Category Archives: media

Saturday Matinee: Struggle

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From MentalRev Productions:

Struggle is a case study of the 2004 Presidential Election in Ohio, the deciding swing state which delivered the presidency once again to George W. Bush. Diligently researched by the key contributors to the film, Struggle is a bold film that challenges the legitimacy of that Presidential Election and brings the entire US electoral process into question.

This gripping documentary is filmed with a mix of expert testimony and first-hand accounts of voters whose votes were suppressed or manipulated, and community members who protested for election reform and justice in the State and National Capitals. This informative, engaging and tense film is told from a grass roots perspective, from the ground up, without the filters of mainstream media framing the dialogue. Filmed with a handheld style that reflects the intensity of the moment, this film identifies the practices of Individual and State entities to silence protest and manipulate elections in the United States.

This film was made without the resources of mainstream media or a highly funded political campaign. This is a grass roots film that speaks truth to power, with your help we will magnify that voice and demand free and fair elections for all Americans.

https://vimeo.com/50791629

Zika: Why Biotech is Imperative to National Security

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By Ulson Gunnar

Source: New Eastern Outlook

When we think of national security, we think of tanks, jets, missile defense systems and more recently, information space. But what about the realm of the microscopic, the biological or the genetic?

Whether you think biotechnology, genetics and microbes constitute another plane upon the modern battlefield or not is irrelevant. Someone else already does, and they have a head start on the rest of the world.

Genotype Specific Bioweapons

The Project for a New American Century or PNAC for short, penned a particularly unhinged policy paper in 2000 titled, “Rebuilding America’s Defenses: Strategy, Forces and Resources For a New Century.”

In it, among many other things, it specifically writes:

Although it may take several decades for the process of transformation to unfold, in time, the art of warfare on air, land, and sea will be vastly different than it is today, and “combat” likely will take place in new dimensions: in space, “cyber-space,” and perhaps the world of microbes.

…advanced forms of biological warfare that can “target” specific genotypes may transform biological warfare from the realm of terror to a politically useful tool.

Advanced forms of biological warfare that can “target” specific genotypes sound like the stuff of science fiction, and even if it were developed, it would be by the “bad guys,” right?

Wrong. As a matter of fact, the Western-backed apartheid government in South Africa in the 1980’s under Project Coast, attempted to create genotype specific bioweapons aimed at sterilizing the nation’s black women. PBS Frontline’s article, “What Happened in South Africa?” would recount:

In 1998 South Africa’s Truth and Reconciliation Commission held hearings investigating activities of the apartheid-era government. Toward the end of the hearings, the Commission looked into the apartheid regime’s Chemical and Biological Warfare (CBW) program and allegations that it developed a sterility vaccine to use on black South Africans, employed toxic and chemical poison weapons for political asssassination, and in the late 1970s provided anthrax and cholera to Rhodesian troops for use against guerrilla rebels in their war to overthrow Rhodesia’s white minority rule.

While South Africa’s entire CBW program was abhorrent, what is particularly frightening is the use of South Africa’s national vaccination program as a vector for infecting black women with viruses meant to sterilize them. Now that vaccination programs are being pushed globally, there lies the danger that such weapons could be used against entire regions of the planet.

PBS would elaborate further on the CBW program, stating that the South African government:

Developed lethal chemical and biological weapons that targeted ANC [African National Congress] political leaders and their supporters as well as populations living in the black townships. These weapons included an infertility toxin to secretly sterilize the black population; skin-absorbing poisons that could be applied to the clothing of targets; and poison concealed in products such as chocolates and cigarettes.   

PNAC’s dream of genotype specific bioweapons then, is not some far-off science fiction future, it is something that has been pursued in earnest for decades, and apparently by interests aligned to the West, not enemies of it.

Zika and GM Mosquitoes 

Though it is so far impossible to confirm a link between the two, it is troubling nonetheless to see the mosquito-transmitted Zika virus spreading in Brazil precisely from where GM (genetically modified) mosquitoes were released several years ago.

A 2012 entry in Nature titled, “Brazil tests GM mosquitoes to fight Dengue,” would report:

Scientists in Brazil say an experiment to reduce populations of the dengue-carrying Aedes aegyptimosquito, by releasing millions of genetically modified (GM) insects into the wild, is working.

More than ten million modified male mosquitoes were released in the city of Juazeiro, a city of 288,000 people, over a period of time starting a year ago.

The US CDC (Center for Disease Control) would report that Zika virus cases in northeast Brazil were first officially recognized in early 2015, with international hysteria finally reached early this year. The cases seem most concentrated in the Brazilian state of Pernambuco, upon the borders of which the city of Juazeiro lies.

What could have happened between 2011 and 2016 that might have led to this development? Could the GM mosquitoes designed to stamp out dengue have mutated in some unpredictable way? And could this experiment have caused the Zika virus itself to mutate in an unpredictable way? It already has mutated once, allowing it to spread among humans more prolifically.

Or what if GM mosquitoes supposedly meant to wipe out dengue were serving as a vector for something else entirely? We can only imagine the sort of stories, excuses and feigned ignorance the South African government would have conjured had its genotype specific bioweapons worked, and black women began turning up sterilized in huge numbers after receiving their “vaccines.”

Mosquitoes as a Vaccine Vector 

Using mosquitoes as a vector to deliver engineered genetic material to humans as a sort of involuntary, inescapable “vaccine” is already a reality. The London Telegraph in its article, “Genetically modified mosquitos could be used to spread vaccine for malaria,” reported in 2010 that:

Experts believe “flying vaccinators” could eventually be a radical new way of tackling malaria.

