[vc_row][vc_column][vc_column_text]8 August: Index on Censorship welcomes a ruling by a Russian court temporarily halting the deportation of independent journalist Khudoberdi Nurmatov, better known by his pen name Ali Feruz. The decision follows a European Court of Human Rights order to delay the deportation until it can rule on the journalist’s appeal.
Index calls on the Russian authorities to allow accept Nurmatov’s asylum application and ensure he is treated safely.[/vc_column_text][vc_single_image image=”94957″ img_size=”full” add_caption=”yes” alignment=”center”][vc_column_text]Journalist Khudoberdi Nurmatov, who works for independent Russian newspaper Novaya Gazeta, is set to be deported back to Uzbekistan, where it is feared he will be tortured.
“Deportation to Uzbekistan puts his life at serious risk. If sent back Nurmatov faces a long prison sentence under cruel conditions, including torture. We call on Russia to stop the deportation and accept Nurmatov’s asylum application,” Hannah Machlin, manager for Index on Censorship’s Mapping Media Freedom project, said.
A Moscow court ruled on 1 August 2017 that Nurmatov (also known as Ali Feruz) violated immigration laws. He is currently being held in a deportation centre in Moscow where he faces immediate expulsion from the country. In May 2016 and in February 2017, Russia refused to grant the journalist temporary asylum.
In 2008, Novaya Gazeta reported that Nurmatov was abducted by Uzbek security forces who demanded he provide information on his contacts. He was subsequently beaten and threatened. He later applied for asylum in Kyrgyzstan and Kazakhstan, but decided to flee to Russia in 2011, where he feared extradition. Because of his refusal to work for Uzbek security forces, friends and supporters are concerned that he could be abducted or tortured.
According to his lawyer Daniil Khaimovich, on 2 August Feruz attempted to commit suicide in a hallway at the courthouse. The journalist then told his lawyer: “I would rather die than return to Uzbekistan.”
Nurmatov has covered a wide range of topics at the paper including on abuse of power, LGBT issues and conditions of central asian immigrants in Russia.
“Ali is an extremely valuable asset as he’s been covering the migrant community in Russia that media normally can’t report on easily. He is committed to his work and shows real compassion to the problems he reports on. We can’t imagine losing him,” Anna Baydakova, a politics reporter for the Novaya Gazeta newspaper, told Index on Censorship. [/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_basic_grid post_type=”post” max_items=”12″ style=”load-more” items_per_page=”4″ element_width=”6″ grid_id=”vc_gid:1502188585770-4b2b310d-e3a3-9″ taxonomies=”7349, 15″][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row]
Index on Censorship magazine celebrated the launch of its summer 2017 issue with an evening exploring the 1917 Russian Revolution and its effects on our freedoms today.
The Calvert 22 Foundation-hosted event examined the role of propaganda, culture and politics from around the globe.
Speakers included Don Guttenplan, editor-at-large for The Nation, who spoke on the cultural Cold War; Katya Rogatchevskaia, lead curator of Central and East European collections at the British Library, who examined the role of Russian propaganda both during the Cold War and today; and Adam Cathcart, a specialist in Chinese history at Leeds University, who spoke on the impact of Soviet art and music in North Korea.
Guests were invited to listen to actors performing excerpts from speeches by Lenin, Stalin and Putin. Guttenplan noted the speeches reminded him of the dialogue he hears in today’s political realm. “When we were listening to Lenin’s speech, I was thinking, well that doesn’t sound that different from John McDonnell and Jeremy Corbyn,” he said.
Rogatchevskaia discussed how art and propaganda influenced the Russian Revolution. “It was important that a revolution was happening at the same time in art and in social and political life,” she said. “These two revolutions actually met at one point and that created a fantastic abundance of really great art, and that’s why we remember this period.”
Cathcart spoke of the “cultural cold war” with South Korea on one side and China and North Korea on the other. He explained how cultural revolutions in South Korea have influenced the Chinese mindset and their favour of North Korean customs. “Chinese scholars have to come to grips with the Korean wave,” Cathcart said. “This is a country that has done extremely well, everybody’s on high broadband internet, the pop bands are doing extremely well. North Korea exports almost nothing culturally. North Korean music is something they’ve [the Chinese] tried to bring in competition with South Korea.”
