Queen’s Brian May went on to ask what he should do tomorrow when he wakes up to help the cause. ‘It’s a long term strategy of the re-centralisation of the power under the co-ordination of vital institutions and vital services fully autonomous collectives that collaborate to preserve the rights of the individual and the rights to pursue spiritually whatever direction we want to with the prioritisation of the ecological preservation of the planet,’ was Brand’s confusing reply.
Judging by Brand’s answer, he is most effective with his views when edited. Watch the film, but if it leaves you looking for a left-wing champion to lead the revolution, you may want to look to Ed.
The Emperors New Clothes Full Stream (non HD)
According to Studio Canal who distribute the film
Fairytale, allegorical1. Collective ignorance of an obvious fact, or deception, despite undeniable evidence.
World-famous British comedian and activist Russell Brand joins forces with acclaimed director Michael Winterbottom on a polemical documentary about the financial crisis and gross inequality we currently face. Starting with the genesis of today’s economic policies, with the arrival of Milton Friedman’s school of thought in Reagan’s leadership and Thatcher’s UK, the film explores how these policies have come to dominate the western world. The rich have got richer; where a CEO of a major British company used to earn 10 times the average wage of his workers, now they earn 200 times. According to Oxfam, the richest 80 people in the world own as much as the poorest 3.5 billion. It would now take 300 years for the average cleaner, cleaning the offices of his senior boss, to earn the same salary taken home by the same boss last year.
Milton Friedman once said that every crisis was an opportunity. The financial crisis of 2008 should have been a chance to reform the system for the benefit of everyone. But instead, austerity for everyone throughout Britain and Europe was the price to be paid for supporting the financial sector, with £131 billion spent by UK tax payers to keep the financial system afloat, while $30 trillion in support and subsidies went to Wall Street in the US.
Using a mixture of documentary, interviews, archive footage and comedy, Russell Brand takes us from his hometown Grays in Essex, to the heart of London ‘City’ and on to the Big Apple. This daring film will shake up the world by revealing the bewildering truth about how the people at the bottom are paying for the luxuries of those at the top.
Things can change…things do change.
With the Snap June 8th General Election we Voters are getting rather practised at listening to the familiar narratives. There has been an unbroken onslaught since the 2010 election and in each what is singularly clear is that none of the political narratives has adequately dealt with the 2008 Crisis and subsequent Austerity fix, which all political parties seemingly have Bought into. Certainly, the media has sold those Austerity lies enthusiastically. Brands film the emperor's new clothes did not get a general Cinema release and is still hard to find online to stream, the link on the trailer of the distributors youtube channel does not work, as with many accurate and useful documentaries the material has been memory holed, hiding in plain site as any needle in any haystack is not hidden from view just difficult to find, you understand.
Brexit is a Mania peculiar to a narrow band of Europhile apparatchiks and an assorted bunch of faux sophisticates that profess a preference for coffee over tea at breakfast and who prefer they say a Continental Breakfast to a Full English. As any true gastronome would admit no one prefers a continental breakfast over a ´´full English´´, just as no vegetarian would remain morally superior on the matter of truth-telling, by their own lights, if they denied the alluring and mouth watering delicacy of the smell of bacon frying in butter.
Brexit is a peculiar lens to view Globalism through, Brexit in Prime Minister Mays Ideology or Ultra Neo-Liberal Ideology is rather a parochial regional quarrel. Globalism based upon Petro/Carbon Dollar debt based Hegemony would naturally support Brexit as it damages the EURO currency unit and Strengthens the Stirling Dollar or ´´Cable´´Axis. The Global Oligarchy must be centred on the United States and is founded in doctrines of American Exceptionalism, there you see Trump and his faction 0f the Oligarchy which arguably includes Murdoch or the Faction containing Murdoch is Aligned to the Trump faction, or if you prefer has captured or subverted Trump and the #MAGA movement to its own ends. All controls do now seem set and committed to the infamous Project for a new American Century and spelt out in that General wesley Clarke Video on Democracy Now.