The new approach targets the salivary gland of the Anopheles mosquito.

Scientists in Japan have engineered an insect producing a natural vaccine protein in its saliva which is injected into the bloodstream when it bites.

The “prototype” mosquito carries a vaccine against Leishmania, another potentially fatal parasite disease spread by sand flies.

And if mosquitoes can naturally deliver viruses, and scientists can alter what mosquitoes carry and infect hosts with, it is possible to engineer viruses to deliver virtually anything into targeted populations much in the same way viruses are re-engineered into vectors in labs today through a process called gene therapy. In the wrong hands, this technology and these techniques could become terrifying weapons.

For those in the middle of the Zika virus hysteria, perhaps it already has.

How Could They? Why Would They?

To answer “how could they possibly do something so diabolical?” we need only think back to 2003 and recall how the United States intentionally lied to the world, then between its initial invasion and subsequent occupation of Iraq, killed upward to a million people. This includes several thousand of its own soldiers and civilians, many of whom it appears were killed by militants armed and funneled into the country by the United States’ closest regional allies, with the US’ resolute backing.

To answer “why” American and European special interests seek to render any particular population sick, weak and they and/or their offspring incapable of  perpetuating a viable civilization, PNAC itself sums it up quite clearly:

The United States is the world’s only superpower, combining preeminent military power, global technological leadership, and the world’s largest economy. Moreover, America stands at the head of a system of alliances which includes the world’s other leading democratic powers. At present the United States faces no global rival. America’s grand strategy should aim to preserve and extend this advantageous position as far into the future as possible.

A population racked with birth defects, diminishing health and IQs and a lack of physical vitality constitutes the enemy every hegemon throughout history has dreamt of facing both on the battlefield and upon the grand chessboard of geopolitics.

Whether the Zika outbreak is linked to some insidious biowarefare program, an experiment gone wrong or simply the forces of nature, it showcases the danger biology can pose and reminds us of what greater dangers may yet await us if we do not properly prepare and protect ourselves.

Domestic Biotech is Imperative to National Defense 

It has been almost painful to watch the rest of the world attempt to catch up to the United States and Europe in the information war. For decades the West dominated information warfare without contest.

Only now have nations like Russia, China, Iran and others finally caught up and in some cases exceeded Western capabilities. Only now are nations finally investing seriously in information and cyber warfare capabilities. Only now does it seem that nations realize the folly of depending on others for both information, and information technology.

Russia recently decided to switch to local computer processor manufacturers to run on all computers used for official business. This is because foreign corporations making processors imported into the Russian Federation had been apparently compromised on the factory floor with the cooperation of these foreign corporations by US intelligence agencies.

We can easily imagine the danger of having US intelligence agencies getting into Russia’s IT infrastructure through these backdoor passes. It doesn’t take much imagination to think about the trouble US intelligence agencies could cause if they could get inside Russia’s human, natural and agricultural genomes.

Developing a viable domestic biotech industry is not only a matter of economic prosperity, but clearly also a matter of vital national security. Foreign corporations should no better be able to access a nation’s “genetic code and files” than it can its computer code and files. After all, genetic information is not entirely unlike digital information.
Brazil and other nations that have invited foreign biotech corporations to meddle with their human, natural and agricultural genomes are likened to those nations who hand their vital infrastructure over to foreign interests only to find out through Wikileaks years later the sort of invasive spying, abuses and other means of self-serving treachery this access has been exploited for.

Let’s not wait for Wikileaks to tell us 10 years from now just how bad the nations of the world had been infiltrated and exploited through biotechnology before we recognize this industry as absolutely vital to national security and begin investing in it domestically, rather than outsourcing it overseas.

 

Ulson Gunnar, a New York-based geopolitical analyst and writer especially for the online magazine “New Eastern Outlook”.

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The Militarization of the Superhero

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Editor’s note: In honor of Grant Morrison’s 56th birthday, enjoy Dan Sanchez’s excellent analysis of the humanist anti-militarist messages of Morrison’s body of work.

By Dan Sanchez

Source: Voices of Liberty

Grant Morrison Vs. the Super-Soldiers

At this year’s Comic-Con (a huge event in the worlds of comics and superhero blockbusters), celebrated writer Grant Morrison:

“…told a crowd of 2,600 that he’s done all he can with traditional superheroes. He’s sick of the ‘military entertainment complex,’ in which today’s characters always seem to be working for the government…” [Rolling Stone]

The creative industry’s booming superhero sector would be wise to take this criticism to heart, as Morrison is the preeminent genius of the genre. He wrote the most commercially successful graphic novel ever, his 1989 Batman: Arkham Asylum, as well as the comic series All-Star Superman (2005–2008), widely acclaimed as one of the all-time best stories about that archetypal superhero.

The Scottish scribe is not only a master practitioner of the genre, but is even its foremost philosopher, having written the definitive book on the superhero, the national bestselling Supergods: What Masked Vigilantes, Miraculous Mutants, and a Sun God from Smallville Can Teach Us About Being Human, which the Memphis Flyer aptly described as:

“…at once a well-researched history, an entertaining memoir, intriguing cosmological analysis, and a surprising personal revelation…”

Morrison’s disdain for the militarization of his art form is in line with his upbringing. As he relates in Supergods, his father was:

“…a working-class World War II veteran who’d swapped his bayonet for a Campaign for Nuclear Disarmament badge and became a pacifist “Spy for Peace” in the Committee of 100.”

