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THE IMPORTANCE OF ALTERNATIVE MEDIA

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By John Scales Avery

Source: Blacklisted News

The superficiality of today’s television

Social critic Neil Postman contrasted the futures predicted in Nineteen Eighty-Four and Brave New World in the foreword of his 1985 book “Amusing Ourselves to Death”.

He wrote:

“What Orwell feared were those who would ban books. What Huxley feared was that there would be no reason to ban a book, for there would be no one who wanted to read one. Orwell feared those who would deprive us of information. Huxley feared those who would give us so much that we would be reduced to passivity and egotism. Orwell feared that the truth would be concealed from us. Huxley feared the truth would be drowned in a sea of irrelevance.”

Neil Postman’s book, “Amusing Ourselves To Death; or Public Discourse in an Age of Show Business” (1985), had its origins at the Frankfurt Book Fair, where Postman was invited to join a panel discussing George Orwell’s “Nineteen Eighty-Four”. Postman said that our present situation was better predicted by Huxley’s “Brave New World”. Today, he maintained it is not fear that bars us from truth. Instead, truth is drowned in distractions and the pursuit of pleasure, by the public’s addiction to amusement.

Postman sees television as the modern equivalent of Huxley’s pleasure-inducing drug, soma, and he maintains that that television, as a medium, is intrinsically superficial and unable to discuss serious issues. Looking at television as it is today, one must agree with him.

The wealth and power of the establishment

The media are a battleground where reformers struggle for attention, but are defeated with great regularity by the wealth and power of the establishment. This is a tragedy because today there is an urgent need to make public opinion aware of the serious problems facing civilization, and the steps that are needed to solve these problems. The mass media could potentially be a great force for public education, but in general their role is not only unhelpful – it is often negative. War and conflict are blatantly advertised by television and newspapers.

Newspapers and war

There is a true story about the powerful newspaper owner William Randolph Hearst that illustrates the relationship between the mass media and the institution of war: When an explosion sank the American warship USS Maine in the harbor of Havana, Hearst anticipated (and desired) that the incident would lead to war between the United States and Spain. He therefore sent his best illustrator, Fredrick Remington, to Havana to produce drawings of the scene. After a few days in Havana, Remington cabled to Hearst, “All’s quiet here. There will be no war.” Hearst cabled back, “You supply the pictures. I’ll supply the war.” Hearst was true to his words. His newspapers inflamed American public opinion to such an extent that the Spanish-American War became inevitable. During the course of the war, Hearst sold many newspapers, and Remington many drawings. From this story one might almost conclude that newspapers thrive on war, while war thrives on newspapers.

Before the advent of widely-read newspapers, European wars tended to be fought by mercenary soldiers, recruited from the lowest ranks of society, and motivated by financial considerations. The emotions of the population were not aroused by such limited and decorous wars. However, the French Revolution and the power of newspapers changed this situation, and war became a total phenomenon that involved emotions. The media were able to mobilize on a huge scale the communal defense mechanism that Konrad Lorenz called “militant enthusiasm” – self-sacrifice for the defense of the tribe. It did not escape the notice of politicians that control of the media is the key to political power in the modern world. For example, Hitler was extremely conscious of the force of propaganda, and it became one of his favorite instruments for exerting power.

With the advent of radio and television, the influence of the mass media became still greater. Today, state-controlled or money-controlled newspapers, radio and television are widely used by the power elite to manipulate public opinion. This is true in most countries of the world, even in those that pride themselves on allowing freedom of speech. For example, during the US-led invasion of Iraq in 2003, the official version of events was broadcast by CNN, and criticism of the invasion was almost absent from their transmissions.

The mass media and our present crisis

Today we are faced with the task of creating a new global ethic in which loyalty to family, religion and nation will be supplemented by a higher loyalty to humanity as a whole. In case of conflicts, loyalty to humanity as a whole must take precedence. In addition, our present culture of violence must be replaced by a culture of peace. To achieve these essential goals, we urgently need the cooperation of the mass media.

The predicament of humanity today has been called “a race between education and catastrophe”: Human emotions have not changed much during the last 40,000 years. Human nature still contains an element of tribalism to which nationalistic politicians successfully appeal. The completely sovereign nation-state is still the basis of our global political system. The danger in this situation is due to the fact that modern science has given the human race incredibly destructive weapons. Because of these weapons, the tribal tendencies in human nature and the politically fragmented structure of our world have both become dangerous anachronisms.

After the tragedies of Hiroshima and Nagasaki, Albert Einstein said, “The unleashed power of the atom has changed everything except our way of thinking, and thus we drift towards unparalleled catastrophes.” We have to learn to think in a new way. Will we learn this in time to prevent disaster? When we consider the almost miraculous power of our modern electronic media, we can be optimistic. Cannot our marvelous global communication network be used to change anachronistic ways of thought and anachronistic social and political institutions in time, so that the system will not self-destruct as science and technology revolutionize our world? If they were properly used, our instantaneous global communications could give us hope.

The success of our species is built on cultural evolution, the central element of which is cooperation. Thus human nature has two sides, tribal emotions are present, but they are balanced by the human genius for cooperation. The case of Scandinavia – once war-torn, now cooperative – shows that education is able to bring out either the kind and cooperative side of human nature, or the xenophobic and violent side. Which of these shall it be? It is up to our educational systems to decide, and the mass media are an extremely important part of education. Hence the great responsibility that is now in the hands of the media.

How do the mass media fulfill this life-or-death responsibility? Do they give us insight? No, they give us pop music. Do they give us an understanding of the sweep of evolution and history? No, they give us sport. Do they give us an understanding of need for strengthening the United Nations, and the ways that it could be strengthened? No, they give us sitcoms and soap operas. Do they give us unbiased news? No, they give us news that has been edited to conform with the interests of the military-industrial complex and other powerful lobbies. Do they present us with the need for a just system of international law that acts on individuals? On the whole, the subject is neglected. Do they tell of of the essentially genocidal nature of nuclear weapons, and the urgent need for their complete abolition? No, they give us programs about gardening and making food.

A consumer who subscribes to the “package” of broadcasts sold by a cable company can often search through all 100 or so channels without finding a single program that offers insight into the various problems that are facing the world today. What the viewer finds instead is a mixture of pro-establishment propaganda and entertainment. Meanwhile the neglected global problems are becoming progressively more severe. In general, the mass media behave as though their role is to prevent the peoples of the world from joining hands and working to change the world and to save it from thermonuclear and environmental catastrophes. The television viewer sits slumped in a chair, passive, isolated, disempowered and stupefied. The future of the world hangs in the balance, the fate of children and grandchildren hang in the balance, but the television viewer feels no impulse to work actively to change the world or to save it. The Roman emperors gave their people bread and circuses to numb them into political inactivity. The modern mass media seem to be playing a similar role.

Our duty to future generations

The future of human civilization is endangered both by the threat of thermonuclear war and by the threat of catastrophic climate change. It is not only humans that are threatened, but also the other organisms with which we share the gift of life. We must also consider the threat of a global famine of extremely large proportions, when the end of the fossil fuel era, combined with the effects of climate change, reduce our ability to support a growing global population.

We live at a critical moment of history. Our duty to future generations is clear: We must achieve a steady-state economic system. We must restore democracy in our own countries when it has been replaced by oligarchy. We must decrease economic inequality both between nations and within nations. We must break the power of corporate greed. We must leave fossil fuels in the ground. We must stabilize and ultimately reduce the global population. We must eliminate the institution of war; and we must develop new ethics to match our advanced technology, ethics in which narrow selfishness, short-sightedness and nationalism will be replaced by loyalty to humanity as a whole, combined with respect for nature.

Inaction is not an option. We have to act with courage and dedication, even if the odds are against success, because the stakes are so high.

The mass media could mobilize us to action, but they have failed in their duty.

Our educational systems could also wake us up and make us act, but they too has failed us. The battle to save the earth from human greed and folly has to be fought in the alternative media.

The alternative media, and all who work with them deserve both our gratitude and our financial support. They alone, can correct the distorted and incomplete picture of the world that we obtain from the mass media. They alone can show us the path to a future in which our children, grandchildren, and all future generations can survive.

 

A book discussing the importance of alternative media can be freely downloaded and circulated from this address:

http://eacpe.org/app/wp-content/uploads/2018/10/Searching-for-truth-by-John-Scales-Avery.pdf

More freely downloadable books and articles on  other global problems can be found on the following link:

http://eacpe.org/about-john-scales-avery/

Lost in the Theatre of Data, Dada, and Emotional Manipulation

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By Edward Curtin

Source: OpEdNews.com

“It is not only information that they need — in this Age of Fact, information often dominates their attention and overwhelms their capacities to assimilate it”What they need, and what they feel they need, is a quality of mind that will help them to use information and to develop reason in order to achieve lucid summations of what is going on in the world and of what may be happening within themselves”what may be called the sociological imagination.”

— C. Wright Mills, The Sociological Imagination, 1959

“‘Our own death is indeed, unimaginable,’ Freud said in 1915, ‘and whenever we make the attempt to imagine it we can perceive that we really survive as spectators.’ It is thus the very habit of military situations that turn them theatrical. And it is their utter unthinkableness: it is impossible for a participant to believe that he is taking part in such murderous proceedings in his own character. The whole thing is too grossly farcical, perverse, cruel, and absurd to be credited as a form of ‘real life.’ Seeing warfare as theatre provides a psychic escape for the participant: with a sufficient sense of theatre, he can perform his duties without implicating his ‘real’ self and without impairing his innermost conviction that the world is still a rational place. Just before the attack on Loos, Major Pilditch testifies to ‘a queer new feeling these last few days, intensified last night. A sort of feeling of unreality as if I were acting on a stage”.'”

