Until recently, Jeremy Clarkson was the chain-smoking, hard-drinking presenter of Top Gear, the BBC motoring show with a global cult following. Clarkson has made his name as a boorish, outspoken alpha male with scant respect for the edicts of political correctness that govern the conduct of media personalities in Britain.
The ability of the Top Gear franchise to shift books and DVDs and maintain buoyant domestic TV ratings made it worth £50 million a year to BBC Worldwide, the British state broadcaster’s commercial arm. This was largely due to Clarkson’s on-screen presence.
Clarkson’s sacking is a further nail in the coffin for free speech and alternative ideas in a climate of stifling political correctness foisted on Britain through institutions like the BBC.
The most expensive steak never eaten
Clarkson’s demise was cemented in the wake of disciplinary proceedings after a bust-up with a producer, Oisin Tymon, whom he allegedly punched in the face. Tymon had supposedly failed arrange Clarkson’s desired steak. The sacking brought to an end a long-running feud between senior executives at the BBC and Clarkson.
Empty suits like the BBC’s Director of TV Danny Cohen are staunch proponents of right-on ideologies like “equality and diversity.” These are values to which Clarkson stands in stark opposition. Once the star presenter had placed himself beyond the pale by assaulting an underling, anti-Clarkson sharks smelt blood in the water and circled for the kill.
Danny Cohen was the BBC executive responsible for Clarkson’s suspension in the wake of the so-called “fracas.” Cohen has been described by food critic and friend of Clarkson, AA Gill, as belonging to a clique operating at the BBC which is using the state broadcaster as an instrument for the promotion of left-wing views.
Gill was reported in the Telegraph saying that Top Gear is the opposite to everything Danny Cohen wants to broadcast: “white, overweight, middle-aged, banterish, polluting, coarse, middle-class and insensitive.” Gill is not alone in his this particular criticism of the BBC—in 2011, Peter Oborne wrote, “Rather than representing the nation as a whole, it [the BBC] has become a vital resource—and sometimes attack weapon – for a narrow, arrogant Left-Liberal elite.”
Cohen is the walking embodiment of this Left-Liberal rot at the heart of the BBC. On taking up his role as “Director of BBC Television,” Cohen’s first action was to accuse the BBC’s comedy programmes of being “too middle class.” Later on, he banned all-male lineups on comedy panel shows.
Licence-fee payers must now be subjected to “feminist comedians” like the odious Kate Smurthwaite, who picketed the funeral of popular London Dandy Sebastian Horsley, because the deceased man had happened to use prostitutes.
Cohen has also voiced support for fading comedian Lenny Henry’s demand for more “diversity” in British TV programmes. Rounding off the quartet of victimologist platitudes, Cohen also complained that he had “never felt so uncomfortable as a Jew in the UK” after the publication of reports on anti-Semitism in the UK.
To sum up, Cohen is an oppressed minority on the oppressive salary of £320,000 a year, who occupies himself with imposing gender and race quotas in British TV while militating against the menace of portly English men who use “unacceptable” language in programmes about motoring.
A storm in an English teacup
Clarkson’s alleged transgressions in the past amount really to nothing more than English pub banter. In 1998 he asserted that staff at South Korean car giant Hyundai had eaten dog. The firm slammed the comments as “bigoted and racist”. At the 2004 Press Awards, Clarkson punched Piers Morgan in the face for publicising his infidelity.
In 2009 he called former Labour PM Gordon Brown a “one-eyed Scottish idiot,” drawing flak from activists for blind people. In 2010, he referred to the Ferrari F430 Speciale as “speciale needs.” The National Autistic Society piped in to complain that the comments perpetuated “prejudice and bullying which people with disabilities have to cope with.” Showing no sign of abating, Clarkson told The One Show in 2011 that he would have public sector workers “taken outside and shot in front of their families.”
After Clarkson’s first suspension due to a racially insensitive comment, his public popularity gave rise to a petition for his reinstatement. The petition, signed by 1,000,000 people, was delivered to BBC headquarters by tank by Harry Cole, of the right-wing Guido Fawkes.
The sneering reaction of the liberal know-betters was summed up in the statement of the left-wing New Statesman’s Sarah Ditum, who fantasised out loud: “if every signatory to this petition were boiled down for biofuel the world would be a cleaner, smarter place.” As we in the manosphere are well aware, the mildest off-colour remark from a right-wing source is cause for men to be stripped of their livelihoods, while leftists openly fantasising about the deaths of their enemies is par for the course.
The BBC: a hive of Cultural Marxism and political correctness
The purpose of the BBC is to push a politically correct narrative delivered in tightly policed language. The Cultural Marxists at the BBC attack every cultural institution that comes within reach. One example is the adoption of the ridiculous “common era” and “before common era” in place of Annus Domini and Before Christ for denoting historical years.