As Morrison has explained in interviews, his father did not suffer from “shell shock” so much as from a “political shock.” His dad remembered first believing that he was going to war to “fight fascism,” and then realizing that “we were just as bad as they were,” after witnessing atrocity after atrocity.

Raised by both parents according to “pacifist principles,” young Morrison once told a Boy Scouts recruiter:

“I refuse to be part of any paramilitary organization, and that includes the Boy Scouts.”

In the sixties, his father was arrested protesting the American nuclear missile bases then located in Scotland. Morrison tells of growing up in the terrifying shadow of:

“…the Bomb, always the Bomb, a grim and looming, raincoated lodger, liable to go off at any minute, killing everybody and everything. (…)

Accompanying imagery was provided by the radical antiwar samizdat zines my dad brought home from political bookstores on High Street. Typically, the passionate pacifist manifestoes within were illustrated with gruesome hand-drawn images of how the world might look after a spirited thermonuclear missile exchange.”

In his childhood home, these horrific images contested with the “shiny futurity” of the covers of his “mum’s beloved science fiction paperbacks.” This struggle played out on his TV screen as well, until victory was claimed for optimism by the dramatic arrival of superheroes into his life:

“On television, images of pioneering astronauts vied with bleak scenes from Hiroshima and Vietnam: It was an all-or-nothing choice between the A-Bomb and the Spaceship. I had already picked sides, but the Cold War tension between Apocalypse and Utopia was becoming almost unbearable. And then the superheroes rained down across the Atlantic, in a dazzling prism-light of heraldic jumpsuits, bringing new ways to see and hear and think about everything.”

Ironically, these saving superheroes entered Scotland in the duffle bags of the very same American soldiers who also delivered the Bomb. As Morrison put it in an interview, they brought with them both the disease and the cure.

The sunny, scifi superheroes of the “Silver Age” of comics flew and swung into Morrison’s psyche, saving him from the debilitating existential terror of the Bomb. For the Hulk, having a Gamma Bomb blow up in his face was only the beginning of his career. The Flash could outrun a nuclear blast wave without breaking a sweat. And Superman could stroll out of ground zero without so much as a sun tan.

“Before it was a Bomb, the Bomb was an Idea. Superman, however, was a Faster, Stronger, Better Idea. It’s not that I needed Superman to be “real,” I just needed him to be more real than the Idea of the Bomb that ravaged my dreams. I needn’t have worried; Superman is so indefatigable a product of the human imagination, such a perfectly designed emblem of our highest, kindest, wisest, toughest selves, that my Idea of the Bomb had no defense against him.”

For Morrison, the superheroes were a hopeful, defiant answer to nuclear nihilism, because they were:

“…the best current representation of something we all might become, if we allow ourselves to feel worthy of a tomorrow where our best qualities are strong enough to overcome the destructive impulses that seek to undo the human project…”

Since childhood, the superhero represented to Morrison the antithesis of the ultimate form of warfare. It is no wonder that he would now speak out against its military conscription.

Morrison later turned his love for superheroes into a career as comic book writer. Early in that career, Alan Moore, a fellow Brit, revolutionized the genre, starting in 1982 with his dark, deconstructionist Marvelman (later retitled Miracleman for fear of Marvel Comics’ lawyers). In this revised origin story, Moore recast Britain’s classic Superman-type character as having been engineered as a living weapon by the Royal Air Force.

Moore inaugurated what Morrison calls the “Dark Age” of superhero comics. Realism, political analogy, dystopia, mass carnage, graphic violence, and antiheroes characterized this new age, as well as higher literary standards.

Moore’s first American title was Watchmen (published in 1986–87 and made into a Hollywood movie in 2009). Written during the heightened nuclear tensions of the Reagan years, Moore’s Watchmen was also haunted by the Bomb. Morrison described it as a:

“…murder mystery set against a familiar backdrop of Cold War nuclear paranoia, but located in an alternate history where the appearance of one single American superhuman in 1959 had deformed and destabilized global politics, economies, and culture itself.”

That single superhuman was Doctor Manhattan, who placed his godlike powers in the service of the US government, swinging the Cold War’s balance of power in America’s favor, and making the Vietnam War a cakewalk instead of a quagmire.

Watchmen launched the comic world’s analog to pop music’s “British Invasion” of American culture, an invasion that also included writers such as Neil Gaiman and Morrison himself.

America’s answer to the British “Dark Age” Invasion was Frank Miller: especially his hardboiled 1986 Batman story The Dark Knight Returns. The story also features Superman, and in Hollywood influenced both The Dark Knight Rises and the upcoming Superman v Batman: Dawn of Justice. Morrison wrote:

“The thoroughly modern Batman of The Dark Knight Returns was an antiestablishment rebel and ruthless pragmatist, but Miller’s Superman was an idealistic government stooge in the pay of an all but mummified Ronald Reagan, president forever and ever, amen. A memorable sequence of panels introducing Superman to the story depicted a visual dissolve of the flag on the White House roof, where the rippling stripes of Old Glory morphed into an abstract close-up detail of the famous S shield.”

Morrison further characterized Miller’s Batman as:

“…no bleeding-heart liberal but a rugged libertarian.”

…and his Superman, in contrast, as a:

“…compromised champion of the powers that be, serving the letter of the law, no matter how corrupt its administration became.”

