Inside Trump's White House

Michael Wolff’s Fire and Fury: Inside the Trump White House began life as an authorised record of Donald Trump’s presidency. After initially giving the book his tacit approval, Trump later tried to sue the publisher for libel. Now, almost two years later, comes another author with his own offically sanctioned account. “I was being given the nod to write an official history of a presidency,” boasts Doug Wead, writer of Inside Trump’s White House. (The US subtitle is The Real Story of His Presidency, while in the UK it’s The Authorized Story.)

The book is a response to Fire and Fury and Bob Woodward’s equally critical Fear, both of which depended on well-placed though unidentified sources. Wead disparages this “secondhand testimony, which was usually anonymous” though he later admits that he also relied on “a long list of anonymous sources inside the Trump White House and the government”.

His sources were apparently selected for him by Trump’s team: “White House staffers sent me names and phone numbers of people to contact.” These contacts include Dan Scavino and Keith Schiller—recognisable to anyone familiar with Trump’s background—who Wead admits are “names that I had never heard before”. In another example of Wead’s naivety, he boasts that Trump showed him a top-secret letter from Kim Jong-un—“My people don’t want me to give these to you”—though Trump had tweeted the entire text months earlier.

Two previous (and similarly hagiographic) books have claimed unique access to Trump. Corey R. Lewandowski and David N. Bossie wrote that Trump’s Enemies contained "the only formal book interview President Trump has sat for since being elected to office," and Ronald Kessler maintained that The Trump White House featured “the only interview for a book Trump said he has given or will give as president”. Presumably, Trump co-operated with Inside Trump’s White House because of Wead’s equally dependable loyalty: Trump tells him, “Doug, I think you and I have good chemistry. That’s going to be a good thing for this book.”

The result is a flattering portrait of the Trump administration, not quite as fawning as Trump’s Enemies though devoid of any brickbats. Whereas The Trump White House was surprisingly critical of Ivanka Trump and Jared Kushner, Wead lavishes praise on both of them, and refers to Kushner as ”the president’s brilliant son-in-law”. In fact, Wead devotes a chapter to each of Trump’s adult children, making this essentially a Trump vanity project.

Nam June Paik

A major Nam June Paik retrospective is currently on show at Tate Modern in London. The exhibition features more than 200 works, including Button Happening, Paik’s earliest extant video piece and, therefore, arguably the first example of video art. (Paik purchased a video camera in 1965. Legend has it that he filmed Pope Paul VI’s visit to New York on 4th October of that year, though the footage no longer exists. Button Happening was shot at around the same time.) The show also features numerous artefacts from Paik’s Fluxus period, including Zen for Film, a projection of unexposed 16mm film.

The exhibition opens with Paik’s masterpiece, TV Buddha. This installation—in which a Buddha statue contemplates its own image via CCTV—exists in numerous variations, though the Tate retrospective has the original 1974 version (with an 18th-century Buddha and a white JVC Videosphere TV), on loan from Amsterdam’s Stedelijk Museum. The exhibition runs from 17th October until 9th February next year.

2001 Between Kubrick and Clarke

2001 Between Kubrick and Clarke: The Genesis, Making and Authorship of a Masterpiece, by Filippo Ulivieri and Simone Odino, now sits alongside eleven other books about 2001: A Space Odyssey on my bookshelves. (The others are 2001: Filming The Future, The Making of Kubrick’s 2001, The Making of 2001: A Space Odyssey, 2001 Memories, Moonwatcher’s Memoir, Are We Alone?, 2001: A Space Odyssey, 2001: The Lost Science, The 2001 File, The Making Of Stanley Kubrick’s 2001: A Space Odyssey, and Space Odyssey.)

Despite being the latest of at least a dozen books on the subject, 2001 Between Kubrick and Clarke offers a surprisingly original analysis of the making of Stanley Kubrick’s masterpiece and his collaboration with Arthur C. Clarke. It provides “for the first time a complete account of the creative odyssey undertaken by Kubrick and Clarke,” including previously-unseen material from both the Kubrick Archive and, especially, Clarke’s papers at the Smithsonian.