— Paul Fussell, The Great War and Modern Memory

“The society whose modernisation has reached the stage of integrated spectacle
is characterised by the combined effect of five principal factors: incessant technological renewal, integration of state and economy, generalised secrecy, unanswerable lies, and eternal present . . . .”

— Guy Debord, The Society of the Spectacle

“Hi-diddle-dee-dee

An actor’s life for me..

Hi-diddle-dee-dum

An actor’s life is fun”

— Walt Disney, “Pinocchio”

It was 100 years ago this November 11th when World War I ended. This “War to End All Wars,” resulted in the death of approximately 9 million soldiers and 9 million civilians. The brilliant leaders who waged this war — the crème de la crème — men who, in their own warped minds, possessed impeccable logic and rigorous reasoning, expected the war to be over in a few months. It lasted four years. Like their more current American counterparts before they launched the war against Iraq in 2003, they expected a “cakewalk” or a “slam-dunk” (the former term is racist and the latter a sports term, perfect unconscious verbiage for the slaughter of “lesser” humans). All these principals were data demented, they had lined up their little toy ducks in a row and expected a neat and logical outcome. Or so they said. The new weapons would make quick mincemeat of the enemy. Technology would expeditiously destroy to expeditiously save. Nothing has changed in one hundred years

Such instrumental logic and its positivistic data reductionism has now deeply infected the popular mind, as common sense has been destroyed by government and mass media propaganda so blatantly ridiculous that only a hypnotized person could believe it. But so many have been hypnotized and follow the repetitious and overwhelming streaming of each day’s markedly ad hoc “news,” following the Pied Piper to their doom via the wizardry of digital technology. Raptly attentive to the “politainment” that passes for journalism, they pin ball between alleged assertions of fact cobbled together with tendentious and faulty logic and theatrical displays of emotion meant to manipulate an audience of spectators in the national theatre of absurdity. It is all show and tell in which the audience is expected to react emotionally rather than think, with images and feelings having replaced concentrated reflection, and facts and evidence having disappeared like a coin from a magician’s hand.

This technological surround-sound theatre has reduced everything to play-acting, with audiences and their puppeteers playing reciprocal parts. Theodor Adorno analogizes thus:

“Real life is becoming indistinguishable from the movies. The sound film, far surpassing the theatre of illusion, leaves no room for imagination or reflection on the part of the audience, who is unable to respond within the structure of the film, yet deviate from its precise detail without losing the thread of the story; hence the film forces its victims to equate it directly with reality. The stunting of the mass-media consumer’s powers of imagination and spontaneity does not have to be traced back to any psychological mechanisms; he must ascribe the loss of those attributes to the objective nature of the products themselves, especially to the most characteristic of them, the sound film. They are so designed that quickness, powers of observation, and experience are undeniably needed to apprehend them at all; yet sustained thought is out of the question if the spectator is not to miss the relentless rush of facts.”

Meanwhile, the real business of murder, mayhem, and economic exploitation continues apace. As one “small” example of a fact relegated to oblivion by our mainstream media, in Gaza this past week, Israeli occupation forces killed Nasser Azim Musabeh (12), Mohammed Nayef Ai (14), Mohammed Ali Mohasmmed Anshasi, (18), Iyar Khalil Al-Sha’er (18), Mohasmmed Bassam Mohammed (24), Mohammed Walid Haniyeh (23), and Mohammed Ashraf Awawdeh (23). But such facts don’t matter since these dead young people were already reduced to invisible people not worthy of a mention.

Rather, pseudo-debates and pseudo-events are created by media and political magicians whose goal is to confuse the audience through information (data) and emotional overload into thinking that they are “freely” choosing what is always the same, to paraphrase Theodor Adorno. It is a conjurer’s act of mind manipulation in support of a repressive political and economic ideology built on false dichotomies. The political/media empire creates its own “reality” that the captivated audience takes as reality, as their emotions swing from outrage to laughter and their electronic clickers jump them from show to show, from CNN or Fox or the New York Times to Saturday Night Live in the land where there is no business but show business. “Amusing ourselves to death,” as Neal Postman so aptly put it. To which I would add: As we put others to death outside the show.

The other day I was in a library and was looking through a large book of World War I photographs from the Imperial War Museum that I found lying on a table. They were arranged chronologically from the start of the war in 1914 to its end in 1918. Fascinating photos, I thought. I went through the book page by page, examining the photos one by one, beginning with the assassination of Archduke Ferdinand by a young guy, on through the photos of stiff British war-hawk leaders in double-breasted suits, through photos of the trenches and the new weapons until I reached photos of the treaty to “end” it. By the conclusion, I felt exhausted and knew nothing new. Photos as data. Click, click, click: How many are enough? It was like spending an hour with the mainstream corporate media, and much of the alternative press. It was like a black and white movie in no motion. Same old, same old, as a young man I know often says when I ask him what’s new. Same old data via photographs. War is hell. Ditto. Bodies get blown to bits and decompose in mud. Ditto. Heads get separated from necks and blood pours forth. Ditto. War is hell. Ditto. Great leaders meet and end the carnage. Ditto.

Ditto Data Dada. I had to imagine the subsequent pages and years as these great leaders, so disgusted by war, prepared for the next one, and the one following, etc. Ditto, data, dada.

I understood then why the first famous Dadaist piece of art that emerged from absolute disgust with the data driven crazies who started and waged WW I was Marcel Duchamp’s 1917 “Fountain,” a porcelain urinal signed by R. Mutt, a message to tell the “great” leaders to piss off.

But Dadaist art, like all avant-garde art, gets quickly sucked into the maw of the entertainment complex, which is another name for the propaganda complex. As the word media means etymologically — magicians — these sorcerer’s have developed and use every bit of black magic to engineer the consent of the bewildered herd, to blend the words of two of America’s key propagandists from the past: Edward Bernays, Freud’s American nephew and President Woodrow Wilson’s master propagandist for WW I, and the famous journalist Walter Lippman. Bernays put it straight and succinctly:

It is impossible to overestimate the importance of engineering of consent. The engineering of consent is the very essence of the democratic process. It affects almost every aspect of our daily lives.

Last week I attended a production of the play Annie in a community theatre in a liberal town in the northeast. The show was sold out, and I was there because my lovely granddaughter was performing in the play, one whose story and music I was very familiar with. The show was delightful and the audience was enraptured by the performances and the wonderful music. If you are not familiar with the story, it is about an 11 year old orphan named Annie who, in 1933 when FDR has assumed the presidency, is in search of her biological parents. Together with other orphans in a NYC orphanage, she is treated miserably by a character named Miss Hannigan. By the play’s end, Annie is adopted by a wealthy man to presumably live happily ever after. At one point in the play, this wealthy man brings Annie to Washington D. C. to meet his friend, President Roosevelt. He says to FDR, Franklin, you need to do something and get my factories humming again. In this scene, Roosevelt and his cabinet, the wealthy man, and Annie sing the very upbeat song — “Tomorrow” — which Roosevelt loves since it offers hope in the dark time of the great depression. Everyone sings the stirring song, many in the audience silently singing along and the mood in the theater elevates. By the play’s end Annie is adopted by the wealthy man, whose name is Daddy Warbucks. This super-capitalist billionaire with a mansion on Fifth Avenue and a heart of gold has made his riches making weapons for WW I, though this is not spelled out in the show. I kept wondering what the audience of liberal-minded people were thinking, or if they were, about the strange fact the hero of the show was a man with a war-monger’s name whose factories had produced armaments that had created tens of thousands of war orphans and who was urging the liberal Roosevelt to get his munitions factories up and running again in 1933. I suspected they weren’t thinking about this at all and that the work of subtle propaganda was being magically induced at an unconscious level. For how could such a nice, caring guy, who adopts the cute Annie and who sings such tuneful songs, be a killer?

I guiltily thought: I shouldn’t be thinking such thoughts, as I also thought how can I not think them. Emotionally I felt one thing, and intellectually another. This was the classic double-bind.

Upon further reflection, I realized that this is how the finest propaganda works. It splits people in two and works subtly. Emotionally you are pulled one way, and intellectually another, if you are thinking at all. There are certain connections you are not supposed to make or verbalize, when to oppose the powerful sway of the media’s emotional appeals is considered a betrayal of your humanity and certain victims, such as a cute orphan or acceptable victims, even when that doesn’t follow logically.

But in the Magic Theatre that is American life, false choices are the essence of the show. Democrats vs. Republicans, Clinton vs. Bush, Bush vs. Obama, Obama vs. Trump, liberals vs. conservatives, and on and on endlessly. It’s Dada, my friends, all theater. The next election will change everything, right? “The sun’ll come out/Tomorrow, So ya gotta hang on/’Till tomorrow/ Come what may.”

Only when we leave the theatre can we see the real play. But that’s a bold act for which no Oscars, Tonys, or Emmys are handed out. And outside the theater’s warm embrace, it’s cold, and you feel like an orphan looking for a home, no matter how much blood-money purchased it. But don’t go in; it’s a trap.

 

The Psychology of Fascism

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By Robert J. Burrowes

The continuing rise of fascism around the world is drawing increasing attention particularly as it takes firmer grip within national societies long seen to have rejected it.

Some recent studies have reminded us of the characteristics of fascist movements and individuals, particularly as they manifest among politically active fascists. For example, in his recent book How Fascism Works: The Politics of Us And Them Professor Jason Stanley has identified ten characteristics shared by fascists which have been simply presented in the article ‘Prof Sees Fascism Creeping In U.S.’