Miller’s story, like Moore’s, also featured the threat of nuclear war and such themes as superhero registration/regulation. And both Watchmen and The Dark Knight Returns are often assigned reading in university courses.

The Cold War, Reagan-era superhero could sometimes be a government stooge, like Moore’s Doctor Manhattan and Miller’s Superman. But in such instances, he was recognized as a stooge.

This has often not been the case for the post-Cold War super-stooge. Starting in the “humanitarian interventionist” Clinton era, the western superhero began celebrating what Charles Krauthammer called America’s “unipolar moment” by strutting the globe, not as government lackeys, but as government badasses.

This was especially the case in the title Stormwatch under the authorship of Warren Ellis, yet another Brit, starting in 1996. Ellis’s heroes were, as Morrison put it:

“…UN-sanctioned operatives with a mandate to monitor superhuman activity and to police violations of the various protocols and sanctions governing the use of extranormal abilities. Costumes became functional field outfits, designed for espionage and black-ops work. Ellis suggested a new take on the T.H.U.N.D.E.R. Agents–S.H.I.E.L.D. model, combining spy thrills with grimy, violent superheroics in a world of genetic manipulation, weaponized flesh, and budget restrictions.”

In 1999, Ellis went even further in this vein with The Authority. Ellis’s new superteam was an updated “Justice League,” with its own parallels of Superman and Batman. The powers and costumes were alike, but the similarities ended there. As Morrison wrote:

“The Justice League never resorted to lethal force, but Ellis’s heroes would happily cut off your head and beat you to death with it if that’s what it took to stop you from being a dictator or a “bastard.” These hombres meant business, and the bad guys could no longer rely on that handy code against killing, which had kept superheroes in check for so long.”

The “heroes” of the Authority decapitated, dismembered, and impaled with abandon. In Marvelman, Alan Moore graphically showed what would happen in the “real world” when supervillains got their hands on frail mortals. Now superheroes too were gleefully exploring the myriad ways to disrupt human anatomy.

The Authority was as ambitious as it was severe. As Morrison wrote:

“The opening page of The Authority no. 1 showed Earth as seen from space accompanied by a single caption. ‘They think there’s no one left to save the world.’”

But the classic superhero trope of “saving the world” had a distinctly imperial ring with this team of, in Morrison’s words, “strutting imperial warrior superhumans.”

“Unlike Alan Moore’s troubled heroes, the members of the Authority were comfortable with their powers, using them sensibly to fight “bastards” and improve the lot of everyone on planet Earth. It was the utopian vision of [Superman creators] Siegel and Shuster strained through British cynicism and delivered on the end of a spiked leather glove. It… suggested a new kind of superfascist, one who was on our side.”

Also unlike the superheroes of yesteryear, these “friendly” imperial superfascists did not shy away from incurring extensive “collateral damage,” if that’s what it took to terminate the superhuman dictators, terrorists, and other “bastards” plaguing the planet.

In one storyline, to defeat an enemy empire on a parallel Earth, the Authority wages total war on the planet. In the last battle, the team’s shaman, called the Doctor, floods the entire Italian peninsula with a move of two fingers, killing everyone on it, man, woman, and child.

The team leader then issues a triumphal global broadcast, announcing the regime change:

“This is Jenny Sparks for the Authority. Albion is free of the Blue. Sicily and the Italian capital infrastructure are gone. If needed, we can annihilate the Hanseatic regions within the hour. If we’re asked to, we will go into China and Japan. If we have to, we will personally expunge the royal blood and military rape culture from the face of the planet. We’re here to give you a second chance. Make a world worth living in. We are the Authority. Behave.”

Morrison liked both Stormwatch and The Authority, and was even creatively involved in the latter. But in hindsight, he now sees that their spirit presaged dark things to come, both in superhero fiction and global superpower reality.

“For a while, it was exciting. In The Authority, the no-nonsense army toughs were on our side for a change, but it was a particular kind of power fantasy: that of impotent liberals, who feared deep down that it was really only force and violence that got things done and not patient diplomacy, and that only soldiers and very rich people had the world figured out. Gifted Irish writer Garth Ennis had occupied this territory for years; his soldier-hardman heroes influenced the new generation of supermen and women. These books were a capitulation to a kind of thinking that would come to dominate the approaching first decade of the new millennium. Soon the no-compromise bomb and ‘cripple what you don’t agree with’ approach of the Authority would be put to practice in the real world with horrific results. And it wouldn’t be liberals doing the damage”

Throughout the 90s, Morrison’s own career was taking off as well, but in a decidedly non-militaristic direction. After the smash hit of his 1989 Arkham Asylum, he was a hot commodity in the comics industry. But his subsequent explorations of the superhero were worlds away from the “grim ‘n’ gritty” comics of the 80s and 90s.

In his titles Animal Man, Doom Patrol, and The Invisibles, Morrison preferred to explore the intersection of the cosmic, the quirky, and the counter-cultural. Morrison’s gonzo inventiveness and bubbling-over genius quickly made a splash. With obscure superheroes, he felt free to take the genre in radically experimental directions, infusing it with such elements as transcendentalism, surrealism, and even dadaism, making his books cult classics among more discerning and literary comic readers.

But sometimes quirkiness just isn’t called for, so in 1997, when he got a crack at the Justice League itself and its all-star roster (Superman, Batman, Wonder Woman, the Flash, etc) in the title JLA, he gave these iconic characters the iconic (yet still boldly and brilliantly inventive) treatment they deserved.