Most accounts of the production of 2001 are largely anecdotal, relying on decades-old recollections, though 2001 Between Kubrick and Clarke takes a reassuringly systematic approach, verifying every fact via contemporaneous press reports and production documents. The book’s most substantial section offers a unique chronology of 2001’s production, meticulously researched and thoroughly detailed. There is also an in-depth examination of the often-overlooked period following Dr Strangelove, when Kubrick was formulating his plans for 2001.

2001 Between Kubrick and Clarke was first published in Italian, as 2001 tra Kubrick e Clarke: Genesi, realizzazione e paternità di un capolavoro. Co-author Filippo Ulivieri also wrote the excellent Stanley Kubrick and Me, the memoir of Kubrick’s personal assistant.

The Fabulists

Michael Peel, formerly based in the Financial Times’ Bangkok bureau, is now an FT Brussels correspondent. Once free of the tacit censorship familiar to all Bangkok-based journalists, he wrote of his “sense of alarm about the stifling atmosphere” surrounding discussion of the monarchy, in a cathartic FT Weekend Magazine feature (published on 14th October 2017).

In The Fabulists: The World’s New Rulers, Their Myths and the Struggle Against Them, Peel analyses the rise of authoritarianism in Southeast Asia and elsewhere. In a chapter on post-coup Thailand, he reflects on the paradox of the country’s adulation for the monarchy and its severe lèse-majesté law: “The longer I spent in Thailand, the harder I found it to reconcile this”.

Peel interviewed an imprisoned lèse-majesté suspect, and an ultra-royalist who snitches on anti-monarchists to the police. Peel describes his meeting with the shackled prisoner as “one of the more bizarre interviews I have conducted.” Tentative cracks appeared in the royalist’s over-zealous attitude, as he was faced with a moral dilemma: “He had fallen out with his son over his alleged disrespect for the monarchy. I asked gently about this. He replied elliptically.”

Peel also spoke to Sulak Sivaraksa, who has faced numerous lèse-majesté charges, all of which—thanks to behind-the-scenes interventions—resulted in acquittal. Sulak’s latest narrow escape came in 2014, when he challenged a national myth, questioning the historical accuracy of King Naresuan’s legendary elephant duel: “even this semi-licensed gadfly found he could not avoid the official swat.” Like the recent Sulak biography Roar, The Fabulists is on sale in Thailand only because it has somehow slipped under the government’s radar.

Spectrosynthesis II

Spectrosynthesis II - Exposure of Tolerance: LGBTQ in Southeast Asia (สนทนาสัปตสนธิ ๒: ไตร่ถาม ความหลากหลายในอุษาคเนย์) opened at Bangkok’s BACC on 23rd November. This major group exhibition features more than fifty artists, and is on show until 1st March next year. The substantial catalogue includes an essay by curator Chatvichai Promadhattavedi.

Highlights include Michael Shaowanasai’s Portrait of a Man in Habits, in which the artist poses as a monk wearing female make-up. When it was first shown, at the Chulalongkorn Art Center’s Alien {Gener}ation exhibition in 2000, it was condemned by the Thai Rath (ไทยรัฐ) newspaper. This led to complaints from Buddhist groups, and the photograph was withdrawn from display.

Vietnamese artist Dinh Q. Lê’s collages Gay Mixed II and Gay Mixed IV are also included. They are constructed from photographic strips woven together like traditional Vietnamese mats, though they include images from gay pornography censored in Vietnam.

Ohm Phanphiroj’s short video Underage, in which he interviews young boys forced into prostitution in Bangkok, was removed from the exhibition less than a month after it opened, following a high-level complaint. Thus, although Thailand is becoming increasingly accepting of gay culture, it remains hypersensitive to any material that exposes the country’s extreme social inequality. Rather than addressing the underlying problem, the official policy seems to be: shoot the messenger.