These characteristics, readily evident in the USA, Europe, Israel, Saudi Arabia, Myanmar and elsewhere today, include belief in a mythic (false) past, propaganda to divert attention and blame from the true source of corruption, anti-intellectualism and a belief in the ‘common man’ while deriding ‘women and racial and sexual minorities who seek basic equality as in fact seeking political and cultural domination’, promotion of elite dogma at the expense of any competing ideas (such as those in relation to freedom and equality), portrayal of the elite and its agents as victims, reliance on delusion rather than fact to justify their pursuit of power, the use of law and order ‘not to punish actual criminals, but to criminalize “out groups” like racial, ethnic, religious and sexual minorities’ which is why we are now ‘seeing criminality being written into immigration status’, and identification of “out groups” as lazy while attacking welfare systems and labor organizers, and promoting the idea that elites and their agents are hard working while exploited groups are lazy and a drain on the state.

In an earlier article ‘Fascism Anyone?’, published in the Spring 2003 issue of Free Inquiry Magazine, Professor Laurence W. Britt identified fourteen shared threads that link fascists. These include powerful and continuing expressions of nationalism, disdain for the importance of human rights, identification of enemies/scapegoats (such as communists, socialists, liberals, ethnic and racial minorities, traditional national enemies, members of other religions, secularists, homosexuals and ‘terrorists’) as a unifying cause, obsession with national security and avid identification with the military, sexism, a controlled/compliant mass media that promotes the elite agenda, a manufactured perception that opposing the power elite is tantamount to an attack on religion, corporate power protected by the political elite while the power of labor is suppressed or eliminated, disdain for intellectuals and the arts, expanded police power and prison populations in response to an obsession with the crime and punishment of ordinary citizens (while elite crimes are protected by a compliant judiciary), rampant cronyism and corruption, and fraudulent elections defended by a judiciary beholden to the power elite.

Offering a more straightforward characterization of fascism in the US context, which also highlights its violence more explicitly than the characterizations above, the eminent Norwegian peace research scholar Professor Johan Galtung explains it thus: ‘US Fascism? Yes, indeed; if by fascism we mean use of massive violence for political goals. US fascism takes three forms: global with bombing, droning and sniping all over; domestic with military weapons used across race and class faultlines; and then NSA-National Security Agency spying on everybody.’ See ‘The Fall of the US Empire – And Then What?’

Among other recent commentaries, one draws attention to a recent fascist gathering in the USA – see ‘Davos For Fascists’ – another to the ways in which fascism, under various names, is being effectively spread – see ‘How the new wave of far-right populists are using football to further their power’ – and another warns of focusing too narrowly on one issue and missing the wider threat that fascism poses. See ‘Fascism IS Here in USA’.

In any case, for those paying attention to what is happening in places like the United States, Europe, Israel, Saudi Arabia, Myanmar and elsewhere, it is easy to see that the rush to embrace fascism is accelerating.

But why? Surely, in this ‘enlightened’ age, notions such as freedom, democracy, human rights and equality are deeply embedded in our collective psyche, particularly in the West. We believe that elections should be, and are, ‘free and fair’ and not determined by corporate donations; we believe that the judiciary is independent of political and corporate influence. But are they?

Well, in fact, the evidence offered by the casual observation of events in the places mentioned above, as well as elsewhere around the world, tells us that none of this is any longer, if it ever was, the case. Let me explain why.

Fascism is a political label but, like any such label, it has a psychological foundation. That is, the political behavior of those who are fascists can be explained by understanding their psychology. Of course, all behavior can be explained by psychology but I will focus on the psychology of fascist behavior here.

There have been attempts to understand and explain the psychology of fascism, starting with the early work of Wilhelm Reich in The Mass Psychology of Fascism. So what is the psychology of individuals who are fascists?

You might not be surprised to read that the psychology of fascists is complex and is a direct outcome of the nature of the extraordinary violence to which they were subjected as children.

The Psychology of Fascists

Let me briefly identify the psychological profile of fascists and the specific violence (‘visible’, ‘invisible’ and ‘utterly invisible’) that generates a person with this psychology. For a thorough explanation and elaboration of this profile, and explanations of the terms ‘visible’, ‘invisible’ and ‘utterly invisible’ violence, see ‘Why Violence?’ and ‘Fearless Psychology and Fearful Psychology: Principles and Practice’.

First, fascists are terrified and they are particularly terrified of those individuals who perpetrated violence against them when they were a child although this terror remains unconscious to them. Second, this terror is so extreme that fascists are too terrified to consciously identify to themselves their own perpetrator (one or both parents and/or other significant adults who were supposed to love them) and to say that it is this individual or individuals who are violent and wrong.

Third, because they are terrified, they are unable to defend themselves against the original perpetrator(s) but also, as a result, they are unable to defend themselves against other perpetrators who attack them later in life. This lack of capacity to defend themselves leads to the fourth and fifth attributes – a deep sense of powerlessness and a deep sense of self-hatred. However, it is too terrifying and painful for the individual to be consciously aware of any of these feelings/attributes.

Sixth, because they are terrified of identifying that they are the victim of the violence of their own parents (and/or other significant adults from their childhood) and that this violence terrified them, fascists unconsciously delude themselves about the identity of their own perpetrator. They will unconsciously identify their ‘perpetrator’ as one or more individuals of whom they are not actually afraid from an existing ‘legitimized victim’ group such as children or people from a different gender, race, religion or class. This is also because their unconscious terror and self-hatred compels them to project onto people who are ‘controllable’ (because their original perpetrators never were). For this reason, their victims are (unconsciously) carefully chosen and are always relatively powerless by comparison.

This is easy to do because, seventh, children who become fascists have been terrorized into accepting a very narrow-minded and dogmatic belief set that excludes consideration of those in other social (including gender, racial, religious or class) groups. The idea that they might open-mindedly consider other beliefs, or the rights of those not in the ‘in-group’, is (unconsciously) terrifying to them. Moreover, because they have been terrorized into adopting their rigid belief set, fascists develop an intense fear of the truth; hence, fascists are both bigoted and self-righteous. In addition, the belief set of fascists includes a powerful and violently reinforced ‘lesson’: ‘good’ means obedient; it does not mean intrinsically good, loving and caring.

Eighth, and as a result of all of the above, fascists learn to unconsciously project their self-hatred, one outcome of their own victimhood, as hatred for those in the ‘out-groups’. This ‘justifies’ their (violent) behavior and obscures their unconscious motivation: to remain unaware of their own suppressed terror and self-hatred.

Ninth, fascists have a compulsion to be violent; that is, they are addicted to it. Why? Because the act of violence allows them to explosively release the suppressed feelings (usually some combination of fear, terror, pain, anger and powerlessness) so that they experience a brief sensation of delusional ‘relief’. Because the ‘relief’ is both brief and delusional, they are condemned to repeat their violence endlessly.

But the compulsion to be violent is reinforced by another element in their belief set, the tenth characteristic: fascists have a delusional belief in the effectiveness and morality of violence; they have no capacity to perceive its dysfunctionality and immorality.

And eleventh, the extreme social terrorization experience to which fascists have been subjected means that the feelings of love, compassion, empathy and sympathy, as well as the mental function of conscience, are prevented from developing. Devoid of conscience and these feelings, fascists can inflict violence on others, including their own children, without experiencing the feedback that conscience and these feelings would provide.

What Can We Do?

There is no simple formula for healing the badly damaged psychology of a fascist (or those who occupy a proximate ‘political space’ such as conservatives who advocate violence): it takes years of violent parental and adult treatment to create a fascist and so the path to heal one is long and painful, assuming the support for the individual to do so is available. Nevertheless, fascists can heal from the terror and self-hatred that underpin their psychology. See ‘Putting Feelings First’. And they can be assisted to heal by someone who is skilled in the art of deep listening. See ‘Nisteling: The Art of Deep Listening’.

Unfortunately, given their cowardice, fascists are unlikely to have the courage to seek the appropriate emotional support to heal. In the meantime, those of us so inclined must resist their violence and, ideally, this should be done strategically, particularly if we want impact against fascist national leaders. See Nonviolent Campaign Strategy or Nonviolent Defense/Liberation Strategy.

The good news is that we can avoid creating fascists. If you want to nurture a child so that they become compassionate and caring, live by their conscience and act with morality and courage in all circumstances, including when resisting fascists, then consider making ‘My Promise to Children’.

You might also consider joining the worldwide movement to end all violence, fascist or otherwise, by signing the online pledge of ‘The People’s Charter to Create a Nonviolent World’.

In essence: Fascists are terrified, full of self-hatred and powerless. But, too scared to feel their own terror, self-hatred and powerlessness, they unconsciously project this as fear of, and hatred for, the people in one or more ‘legitimized victim’ groups, including their own children (thus creating the next generation of fascists). They then try to ‘feel powerful’ by seeking violent control over these people themselves or by seeking to have violent control exercised over these people by various ‘authorities’, ranging from school teachers and religious figures to the police, military and various corporate and government agencies.

No matter how much control they have over others, however, it is impossible to control their own terror, self-hatred and powerlessness. So they are unconsciously and endlessly driven to seek (delusional) ‘relief’ by violently controlling those in legitimized victim groups. It is because their own children are the most immediately available ‘uncontrollable’ target that fascism is readily perpetuated.