“There would be no obtrusive postmodern meta-tricks in JLA, just unadulterated, gee-whiz, unadorned sci-fi myths in comic form, giving back to the superheroes the respect and dignity a decade of ‘realism’ and harsh critique had stripped away.”

Morrison had no interest joining a paramilitary organization as a boy, and he had no interest writing one as an adult. And so Morrison’s Justice League members were not “operatives” or “imperial warrior superhumans,” but genuine superheroes.

In the first storyline, the Justice League repelled an alien invasion: and unlike the Authority, did so without harming innocents. In this story, it was the villains and not the heroes who promised to “make the world a better place” by taking it over and remaking it. Morrison ends the adventure with an exchange that cautions against interventionism:

Wonder Woman: “When does intervention become domination?”

Superman: “I can only tell you what I believe, Diana. Humankind has to be allowed to climb to its own destiny. We can’t carry them there.”

In another storyline, the League takes on the “Ultramarines,” who, like Marvelman, were bio-engineered, duped, and exploited by the military.

And in his final story, “World War III,” the great menace is not a person, but a psychic weapon on auto-pilot called Mageddon, which causes its victims to destroy each other by instilling in them “war fever.” Ages ago it destroyed its godlike creators, and now it threatens to destroy humanity by pitting it against itself.

The Justice League manages to temporarily confer superpowers to all the people of Earth, who then together vanquish Mageddon. For his finale, Morrison has an embodiment of war itself as the villain, and regular people rising up and becoming superheroes to defeat it. Thus, a decade before he wrote Supergods, Morrison had already manifested his vision of the superhero as:

“…the best current representation of something we all might become [represented by the population of Earth becoming superheroes], if we allow ourselves to feel worthy of a tomorrow where our best qualities are strong enough to overcome the destructive impulses [represented by Mageddon] that seek to undo the human project…”

Morrison returned to the Justice League in his 2000 graphic novel, JLA: Earth 2. The villains of that tale, the Crime Syndicate of America, are basically the Authority taken to its logical conclusion: a team of JLA-doppelgänger super-tyrants ruling an alternate Earth with an iron fist.

In a scene that will warm the hearts of hard money advocates and fans of George Orwell, paper money is seen raining down on the alternate-Earth city of Metropolis, causing brawls to break out as the impoverished subjects scramble for it. Next we see that the bills are being cast from an overhead satellite by Ultraman, the evil-twin version of Superman, who tells his robotic servant Brainiac:

“By the time they realize the notes are fake, the economy will be in ruins again.”

Down below, one of the citizens reaches his breaking point, a la Orwell’s Winston Smith.

“…not real! It’s crap! It’s just more crap from the sky! From Ultraman! I can’t take any more of them looking down at us as though we’re-”

A red light is seen penetrating the clouds, and “Winston” is incinerated mid-sentence. Ultraman, his eyes still glowing from his use of heat vision, says:

“They insult me within earshot. They know what to expect. Big Brother is watching you.”

He might have just as well echoed Ellis’s Jenny Sparks and said, “We are the Authority. Behave.”

Of course unlike in The Authority, the swaggering imperialists of the Crime Syndicate are obviously villains. And it is gratifying to see Morrison’s Justice League show them what real superheroes are made of. A similar feeling can also be had reading Morrison’s JLA/WildC.A.T.S. inter-series crossover, in which the League tackles (though later teams up with) another obnoxious paramilitary (C.A.T.S stands for Covert Action Teams) super-group of the “grim ‘n’ gritty” tradition.

Then 9/11 happened, and the militarization of the superhero, like the concurrent militarization of the police, went into overdrive.

What must have been particularly grating for Morrison, was that it was spearheaded by his own protege Mark Millar, a fellow Scot who had made his name after he was selected to take over writing The Authority on Morrison’s recommendation.

In his hugely influential The Ultimates, Millar gave the Avengers (Marvel Comics’ chief super-team) an Authority makeover. Captain America cut villains in half with his shield while shouting jingoistic catchphrases. The Hulk ate innocent people while rampaging, causing little more trouble for the team than a PR headache. And the whole team was a government project.

Morrison’s analysis of his friend’s title was as withering as it was perceptive and eloquent.

“The Ultimates, re-created with Mark Millar’s gleefully right-leaning heroes, gave a voice to Bush’s America’s posturing, superheroic fantasies of global law enforcement in a posttraumatic world. (…)

President George W. Bush himself turned up to welcome Captain America to the new millennium with the words “WELL, WHAT’S YOUR VERDICT ON THE 21ST CENTURY, CAPTAIN AMERICA? COOL OR UNCOOL?,” to which the Captain replied, “COOL, MISTER PRESIDENT. DEFINITELY COOL.” With photorealistic renderings of George W. Bush embracing an equally believable Captain America, there could be no mistaking the dizzying, stifling collapse of fact into fantasy. (…)

The fear of a sinister military-industrial underworld that haunted Moore’s Marvelman was inverted to become a joyous embrace of Republican America’s undeniable access to the best guns, the best soldiers, and the best superheroes in the world. For Mark Millar, it was a given that any real-world superhero would be co-opted by the powers that be and recruited as a soldier. The Moore-Miller Superman of the eighties, that helpless, unreconstructed tool of the ruling class, became the template for a new generation of reengineered characters. In The Ultimates, everyone worked for the government, but it was all cool. In the first decade of the twenty-first century, superheroes strove to preserve and embody the values of a defiant military-industrial corporate complex or they didn’t work at all. The brief era of The Authority had passed and left the “bastards” in charge as usual.”