23rd Short Film and Video Festival

The 23rd Short Film and Video Festival, Thailand’s longest-running annual film festival, begins on 14th December. This year’s event includes two films that were previously censored in Thailand: Birth of Golden Snail (กำเนิดหอยทากทอง) and Syndromes and a Century (แสงศตวรรษ).

The seemingly arbitrary censorship of Apichatpong Weerasethakul’s Syndromes and a Century was the catalyst for the Free Thai Cinema Movement’s campaign for film classification. The campaign was successful, as the Film and Video Act introduced a rating system, though it was a rather Pyrrhic victory, as films continued to be cut and banned.

Chulayarnnon Siriphol’s Birth of Golden Snail was banned under the Film and Video Act, though the ban was legally questionable. The film was rejected by the Office of Contemporary Art and Culture (OCAC), though the Act specifies that responsibility for censorship lies with the Film and Video Censorship Committee (which had not viewed the film) rather than the OCAC. Birth of Golden Snail received its premiere in Singapore last month.

Birth of Golden Snail will be shown as part of the Short Film and Video Festival’s opening programme on 14th December, and Syndromes and a Century will be screened on 16th December. Both screenings will be in 35mm, at the Thai Film Archive in Salaya.

30th Singapore International Film Festival

The 30th Singapore International Film Festival ran from 21st November to 1st December. The Festival included the first public screening of Chulayarnnon Siriphol’s Birth of Golden Snail (กำเนิดหอยทากทอง), at the National Gallery on 29th November. This silent film was shot on 16mm—like Apichatpong Weerasethakul’s Uncle Boonmee Who Can Recall His Past Lives (ลุงบุญมีระลึกชาติ)—in the style of 1920s French avant-garde films such as Un chien andalou.

Birth of Golden Snail was inspired by legends associated with Khao Khanabham cave in Krabi. It begins with a group of cavemen spearing fish and lighting a fire. As they celebrate, a match cut transforms them into Japanese soldiers camping at the cave during World War II. (This transition, from prehistory to modernity in an instant, recalls the famous cut from the bone to the spacecraft in 2001: A Space Odyssey.) The soldiers capture a local schoolgirl after she glimpses them hiding gold bars in the cave. (The gold is tinted yellow, in an otherwise black-and-white film.)

The film was intended as a site-specific installation to be projected onto the Khao Khanabham cave wall, as part of last year’s Thailand Biennale. However, the Office of Contemporary Art and Culture (OCAC) argued that its depiction of the Japanese soldiers could “make a bad relationship between Thailand and Japan.” (This is unlikely, as the soldiers are not portrayed entirely negatively: although they tie the schoolgirl to a tree, they offer her food, and when she escapes and is punished by her father—a character from Chulayarnnon’s film Vanishing Horizon of the Sea—they ask him not to beat her.)

In a dream sequence, snails appear on the schoolgirl’s body. One shot shows the creatures on her breasts, though strategically-placed gastropods and shallow focus ensure that there is no explicit nudity. Also, the sequence is comical (with a “Pregnant!” intertitle) and surreal (as a snail shell suddenly appears via a jump cut). Nevertheless, the OCAC claimed that the image of a pregnant schoolgirl set a bad example, and that the shot of her breasts was indecent.

They were particularly concerned because Krabi, the Biennale exhibition venue, has a one-third Muslim population, and they told the director: “It shouldn’t be screened in the Muslim community.” Those concerns were apparently well founded, as Chulayarnnon received a death threat from a local Muslim community leader. As the director told me in an interview last year, “He had a chance to see my film, and he posted on Facebook: ‘Do not look down on the cave, otherwise you will die!’” On the eve of the Biennale, Chulayarnnon was informed in writing that the film violated the “peace, morality, national security and dignity of Thailand”. (Their letter was exhibited at Field Trip Project Asia this year.)