Index’s summer publication, which was given to all attendees, features reports from across the globe including Uzbekistan, China, Russia, Cuba and Turkey. Writers for this issue include David Aaronovitch, Nikita Khrushchev’s great-granddaughter Nina Khrushcheva, and an interview with author Margaret Atwood.
The event was held on at Calvert 22 Foundation, which celebrates the culture and creativity of the New East.
Katya Rogatchevskaia, lead Curator of Central and East European collections at the British Library, discusses Russia’s revolutionary propaganda. (Photo: Sean Gallagher / Index on Censorship)
An actor reads from a speech by Vladimir Lenin. (Photo: Sean Gallagher / Index on Censorship)
Adam Cathcart, a specialist and lecturer in Chinese history at Leeds University, explores the impact of Soviet art on North Korean art and culture. (Photo: Sean Gallagher / Index on Censorship)
Index on Censorship magazine editor Rachael Jolley introduces the summer 2017 issue. (Photo: Sean Gallagher / Index on Censorship)
Don Guttenplan, Editor-at-Large for The Nation, shares his take on the cultural cold war, (Photo: Sean Gallagher / Index on Censorship)
Actors read from speeches by Lenin (Matthew Romain), Stalin (Amanda Wilkin) and Putin (Jennifer Leong). (Photo: Sean Gallagher / Index on Censorship)
An actor reads from a speech by Vladimir Putin. (Photo: Sean Gallagher / Index on Censorship)
[/vc_column_text][/vc_column][/vc_row][vc_row content_placement=”top”][vc_column width=”1/3″][vc_custom_heading text=”100 Years On” font_container=”tag:p|font_size:24|text_align:left” link=”url:https%3A%2F%2Fwww.indexoncensorship.org%2F2017%2F06%2F100-years-on%2F|||”][vc_column_text]Through a range of in-depth reporting, interviews and illustrations, the summer 2017 issue of Index on Censorship magazine explores how the consequences of the 1917 Russian Revolution still affect freedoms today, in Russia and around the world.
With: Andrei Arkhangelsky, BG Muhn, Nina Khrushcheva[/vc_column_text][/vc_column][vc_column width=”1/3″][vc_single_image image=”91220″ img_size=”medium” alignment=”center” onclick=”custom_link” link=”https://www.indexoncensorship.org/magazine”][/vc_column][vc_column width=”1/3″ css=”.vc_custom_1481888488328{padding-bottom: 50px !important;}”][vc_custom_heading text=”Subscribe” font_container=”tag:p|font_size:24|text_align:left” link=”url:https%3A%2F%2Fwww.indexoncensorship.org%2Fsubscribe%2F|||”][vc_column_text]In print, online. In your mailbox, on your iPad.
Subscription options from £18 or just £1.49 in the App Store for a digital issue.
Every subscriber helps support Index on Censorship’s projects around the world.
[vc_row][vc_column][vc_custom_heading text=”As the Summer 2017 issue of Index on Censorship magazine looks at the modern implications of the Russian revolution 100 years on, Margaret Flynn Sapia lists 10 global songs inspired by revolutions of the last century”][vc_row_inner][vc_column_inner][vc_video link=”https://www.youtube.com/watch?v=Q2wneBVssPc&list=PLCY0ZVWasL3FginL7uuYQJy6JfXGIWmGu”][/vc_column_inner][/vc_row_inner][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]
Music has an undeniable ability to move people; musicians can reach across borders and boundaries, pull at the heartstrings and say the unsayable. As a result, music has long been used to call for revolution, urging listeners to rise up against injustice and power. For the launch of Index on Censorship magazine’s summer 2017 issue, 100 Years On: What difference Russia’s revolution makes to our freedom today,we have compiled a playlist themed around the idea of revolution.
Tracy Chapman – Talkin ‘Bout A Revolution
In a world gripped by the denouement of the Cold War, Tracy Chapman saw change on the horizon. “Poor people gonna rise up /And get their share/ Poor people gonna rise up/And take what’s theirs” sums up the sentiment of Talkin ‘Bout A Revolution. Optimistic, perhaps, but the song arrived in 1988, at the cusp of a global uprising that saw the fall of Apartheid South Africa, the Soviet Union and several smaller communist regimes, as well as a Western ideological shift away from the ruthless capitalism of Thatcher and Reagan.