For Morrison, all of this had a bleak upshot:

“The last pirate art form had swapped its Jolly Roger for the Stars and Stripes once again, and this time it looked as if there was no turning back.”

This is the key background to Morrison’s Comic-Con pronouncement discussed at the beginning. At that conference, he told ComicBook.com:

“…for the last fifteen years at least — certainly since 9/11 — I think America’s been processing the horror of those images through their art, through their popular art in particular.

That’s why I think superheroes became from ordinary people who went out at night to make the world a better place, they’ve become I think agents of the military-entertainment complex. The Avengers work for the government, and it’s been like that since Mark [Millar] did The Ultimates. Batman as seen by Christopher Nolan and subsequently is a soldier. He wears military gear with his ordinance and his machines. For me, it became quite reductive. It was an interesting way to look at it for a while, but it’s persisted for so long that I’m quite bored with the idea that the best superheroes can represent is some aggressive version of the military.”

Millar’s Ultimates seem to have been a major influence on the phenomenally successful Marvel Cinematic Universe films. Not all of that influence has been bad; two great characterizations — Tony Stark as a cocky billionaire playboy genius, played so perfectly by Robert Downey, Jr., and even the casting of Samuel L. Jackson as Nick Fury — both came straight from the pages of Ultimates. But the tight integration between the Avengers and the SHIELD government agency did too.

Thankfully, the Avengers of the films are not nearly as fascist as the Ultimates. In fact, to a large extent they take a marvelously anti-authoritarian and anti-militarist stance. See for example my articles on Captain America: Winter Soldier and Avengers: Age of Ultron.

Yet, the militarization of the Avengers is bleeding into its merchandise, even targeting its most impressionable audiences. For example, the title of an Avengers sticker book for children, “Top Agents & Most Wanted,” seems to recast the Avengers as some sort of super-FBI.

Fortunately, even after Ultimates, Morrison had not given up trying to remind people what a true superhero is. Superman and friends had saved Morrison’s psyche from the Bomb. Now Morrison would return the favor by saving Superman from possibly imminent militarization by writing All-Star Superman. Morrison wrote of how doing so brought his life full circle.

“I wrote my personal best story of the world’s greatest superhero, for my favorite artist to draw, overlooking a loch where Trident submarines still sailed in all their stately satanic splendor, with black bellies full of hellfire sufficient to blind and vaporize me in a fraction of a heartbeat, even as it liquefied the ancient stones of my walls, cracked Scotland in half, and turned the world into a refrigerated postnuclear litter tray. I wrote it scant miles from the former American navy base, where my parents had protested, where Dad had been arrested, and where American comics had arrived in Scotland with the sailors and submariners. It felt like ground zero, the center of a web of coincidence and personal mythology…”

All-Star Superman was Morrison’s defiant response to post-9/11 culture and what it was doing to the genre. In it, he even outdid his own work on JLA in beautifully distilling the essence of the superhero.

“As the first few years of the twenty-first century wore on, I wondered just how badly people, especially young people, were being affected by the overwhelmingly alarmist, frightening, and nihilistic mass media narratives that seemed to boil with images of death, horror, war, humiliation, and pain to the exclusion of almost everything else, on the presumed grounds that these are the kinds of stories that excite the jaded sensibilities of the mindless drones who consume mass entertainment. Cozy at our screens in the all-consuming glare of Odin’s eye, I wondered why we’ve chosen to develop in our children a taste for mediated prepackaged rape, degradation, violence, and “bad-ass” mass-murdering heroes.

And so All-Star Superman: our attempt at an antidote to all that, which dramatized some of the ideas in Supergods by positioning Superman as the Enlightenment ideal paragon of human physical, intellectual, and moral development that Siegel and Shuster had originally imagined. A Vitruvian Man in a cape, our restorative Superman would attempt to distill the pure essence of pop culture’s finest creation: baring the soul of an indestructible hero so strong, so noble, so clever and resourceful, he had no need to kill to make his point. There was no problem Superman could not solve or overcome. He could not lose. He would never let us down because we made him that way. He dressed like Clark Kent and took the world’s abuse to remind us that underneath our shirts, waiting, there is an always familiar blaze of color, a stylized lighting bolt, a burning heart.”

One scene bottles the lightning that is the superhero concept most elegantly of all. In a fleeting interlude between mega-crises, Superman’s super-hearing picks up the voice of a therapist stuck on a train, desperately trying to keep a suicidal patient on the phone until he can reach her. The troubled girl, with purple hair and facial piercings, drops her phone off the ledge of a skyscraper. She closes her tear-streaked eyes and prepares to jump. Suddenly Superman is standing behind her with his hand on her shoulder.

“Your doctor really did get held up, Regan. It’s never as bad as it seems.”

As she turns wide-eyed to face him, he says:

“You’re much stronger than you think you are. Trust me.”

Regan collapses into Superman’s arms, and he hugs her in silence as his cape billows in the wind.

These five panels and two dozen words have literally saved lives. At Comic-Con, Morrison spoke of how moved he was to meet actual kids who decided against committing suicide after reading this scene. It made him more convinced than ever that superheroes, when written as superheroes, can make a real and positive difference in people’s lives.

The Grant Morrison superhero is no souped-up super-soldier taking twisted pleasure in the hunting of men, like an American Sniper or an American Cop, using “saving people” as a mere excuse. He is not some semi-sadistic adolescent power fantasy.