The OCAC cited the Film and Video Act, § 29, to justify their ban, though the paragraph in question states: “if the Film and Video Censorship Committee considers any film as having content which undermines or is contrary to public order or good morals, or may affect the security and dignity of Thailand, the Film and Video Censorship Committee shall have the power to order an applicant to edit or cut off the scene before granting approval”. In other words, the OCAC acted beyond its jurisdiction, as the power of movie censorship rests solely with the Film and Video Censorship Committee (which did not view the film).

Negotiations with the OCAC progressed at such a snail’s pace that no agreement had been reached by the close of the four-month exhibition, and Birth of Golden Snail was effectively aborted. The film finally emerged from its shell in Singapore, and it will receive its Thai premiere later this month, at the 23rd Short Film and Video Festival.

The Irishman

Martin Scorsese has directed twenty-five feature films, only a handful of which are gangster movies. But, perhaps due to the tremendous influence of GoodFellas and his long-overdue Oscar for The Departed, he’s indelibly associated with the gangster genre. Also (notwithstanding his recent work with Leonardo DiCaprio), Scorsese’s collaborations with Robert De Niro represent one of the greatest director-and-actor partnerships in cinema history. So when a new Scorsese film returned to the world of organised crime, and reunited the director with De Niro after two decades, expectations were set very high indeed.

The Irishman is a late-career masterpiece from Scorsese, made for Netflix after the major Hollywood studios baulked at its $150m budget. Scorsese has previously made documentaries (and a faux documentary, Rolling Thunder Revue) for Netflix, and directed the Boardwalk Empire pilot for HBO. The Netflix deal meant that The Irishman’s theatrical window was limited to just a few weeks, and there are no plans for a blu-ray or DVD release in the near future, though it’s streaming on Netflix (in its theatrical 1.85:1 aspect ratio) indefinitely.

The epic film spans almost fifty years, though its complex back-and-forth structure is never jarring or confusing, thanks to incredibly seamless editing by long-term Scorsese collaborator Thelma Schoonmaker. CGI was used to remove facial wrinkles in the flashback scenes, though the effect isn’t entirely convincing: while it does smooth the actors’ faces, it can’t compensate for their older bodies and slower movements. The film itself has a slower, more elegiac pace than Scorsese’s earlier gangster classics, and Joe Pesci’s performance is especially restrained (in contrast to his hot-tempered roles in Raging Bull, GoodFellas, and Casino).

The Irishman was adapted from I Heard You Paint Houses, based on the recollections of Frank Sheeran, a close associate of Jimmy Hoffa. (Sheeran, played by De Niro, is the eponymous Irishman. The film uses I Heard You Paint Houses as a subtitle, ‘painting houses’ being a metaphor for gangland killings.) Hoffa, played by Al Pacino, disappeared in 1975, and the circumstances of his death have never been revealed. Sheeran claimed responsibility, and The Irishman takes him at his word.

“The Prime Minister.Show a bit of respect...”

The Cave (นางนอน), based on the true story of last year’s miraculous cave rescue, opened in cinemas this week. The film sticks solidly to the facts, with several key participants playing themselves. It’s tense and dramatic, and begins in medias res: the very first line of dialogue is “Let’s go to the cave.” There’s a moment of Ace in the Hole-style social commentary—a vendor selling lottery tickets at the cave entrance—though one scene stands out as comic relief: the arrival of the Prime Minister.

Before the PM appears, he’s formally announced—“The Prime Minister. Show a bit of respect, guys.”—though while he was on-screen, there were chuckles from the cinema audience. The character has a close physical likeness to Prayut Chan-o-cha, and he serves no purpose other than to give gift baskets to the divers. He also uses broken English (like Prayut himself), telling one diver: “Oh! You marry her, visa no problem.”

The Cave is one of only a handful of films to feature Thai Prime Ministers, due to censorship of political content and public apathy towards politics. A biopic of Plaek Phibunsongkhram was abandoned in 1988 due to a lawsuit from his estate. Similarly, a Sarit Thanarat biopic—provisionally titled จอมพล (‘marshal’)—was vetoed by the censors in 2002. Sarit did feature briefly in the horror movie Zee Oui: The Man-Eater (ซี-อุย), ordering the swift execution of Zee Oui for political expediency.

