Splitting Hairs With the Spartacist League – by David Futrelle – 1993

Even in the surreal, insular world of leftist propaganda papers, the Spartacist League’s Workers Vanguard is a standout.

15 April 1993

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Rush Limbaugh makes a good living denouncing the allegedly immense power of the left in American life. It would be comforting for me, as a confirmed pinko ideologue, to believe Limbaugh’s fantasy of leftist omnipotence. But alas, most leftist organizations in this country would have a hard time organizing a good picnic, much less the Revolution.

The American left is marginalized in so many ways that it is more than a little discouraging to see how often, and how thoroughly, it marginalizes itself. A great many of those whose political sympathies are close to mine have retreated from politics to the comfort, such as it is, of the academy, seeming to believe that deconstructing a text is equivalent to mounting a barricade, and taking a certain pleasure in elaborating an incomprehensible postmodern nihilism. There are worse hobbies, I suppose, than French critical theory, though I wish the academic hobbyists wouldn’t be so insistent about regarding what they’re doing as politics.

It’s easy enough to criticize the academic left. But what distresses me more is the marginality of the organized left, which is as divorced from the politics of the real world as its academic counterpart. In many ways the current situation is a response to the failures of the 60s: the academics have responded to failure, in practical terms, by giving up any hope of influencing the world beyond the campus; the organized leftists in too many cases by circling the ideological wagons, holding ever more tightly to the dogmas that got them into this mess in the first place.

American Marxists have always lacked the imagination of their international counterparts. “For the pragmatical American mind,” radical critic Edmund Wilson once noted, “the ideas and literature of Marxism are peculiarly difficult to grapple with; and the American, when converted, tends to accept them, as he does Methodism or Christian Science, as a simple divine revelation.” This was true in the Popular Front 1930s (Wilson was writing in 1941), when most radical thinkers swallowed without question the debased Marxism of Stalin; it was true in the 1960s, when radicals in SDS turned to delusional varieties of Maoism to provide them with theoretical rigor on the cheap; and it’s true today.

With little influence in the wider world, most left groups these days concentrate on “propaganda” work–they still use the old term–among their vaguely sympathetic peripheries. These groups–most with membership rolls in the low hundreds, if that–go to enormous effort to produce and distribute newspapers (usually once or twice a month), many of which (given the extraordinarily meager resources of their sponsors) are surprisingly thick and surprisingly slick.

Some of the smaller sects have little more than a newspaper to attest to their existence, and these papers may have circulation lists not much longer than their mastheads. Among the most radical groups, though, newspapers are pretty much de rigueur; Lenin had one, you see, and so every aspiring Leninist group, no matter how small, feels obligated to put out its own version of the truth. The titles of the papers ring changes on an old tune: Socialist Worker, Revolutionary Worker, Fighting Worker, Workers Vanguard, Workers Truth, Workers World. (As Dwight Macdonald once observed, originality in nomenclature is not one of the American left’s strengths.)

The tone of the papers alternates between a kind of utilitarian dreariness–as the writers attempt to adapt the facts of the world to fit whatever dogmas the group espouses–and the extravagant rhetorical posturing that comes so easily to those who believe they have history on their side. None of this is exactly new: looking back on his experience with the communist movement in the 1930s, poet Stephen Spender came to the sad conclusion that “nearly all human beings have an extremely intermittent grasp of reality.” The Communists he knew saw just what they wanted to see, filtering the world through the lens of Marxian teleology–convinced, as Spender put it, “that their ‘line’ is completely identifiable with the welfare of humanity and the course of history, so that everyone outside it exists only to be refuted or absorbed into the line.” It takes a certain chutzpah to believe that your tiny group holds the future in its hands, but Marxian dogma (like most dogma) can be heady stuff.

The papers are a varied lot. Some are so extravagantly strange that they appear almost to have dropped in from another dimension. The highly secretive, pretentiously named Maoist International Movement (MIM), invisible here in Chicago as an organization, manages to distribute its newspaper, MIM Notes, to certain cafes and bookstores in the area. The writing itself is fairly rabid–the group believes American workers have been bought off by the rewards of capitalism and denounces them with the fury most groups reserve for the capitalists themselves. More disconcerting, the writers themselves go by code names, odd combinations of letters and numbers; the masthead of MIM Notes seems almost to be written in hieroglyphs.