The superhero according to Morrison takes what’s best in us, personifies it in a sigil-draped figure, and shows it springing into action, inspiring us to emulation.

The superhero according to Morrison takes what’s best in us, personifies it in a sigil-draped figure, and shows it springing into action, inspiring us to emulation. It imparts that not even the sky is the limit if we choose to bring out in ourselves those noble qualities which the superhero personifies.

Like Superman with the suicidal girl, the superhero reminds us that we’re stronger than we think we are. Stronger than despair. Stronger than hate. Strong enough to someday achieve scifi marvels. To even be stronger than the Bomb. Stronger than War.

Saturday Matinee: X-Files “My Struggle”

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Though I was fascinated by the original X-Files in the 90s (especially the myth arc episodes), I had my doubts about the new mini-series until reading this compelling review/analysis of the first episode by esoteric researcher and super fan Christopher Knowles. After a recent viewing I felt he was pretty much on the mark and was glad the show’s creator Chris Carter was able to recapture the chemistry between the lead protagonists while forming an intriguing fictionalized narrative with elements of the parapolitical zeitgeist, just as he did with classic episodes of the past.

Watch the full episode and judge for yourself:

http://www.hulu.com/watch/896936

2016 The Year Ahead

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By Neil Kramer

Source: NeilKramer.com

2016 will rigorously test people’s readiness to embody their truth. Can we live the wisdom and transformation we’ve been cultivating over years of study, journeying, and contemplation? Can we summon the strength to have our outside accurately reflect our inside? Are we ready to run our own world yet?

In many schools of mystical study, polarity is a key principle. The student is taught that everything in life is dual. All phenomena have pairs of opposites, as observed in the primal forces of birth and death, day and night, order and chaos, joy and sorrow. Over time, through experientially mapping and understanding the interplay of each set of polarities in our own lives, we may gradually determine a point of equilibrium that reveals the hidden teachings of these mysterious fluctuations. What we must be careful to avoid, is clinging to just one end of life’s naturally divergent polarizations. And herein lie the trials set forth in the world’s current crises.

At every turn, the synthetic culture of Empire implores us to throw our hearts and minds into unconscious polarization. It wants us to radicalize ourselves to either patriot or terrorist, believer or atheist, white or black, liberal or conservative, strong or weak, and then embark on an endless crusade to reform, condemn, or destroy the other side. This one-way polarization renders all participants impotent, regardless of which side they pick. This subtle but devastating trick deactivates our will and we automatically forfeit our capacity to rule ourselves. Lost in unconscious polarization, we serve Empire.

Nevertheless, whilst Empire’s constant telegraphing of fear can be unsettling, its power to deceive is unquestionably failing to influence legions of honorable humans who refuse to hand over their discernment to the corrupt and compliant media. The sock puppet terror cells and fabricated economic cataclysms are fraying at the edges and their artificial nature is pitifully evident. The official narrative betrays only those who choose to hide from reality. For them we can do nothing, until they do something for themselves.

It is my heartfelt observation that a critical threshold of spiritually alive humans have grown so excellently in confidence and wisdom, that the old hierarchies must resort to ever more vulgar contrivances to preserve their reins of power. Understand then, that the daybreak of a new higher consciousness will be heralded not by gentle awakenings and well-mannered transitions, but by bewildering fragmentation. Just as these patterns of collapse were experienced in many people’s personal lives throughout 2015, so now they are shaking the very foundations of Empire. Towering ramparts that once seemed so impossibly daunting and everlasting, will soon be little more than forlorn ruins.

We are upon the eve of the grand winter solstice of Empire, and the longest darkest night will seem interminably protracted and bone-chillingly cold. But like all things, this too shall pass. And the daylight will lengthen and the new growth that we have envisioned for so long will blossom – if we let it. We made Empire and we must unmake it. As a thing is bound, so it is unbound. Deeds not words. Learn the art of depolarization and nothing can stop you.

Jihadi John Version 2.0

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By Ulson Gunnar

Source: Land Destroyer

It didn’t take long for IS (Islamic State) to find a new cartoon-style villain to fill the shoes of Mohammed “Jihadi John” Emwazi. The masked villain often appeared in high-value productions, narrating them with a perfect British accent, as the enemies of IS were slain in increasingly elaborate and equally gruesome manners.

Just as Jihadi John’s villainy reached a crescendo, the US claimed it targeted and killed him in a drone strike. Nothing resembling actual confirmation was produced afterward, and many questioned the value or impact of eliminating what was for all intents and purposes merely a figurehead.

Instead of actually identifying and dismantling IS on the battlefield, the US appears to be faux-fighting the organization in a public relations campaign mimicking the simplistic narratives children might see during a G.I Joe episode on Saturday morning:

“The bad guy died, we are winning.”  

However, Western audiences have a shrinking attention span coupled with a growing awareness that everything they see on the news is likely at the very least, ‘spun.’ Despite this skepticism, US and European news services insist on serving up intelligence-insulting narratives seemingly designed for the minds of children, not educated, informed adults.

So just as Jihadi John’s memory began to fade from the collective narrative the US and European media pummels its audiences with daily, Jihadi John version 2.0 has been introduced. This IS doppelganger denizen appears almost identical to his predecessor, with the only difference being his brandishing of a pistol instead of a combat knife.

CNN reports in its article New ‘Jihadi John’? British-sounding militant features in new ISIS video, that:

An English-speaking child, and a British-sounding militant who brings to mind ISIS’ previous propagandist, ‘Jihadi John,’ appear in the latest, chilling propaganda video from ISIS.