Pen-ek Ratanaruang’s documentary Paradoxocracy (ประชาธิป’ไทย) discusses Thaksin Shinawatra, and the film’s distributor asked the director incredulously: “How can you put a film with Thaksin in the cinema?” Sulak Sivaraksa makes a similar point in the documentary itself, saying: “Your movie shouldn’t waste too much time on Thaksin.” (That line received applause at cinema screenings.)

In Ing Kanjanavanit’s banned Shakespeare Must Die (เชคสเปียร์ต้องตาย), Macbeth is reimagined as a Thaksin-like figure, and the similarity is noted self-referentially when a policeman says: “Your actor looks like our Dear Leader. Is this intentional?” Wisit Sasanatieng’s The Red Eagle (อินทรีแดง) features a Prime Minister who abandons his principles once he assumes office, reneging on a pre-election pledge to ban nuclear power. In a Bangkok Post interview, Wisit claimed that he “didn’t set out to criticise any particular prime minister... I only want to mock those who began as good guys fighting for the poor, then, like Darth Vader, they become villains once they have power.” But that sounds awfully like a description of Thaksin.

The disaster movie Death Wave (13-04-2022 วันโลกสังหาร) features Thailand’s most ludicrous cinematic Prime Minister, portrayed as a holier-than-thou figure who selflessly sacrifices his career for the greater good: “the lives and safety of my people are more valuable than my assumed position... I’m willing to lose everything in exchange for the lives of my people.” He even becomes an action hero, rescuing a busload of drowning children while a news reporter praises “our Prime Minister’s fearless courage.” Needless to say, that PM was entirely fictional.

Epic December

Following this month’s Judy Garland Focus, next month will be Epic December at Bangkok Screening Room. The season begins with Cleopatra, the last gasp of the Hollywood studio system and one of the most expensive films in cinema history. Another highlight is Ben-Hur: A Tale of the Christ, winner of a record eleven Oscars. And no epic season would be complete without the ultimate Hollywood classic, Gone with the Wind.

Cleopatra is showing on 1st and 28th December. Ben-Hur will be screened on 21st and 29th December. Gone with the Wind is playing on 7th and 15th December. Back in 2010, Gone with the Wind was the last film ever screened at Siam Theater; it was also shown at Scala in 2017, and at Lido (with Ben-Hur) in 2007.

Aside from the Epic December season, Bangkok Screening Room will also be showing a few other classics next month. Marcel Carné’s poetic realist Children of Paradise (Les enfants du paradis) will be screened on 8th and 14th December. Alfred Hitchcock’s thriller North by Northwest is showing on 3rd, 4th, 5th, 7th, 8th, 10th, 11th, and 15th December. The action movie Die Hard is on 20th December, as part of a short season of Christmas films.

“The Future Forward party is a journey...”

The Thai Constitutional Court has disqualified Future Forward party leader Thanathorn Juangroongruangkit as an MP, ruling that he violated the constitution by holding shares in a media company. Thanathorn had claimed that he sold his shares in V-Luck Media to his mother in January, and that she paid for them by cheque at that time. However, it was not until May—after this year’s election—that the cheque was cashed.

Article 98 of the constitution forbids MPs from holding shares in media companies. After the verdict, Thanathorn said: “The election on 24th March was not the only battle. The Future Forward party is a journey. It still needs to undergo many elections and importantly, I am still a prime ministerial candidate.” (It is not necessary for prime ministers to be MPs, thus Thanathorn remains eligible for nomination as PM at the next election.)

Ready Player One

Steven Spielberg’s Ready Player One meticulously recreates key sequences from Stanley Kubrick’s The Shining—but then proceeds to populate them with CGI zombies. (Doctor Sleep, released a few weeks ago, recreates The Shining’s sets equally faithfully, though its cast is no match for the original.) Ready Player One also suffers from too much expository dialogue: it takes around twenty minutes to establish the rules of the game played by the central characters.