Gil Scott-Heron – The Revolution Will Not Be Televised
The Revolution Will Not Be Televised was released in 1970, at the end of a turbulent decade that saw the assassinations of several civil rights heroes including John F. Kennedy, Martin Luther King, Malcolm X and Fred Hampton. It calls on people to unite and take action beyond watching a television screen, warning that the revolution will not come with the glitz and glamour of television, and that the television will not be on their side. Gil Scott-Heron, an important figure and musician during the US Civil Rights movement, is keen to call for realistic understandings of how change can be achieved in this song.
The Specials – Nelson Mandela
The Specials’ Nelson Mandela drew popular attention to Mandela’s mistreatment in South Africa when it was released in 1984, bringing the injustice of his then two-decade imprisonment into common knowledge. When it was performed at a Wembley concert on Mandela’s 70th birthday in 1988, its chorus of “free Nelson Mandela” became a global rallying cry for the end of apartheid. Two years later, Mandela walked out of prison, and the apartheid regime fell shortly after.
David Zé – Mwangolé (O guerrilheiro)
One of Angola’s most renowned revolutionary artists, David Zé is particularly adept in his descriptions of the suffering and abuse of Angolans under Portuguese colonial rule.Mwangolé O guerrilheiro may not call for a specific course of revolutionary action, but its representation of the enduring pain and intolerable living conditions of Angolans remind listeners of what can drive a person to risk everything and revolt for their freedom. In a country that suffered through a generation-long civil war, that context can never be forgotten.
Carlos Puebla –Y en eso llego Fidel
“The fun was over, El Comandante came and ordered them to stop”, Puebla sings in this famous hymn to the Cuban revolution. Throughout the song, Carlos Puebla celebrates Castro’s arrival and overtake of the island, putting an end to capitalism’s prior corruption and exploitation of the island’s people. The droves of people who fled the subsequent corruption and exploitation by Castro’s communist regime might dispute the song’s celebratory tone.
The Korean People’s Army State Merited Chorus – Defend the Headquarters of the Revolution(혁명의 수뇌부 결사옹위하리라)
In North Korea, even revolutionary music – what should be defined and expressed by the people, free of censorship – is an unyielding expression and promotion of state power. Defend the Headquarters of the Revolutionprovides no mention of Korean culture or history preceding Kim Jong II, instead extolling the virtue of picking up arms for the Kims and fighting to the death, viewing this fight as a revolution against the rest of the world.
Vasily Agapkin – Farewell of Slavianka
Farewell of Slavianka (Proshchaniye slavyanki) became so popular during the 1917 Revolution that, despite its non-communist roots, the Soviet Union eventually adopted it as an official national song. This piece represents two fundamental components of revolution: popular sentiment during the people’s initial rebellion, and post-revolutionary appropriation of that sentiment into state propaganda.
Yulduz Usmonova – Ayting Ayting
Songs which explicitly detail Soviet occupation in Uzbekistan are scarce. However, songs sung in Uzbek instead of Russian (especially before the country’s independence) have long served as expressions of nationalism and rejection of the Russian hierarchy. Ayting Ayting is not a typical revolutionary song, but its defiance lies in its subtle refusal to conform to Russian norms.
Yoko Ono and John Lennon – Imagine
“Imagine there’s no countries, it isn’t hard to do, nothing to kill or die for”, sings John Lennon. This song co-written by Lennon and his wife Yoko Ono asks us to contemplate a different kind of revolution – not a singular uprising or struggle, but a new peaceful world where the divisions of religion and nationality have disappeared. The chorus of “You may say I’m a dreamer, but I’m not the only one” hints at the faint possibility of this future, if people could only come together long enough to realise how similar they are. In a sad irony, he was eventually assassinated by a mentally ill Christian extremist who considered this blasphemy.
Crosby, Stills, Nash and Young – Ohio
The Vietnam War and its national impact are deeply entrenched within US society, and have inspired countless pieces of art, film and music. Crosby, Stills, Nash and Young’s song Ohio was written in response to the 1970 Kent State University massacre, in which national guard soldiers opened fire on anti-war student protesters leaving four dead and nine wounded. The song was released just a few weeks after the incident, and placed the blame directly on the Richard Nixon administration. It was soon adopted as an anthem of the US’s anti-establishment movement.