 

Biodata: Robert J. Burrowes has a lifetime commitment to understanding and ending human violence. He has done extensive research since 1966 in an effort to understand why human beings are violent and has been a nonviolent activist since 1981. He is the author of ‘Why Violence?’ http://tinyurl.com/whyviolence His email address is flametree@riseup.net and his website is here. http://robertjburrowes.wordpress.com

Robert J. Burrowes
P.O. Box 68
Daylesford, Victoria 3460
Australia

Email: flametree@riseup.net

Websites:
Nonviolence Charter
Flame Tree Project to Save Life on Earth
‘Why Violence?’
Feelings First
Nonviolent Campaign Strategy
Nonviolent Defense/Liberation Strategy
Anita: Songs of Nonviolence
Robert Burrowes
Global Nonviolence Network

Our age of horror

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In this febrile cultural moment filled with fear of the Other, horror has achieved the status of true art

By M M Owen

Source: aeon

In Ray Bradbury’s horror short story, ‘The Next in Line’ (1955), a woman visits the catacombs in Guanajuato, Mexico. Mummified bodies line the walls. Lying awake the next night, haunted by her macabre tour, she finds that her heart ‘was a bellows forever blowing upon a little coal of fear … an ingrown light which her inner eyes stared upon with unwanting fascination’.

Our present era is one in which the heart of culture is blowing hard upon a coal of fear, and the fascination is everywhere. By popular consent, horror has been experiencing what critics feel obliged to label a ‘golden age’. In terms of ticket sales, 2017 was the biggest year in the history of horror cinema, and in 2018, Hereditary and A Quiet Place have been record-breaking successes. In both the United States and the United Kingdom, sales of horror literature are up year over year – an uptick that industry folk partly attribute to the wild popularity of Netflix’s Stranger Things (2016-). And the success isn’t merely commercial. Traditionally a rather maligned genre, these days horror is basking in the glow of critical respectability. As The New York Times remarked this June, horror ‘has never been more bankable and celebrated than it is right now’.

As any historian of the genre will tell you, horror has had previous golden ages. Perhaps ours is just a random quirk of popular taste. But perhaps not. Perhaps we are intoxicated by horror today because the genre is serving a function that others aren’t. Can’t. Horror’s roots run deep, but they twist themselves into forms very modern. The imagination’s conversion of fear into art offers a dark and piercing mirror.

My earliest horror memory is Stay Out of the Basement (1992), one of R L Stine’s Goosebumps series of young adult novels. In the story, a botanist accidently creates a hybrid plant clone of himself. When the clone comes to life, he tries to steal his humanoid self’s life. The botanist’s children unmask the imposter, and in a mess of green blood and plant mush, the clone is felled with an axe. The rescued father disposes of the rest of the mutating plant matter, and the family is all set to live happily ever after. But at the very end, the daughter is standing in the garden and feels a small plant nudging her ankle. The plant whispers to her: ‘Please – help me. I’m your father.’ Stay Out of the Basement is no masterpiece, but I was young, and it struck me cold.

Horror is what anthropologists call biocultural. It is about fears we carry because we are primates with a certain evolved biology: the corruption of the flesh, the loss of our offspring. It is also about fears unique to our sociocultural moment: the potential danger of genetically modifying plants. The first type of fear is universal; the second is more flexible and contextual. Their cold currents meet where all great art does its work, down among the bottomless caves on the seabed of consciousness. Lurking here, a vision of myself paralysed in the dirt, invisible to those I love.

Horror has always been with us. Prehistoric cave paintings are rife with the animal-human hybrids that remain a motif of horror to this day. Every folktale tradition on Earth contains tales of malevolent creatures, petrifying ghosts and graphic violence. The classics are frequently horrifying: in Homer’s Odyssey, when the Cyclops encounters Odysseus’ men, the monster eats them, ‘entrails, flesh and the marrowy bones alike’.

We have always told horror stories, and we always will. Because horror is an artistic expression of an ontological truth: we are creatures formed in no small part by the things to which we are averse. Fear is a base ingredient of consciousness, partaking of brain circuits that are so ancient humans share them with all vertebrate lifeforms. As the neuroscientist Antonio Damasio has described, the whole weird soup of human feeling emerged as a result of our beginning to process whether to ‘approach or avoid … certain places or things or creatures’. Our cognition absorbs reality as a vast spectrum of potential encounters, and horror alchemises the dark end into art.

Thus, evolutionary analyses of horror mention monsters as the genre’s most defining feature. As the philosopher Stephen T Asma puts it, ‘during the formation of the human brain, the fear of being grabbed by sharp claws, dragged into a dark hole and eaten alive was not an abstraction’. For a quarter of a million years – the vast majority of Homo sapiens’ existence as a species – we lived outdoors, with giant hyenas, saber-toothed cats and other carnivores representing a real threat to life. That other ancient health risk, the biological pathogen, manifests itself in the tendency of monsters to be not only violent but also disgusting – feral, oozing blood and saliva, bearing their infectious teeth. From the evolutionary perspective, horror’s vast monstrous menagerie echoes with Paleolithic peril.

Historically, horror’s willingness to play directly to our evolved physiology has seen it earn a low reputation. Western culture was built on a vision of ourselves as above the beasts, above the beastliness of acquiescing helplessly to the demands of the body. But horror can bypass all intellect, extract from us an embarrassingly animalistic response. The skittish physicality of the ‘jump scare’ is a manipulation of what biologists call the startle response, present in all mammals. And cruder horror always contains that other ghastly reminder of our physicality: gore. Gore disgusts us, and the way that gore can be darkly compelling to us disgusts us. Whenever horror is criticised, it is criticised for staging a dark carnival of physicality. Perhaps the only sort of media we moralise more than we do horror is that other mainliner of bodily response, pornography.

Horror’s historical ghettoisation has meant that weightier, smarter horror reliably gets labelled as something else. The finest films of our current golden age have been dubbed ‘elevated horror’ and ‘post-horror’. In literary circles, works of horror seen as sufficiently cerebral get relabelled ‘Gothic’. It’s certainly true that great horror is always about more than gore. But we should be careful not to gentrify the genre by cleansing it of everything but the philosophy.

There are always beings that want to bite us, scratch us, puncture our fragile flesh. There is the terrible old coercion of brute, muscular force, the lethal threat of contagion and infection. There is darkness, disorientation. And looming explicitly or symbolically in all horror is that vast shadow that the anthropologist Ernest Becker said ‘haunts the human animal like nothing else’: death.

‘And he that sat on the cloud thrust in his sickle on the Earth; and the Earth was reaped’. Witness the machinations of that famous slasher, God (Revelation 14:16). Horror encodes the story of our long primate journey, but these biological foundations support the towering edifice of culture. And for millennia, horror merged with our oldest cultural phenomena: religion and folklore. In fact, for most of its history, horror wasn’t really art, as we tend to understand that term today. It certainly wasn’t fiction. Prior to about 1750, in our pivot toward the Enlightenment, the best horror stories can all be found within theology and lore. In Europe, for generations Satan was every bit as petrifying as Pennywise, the murderous clown of Stephen King’s It (1986). Demonic forces were terrifyingly real; in the Bible, Jesus spends almost as much time performing exorcisms as he does healing people. There were widespread societal panics about the threat of werewolves and vampires, and tens of thousands of women were murdered as witches.

This isn’t to judge the credulity of bygone peoples. But the reason that horror – unlike say tragedy, or comedy, or the epic – didn’t exist as an artistic genre until relatively recently is that its deep history is fundamentally pre-scientific. Nothing in the annals of art is as scary as what you’ll find in bygone worldviews. Who needs make-believe scares when everyone you know is awaiting the day of judgment, at which point an angel will sweep a sickle across the Earth and make the blood run for hundreds of miles? It is no coincidence that the Gothic – horror’s regal antecedent – emerged precisely at the moment when lots of people began to believe that God really might be dead. Modern horror is in part the story of what happens when our threatened minds shed a theology. Once holy texts can no longer entirely encode the terrors of being, horror enters fully the arena of art.

However, the old ways cast a long shadow. In the pantheon of genres, horror remains an adolescent, and it has a sort of adolescent relationship with its past: half rebellion, half dependency. On the one hand, more than any other genre, horror loves to thematise the coldest sorts of atheism. ‘All my tales,’ said horror grandee H P Lovecraft, ‘are based on the fundamental premise that common human laws and interests and emotions have no validity or significance in the vast cosmos-at-large.’ In The Silence of the Lambs(1988), amused by what he sees as clear evidence for the absence of any benevolent deity, the charmingly evil Hannibal Lecter ‘collects church collapses, recreationally’.

On the other hand, horror is marked everywhere by the centuries it spent wedded to otherworldly belief systems. In 2018’s biggest horror movie, Hereditary, an obscure figure from demonology possesses a teenage boy and wreaks death upon his family. Much Japanese horror features yūrei, tormented and enraged spirits denied a smooth passage to the afterlife. Horror was a dark, mutant child of the Enlightenment, and yet it can’t shake its pre-scientific genes. Its penchant for lurid supernaturalism is a big reason why, when it fails, it can so easily seem puerile. The modern, skeptical mind whispers: This is just silly. Haven’t we outgrown all this? On Halloween – a celebration of horror’s pre-artistic forms – children are meant to have the most fun.

Why does horror have this double-edged relationship with its religious and spiritual heritage? Perhaps because, for all its modernity, the sheer scale of theological enquiry still reflects the genre’s ambition. As leading horror author Joe Hill told me, horror is what we turn to when we want to explore ‘the biggest and darkest questions’. And even demoted from dogma to metaphor, the old myths offer a fine way to channel those grand subjects of which horror is so fond: good versus evil, the tribulations of the soul, the end of days. Even though it requires our suspension of disbelief, the paranormal presents us with the very real prospect of brittle reason splintering against the mystery of reality.