Judy Garland Focus

Bangkok Screening Room will be showing some classic Judy Garland musicals this month. The Judy Garland Focus season includes The Wizard of Oz (screening tomorrow and 23rd November) and Meet Me in St. Louis (on 16th and 24th November).

Never Again

Thai political protesters of all persuasions have used clothing and accessories as markers of political identity. Medallions were distributed at the funerals of 13th October 1973 massacre victims. (Reproductions were issued with a book commemorating the event.) The UDD and PAD movements are both better known by the colour of their respective clothes—red-shirts and yellow-shirts—and both groups also used plastic hand-clappers at their rallies. Later, the PDRC protesters were nicknamed whistle-blowers, not because they were exposing corruption but because they blew whistles at their protests.

These simple artefacts are souvenirs of protests attended, and symbols of the deeply polarised nature of modern Thai politics. A collection of more recent political emphemera is currently on show in Bangkok, at the Never Again exhibition. The items on display, including UDD calendars and water bowls, were all declared illegal by the junta in the years following the 2014 coup. The exhibition also features a large collection of anti-junta t-shirts.

The main exhibit is the white shirt worn by New Democracy Movement member Sirawith Seritiwat when he was attacked by thugs on 28th June. His bloodstained shirt highlights the violence of the attack, and serves as a potent reminder of the anti-democratic vigilantism that has existed in Thailand for more than forty years. (Stickers from the New Democracy Movement are also included, though their banned ‘seven reasons to vote no’ leaflet is missing.)

Never Again: Seize, Trample, Repeat, Change (หยุด ย่ำ ซ้ำ เดิน) was organised by Thai Lawyers for Human Rights, an NGO that also published the recent book ราษฎรกำแหง (‘dissident citizens’). The exhibition was previously held at Chiang Mai University (from 11th to 16th August), and is now at WTF Gallery (from 1st to 10th November).

Short Film Marathon

The annual Short Film Marathon (หนังสั้นมาราธอน) began yesterday at the Thai Film Archive in Salaya. More than 400 films will be screened, in alphabetical order, until 12th December, and the cream of the crop will be selected for the forthcoming 23rd Short Film and Video Festival. Attendees at yesterday’s launch were given bib numbers, just like a real marathon. (Fortunately, no actual running was required.)

The first programme included Chulayarnnon Siriphol’s new film 100 Times Reproduction of Democracy (การผลิตซ้ำประชาธิปไตยให้กลายเป็นของแท้). The film begins with a self-reflexive commentary on artistic reproduction: 100 Times Reproduction of ‘A Cock Kills a Child by Pecking on the Mouth of an Earthen Jar’ (การผลิตซ้ำภาพยนตร์สั้นเรื่องไก่จิกเด็กตายบนปากโอ่งจำนวน 100 ครั้ง), which itself incorporates A Cock Kills a Child by Pecking on the Mouth of an Earthen Jar (ไก่จิกเด็กตายบนปากโอ่ง), Chulayarnnon’s award-winning entry at the 17th Short Film and Video Festival. Scenes from that film (a patient with arthritis exercising and visiting her doctor) are repeated, and the director sells 100 DVD copies of it and gives away 100 copies of his award certificate.

100 Times Reproduction of Democracy then transitions into the equally repetitive issue of Thai politics: the cycle of coups has been reproduced a dozen times since the democratic revolution of 1932. The film shows how one symbol can be replaced with another, with the removal of a plaque commemorating the revolution. Chulayarnnon also filmed the PDRC’s ‘Shutdown Bangkok’ rallies—as he did in Myth of Modernity and Here Comes the Democrat Party (ประชาธิปัตย์มาแล้ว)—and Rap Against Dictatorship’s performance of My Country Has (ประเทศกูมี) earlier this year. The song is juxtaposed with footage from Children’s Day of toddlers posing with tanks and machine guns, showing how militarism is inculcated at an extremely young age.