Print copies of Index on Censorship magazine are available on Amazon, or you can find information about print or digital subscriptions here. Copies are also available at the BFI, the Serpentine Gallery, MagCulture, (London), News from Nowhere (Liverpool), and Home (Manchester). Each magazine sale helps Index on Censorship continue its fight for free expression worldwide
[/vc_column_text][/vc_column][/vc_row][vc_row content_placement=”top”][vc_column width=”1/3″][vc_custom_heading text=”100 Years On” font_container=”tag:p|font_size:24|text_align:left” link=”url:https%3A%2F%2Fwww.indexoncensorship.org%2F2017%2F06%2F100-years-on%2F|||”][vc_column_text]Through a range of in-depth reporting, interviews and illustrations, the summer 2017 issue of Index on Censorship magazine explores how the consequences of the 1917 Russian Revolution still affect freedoms today, in Russia and around the world.
With: Andrei Arkhangelsky, BG Muhn, Nina Khrushcheva[/vc_column_text][/vc_column][vc_column width=”1/3″][vc_single_image image=”91220″ img_size=”medium” alignment=”center” onclick=”custom_link” link=”https://www.indexoncensorship.org/magazine”][/vc_column][vc_column width=”1/3″ css=”.vc_custom_1481888488328{padding-bottom: 50px !important;}”][vc_custom_heading text=”Subscribe” font_container=”tag:p|font_size:24|text_align:left” link=”url:https%3A%2F%2Fwww.indexoncensorship.org%2Fsubscribe%2F|||”][vc_column_text]In print, online. In your mailbox, on your iPad.
Subscription options from £18 or just £1.49 in the App Store for a digital issue.
Every subscriber helps support Index on Censorship’s projects around the world.
[vc_row][vc_column][vc_custom_heading text=”When cartoonists are being arrested, and novelists told their plots must only support the government line, you know your nation is in deep trouble, argues Rachael Jolley”][vc_row_inner][vc_column_inner][vc_column_text]
A COUNTRY’S SENSE OF humour is a nebulous thing. But when it starts to disappear, something serious is afoot.
And so it is in Spain right now. Comedy, it turns out, is touching a nerve, as it often does, and rather surprisingly the lawyers are getting involved. Comedy is not only a threat, but under threat.
What’s bizarre is, this is Spain, a modern democracy, a solid, sensible country at the centre of Europe. Locking people up for making a joke, that’s something you might expect from an authoritarian and struggling state. But Spain?
Well, it turns out, this is Spain in the 21st century. The list of comedy offences is not short. Spanish comedian Dani Mateo was told to testify before a judge in May for telling a joke referring to a monument built by Franco’s regime as “shit”. He told the joke during a satirical show. Now it doesn’t sound like the best joke in the world, but hell, we defend his right to tell it. And Mateo is not alone in the Spanish comic fraternity. There’s Facu Díaz, who was prosecuted last year for posting jokes on social media; Cassandra Vera, who was sentenced to a year in prison for making jokes about a former Spanish president; and three women who were accused of a religious hate crime for mocking a traditional Easter procession. Puppeteers whose Punch and Judy show included a sign for a made-up terrorist organisation carried by a witch spent a year fighting prosecution, unable to leave the country for weeks, receiving anonymous threats and having to report regularly to the police. On and on it goes, as Silvia Nortes reports for us on page 85.
So why does any of this matter? Well, jokes are a barometer of public mood, and as British comedian Andy Hamilton told this summer’s Hay Festival, you can even use them to test how much the public like or dislike a politician or public figure. He remembered making a joke about then Prime Minister Margaret Thatcher, and being told by one of her staunchest supporters to expect a wave of outrage. On checking, he found just three complaints, and that’s when, he said, he knew Thatcher was on the way out. Similarly, a recent joke about former UK Justice Secretary Michael Gove received a big fat zero moans in the BBC complaints box. Hamilton reckoned this was a sign of just how little the public cared about Gove.
So jokes do take the temperature of the nation, and one of many reasons politicians fear them is, as Mark Twain said, “Against the assault of laughter, nothing can stand.”