Less rabid, but no less surrealistic, is the small monthly bulletin News and Letters, put out by a group of new-age Marxist-Humanists dedicated to spreading the word of the late Raya Dunayevskaya, an obscure Trotskyist Madame Blavatsky. Her writings are a mixture of dialectics and Marxian mysticism. Here’s a typical passage: “I’m going to make ‘pure’ abstraction of the Self-Thinking Idea, a veritable Universal, because I wanted, first of all, to firmly establish that the Self-Thinking Idea does not–I repeat, does not–mean you thinking.” Her followers–seen selling the paper at most Chicago-area demonstrations–are invariably soft-spoken, reassuringly modest.

The more visible Revolutionary Communist Party (“Mao more than ever!”) recruits among anarchists and cultural radicals, and the leaders do their best to keep up with the youngsters. But they try a little too hard, and the RCP paper Revolutionary Worker often comes across as a parody–the language a mixture of Maoist dogma, 1960s-era countercultural slang, and an imaginary dialect that the editors must suppose to be the language of today’s youth. The editors don’t ask their readers to join them in the Revolution–they call for us to “get down for the whole thing.” (During a subscription drive, they asked readers to “get down with the drive to subscribe.” ) In the midst of the past election season the paper offered “straight talk on the voting thang.” More advanced young revolutionaries can read Chairman Bob Avakian’s “Democracy: More Than Ever We Can and Must Do Better Than That.”

The most revealing sectarian paper, though, and my own personal favorite, is Workers Vanguard, the biweekly production of a little group called the Spartacist League, one of the odder emanations of the American Trotskyist tradition. (Yes, Virginia, there are still Trotskyists.) Leon Trotsky’s legacy has been a decidedly mixed one. He was a brilliant theoretician and an often magnificent writer–but he was also pigheaded, and he left behind almost as many bad ideas for his followers to chew upon as good ones. The Spartacists, like all of the more orthodox Trotskyists, have picked up many of the old man’s bad ideas and much of his pigheadedness.

The Spartacist League emerged in 1966, fully formed, from the Socialist Workers Party, then the largest American Trotskyist group. The American Trotskyist movement, from which both of these groups emerged, has had what might charitably be called a checkered history. At its height in the 1930s, the American Trotskyist movement captured the allegiance of many of the country’s most important left intellectuals and helped to lead militant strikes to victory, most notably in Minneapolis; alone on the left they stood up to the lies and evasions of Stalin and his American supporters. But American Trotskyism has been particularly prone to sectarian infighting and has proved incapable of reaching a mass audience. The movement has always been a magnet for cranks–of which the Sparts, as they are affectionately known, are merely the most extravagant example.

Workers Vanguard, like the Spartacist League itself, tries hard to project an image of high seriousness–none of the RCP-style hankering after hipness. The paper is distinguished both by the ferocity of its language and the intemperance of its ideological content. Much of the paper consists of virulent attacks on other leftist groups; among hard-core aficionados of leftist gossip the WV serves almost as a kind of sectarian National Enquirer, detailing in vivid language the squabbles between the Sparts and the rest of the left. (As a public service of sorts, the Sparts also reprint attacks on them by their critics, which appear in a special series called “Hate Trotskyism, Hate the Spartacist League.”)

Spart attacks often devolve into interminable diatribes, written in the arcane shorthand of Leninist sectariana. Toward the end of a 5,000-word article entitled “Collapse of Stalinism Shakes Pseudo-Trotskyists: The New Anti-Spartacists,” we find this choice example of Spartspeak: “But swimming against the stream is anathema to the Pabloites, whose liquidationist revisionism destroyed the Fourth International . . . abandoning the struggle for a Trotskyist proletarian vanguard in favor of tailing after ‘substitutes’ led by alien class forces.” Even getting through the headlines requires a Marxist glossary: where else could you find articles titled “CPUSA Comes out for Social-Fascist Bloc” and “S.F. Cop Bonapartism and the Gay Paper Caper”?