‘There’s a sense of uncertainty and potential wrongness underlying most of human existence,’ the Canadian author Gemma Files told me. All of humankind’s great mythic narratives know this, and horror doesn’t let us forget it. At the core of the numinous impulse – that oceanic feeling in which horror was submerged for so many centuries – is the strange certainty that reality is unpredictable and inscrutable, that certain things will forever resist the reach of the human mind. Horror will always share in this sense. It may have fallen from heaven, but it still isn’t entirely of this Earth. Cormac McCarthy’s The Road(2006) centres on a father and son as they wander across a blasted, post-apocalyptic America. The horrors are everywhere: they discover, chained in a basement, ‘a man with his legs gone to the hip and the stumps of them blackened and burnt’. The man is being harvested by cannibals, piece by piece. It is a bleak, fallen world, where the memory of a time when trout swam in the streams shimmers with celestial grace. When the father meets an elderly man, he tells him: ‘There is no God and we are his prophets.’

And so what of today? Horror reverberates with fears Paleolithic and God-fearing, but it is also always reacting to its present moment. And it seems reasonable to perceive any swell in the production and popularity of horror – any dawning of a new golden age – as the expression of a culture that is afraid. ‘In anxious times,’ David Bruckner, director of The Ritual (2017) and other horror movies, told me, ‘people are more likely to turn to horror. If you have an uneasy night at the movie theatre, you are sort of answering the call of your times.’

‘I think we’re living in a nightmare, basically.’ So said horror legend Ramsey Campbell, when I asked him why he thinks horror is flourishing right now. This is one of those things that cooler heads will say is your mind deceiving you. By many objective measures, for many people, life today is better than ever. But horror has never been too worried about culture’s long-term trajectory; it is always fixated on how it could all go badly wrong, any minute now. Horror is steeped in worry; its narratives frequently open with the calm before a terrible storm. And every person connected with horror that I interviewed smelled doom on the breeze.

Horror has always made good use of our deep aversion to what Lovecraft called ‘the oldest and strongest kind of fear’: the unknown. This is one of the ways in which horror (like the folktale) can display a sort of archetypal conservatism. In general terms, the best way to survive a horror setting is to be supremely, boringly sensible: don’t talk to strangers, don’t stay the night in a foreign town, don’t go to the aid of anyone who looks sick, don’t go into that crumbling old building. If a very attractive stranger tries to seduce you, it is almost definitely a trap. Respect tradition, do not commit sacrilege, listen to the advice of elderly locals. At the heart of a lot of horror is a conservative craving for the predictable and the known. The unpleasant atonal dissonance you’ll hear in every horror score reflects, through the collapse of harmony, the disintegration of familiar and comforting patterns out there in the world.

Horror, then, thrives on discombobulation. And today, the discombobulation is everywhere. The causes of the anxiety are scattershot, and you already know them. There are those scientific breakthroughs of the sort that get Silicon Valley execs psyched, but which many others find deeply, opaquely perturbing. Take artificial intelligence, whose rise has seen more and more science fiction turn horrific: ‘One day the AIs are going to look back on us the same way we look at fossil skeletons on the plains of Africa,’ says Nathan, a central character in Ex Machina (2015). And even if the robots don’t vanquish poor old Homo sapiens, other sorts of scientific experimentation might. One of the great horror trends of the 21st century has been the zombie, and in all of the best works of zombie fiction, the immediate cause of the outbreak is the same: biological experimentation gone horribly wrong. The zombie is the gnashing, lunging embodiment of that modern terror, the global pandemic. People might not fear Satan anymore, but they sure as hell fear Ebola.

Outside of the lab, there is that slower method of planetary destruction: climate change. ‘Horror,’ the author Jeff VanderMeer told me, ‘is the beauty of the natural world juxtaposed against the way we destroy those natural systems without understanding them.’ VanderMeer’s Southern Reach trilogy (2014), some of my favourite horror novels of all time, diluted my enjoyment of the UK’s recent heatwave and refused to let me forget that what I was basking in were the convulsions of an aching planet. A biosphere cast brutally off-balance forms the setting for M R Carey’s The Girl With All the Gifts(2014), where humanity has been devastated by a fungal infection. Where horror once worried about the weather gods, it now just worries about the weather. Climate change, meanwhile, is a major cause of mass migrations, potent fuel for what leading critic Leslie Klinger described to me as horror’s historical trend of feeding off ‘the invasion of foreigners into previously stable populations’. At a base level, we are in-groupish creatures. I’ve spent time with rural, paganish communities who enjoy a singsong and are sexually unrepressed; none of them tried to burn me alive in a giant wicker man. But horror says: you never know. Stick to your own.

If all these fears sound selfish, parochial, insular – don’t get the wrong idea. Horror offers a map of the psyche and, like fear itself, is inherently apolitical. It can easily offset its archetypal conservatism with a radical sort of anarchism. Horror might thematise our fear of the unknown – but it also warns about clinging too stubbornly to the familiar. In a lot of horror, survival is predicated on a capacity to quickly adapt to brutal change. Horror has little time for the conservative sentimentality that swirls around ideas such as institutions and tradition, and even something like the nation-state is often revealed as a sort of frilly, doomed illusion. The protections of social hierarchy or private property are never of any use, and horror loves to punish characters who arrogantly believe that wealth will shield them. In horror, the consolations of the past melt in contact with the white-hot heart of present fear. Conservatism fails because it is revealed that at bottom there is nothing to conserve. As the author Michael Marshall Smith put it to me, great horror often declares: ‘It’s just you versus the monster. Always has been. Always will be.’

In this, lots of horror is intensely universalising. Frequently, a scenario comes down to a simple contest between humankind and something else. Splitting up is a suicidal move in horror; survival often follows an impulse toward communal effort. Similarly universalising is the way that, at extreme moments of threat or fear, a given character’s skin colour or gender or nationality will often be effaced. At horror’s pitch, we perceive a simple human, doing what we all do every day of our lives: struggling to live, to persist, to overcome. In The Babadook(2014), a widowed mother is stalked by an amorphous, black-hatted monster that embodies her grief at losing her husband. The monster – her terrible, life-sucking trauma – threatens to claim her son, and destroy what is left of her family. Late in the film, bloodied and exhausted, the mother faces down the Babadook, yelling: ‘If you touch my son again, I’ll fucking kill you.’ The monster is tamed. It is a show of furious bravery that could be any mother, anywhere; courageous love in the face of total disorder.

It’s easy to romanticise horror, but there are also unsexy, funcitonal reasons why it’s having its moment right now. The streaming revolution has given creators a reliable and direct way to reach a dedicated, self-selecting audience. Trusting this audience, distributors like A24 and Blumhouse have put a great amount of both creative wherewithal and cold hard dollars into horror cinema. The genre has always been reliably profit-turning, but it has also always been prone to the lazy recycling of ideas and tropes. Today, even experimental horror can be profitable. In literature, meanwhile, a revival of interest in horror greats like Shirley Jackson, as well as a slew of Stephen King adaptations, has been a boost for the genre at large.

Yet on their own, these tantalising products would never suffice to make horror soar. Horror has been with us since the dawn of storytelling. It manifests the fears of the human animal, and even today echoes the slippery spiritual suspicion that reality isn’t what it seems. Our world is ripe for upending, and horror expresses that best. Horror can thrive today because ours is a strange and febrile cultural moment. It seems every civilisation has believed they are on the brink of cataclysmic change; such an idea has a weird narcissistic appeal. But today there is everywhere a deep feeling that the horses of disaster are about to plunge in the heavy clay. There is a sort of great loop being completed here: as horror has morphed from theology to art, the ruinous power has moved from the judgment of God to the hand of humans. The end of days in one programmer’s idle tinkering, in one laboratory’s overlooked quarantine protocols. Robert Louis Stevenson, author of The Strange Case of Dr Jekyll and Mr Hyde (1886), wrote, ‘Sooner or later, everyone sits down to a banquet of consequences.’ As a genre, horror is forever pulling up a chair, licking its lips at the feast to come.

Breathing this nervous air, current horror – like the theology that provided its former home – is animated by the full spectrum of human psychology. It is driven by our desire to stop all the clocks, shrink into a bubble of the familiar and the known, reject all things foreign. Equally, current horror is shot through with the bone-deep knowledge that if we can’t adapt, we will perish. Its narratives warn us not to cling to outdated consolations, to recognise that we all face the same monsters, in the end. The world has always been dark and full of terrors, and horror has always known it. The dark pleasure of enjoying horror is all about countenancing this awful truth from within a little bubble of safety. It is about the doppelgängered headspace of loathing the real thing but craving its imaginative facsimile. If the genre of horror has a master virtue, a single human quality that it consistently exalts, it is an old one: bravery. We are certain to need that, wherever we are headed.

 

With thanks to all the horror authors, editors, screenwriters, directors and critics who generously gave me their time to explore horror: Nick Antosca, Stephen T Asma, David Bruckner, Ramsey Campbell, Noël Carroll, Ellen Datlow, Gemma Files, Steven Gerrard, Joe Hill, Carole Johnstone, Leslie Klinger, John Langan, Lisa Morton, Andy Nyman, Jami O’Brien, Xavier Aldana Reyes, Priya Sharma, David J Skal, Michael Marshall Smith, Eugene Thacker, Paul Tremblay, and Jeff VanderMeer. 

How the American Media Was Destroyed

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By Paul Craig Roberts

Source: PaulCraigRoberts.org

In my September 24 column, “Truth Is Evaporating Before Our Eyes,” https://www.paulcraigroberts.org/2018/09/24/truth-is-evaporating-before-our-eyes/ I used the destruction of the CBS news team that broke the Abu Ghraib story and the story of President George W. Bush’s non-performance of his Texas Air Force National Guard duties to demonstrate how accusations alone could destroy a Peabody Award winning, 26 year veteran producer of CBS News, Mary Mapes, and the established news anchor Dan Rather.