Politicians fear being made fun of, and fear that a satirical representation of themselves may take root in the electorate’s brain. They fear the public seeing their weaknesses. Some may remember that the classic satirical British TV puppet show Spitting Image reduced each member of the cabinet to a single ridiculous idea, a spitting former Home Secretary Roy Hattersley or a tiny David Steel tucked in the top pocket of David Owen (joint leaders of the SDP-Liberal alliance). Not good for their egos, not good for their future prospects. Steel said later that the sketch definitely affected his image.
[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/4″][vc_icon icon_fontawesome=”fa fa-quote-left” color=”custom” align=”right” custom_color=”#dd3333″][/vc_column][vc_column width=”3/4″][vc_custom_heading text=”That idea of groupthink, honed by the Soviet Union, satirised by George Orwell, continues to haunt writers in former communist countries today” google_fonts=”font_family:Libre%20Baskerville%3Aregular%2Citalic%2C700|font_style:400%20italic%3A400%3Aitalic”][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]
Joke-telling is not the only ingredient in the comedy cupboard that upsets the powers that be. Historically, exaggerated portraits, as Edward Lucie-Smith writes in issue 197 of Index on Censorship, have long been used to diminish or enhance a public character. The most obvious creators of exaggerated portraits are newspaper cartoonists, who sometimes feel the long arm of the police on their shoulders as a result.
In our exclusive interview with legendary South African cartoonist Zapiro, he talks not only about the power of cartoonists, but the pressure on them not to offend or upset. In an interview with South African journalist Raymond Joseph, Zapiro said: “We provoke thought, even if that thought is pretty outrageous. Others can do it too. We just occupy a space where you can really push the boundaries.” Zapiro faced a six-year court battle with South Africa’s President Jacob Zuma over one of his cartoons. But Zapiro is just as feisty as ever, and reckons he is bolshier than the generations that have come after him.
Cracking down on comedy is just one way to command and control society. This issue’s special report examines others as we study the long shadows Russia’s 1917 revolution cast within and without its national borders.
From the beginning the early Soviets were not particularly fond of disagreement. Shortly after their rise to power, between October 1917 and June 1918, around 470 opposition publications were closed down. Lenin was clear how the nation should work. He believed that journalists, novelists and opinion formers were either with him, or against the state. If they were against the state, they shouldn’t be allowed to write or outline their views. “Down with non-partisan writers,” he argued. This is a view very much in favour with many other rulers today, including Angola’s President José Eduardo dos Santos, Chinese President Xi Jinping, and, recently, US President Donald Trump.
That idea of groupthink, honed by the Soviet Union, satirised by George Orwell, continues to haunt writers in former communist countries today. In Uzbekistan, as Hamid Ismailov outlines, the Soviet Union may have fallen, but the thinking remains the same. Writers with arguments that contradict President Shavkat Mirziyoyev are either neutralised by being employed by the state as advisers and consultants, or leave the country, or fail to be published.
In President Vladimir Putin’s Russia most of the media, apart from a few brave exceptions, fall into line with government positions. For instance, in February this year, according to the Index-led Mapping Media Freedom project, major Russian national television channels abruptly reduced the number of times they mentioned the US president. This followed a Kremlin order to cut back on “fawning coverage” of Trump.
In all the recent furore over “fake news”, prompted by almost incessant use of the term by Trump to undermine any reporting he didn’t like, it’s worth pointing out that tricks to get the public to believe something that is not true have been used throughout history. In fact, as Jemimah Steinfeld investigates (page 114), the Roman emperor Augustus was a master of manipulation well before PR handbooks were written.
And open the pages of a treasured book in our office and you’ll see an early version of photoshopping at work. Photographs featured in The Commissar Vanishes: The Falsification of Photographs and Art in Stalin’s Russia, show how people were “disappeared” from official Soviet portraits in the 1930s as they fell out of favour. Belarusians have been experiencing government attempts to get them to believe false stories for decades. In his report on page 52, Andrei Aliaksandrau unpicks the tricks used over the years and holds them up to the light.
And there’s some excellent thoughtful pieces in our fiction section too, with two new short stories written for this publication: one by Turkish writer Kaya Genç, and the other by British writer Jonathan Tel. The final slice is a new English translation of a much older story, by Russia’s “Comrade Count” Alexei Tolstoy.
