Even if you’re already convinced that the United States of America is a rogue nation under financial-military-industrial overlords, it’s well worth reading Jason Hirthler’s article in this weekend’s edition of CounterPunch, We the Sheeple: the Blind Reading the Blind, if only for the revealing quotation in its opening paragraph:
Shortly after the fall of Communism in the Soviet Union, then Chairman of the Joint Chiefs of Staff, General Colin Powell, made a candid confession to the Army Times, “I’m running out of demons, I’m running out of villains. I’m down to Castro and Kim Il Sung.” Amid the general bonhomie of the military interview, Powell nicely encapsulated a central truth of empire: it doesn’t want peace. Never did. Imperialism, the monopoly stage of capitalism, is based on conquest. Peace is little more than an aftermath in the imperialist vision. It is the dusty rubble-strewn silence that descends on Aleppo when the jihadists have been bussed out. It is the silent pollution of the Danube when the NATO jets have flown. It is the quiet that settles on the Libyan square once the slave auction has concluded. Peace is an interlude between the birth of avarice and the advent of aggression. Little else.
Read the rest on CounterPunch.
One must also appreciate his spot-on assessment of the function that corporate media serve in legitimizing suspicions of uncooperative regimes and aggression on them, papering over the devastation created by US aggression, and fear-mongering terrorism while pretending it isn’t blowback. Depressingly few Americans understand how our empire works. It takes a while for it to sink in because we the people have been systematically deceived about America’s role in the world since the founding of the Republic. Hirthler’s superbly written diatribe is a badly needed civics lesson in how that works today. Read and share widely.
Boston MA, November 5th, 2017, 8 PM. Around 11 this morning another lone gunman struck. This time in the peaceable little community of Sutherland Springs, TX (pop. some 500 human souls), 25 miles southeast of San Antonio, in a Baptist church during a Sunday service.
By 6 PM, television and radio news networks were pre-empting regular content to cover breaking developments. In my TV media market, ABC led the charge, with an independent VHF station bravely following suit. No doubt, the 11 o’clock news will be about the S.S. Massacre virtually entirely, as it was for NPR’s All Things Considered late this afternoon. “Special coverage” then forced its way in to regurgitate what little was known.
Continue reading “Dateline Sutherland Springs, Texas on Its Three Days of Fame”
In her five-minute interview with Ursula Wilder, a CIA psychologist whose job there involves counseling returning spies, NPR’s Mary Louise Kelly (their alleged National Security Correspondent) went over what makes someone who reveals state secrets tick. Kelly failed big-time to probe Wilder about whether she ever thought an insider might ever have a patriotic motivation to inform the public of illegal behavior on the part of the agency. Based on Wilders’ profile of leakers, the answer would surely have been No, but it sure would have been nice to ask.
Continue reading “NPR, the CIA, and Assault of Corporatism”
Today we celebrate the release by Sony Pictures of “The Emoji Movie,” rated PG (for saucy language). Rush to see it before it sinks without a trace. One look at the animation’s trailer told me it’s everything I hoped it wouldn’t be. Okay, the characters look authentic and are well voiced by prominent actors, but finding Patrick Stewart reduced to playing a pile of poop was particularly depressing. Basically the entire film is a promo for the eponymous app plus others for Google, Facebook, YouTube and DropBox. It is meant for children, of course, but the the protagonist is pathetic and the plot is a downer. Critics were sad-faced, to say the least, with reactions ranging from to to . Writing for rogerebert.com, critic Peter Sobczynski ended his review with
“The Emoji Movie” may be as depressing of a film experience as anything to come out this year but if the [lack of positive] reaction of the kids that I saw it with is any indication, there may be hope for the future after all.
We can hope against hope. The very fact that an emoji movie exists alarms me, but that it’s propaganda for big Internet brands hardly comes as a surprise. I guess I should get used to seeing more of that.
Continue reading “State of Emojincy⚠”
Newspaper columnist and Texas raconteur Molly Ivins’ mortal coil left this plane on January 31, 2007 (Oh Lord, have we been without her for a decade?), dubious that she was bound for greater glory. Alas, she never got to witness the accidental ascendance of Donald R. Trump, not that it would have surprised her. She surely would have had plenty to say about the state of affairs that allowed yet another buffoon (the last one being “Shrub,” her affectionate moniker for Bush Lite) to leave the middle class behind as he terrorized the planet.
Most of the right-wing pols who had to pull her barbs from their behinds considered her a fifth-columnist, but all she was was a dogged, sharp-tongued reporter of liberal persuasion who took down political bloviation and chicanery with devastating down-home humor. She is sorely missed, and in her absence the self-awareness of the politicking class in the Republic of Texas—if not everywhere—has sunk below irony. As Molly once said, the thing about holes is when you’re in one, stop digging. Oh sure, we have Stephen Colbert, John Oliver, and Andy Borowitz to deliver unto us outrage over political jackassery, but who remains to make us giggle by exposing political mendacity in regular columns syndicated in hundreds of newspapers? But then, does anyone read newspapers anymore? Continue reading “Channeling Molly”
Having written a subversive action novel focused on terrorism that some early readers indicated would make a great movie, I gave the project some thought and soon concluded that my story was a natural for film adaptation. It has a simple, linear plot with subplots to spare and at least half of its settings were real places I hadn’t had to make up, with sharp, luminous details.
Suspecting that there was more to this I needed to know, I straightaway dove into the turbulent and treacherous waters of screenwriting, only to surface gasping over how ginormous and competitive, how overflowing with talent, copy, and productions the screenplay marketplace is. Not to mention the secondary markets for script consultants, synopsizers, agents, contests, how-to books, DVDs, webinars, and software products wanting to help you write screenplays that sell. Emerging from my brief and bewildering dip into these waters, it was closeup clear that to navigate a course to celluloid I needed to consult sage practitioners of the art. Continue reading “Lights! Camera! Aristotle!”