RAW Jazz Effect

Rapper P9D’s album RAW Jazz Effect was released in 2017. Each CD (packaged in a DVD case) is signed by the artist and inscribed with a line from the track Light On. The album’s full title is Ruthless and the Whole Jazz Effect.

Like his fellow Thai bands Rap Against Dictatorship, Dogwhine, and The Commoner, P9D’s lyrics are often political. The track Section 44 begins with the line “Fuck the section 44,” in reference to article 44 of the interim constitution, which granted absolute power to the military junta.

The Thai experimental noise band Gamnad737 also released a song in opposition to article 44, though the track—Kill the Section 44, from their album Lets Kill [sic]—has no lyrics. (Lets Kill is available on cassette and CD, and in a unique CD edition splattered with founding member Arkat Vinyapiroath’s blood.)

The New York Times Book of Movies

The New York Times Book of Movies: The Essential 1,000 Films to See is the third edition of a film guide that was first published in 1999 (not, as the new edition says, 1987). The New York Times Guide to the Best 1,000 Movies Ever Made was updated in 2004, and the retitled third edition appeared this month. The 1,000 films were selected by New York Times film critics A.O. Scott and Manohla Dargis.

This is not the only guide to 1,000 classic films. Others include: Halliwell’s Top 1,000 by John Walker, Time Out’s 1,000 Films to Change Your Life, The Guardian’s 1,000 Films to See Before You Die, and Have You Seen...? by David Thomson.

Siri House

To celebrate Halloween, Siri House in Bangkok will be showing Kubrick’s The Shining tomorrow. The screening is free of charge.

Framed

A Freedom of Information request by BuzzFeed News has revealed that the Secret Service interviewed Eminem on 16th January 2017. The rapper was questioned about his single Framed, from his album Revival, after a TMZ reporter alerted the Secret Service to the song’s lyrics. (The song is about a man who kills Trump’s eldest daughter: “how the fuck is Ivanka Trump in the trunk of my car?”)

After two days, the investigation was closed and no further action was taken, though Eminem referenced the interview in a later song, The Ringer: “Agent Orange just sent the Secret Service / To meet in person to see if I really think of hurtin’ him”. The case lends credence to another rapper, YG, who previously claimed that his single FDT was censored at the request of the Secret Service due to its violent anti-Trump lyrics.

Dog of God

Dog of God is the debut EP by Thai band Dogwhine, and is available on CD from the Ageha café in Bangkok. The EP includes a couple of overtly political tracks: Leader is a dig at unelected Prime Minister Prayut Chan-o-cha (“Leader must come from election”), and Democrazy comments on the country’s cycle of military violence (“Nowhere to hide, no way to run / Not your first time to see the dictator”).

The animated promo video for Democrazy features the folding chair and hanging corpse from Neal Ulevich’s famous photograph of the 6th October 1976 massacre. (The video’s director is credited only by his nickname, Jung.) The song’s Democrazy pun echoes the name of Bangkok’s Democrazy Theatre Studio and the titles of the short films Democrazy.mov (by Thunsita Yanuprom and Sarun Channiam) and Demockrazy (by Duangporn Pakavirojkul).

Dogwhine are part of a wave of musicians using protest songs to comment on contemporary Thai politics. Rap Against Dictatorship’s anthemic My Country Has (ประเทศกูมี) is the most prominent example, though others include The Commoner’s EP สามัญชน (‘commoner’), P9D’s single Section 44, and the จะ4ปีแล้วนะ (‘four years already’) and BNK44 concerts.

For the Record

Just as Tony Blair’s legacy is defined by the Iraq war, David Cameron’s premiership will also be judged by a single decision: to hold a referendum on the UK’s EU membership. Thus, it’s inevitable that Europe also overshadows Cameron’s new memoir, For the Record.