To finish, a sad note. Our regular, and fantastic, Brazil correspondent Claire Rigby has died suddenly. Claire did amazing reporting for us, and we will miss her.
Rachael Jolley is the editor of Index on Censorship magazine. She recently won the editor of the year (special interest) at British Society of Magazine Editors’ 2016 awards
[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_custom_heading text=”From the Archives”][vc_row_inner][vc_column_inner width=”1/3″][vc_single_image image=”80569″ img_size=”213×289″ alignment=”center” onclick=”custom_link” link=”http://journals.sagepub.com/doi/pdf/10.1177/0306422017716030″][vc_custom_heading text=”Provoking the president” font_container=”tag:p|font_size:24|text_align:left” link=”url:http%3A%2F%2Fjournals.sagepub.com%2Fdoi%2Fpdf%2F10.1177%2F0306422017716030|||”][vc_column_text]June 2016
Legendary South African cartoonist Zapiro talks about being sued for millions by Jacob Zuma, fighting for “Lady Press Freedom” and death threats.[/vc_column_text][/vc_column_inner][vc_column_inner width=”1/3″][vc_single_image image=”90636″ img_size=”213×289″ alignment=”center” onclick=”custom_link” link=”http://journals.sagepub.com/doi/pdf/10.1177/030642200002900126″][vc_custom_heading text=”Funeral of laughter” font_container=”tag:p|font_size:24|text_align:left” link=”url:http%3A%2F%2Fjournals.sagepub.com%2Fdoi%2Fpdf%2F10.1177%2F030642200002900126|||”][vc_column_text]January 2000
Oscar Collazos reports on the Colombian mourners after the assassination of comedian Jaime Garzon, who told insolent truths to the world.[/vc_column_text][/vc_column_inner][vc_column_inner width=”1/3″][vc_single_image image=”89185″ img_size=”213×289″ alignment=”center” onclick=”custom_link” link=”http://journals.sagepub.com/doi/pdf/10.1080/03064220500157814″][vc_custom_heading text=”You must be joking! ” font_container=”tag:p|font_size:24|text_align:left” link=”url:http%3A%2F%2Fjournals.sagepub.com%2Fdoi%2Fpdf%2F10.1080%2F03064220500157814|||”][vc_column_text]May 2005
Israeli comedians who dare to make jokes around the Shoah run foul of their country’s ultimate taboo: this is no laughing matter.[/vc_column_text][/vc_column_inner][/vc_row_inner][vc_separator][/vc_column][/vc_row][vc_row content_placement=”top”][vc_column width=”1/3″][vc_custom_heading text=”100 Years On” font_container=”tag:p|font_size:24|text_align:left” link=”url:https%3A%2F%2Fwww.indexoncensorship.org%2F2017%2F06%2F100-years-on%2F|||”][vc_column_text]Through a range of in-depth reporting, interviews and illustrations, the summer 2017 issue of Index on Censorship magazine explores how the consequences of the 1917 Russian Revolution still affect freedoms today, in Russia and around the world.
With: Andrei Arkhangelsky, BG Muhn, Nina Khrushcheva[/vc_column_text][/vc_column][vc_column width=”1/3″][vc_single_image image=”91220″ img_size=”medium” alignment=”center” onclick=”custom_link” link=”https://www.indexoncensorship.org/magazine”][/vc_column][vc_column width=”1/3″ css=”.vc_custom_1481888488328{padding-bottom: 50px !important;}”][vc_custom_heading text=”Subscribe” font_container=”tag:p|font_size:24|text_align:left” link=”url:https%3A%2F%2Fwww.indexoncensorship.org%2Fsubscribe%2F|||”][vc_column_text]In print, online. In your mailbox, on your iPad.
Subscription options from £18 or just £1.49 in the App Store for a digital issue.
Every subscriber helps support Index on Censorship’s projects around the world.
Guests were invited to listen to actors performing excerpts from speeches by Lenin, Stalin and Putin. Guttenplan noted the speeches reminded him of the dialogue he hears in today’s political realm. “When we were listening to Lenin’s speech, I was thinking, well that doesn’t sound that different from John McDonnell and Jeremy Corbyn,” he said.