This was in order not to “offend or alienate” non-Christians. In another instance, a male reporter who had just been thrown to the ground by a female Judo champion made a tame comment about being “beaten by a 19-year old girl.” The word “girl” was censored by the BBC for fear of causing offence, even though the female judoka did not find the remark sexist.
One of the most draconian instances of the BBC’s political correctness “gone mad” was the sacking of a regional radio DJ for inadvertently playing The Sun Has Got Its Hat On, a 1932 song containing the word “nigger.” The offending line in the song, recorded by Ambrose and his Orchestra, is: “He’s been tanning niggers out in Timbuktu, now he’s coming back to do the same to you.”
The wording was apparently obscure, yet a scandal arose after one listener rang to complain. The DJ, David Lowe, at 68 years of age and after a 30 year unblemished career in broad, had to quit his position because the episode aggravated a health condition.
The BBC’s culture of hypocrisy: no “Social Justice” for sexually abused girls
The priorities of “Auntie Beeb” become clear when one compares the ruthless pursuit of anyone who says anything vaguely off-colour with the disastrous handling by the BBC of the Jimmy Savile child abuse allegations. Savile was a renowned Yorkshire DJ who fronted the BBC’s Top Of The Pops.
Similarly to Clarkson, Savile was an indispensable talent with connections in high places. Decked out in trademark tracksuit and chewing on a huge cigar, Savile revelled in his ability to draw crowds and raise large amounts of money for charity. Savile was also allegedly very active in sexually molesting pre-pubescent girls, a vice which he concealed using his public persona as a charitable benefactor and entertainer.
The reaction of the BBC to the surfacing of the Savile allegations after his death was not on you’d expect of a network which makes a great song and dance about fighting for “social justice.” Instead of fighting for justice for Savile’s victims, they forced out or demoted journalists who outed Savile as a child-abuser.
Meirion Jones, on of the BBC’s top investigative producers, had his suspicions about Savile raised after seeing him take girls away in his car from a school run by Savile’s aunt. He handed his findings to the BBC, which promptly suppressed them. Jones faded into obscurity and was let go by the BBC this year.
Jones was accused along with his reporter on the Savile documentary, Liz MacKean, of “shoddy journalism” by the BBC when they tried to challenge the decision to shelve the investigation. Channel 4’s Panorama eventually took up the case and produced their own documentary investigation into Savile’s abuse. Oblivious, Clarkson’s arch-enemy Danny Cohen even considered running a tribute programme to Savile’s “Jim’ll Fix It” show, while Savile’s alleged abuse was known within the BBC.
A relic from another era
I make no attempt to defend Clarkson punching a producer. The report into the bust-up ruled he had subjected an innocent party to an assault accompanied by “sustained and prolonged verbal abuse of an extreme nature.” After having given Clarkson a final warning over the “Catch a nigger by the toe” fiasco, the BBC were effectively given no choice but to sack him, irrespective the intentions of the PC manginas chomping at the bit to end his career.
Clarkson’s story is nothing if not a lesson in perseverance. Having started, in his own words, “on the Shropshire Star with little Peugeots and Fiats,” Clarkson eventually penned a magazine piece in Performance Car, which got him the screen test for Top Gear. In his own words:
I didn’t look good. I didn’t dress well. And I didn’t really know what I was talking about. But there I was, on television, standing by the side of the road in Northamptonshire, waiting for a plane to fly over and for the rain to stop so I could tell eight people who truly loved cars how many suitcases you could get into the back of a Vauxhall Vectra.
Meet your new Liberal overlords
Danny Cohen is a man in stark opposition to Jeremy Clarkson. An Oxford graduate and Primrose Hill intellectual with as much creative energy and originality in his being as there is in one of Clarkson’s stray toenail clippings, Cohen represents arrogant, sneering left-liberal elitism at its most dangerous and despicable.
Married to a high-achieving feminist seven years his senior, Cohen strives to police ideological compliance on every front: class, race, gender and religion. To Cohen, the threat to the feelings of minorities posed by the words of men like Clarkson is of greater importance than the harbouring of an alleged child-rapist by the BBC.
The drive to get rid of Clarkson was successful because Clarkson made it easy for them to sack him, with his hot-headed temper and the devil-may-care philosophy that guided his actions. The dynamic, however, is a microcosm of modern Britain and indeed the West.
Men like Clarkson are workhorses: their talent generates numbers that keep whole enterprises like the BBC afloat. Instead of thanks for their efforts and tolerance of their foibles, the reward comes in the the form of jobsworth dictators like Danny Cohen, who, providing not one iota of value, are drafted in to implement nonsensical schemes for “more diversity” or “more female comedians.”
It will be interesting to see what happens when the last of the “talent” walks away, and Danny Cohen is left with a roster of imbeciles like Kate Smurthwaite to keep British audiences entertained.