In the video, which has not yet been independently verified, the child says that the group will kill “kuffar’ — nonbelievers — “over there,” referring to the West, while the adult threatens and insults British Prime Minister David Cameron. 

The speaker’s accent and dress bring to mind the previous — masked — face of the terror group, Mohammed Emwazi, otherwise known as “Jihadi John.” Emwazi was understood to have been killed in Raqqa late last year in an airstrike which specifically targeted the Briton. His absence lends credence to Western intelligence agencies’ belief that he is indeed dead.

Jihadi John 2.0 is still narrating IS’ high-value productions, which include gruesome executions, and the US and European media is still using him as the very convenient, extremely easy-to-hate face of IS. That Jihadi John 2.0 is taunting British Prime Minister David Cameron, is highly suspicious, considering that the British have been “fighting” IS for over a month now, but have conducted only 3 airstrikes, versus dozens of strikes daily by Russia accompanied by offensives carried out by a reinvigorated Syrian military on multiple fronts.

It’s almost as if this cartoon character, Jihadi John, is meant to intentionally offend Western sensibilities, provoking support for an otherwise unpopular and unjustifiable foreign military adventure in a country the US and UK do not otherwise belong meddling in.

Who is Jihadi John 2.0? Who Knows? Who Cares?

Ultimately, it doesn’t matter who any of the incarnations of Jihadi John are. The role this figurehead plays in IS’ overall operation is actually superficial at best, and under closer scrutiny, aiding and abetting US and European meddling in the region by providing an overly obvious justification to continually perpetuate geopolitical dynamics in the region aimed at transforming the Middle East into a shape more suitable to Western interests.

That the United States invested time, money, and energy into allegedly killing “Jihadi John,” instead of identifying, exposing, and dismantling IS’ logistical networks, including those stretching into NATO territory itself in Turkey, seems to indicate the US is not serious at all about actually fighting or stopping IS, and instead, just interested in appearing to do so.

That CNN thinks this is a story instead of asking just why the US is not trying to get to the bottom of IS’ source of money, supplies, weapons, fighters and political support, tells you that CNN is not interested in journalism, but like Jihadi John himself (selves?) they are nothing more than propagandists attempting to manipulate, not inform the public’s perception.

Grim New Year tidings

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By Stephen Lendman

Source: Intrepid Report

The new year traditionally is a time for hope and change, a new beginning, a shift from policies causing so much harm to many millions worldwide—nameless, faceless victims of imperial ruthlessness.

New Year’s day and each successive ones assure more of the same, business as usual—a continued menu of endless imperial wars, neoliberal harshness, government serving elitist interests exclusively, and harsh crackdowns on nonbelievers, America heading toward full-blown tyranny in the name of combating terrorism—the greatest hoax in modern times.

The larger issue is whether humanity can survive the ravages of US-led pure evil—the greatest threat it ever faced in world history, power-crazed lunatics in Washington willing to risk destroying Planet Earth to own it.

Instead of sounding the alarm and urging a call to action, presstitutes masquerading as journalists support what demands condemnation.

Ordinary people are manipulated by bread, circuses, and daily misinformation—mindless of the dangers they face, indifferent to the risk of ending life on Earth, ignorant of the pure evil Washington represents, complicit with its rogue partners.

Each new year begins with the threat of US-launched nuclear war, the unthinkable possibility able to kill us all. Power-crazed lunatics make ruthless choices.

Witness them in one war theater after another—endless mass slaughter and destruction, making the world safe for monied interests.

Madness defines US policies. Its criminal class is bipartisan. Whoever succeeds Obama in January 2017 will exceed the worst of his homeland and geopolitical agenda.

America already is third-worldized, on a fast track toward a ruler-serf society, unfit and unsafe to live in, fundamental freedoms eliminated in plain sight, run by a gangster class serving its own interests exclusively.

It devotes more resources to homeland and foreign militarism, belligerence and confrontational policies than the rest of the world combined.

Expect more of the same in the new year, likely more than ever before, maybe looked back on as the year WW III began—if anyone survives the onslaught, a long shot at best.

Another holiday season brings no joy to the vast majority of people worldwide. Human suffering remains extreme.

US policymakers consider it a small price to pay, nothing too outlandish in serving their interests.

The horrors of their maniacal agenda are airbrushed from official and scoundrel media reports—on New Year’s and every other day.

 

Stephen Lendman lives in Chicago. He can be reached at lendmanstephen@sbcglobal.net. His new book as editor and contributor is “Flashpoint in Ukraine: US Drive for Hegemony Risks WW III.” Visit his blog at sjlendman.blogspot.com . Listen to cutting-edge discussions with distinguished guests on the Progressive Radio News Hour on the Progressive Radio Network. It airs three times weekly: live on Sundays at 1PM Central time plus two prerecorded archived programs.

Saturday Matinee: Sleep Dealer

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“Sleep Dealer” (2008) is a dystopian parable directed and co-written by Alex Rivera. Luis Fernando Peña stars as Memo, a hacker who also works as a type of virtual migrant worker. It’s revealed through flashback how his situation was a result of a drone attack on his family and homestead. While trying to find work, Memo meets Luz (Leonor Varela), a fellow hacker who, with additional assistance from a repentant drone pilot in the US, helps him strike a blow against the system.

Note: may not play on some portable devices.

http://www.hulu.com/watch/703496