It is a complex picture, what one needs to look for if one wants democracy and common prosperity rather than permanent war as the health of the Globalist State one must look at those who are advocating the Praxis of subsidiarity and not merely paying lip service to it.
If you click the link or search subsidiarity in the search bar at the top of the page you will find references to Subsidiarity on this blog all of them in a democratic context as to the Brexit debate in some shape or form.
Papal supremacy and Pentarchy
Subversion of democracy as we think we know it?
Addictive 'mass culture' Years ago, when I was scanning through a pile of Western newspa- pers in Novosti's Moscow headquarters, 1 came across a column written by a Canadian writer, Gregory Clark in the "Toronto Star". Here it is in full. 1 have saved it for my files; "If 1 were a Communist agent in America with millions of dol- lars to spend annually I would not waste it in bribing pubic servants to give away state secrets. But 1 would lavish and en- courage the sleazy tune-smiths of that region to turn out more and more garbage 'culture' . . . Gaggled-headed and obscure musicians would be helped to prominence. I would seek out the more questionable publishers of the dirtier paperbacks and slip them a few hundred thousand so they could set up more respec- table head offices. Wherever trend shows towards the beat generation I would offer it a helping hand. Anything that prompted the insubordination of teenagers, anything that con- tributes to the confusion and exasperation of parents would be most liberally endowed. The basic intention of my spending would be to break down the discipline, encourage relaxation of authority of every kind so as to build up, in as short time as possible, an adult generation that could easily go out of con- trol.
America would look desperately around for any kind of discipline to rescue them and THERE — pretty as a picture, would be Communism, the most iron-fisted discipline since Sparta. The victory would be bloodless . . . Except of course in concentration camps, torture, prisons, and few things like that. But nobody would know about that because of censorship of the press." „ ■ This was written in 1959! The accuracy of this description oi OUR activity stunned me. We had just completed 'helping a gaggle-head- ed' Communist entertainer, Yves Montand to 'prominence' in Moscow and were halfway through with publicly elevating 'obscure' Indian filmmaker — Raj Kapoor to 'fame'. The editorial offices of Novosti were teaming with 'sleazy' foreign singers, poets, writers, artists, musicians and 'intellectuals' coming to my country for sup- port in their 'progressive struggle'against their own 'decadent capita- list' societies ... There is not much 1 can add to that statement of a wise Canadian columnist today. Yes, KGB encourages DEMORALIZATION of America through the 'mass culture' by relying upon the help of the "useful idiots" of the entertainment business. No, the Beatles, Punks and Michael Jackson are not on the KGB payroll. They are on YOUR payroll. All the KGB had to do is to slowly and gradually CHANGE YOUR ATTITUDES and kill your RESISTANCE to the demoralizing addiction your kids call 'music', make it acceptable, NORMAL; make it a part of 'American culture' where it does not belong and never did.
Notes for the Poems Figures and Themes.
Re-narrating Globalization: Hybridity and Resistance in Amores Perros, Santitos and El Jardín del Edén Brent Smith University of New Mexico, USA
Abstract: This paper explores the articulation of resistance to neoliberal globalization in Alejandro González Iñárritu’s Amores Perros, Alejandro Springall’s Santitos and Maria Novaro’s El Jardín del Edén. I argue that this resistance is enunciated within what Homi Bhabha terms ‘Third Space’, the in-between space of cultural translation and negotiation where notions of an essential national identity are destroyed and a contingent and indeterminate hybrid identity is constructed. Speaking from this hybrid space, these films employ Western cinematic conventions to construct narratives of the disjunctive experience of postcolonial time and space that disrupt the dominant temporality and imaginative geography of Western grand narratives of historical progress and global economic development, while at the same time deterritorializing the space and time of national imagining.