At times, the Spart diatribes achieve a kind of poetry. My favorite leaflet concerns an alleged brawl between the Canadian equivalents of the Sparts and another Canadian Trotskyist group called the International Socialists (or IS). Bearing a classic Spart headline (“Protest I.S. Thug Attack on Trotskyists! I.S. Draws Blood Line in ‘Death of Communism’ Frenzy”) the pamphlet is all but unintelligible, though the language, if not always coherent, is vigorous. It describes the fight (which broke out at an International Socialist forum the Sparts were picketing) as a lurid melodrama: “Our comrades . . . were surrounded by dozens of I.S. supporters . . . who quickly went berserk. Six I.S.ers slammed a leading comrade to the floor while McNally seized him around the throat and throttled him.” (There is a certain plausibility to this tale: more than a few among the left have felt the occasional impulse to throttle a Spart.)

It goes on. “What lies behind this frenzied assault? For years the I.S. and its international co-thinkers, who now worm around the bourgeois feminist abortion-rights milieu, have acted as loyal ‘left’ lieutenants in the imperialists’ campaign to smash each and every gain of the October Revolution and prop up rotting capitalism in the West. In Afghanistan they lusted for the blood of Soviet soldiers, supporting the CIA backed 7th-century Muslim fanatics who skin schoolteachers alive for teaching little girls to read. . . . In its vicious anti-communist ‘red hunt’ the I.S. . . . aspires to play the same role as the German social-democratic bloodhounds who after World War I worked to drown the German workers revolution in blood, murdering Communist leaders Rosa Luxemburg and Karl Liebknecht and hundreds of other working-class fighters.”

What’s remarkable here is not only the peculiarity of the logic, and the almost hallucinatory grandeur of the imagery, but the idea that any group could expect outsiders reading a pamphlet such as this to have the faintest idea of what they were talking about. Rhetoric, after all, is supposed to be the art of persuasion.

In many ways the most interesting pages of WV are those given over to the Spartacist youth, who approach the league’s crusades with an almost endearing innocence: what they lack in sense they make up for in enthusiasm. Last year the young Sparts became involved in a battle of sorts with the “bourgeois feminist” groups WAC and WHAM in New York. As far as I can make out from media reports, the women’s groups, fed up with Spartacist disruptions of their meetings, attempted to ban the selling of Workers Vanguard in their meeting hall. (The battle took on proportions heroic enough to be mentioned in passing in the Village Voice as well as the Workers Vanguard, but I still can’t piece together a reliable account of the incident.) The Young Spartacists used the opportunity to make a dramatic political “intervention,” denouncing the trendy WACers as “piglets” in “bicycle shorts” and “Gaultier bras.” The Sparts ended with a statement of revolutionary intent : “WAC? WHAM? Thank you Ma’am . . . we’ll stick with Lenin and Trotsky!”

If the Sparts have little respect for other groups on the left, they have just as little regard for their political struggles. For the Sparts, struggles for reform are pointless unless they can be used to spread the Spartacist line and to recruit new members. In the mid-80s, for example, the Sparts found nothing incongruous in attending abortion-rights rallies with signs supporting the Soviet invasion of Afghanistan. You see, old Leon Trotsky, despite his critique of Stalin, argued for a limited defense of the USSR on the grounds that, however deformed, it was at least better than capitalism. A photo in one recent issue of WV shows a Spartacist League banner supporting abortion alongside another Spart banner reading (and I’m not making this up): “No to the Veil! Defend Afghan Women! Support Jalalabad Victims of CIA Cutthroats!” This may be part of an artful plan to confuse the hell out of Operation Rescue, but somehow I doubt it.

To the casual observer much of this behavior may seem bizarre, but there is a certain logic to the Spartacist game plan. The world of American Trotskyism has always had a certain hothouse atmosphere to it. Throughout the years, Trotskyists, perpetually small in number, have put a premium on keeping their program correct, on protecting the “clarity” of their line from any deviations (bourgeois deviations, of course) that might come from prolonged exposure to the complexities of the world.

There is something admirable about all this: Trotskyists have stood by their principles even in the worst of times–denouncing the crimes of Stalin in the 1930s, when the left was dominated, in this country and around the world, by apologists for the brutal dictator; looking upon the third-world revolutions of the 1960s with a properly skeptical eye, when most on the left were lost in uncritical celebration. It’s hard not to feel a certain sympathy for the Trots. (Some of my best friends, as they say . . . ) But at the same time the Trotskyists have let their concerns with proper theoretical clarity blind them to the ways in which their labyrinthine ideological constructs have served to isolate them from those they are presumably trying to reach.