I have many times written that it was President Bill Clinton who destroyed the independent US media when he permitted 90 percent of the US media to be concentrated in six mega-corporations that were in the entertainment and other businesses and not in the news business. This unprecedented concentration of media was against all American tradition and destroyed the reliance that our Founding Fathers placed on a free press to keep government accountable to the people.

Until I read Mary Mapes book, Truth and Duty (St. Martin’s Press, 2005), I was unaware of how this monopolization of the media in violation of the Sherman Anti-trust Act and American tradition had proceeded to destroy honest reporting.

Here is what happened. The Texas Air National Guard was a place the elite placed their sons to avoid the Vietnam War draft. Copies of documents written by Lt. Col. Jerry B. Killian describing George W. Bush’s ability to jump the large waiting list hoping to avoid the war, Bush’s non-compliance with National Guard requirements and Bush’s unauthorized departure to another state were given to CBS. The CBS team worked for many months to confirm or discredit the documents. The information in the documents proved to be consistent with the interviews of people acquainted with George W. Bush’s time in the Texas National Guard.

It was a carefully prepared story, not a rushed one, and it fits all the information we now have of Bush’s non-performance.

The problem for the CBS news team, which might not have been realized at the time, was that the documents were copies, not originals that experts could authenicate as real beyond question. Therefore, although the documents were consistent with the testimony of others, no expert could validate the documents as they could originals.

The Republicans seized on this chink in the armor to turn the issue away from the truthfulness of the CBS 60 Minutes report to whether or not the copies were fakes.

CBS had two other problems. One was that Viacom, its owner, was not in the news business, but in the lobbying business in Washington wanting to enrich the company with legislative perks and regulatory permissions. Truthful news from CBS, exposing US torture in the face of the Bush regime’s denials and showing that Bush was too privileged to be held accountable by the Texas National Guard, was damaging Viacom’s highly paid lobbying effort.

When the right-wing bloggers took after CBS, the Viacom executives saw how to get rid of the troublesome CBS news team. Viacom executives refused to support their reporters and convened a kangeroo count consisting of Republicans to “investigate” the 60 Minutes story of Bush’s failure to comply with his obligations to the Texas National Guard.

Viacom wanted to get rid of the independent news constraint on its lobbying success, but Mary Mapes and her lawyers thought truth meant something and would prevail. Therefore, she subjected herself to the destructive process of watching the orchestrated destruction of her career and her integrity.

CBS’ other problem was that, with or without justification, CBS and Dan Rather were regarded in conservative Republican circles as liberal, a designation equivalent to a communist. For millions of Americans the controversy was about liberal CBS trying to harm George W. Bush and leave us exposed to Muslim Terrorism. In right-wing minds, Bush was trying to protect America from Muslim terrorists who blew up the World Trade Center and the Pentagon, and CBS was trying to smear President Bush.

Mary Mapes, Dan Rather, and the CBS news team were too focused on news to take into account the dangerous situation in which they were operating. Therefore, they walked into a trap that served Dick Cheney’s Middle Eastern wars, which served Halliburton and Israel, and into a trap that served conservative hatred of “liberal” news.

Why didn’t the American media defend CBS’ careful reporting? The answer is that this was a time when TV news media was dying. The Internet was taking over. The rest of the media saw in the demise of CBS a chance to gain that market and have a longer life.

So the rest of the media took up the fake news that 60 Minutes had presented a report based on fake documents. The media did not realize that they were signing their own death warants. Neither did the right-wing bloggers that the Republicans had sicced on CBS. Today, these bloggers are themselves shut off from being able to express any truth.

Truth in America is being exterminated, and the destruction of CBS news was the starting point. As Mary Mapes reports in her book, as soon as Viacom was entirely rid of 60 Minutes with the firing of the entire staff, on the very next day Viacom held a triumphant annual investor meeting. Chairman Sumner Redstone was awarded a a $56 million paycheck for 2004. Chief operating officers, Les Moonves and Tom Freston “each pocketed a whoopping fifty-two million for the year.”

And the CBS news team went without mortgage, car, or health insurance payments.

Mapes writes: “Just a few years ago, this kind of corporate executive largesse was unheard of. Now, these media Masters of the Universe have taken over the public airwares and they have one obligation: making a profit.” Ever a larger one, which requires protecting the government and the corporate advertisers from investigative reporting.

The consequence today is that the American media is totally unreliable. No reader can rely on any report, not even on a New York Times obituary.

DIGITAL FREE SPEECH ZONES ARE HERE

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By Dylan Charles

Source: Waking Times

“Truth is treason in an empire of lies.” ~George Orwell

An empire of lies requires popular devotion to its founding illusions, lest it will collapse under the weight of its own hubris. It is therefore quite necessary to for those in power to control information and public access to ideas and narratives that run counter to their interests. This is a fact of life in a statist world, but now, in the age of the internet and social media, we are quickly learning just how far corporations will go to support this corrupt dynamic.

Amendment 1 – Freedom of Religion, Speech, and the Press

Congress shall make no law respecting an establishment of religion or prohibiting the free exercise thereof, or abridging the freedom of speech or of the press, or the right of the people peaceably to assemble and to petition the government for a redress of grievances.

United States Bill of Rights

The social media giants along with big tech no longer have any qualms about deleting popular channels and personalities for their platforms, and the illusion of free speech is coming unhinged as we speak.

Just last week, Facebook (FB) announced the deletion of hundreds of pages it said were guilty of spamming and of profiting from web-traffic sent to ‘ad farms’ from coordinated FB strategies. Well-respected and reputable independent media organizations were banned along with many obviously spammy pages and politically inconsequential sites, indicating that there is much more to the story than de-spamming FB. And all of this news follows the recent ban of Alex Jones and the Infowars network, which marked a transition from shadow banning to open, public political censorship by these tech companies.

There really is no way to know precisely what, or who, is driving these page bans, as pages on both sides of the political spectrum have been targeted, but the most visible common thread running through it all is political dissent of one form or another. And the bans are clearly coordinated between the social media companies, as targeted pages and news organizations are banned from multiple platforms (FB and Twitter, for example) on the same day.

So, the main avenues of public discourse on the web today are removing dissident voices, which as journalist and activist John Vibes puts it, serves the same purpose of the free speech zones that G.W. Bush made popular during his controversial presidency.

Free speech zones are the ultimate insult to anyone who genuinely cares about the relationship between human beings and government. And we live in exceptionally controversial times, where the lines between government rule and corporate rule are blurrier than ever.

“Any time you try to talk about how internet censorship threatens our ability to get the jackboot of oligarchy off our necks you’ll always get some guy in your face who’s read one Ayn Rand book and thinks he knows everything, saying things like “Facebook is a private company! It can do whatever it wants!” Is it now? Has not Facebook been inviting US government-funded groups to help regulate its operations, vowing on the Senate floor to do more to facilitate the interests of the US government, deleting accounts at the direction of the US and Israeli governments, and handing the guidance of its censorship behavior over to the Atlantic Council, which receives funding from the US government, the EU, NATO and Gulf states? How “private” is that? Facebook is a deeply government-entrenched corporation, and Facebook censorship is just what government censorship looks like in a corporatist system of government.” ~Caitlin Johnstone

So, now that we know that big tech is serving the interests of the political oligarchy, we are free to dissent in our own little corners of the internet (where very few can hear us), but we can also create new alternatives that will allow us to connect with people without the permission and all-seeing eye of big brother watching over us.

In the mean time, it’s good to know that independent media is having such a tremendous impact on the conversation that the powers that be want to shut it all down. Their illusion of legitimacy is cracking.

Boycott Facebook, Twitter, and Google. Here’s Why

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By Eric Zuesse

Source: Strategic Culture Foundation

NATO — the neoconservatives, the marketeers for firms such as Lockheed Martin and BAE — has taken over the social-media giants and much of online international ‘news’-reporting, including that of virtually all independent news-sites and blogs.

Facebook, Twitter, and Google, in recent days, delivered what might be the death-blows.

NATO’s main PR agency, think-tank, and lobbying organization, is ‘non-profit’ — a legal tax-dodge that’s financed by donations from those weapons-making firms and their supporting firms and their ‘non-profits’, so that the taxes that it doesn’t pay will need to be paid instead by the general public. Billionaires know how to avoid taxes, and they hire politicians who write the laws with all the ‘right’ loopholes for them — and only for the very richest — to use. This PR agency is called “The Atlantic Council,” and it was set up in 1961, the exact same year that U.S. President Dwight Eisenhower left office warning that “the military-industrial complex” might take control of the U.S. Well, it did so, with The Atlantic Council’s help; and, now, it is finally lowering the boom against democracy itself — at least among the U.S. and its allied nations (the governments whose weapons-manufacturing firms are in, and sell to, NATO governments). The aim is to drive up the percentage of government-expenditures there that go to pay those firms, and so to reduce the percentages that go to pay everything else. The aim, in short, is the permanent-warfare-economy. After all, firms such as Lockheed Martin and BAE sell only to allied governments. They have virtually no consumers except those governments. So: their (and their ‘charities’) basic message is ‘austerity’ — except on ‘defense’ or realistically called “aggression.” This is national ‘defense’ such as against Iraq in 2003, and against Libya in 2011 — it is instead sheer aggression. George Orwell predicted “Newspeak” — well, here it is. It’s today’s norm, so normal that the public think it’s just natural, and conservatives and even many liberals think it’s the way that ‘a free market’ ought to be.