[Keywords: resistance, globalization, postcolonial, Amores Perros, Santitos, El Jardín del Edén]
The passage of the North American Free Trade Agreement in 1994 marked what, given the collapse of the communist bloc and thus the last substantial barricade to global capitalist expansion with the end of the Cold War, seemed the inevitable penetration of Western capital and neoliberal ideology into the core of Mexico’s social, economic, and political spheres. While NAFTA was surely only the toppling blast in a liberalizing onslaught that had been in progress for some time, it nevertheless seemed to represent the greatest affront to a collective vision for social change. The impact of NAFTA was most heavily felt by the indigenous population and agricultural workers and the most vehement reaction to its exploitative and destructive effects likewise were generated from these sectors; however, the effects of neoliberal globalization have undoubtedly reached beyond these populations to have a transformative effect on the entire social and economic reality of Mexican society. The struggle with this new reality has played out noticeably in Mexican cultural production and particularly in cinematic production. In the three films discussed here – Amores Perros, Santitos, and El Jardín del Edén – this struggle is clear as the effects of globalization, whether the increasing commonality of transnational migration, the shifting socio-economic structures of urban life, or the cultural syncretism of border spaces, play a noticeable role in the films’ narratives and in the lives of the films’ characters. For Mexico, as for most of the nations on the global periphery, the effects of globalization have been ambivalent, an ambivalence that Hardt and Negri note as the ‘two faces’ of globalization.
HYBRIDISATION OF ELITEShttp://letthemconfectsweeterlies.blogspot.se/2016/01/the-iron-law-of-oligarchy.html
Hybridity, Resistance and Transnational Cinema Hybridity has become a particularly significant, if loaded, term in social and cultural theory. Employed equally by postcolonial theorists interested in the uneven and syncretic cultural exchange between (neo)colonizer and (neo)colonized and postmodernists proclaiming the end of the division between high and popular cultural forms, the term is often invoked to challenge binary understandings that reproduce Manichean worldviews or elitist power structures. In its postcolonial intonation, hybridity emphasizes the impossibility of returning to any notion of essential national or cultural identity after the colonial encounter, particularly in the present context of social, economic, and cultural globalization. Although the term is often used uncritically to denote a balanced and innocuous mixing of cultures, the process of hybridization is never an even exchange and is always necessarily power-laden, lived, as Robert Stam suggests, as “deeply entangled with colonial violence…alive as a painful, visceral memory” (33). Hybridization in no way erases conflicts between central and periphery nations and cultures. Rather, as Néstor García Canclini argues, it places these conflicts “in a different register, one that is multifocal and more tolerant, and the autonomy of each culture is rethought – sometimes – with smaller fundamental risks” (241). It is this shifting of registers, then, that opens up a new space within which new identities can be constructed and new forms of political resistance articulated.
Of all my own enquiries recently the most revelatory insight I stumbled across was the concept of Hybridity introduced in this paper on the nature of Islamaphobia in Sweden. http://inhouse.lau.edu.lb/bima/papers/Jonas_Otterbeck.pdf´´ According to the historian Åsa Karlsson, who cites among others Peter Burke, the upper classes of an emerging (Western) Europe came to distance themselves more and more from both the other classes of their own societies and from other cultures. At the same time there was an urge for knowledge about the others that they had distanced themselves from.(16) This change of attitude towards other ethnic groups, classes, and religions has also been discussed by other Swedish scholars.(17)16. Å. Karlsson 1998:84ff.17.Larsson cited in Å Karlsson 1998:84; Ambjörnsson 1994:33ff. https://en.wikipedia.org/wiki/Hybridity
In Many ways Chris Hedges frustration and pessimism set out in thius article asks a question of which path leads to liberation? This Blog by Toby Russel posits the ruling Elite, Hybridised Oligarchy call it what you will as a Danistocracy borrowed from Popp and Albrecht, http://thdrussell.blogspot.se/2011/12/from-here-to-there.html The medias role as the fourth Estate is brought center stage in this analysis with the Political Theater relegated to a role subservient to or co-mingled with the Main Stream media.
ALLOGARY OF THE CAVE PLATO