In his memoir, A Journey, Blair acknowledged the polarisation and anger caused by his support for George W. Bush’s Iraq invasion, though he also insisted that he took the decision in good faith. Similarly, For the Record begins with Cameron’s apology for the consequences of Brexit: “I am truly sorry to have seen the country I love so much suffer uncertainty and division in the years since then. But...”

Cameron also accepts some of the responsibility for losing the referendum campaign: “I deeply regret the outcome and accept that my approach failed. The decisions I took contributed to that failure. I failed. But, in my defence...”

This remorse and regret is always followed by a qualifying ‘but’, and he insists that the referendum itself was justified: “I am not apologetic about having been the prime minister who promised a referendum and delivered on the promise.” Cameron is equally unapologetic about austerity. Quite the opposite, in fact: “My assessment now is that we probably didn’t cut enough.”

As for Boris Johnson, Cameron calls him “an irritation” and later, for good measure, “a massive irritation.” He’s also clear about Johnson’s motives for supporting Brexit: “while Boris cared about this issue, it was secondary to another concern: what was the best outcome for him?”

As even Vote Leave admit, the £350m-a-week on the bus was a calculated deception. Cameron puts it rather effectively: “As Boris rode the bus around the country, he left the truth at home.” Absolutely, except now Boris is in the driving seat and, like the end of The Italian Job, we’re teetering on the edge of a cliff.

The Amazing Thai-Land

The Amazing Thai-Land, is graphic artist Chalermpol Junrayab’s debut solo exhibition. (The title is an ironic reappropriation of the Tourist Authority of Thailand’s slogan ‘Amazing Thailand’.) Chalermpol creates parodies of comic-book covers on his iPad, satirising Thai politics.

Junta leader and Prime Minister Prayut Chan-o-cha is caricatured in several of Chalermpol’s prints. In Final Curve, for example, the 24th March election campaign is depicted as a dodgem race, which Prayut (car number 44) wins with the help of a turbo engine representing the 250 senators he appointed. Another print, Buddha Man, refers to the recent Ultraman Buddha controversy, with an inset portrait of the Buddha wearing Ultraman’s costume.

The Amazing Thai-Land opened on 12th October at Sathorn 11 Art Space in Bangkok. Free copies of Chalermpol’s 2019 desk calendar are available at the exhibition, which runs until 25th October. (Political calendars caused controversy in 2016 and 2018, when calendars promoting Thaksin and Yingluck Shinawatra were seized by the military.)

1001 MoviesYou Must See Before You Die

The 2019 edition of 1001 Movies You Must See Before You Die was published last week. Edited by Steven Jay Schneider, the first edition appeared in 2003, and it has been updated annually ever since (2004, 2005, 2006, 2007, 2008, 2009, 2010, 2011, 2012, 2013, 2014, 2015, 2016, 2017, and 2018).

This year’s edition, revised by Ian Haydn Smith, features twelve new titles: Phantom Thread, The Greatest Showman, Crazy Rich Asians, Capernaum, A Star is Born (the Bradley Cooper remake), Avengers: Infinity War, Roma, Hereditary, The Favourite, Sorry to Bother You, Vice, and BlacKkKlansman. The new entries were all released between 2017 and 2018.

To maintain the 1001 total, a dozen films from the previous edition have been deleted: Buffalo ’66, Three Kings, Magnolia, Kippur, A One and a Two... (一 一), Amores perros, Talk to Her (Hable con ella), Victoria, Spotlight, Dawson City: Frozen in Time, Lady Macbeth, and Under the Shadow. Most previous updates removed only recent films, though this year’s deletions include some twenty-year-old classics (such as A One and a Two... and Amores perros).

There are also a couple of minor changes to the illustrations. The entry for The Burmese Harp (ビルマの竪琴) previously featured an English-language poster, though this has been replaced with the correct Japanese version (page 318); and the poster for The Gleaners and I (Les glaneurs et la glaneuse) has been mistakenly replaced by a duplicated photograph (page 883).