Here was Facebook’s announcement, on October 11th:

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newsroom.fb.com

11 October 2018

Removing Additional Inauthentic Activity from Facebook

Today, we’re removing 559 Pages and 251 accounts that have consistently broken our rules against spam and coordinated inauthentic behavior. Given the activity we’ve seen — and its timing ahead of the US midterm elections — we wanted to give some details about the types of behavior that led to this action. Many were using fake accounts or multiple accounts with the same names and posted massive amounts of content across a network of Groups and Pages to drive traffic to their websites. Many used the same techniques to make their content appear more popular on Facebook than it really was. Others were ad farms using Facebook to mislead people into thinking that they were forums for legitimate political debate.

——

Those 559 and 251 weren’t identified; none of them were. Facebook wants them to need to scream in order for them to be able to be noticed at all by the public. The announcement didn’t even say by what criteria they were measuring ‘Inauthentic Activity’ versus ‘legitimate political debate’. Their announcement did say “we look at these actors’ behavior – such as whether they’re using fake accounts or repeatedly posting spam – rather than their content when deciding which of these accounts, Pages or Groups to remove,” but unless they make public what the actual algorithms are by means of which they remove sites, no one should trust them, at all, because they can remove whatever NATO or The Atlantic Council (neither of which their announcement even mentioned) want them to remove.

The background for this act by the war-economy’s billionaires had already been reported at Mint Press on May 18th, “Facebook Partners With Hawkish Atlantic Council, a NATO Lobby Group, to ‘Protect Democracy’”, where Elliott Gabriel opened:

Facebook is hoping that a new alliance with the Atlantic Council — a leading geopolitical strategy think-tank seen as a de facto PR agency for the U.S. government and NATO military alliance – will not only solve its “fake news” and “disinformation” controversy, but will also help the social media monolith play “a positive role” in ensuring democracy on a global level.

The new partnership will effectively ensure that Atlantic Council will serve as Facebook’s “eyes and ears,” according to a company press statement. With its leadership comprised of retired military officers, former policymakers, and top figures from the U.S. National Security State and Western business elites, the Atlantic Council’s role policing the social network should be viewed as a virtual takeover of Facebook by the imperialist state and the council’s extensive list of ultra-wealthy and corporate donors.

Then, on October 12th, Mint Press’s Whitney Webb bannered “Facebook Purges US-Based Independent Media For Political Disinformation”, and reported that,

Notably, Facebook’s statement on the mass purge of pages was co-authored by Facebook Head of Cybersecurity Nathaniel Gleicher, who is a former White House National Security Council director of cybersecurity policy.

Twitter also banned many of the pages targeted for deletion by Facebook on Thursday, suggesting a coordinated censorship effort between the two most popular social media platforms.

Many of the pages banned had millions of likes, such as the Free Thought Project (3.1 million likes), Antimedia (2.1 million), Cop Block (1.7 million), and Police the Police (1.9 million). Several of the pages that were deleted on Thursday had been targeted by Facebook in recent months, both through new censorship algorithms and Facebook’s controversial team of “fact checkers.”

For instance, the Free Thought Project had been flagged earlier this year as “fake news” by Facebook “fact checking” partner organizations, including  the Associated Press (AP) and Snopes. In one case, a story published by the Free Thought Project was flagged as “false” by the AP. That story, which detailed the documented case of Senator Jeff Merkley (D-OR) being forcibly removed from a DHS migrant detention center that had once been a Walmart, was marked false because the AP asserted that the article made the claim that Walmart was housing immigrants for DHS. However, the article does not make the claim, instead accurately noting that the facility used to be a Walmart.

Censorship algorithms had also greatly affected traffic to the recently deleted pages for much of the past year. In the case of Antimedia, its traffic dropped from around 150,000 page views per day in early June to around 12,000 by the end of that month. As a reference, in June of last year, Antimedia’s traffic stood at nearly 300,000 views per day.

Also on October 12th, heavy dot com bannered “‘Facebook Purge’: List of Some Deleted Accounts on Left & Right” and listed a few dozen sites that the article’s writer had seen online screaming about having been removed.

Meanwhile, in UK’s very mainstream Daily Mail (the second-largest-circulation of all UK’s newspapers), columnist Michael Burleigh headlined on October 13th “Putin’s taking over Libya by stealth in order to point a new weapon at the West — millions of desperate migrants” and he opened:

So bloody and extensive is President Putin’s record of aggression, not least in Syria and Ukraine, that an incursion into the empty deserts of North Africa might hardly seem worth noting.

Yet the discovery that Russia is moving troops and missiles into war-torn Libya has rightly caused alarms to sound throughout the capitals of Europe.

It is a step of huge significance, and one with potentially disastrous results for Western nations.

The discovery that Vladimir Putin, above, and his government is moving troops and missiles into war-torn Libya has rightly caused alarm. Russia – this time in the form of Rosneft, the huge oil company controlled by Putin’s sinister crony Igor Sechin – is interested in a slice of Libya’s vast oil reserves, the largest in Africa

Libya has both oil and Mediterranean ports, and Russia is hungry for both.

But was it Russia that in 2011 had invaded and destroyed Libya, or was it U.S., UK, and France, who invaded and destroyed Libya — a country that like Iraq, Syria, Yemen and others which The West has destroyed, had never threatened nor invaded any of them?

Burleigh continued:

– cause enough for concern, perhaps. Yet the real fear for European governments is this: Libya, with its porous southern borders, has become the main jumping-off point for the hundreds of thousands of African migrants now seeking to cross the Mediterranean to the shores of the EU and, in particular, Italy.

So, his own country, UK, had helped with the bombing of Libya that had caused all those ‘migrants’ (actually refugees) into Europe, but now he’s trying to blame Putin for it, as if Russia and not UK, U.S., and France were the cause of it. Doesn’t that “mislead people”?

But is the Daily Mail being strangled by Facebook, Twitter, and Google; or is it instead being done to the small-fry political sites, which aren’t owned and controlled by the aristocracies of the U.S., UK, France, and their allied aristocracies — all the aristocracies that are in NATO and promoted by The Atlantic Council?

Here is yet more from Elliott Gabriel’s excellent news-report at Mint Press on May 18th, providing background to the present purges and censorships:

The announcement, made last Thursday in a Facebook Newsroom post, explained that the social network’s security, policy and product teams will coordinate their work with the Atlantic Council’s Digital Forensic Research Lab (DFRLab) to analyze “real-time insights and updates on emerging threats and disinformation campaigns from around the world.”

DFRLab employees include pro-war media activist Eliot Higgins (of Bellingcat fame) and Ben Nimmo — a senior fellow for information defense at the Atlantic Council, who earned infamy for his groundless accusations that actual Twitter users are Russian trolls.

Read more on Facebook

Continuing, Facebook global politics and government outreach director Katie Harbath explained:

“This will help increase the number of ‘eyes and ears’ we have working to spot potential abuse on our service — enabling us to more effectively identify gaps in our systems, preempt obstacles, and ensure that Facebook plays a positive role during elections all around the world.”

“We know that tackling these problems effectively also requires the right policies and regulatory structures, so that governments and companies can help prevent abuse while also ensuring that people have a voice during elections. The Atlantic Council’s network of leaders is uniquely situated to help all of us think through the challenges we will face in the near- and long-term.”

“The think-tank’s Digital Research Unit Monitoring Missions will also be tapped by the social network during elections and “other highly sensitive moments” to allow Facebook the ability to zero in on key locales and monitor alleged misinformation and foreign interference.”

Who is the Atlantic Council?

Hillary Clinton at the 2013 Atlantic Council Distinguished Leadership Awards (Photo: Atlantic Council)

The Atlantic Council was recently in the news for receiving a donation of $900,000 from the U.S. State Department for a “Peace Process Support Network” program to “promote non-violent conflict resolution” in support of Venezuela’s scattered opposition, with which the council enjoys very close ties. The council also advocates the arming of extremist militants in Syria (a “National Stabilization Force”) and a hard-line policy toward Russia.

Established in 1961 by former U.S. Secretaries of State Dean Acheson and Christian Herter, the Atlantic Council of the United States was originally conceived as a means to drum up support for the Cold War-era NATO alliance, which had formed in 1949 as the basis of the Euro-Atlantic security architecture during the post-WWII competition with the Soviet Union. Dozens of similar Atlantic Councils were eventually established throughout the NATO and Partnership for Peace states.

The council is a part of the Atlantic Treaty Association, a NATO offshoot that claims to unite “political leaders, academics, military officials, journalists and diplomats in an effort to further the values set forth in the North Atlantic Treaty, namely: democracy, freedom, liberty, peace, security, and the rule of law.”

In general, groups such as the Atlantic Council are meant to secure the legitimacy of U.S. policies and neoliberal economics in the eyes of world audiences and academia, whether they live in the “advanced democracies” (the imperialist center) or “developing democracies” (the post-colonial and economically exploited nations).

Mint Press — a real news-operation, instead of the fake-news operations that are being boosted by Facebook, Twitter, and Google — apparently hasn’t yet been removed by Facebook, but the permanent-war-economy is only just starting to lower the boom. And, who knows what’s next, in American ‘democracy’, now?

The way to boycott Facebook, Twitter, and Google, is to NOT respond to their ads, but instead to blacklist their advertisers and all media that rely upon those giant social-media sites. There are competitors, and those need to be aggressively favored by anyone who doesn’t want to be mentally strangulated by these three giant corporations.

These media-giants want to strangle the public; so, the public needs to strangle them first.

Is the Purge of Independent Media a Coordinated Attack by the Military Industrial Complex?

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By Derrick Broze

Source: Activist Post

Victims of Facebook’s most recent purge should not forget the connections between the social media giant and the Western Military-Industrial Complex.

