'Sleeping Beauty.' Evelyn Dunbar rarely exhibited her paintings and did not view them as an essential source of income; her work had, until recently all but disappeared from accounts of 20thC British art. This oil sketch shows her father taking a post lunch nap sometime in 1928.
Ben Nicholson painted 'Blue Bowl in Shadow,' in 1919. He would travel a considerable distance in his stylistic journey before he achieved the purity of his reliefs of the 1930s. He had half resolved to be a writer, but his aptitude was enough to make up his mind to be a painter.
'Interior, Mrs Mounter.' (1917) With its reflective mood, Harold Gilman’s painting suggests a comparison by Scandinavian artists of the time including Hammershøi; Gilman's influence came from visiting an exhibition of Danish painting at the Guildhall Art Gallery in early 1907.
'Evening, Killarney.' (1941) Speaking to an art critic in the 1930s, Paul Henry said: 'What always strikes me about the Irish landscape is its otherworldliness. There's an air of mystery about it ... you feel that anything may happen round the corner.'