On Thursday, Facebook announced they were unpublishing, or purging, over 500 pages and 200 accounts who are accused of spreading political spam. Several of these pages and writers were also removed from Twitter on the same day.

“Today, we’re removing 559 Pages and 251 accounts that have consistently broken our rules against spam and coordinated inauthentic behavior,” Facebook stated in a blog post. Facebook states that the people behind this alleged spam “create networks of Pages using fake accounts or multiple accounts with the same names” and “post the same clickbait posts in dozens of Facebook Groups.”

Essentially, Facebook is accusing these pages of writing articles related to politics and then using the social media platform to…. post the articles in as many places as possible to reach as many people as possible. Hardly dangerous or scary stuff. However, these actions are in violation of Facebook’s Terms of Service. Facebook also accused the pages and accounts of using their fake accounts to generate fake likes and shares which may artificially inflate their reach and mislead people about their popularity. According to Facebook, “This activity goes against what people expect on Facebook, and it violates our policies against spam.”

Facebook also stated that “sensational political content” from across the political spectrum is being used to “build an audience and drive traffic to their websites, earning money for every visitor to the site.” Again, this does not qualify as dangerous or threatening activity. This is a standard practice for most media outlets who are trying to earn revenue to pay writers, editors, social media managers, etc. It is true that some of the pages on this list (see below for a current list) have indeed used clickbait headlines or even posts that are likely untrue. However, the list also includes legitimate independent news outlets such as The Anti-Media, The Free Thought Project, Cop Block, and Police the Police, which focused on countering mainstream and establishment narratives related to politics and police.

Facebook’s statement that the pages and accounts were “often indistinguishable from legitimate political debate” begs the question – which pages and accounts are “legitimate political debate”? and by which metric does Facebook decide what counts as legitimate? These questions are yet to be answered. Perhaps with time Facebook will come clean about their process, but in the meantime it’s important to reflect on Facebook’s recent partnership with the Atlantic Council and attempts to stifle the flow of information in the name of fighting “fake news.”

The fight against Fake News started immediately following the election of Donald Trump. In November 2016, Merrimack College associate professor Melissa Zimdars posted a public Google document titled, “False, Misleading, Clickbait-y, and/or Satirical ‘News’ Sources” which went viral after being reported on by most corporate mainstream outlets. This list lumped in some of the same outlets which fell victim to Facebook’s most recent purge with actual fake news websites which are well known among the indy and alt media industry. Within a matter of weeks, a new list appeared online from an organization calling itself PropOrNot, an allegedly independent group of researchers trying to find the truth about the dissemination of Russian propaganda and fake news. This list also contained names of prominent independent media outlets like The Anti-Media, The Corbett Report, MintPress News, and many others.

It was this combination of the Zimdars list and the PropOrNot list which had the immediate effect of placing a target on the vast majority of independent journalists and outlets who were now being accused of directly or indirectly conspiring with the Russians. Websites and social media pages for these outlets began suffering a drastic reduction in reach and interaction with their audiences and many websites lost access to Google advertising money due to these false associations.

The problem is that the majority of the mainstream media unquestionably reported on and repeated the claims made by these two lists without any attempt at investigative work. For example, PropOrNot claims they are “completely independent” and “nonpartisan” because they are not funded by anyone and have no formal institutional affiliations or political connections. They say the must remain anonymous for now because they are a “are civilian Davids taking on a state-backed adversary Goliath.” However, a report by Russian news outlet Sputnik (yes, I am aware many readers will automatically scream, “Fake news!”, but I encourage you to read on.) challenges the alleged unbiased nature of PropOrNot.

Sputnik reports that George Eliason, a Ukraine-based investigative journalist, authored an exposé of PropOrNot in which he argued the organization was a “deep-state hitjob on alternative news outlets.”

“So when you’re looking at PropOrNot, it’s just basic investigative techniques. Who are they — that’s the first thing you need to know,” Eliason told Sputnik. “So you look them up on the web and you find nothing. I went to their website and did a basic scan, and the funny thing about PropOrNot is that to get into their website, you need to be logged into the dashboard of The Interpreter magazine.”

So who runs The Interpreter?

Eliason states that “The Interpreter is also overseen by the the Broadcasting Board of Governors, who run Voice of America and half a dozen other US propaganda projects across the globe.”

In addition, “The Interpreter is a product of the Atlantic Council committee, who is basically setting our foreign policy right now in Eastern Europe and Russia,” Eliason stated. “They’re an NGO, they work outside the government, and they work with the Ukrainian diaspora. They actually have a signed contract with the diaspora — you can view them signing it.”

The important takeaway from this report is that only 4 months later, in May 2018, Facebook announced a new partnership with the Atlantic Council –the same think tank tied to PropOrNot – which officially claims to provide a forum for international political, business, and intellectual leaders. Facebook said the partnership is aimed at preventing  the social media tool from “being abused during elections.” The press release promoted Facebook’s efforts to fight fake news by using artificial intelligence, as well as working with outside experts and governments.

The Atlantic Council of the United States was established in 1961 to bolster support for international relations. Although not officially connected to the North Atlantic Treaty Organization, the Atlantic Council has spent decades promoting causes and issues which are beneficial to NATO member states. In addition, The Atlantic Council is a member of the Atlantic Treaty Organization, an umbrella organization which “acts as a network facilitator in the Euro-Atlantic and beyond.” The ATA works similarly to the Atlantic Council, bringing together political leaders, academics, military officials, journalists and diplomats to promote values that are favorable to the NATO member states. Officially, ATA is independent of NATO, but the line between the two is razor thin.

Essentially, the Atlantic Council is a think tank which can offer companies or nation states access to military officials, politicians, journalists, diplomats, etc. to help them develop a plan to implement their strategy or vision. These strategies often involve getting NATO governments or industry insiders to make decisions they might not have made without a visit from the Atlantic Council team. This allows individuals or nations to push forth their ideas under the cover of hiring what appears to be a public relations agency but is actually selling access to high-profile individuals with power to affect public policy. Indeed, everyone from George H.W. Bush to Bill Clinton to the family of international agent of disorder Zbigniew Brzezinski have spoken at or attended council events.

The list of financial supporters reads like a who’s-who of think tanks and Non-Governmental Organizations. The Atlantic Council receives funding from the Brookings Institution, Carnegie Endowment, Cato Institute, Council on Foreign Relations, and the Rand Corporation, to name a few. In addition, various members of the Military-Industrial Complex are benefactors of the Atlantic Council, including Huntington Ingalls, the United States’ sole maker of aircraft carriers; Airbus, the plane manufacturer; Lockheed Martin, the shipbuilder and aviation company; and Raytheon, which makes missile systems. All of the companies have contracts with the U.S. Department of Defense and offer financial support to the Atlantic Council. The Council also receives support from Chevron and the Thomson Reuters Foundation. Finally, the Atlantic Council receives direct financial support from the U.S. Departments of the Air Force, Army, Navy and Energy and from the U.S. Mission to NATO.

Is it possible Facebook is acting under the direction of their partners at the Atlantic Council to suppress anti-war, anti-establishment voices three weeks before the U.S. midterm elections? It is absolutely possible and likely.

We should also remember this is not the first time Facebook has deleted accounts which operate outside the mainstream corporate media. In August, Facebook deleted accounts containing “fringe or holistic medicine,” including Just Natural Medicine (1 million followers), Natural Cures Not Medicine (2.3 million followers), and People’s Awakening (3.6 million followers). The same month Facebook and Twitter deleted pages they claimed were connected to Iran and Russia.

This entire ongoing attack of independent media and free thought stemmed from the establishment media’s nonstop coverage of what has become known as Fake News. Anyone and everyone who has countered the establishment narrative of endless war, a growing surveillance and police state, and an allegedly growing divide in American politics, has been labeled a Russian bot, accomplice, or useful idiot. One way or another, the message is clear: stand against the establishment and you will be labeled an enemy of the State.

By spreading the Fake News meme, the elitists behind the American power centers are able to attack  growing independent media icons by painting them as propagators of false Russian propaganda. The media is also using this Fake News meme and Russian prop to accuse Trump of being an illegitimate president, further playing into the “Trump is an outsider” narrative. All of this is being done with the goal of keeping the domestic front as divided as possible while selling the brainwashed masses into another war. Coincidentally, all of this nonsense is taking place while the corporate media spreads lies about Syria and Russia.

It’s more important than ever to remain level headed and use critical thinking. It’s never been more important to follow the pages that were purged directly from their websites. See the full list below and decide which outlets you want to continue to support in the information war.

List of websites taken down on Thursday October 11, 2018:

The Free Thought Project – 3.1 million fans
The Anti-Media – 2.1 million fans
Police the Police – 1.9 million fans
Cop Block – 1.7 million fans
Filming Cops – 1.4 million fans
Rachel Blevins – 69,000 fans
V is For Voluntary – 160,000 fans
End the War on Drugs – 460,000 fans
Mass Report – 500,000 fans
Get Involved, You Live Here – 360,000 fans
Press for Truth – 350,000 fans
Political Junkie News Media – 300,000 fans
Murica Today – 180,000 fans
Choice & Truth – 2.9 million fans
You won’t see this on TV – 172,000 fans
Modern Slavery Hilarious Vines – 129,000 fans
Fuck the Government – 168,000 fans
Punk Rock Libertarians – 190,000 fans
Reverb Press – 700,000 fans
Nation In Distress – 3.2 million fans
Right Wing News –
Reasonable People United –
Psychologic Anarchist –
Policing the Police
Cop Logic
Legalizing Cannabis
Free Your Mind Conference – 75000
Hemp
End the Drug War
Anonymous News