The American writer and critic Dwight Macdonald, who traveled through the Trotskyist movement in the late 1930s and 1940s, found his radical comrades caught in a kind of “metapolitics,” transforming every small difference of opinion or personality into a bitter and overdramatized ideological battle. “We behaved,” he recalled, “as if our small sects were making History, as if great issues hinged on what we did, or rather what we said and wrote.” There was always, Macdonald said, a dramatic “contrast between the scope of our thought and the modesty of our actions.” He and his comrades could argue for days, splitting the tiniest of radical hairs, but were utterly incapable of relating their carefully worked-out positions to anyone but each other. It was all, he later concluded, “rather like engraving the Lord’s Prayer on the head of a pin.”

There’s something oddly comforting in a sectarian existence, regardless of politics. Those who can grasp the basic formulas of the group gain a kind of ideological skeleton key to the world, picking up a broad and systematic (if shallow) knowledge of history and politics. It takes a certain intelligence–and a great deal of knowledge–to split hairs the way the Sparts do; like all other fundamentalists who base their beliefs on a literal reading of a sacred text, the Sparts know their literature forward and back. (Their interpretations may be a little wooden, but good Sparts can quote Lenin and Trotsky at the drop of a hat.) It also takes a certain dedication to continue putting forth views that are met year after year with almost nothing but derision and sometimes laughter. Like it or not, the Sparts are good at what they do. Then again, so are the Jehovah’s Witnesses.

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Workers Vanguard – May 2023

Source

The Woke Erasure of Tracy Chapman – by Gareth Roberts – 18 July 2023

The success of ‘Fast Car’ is being memory-holed to fit an identitarian narrative.

The woke erasure of Tracy Chapman

Fast Car – Tracey Chapman (4:26 min) Audio Mp3

The year 1988 feels like a very long time ago to anyone who remembers it, and ancient history to anyone who doesn’t. I turned 20 halfway through it. So I’m afraid whatever travails and traumas I was undergoing have now been blotted out by the middle-aged person’s rose-tinted remembrance of being young. The grass was greener then, my memory tells me, unreliably.

One recollection that I can confirm with the aid of historical evidence is that ‘Fast Car’ by Tracy Chapman was everywhere. I heard it in seedy gay bars, at civil-service leaving dos, at family barbecues. It is one of those songs that announces itself instantly as a classic for the ages. But unlike most songs in that category, it is beguiling in a subtle way. The acoustic guitar riff is simplicity itself, with just a few repeated, easily imitated notes.

And there is so much going on under the bonnet. The vocal is unshowy, almost hesitant. It holds back for most of the duration, so the thrill when it soars, just a bit, is a punch to the gut (the good kind). The lyrics are heartbreaking. They recall a thwarted attempt to make something out of a messy family life and a failed relationship. It ends with the realisation that things are just going to go on as they are until death. Yes, there is – maybe – a route out to something better, but Chapman probably isn’t going to take it.

It was a multi-platinum international mega-smash hit. Most of those – ‘Dancing Queen’, ‘Bohemian Rhapsody’, ‘Rolling in the Deep’, etc – become so ubiquitous that you forget how much you once loved them. They lose their lustre by repetition and become rather irritating. Something that used to be beautiful picks up naff connotations, becomes a mere jingle, an ‘Autoglass Repair, Autoglass Replace’. But ‘Fast Car’ has always kept its fascination and its dignity, no matter how many times it’s been played.

A recent cover of the song by country singer Luke Combs has returned ‘Fast Car’ to public attention. It has spent the past three weeks at the top of the Billboard Country Airplay Chart in the US, and has reached No2 in the Billboard Hot 100. The new version adds some distinctive and haunting country twangs. Charmingly, it doesn’t change the female sex of the lyrics (so Combs is still working ‘in the market as a checkout girl’).

Fast Car – Luke Combs (4:25 min) Audio Mp3

Sadly, in the Great Age of Stupid that we live in, somebody had to say something daft about the cover, to make it all about race and sexuality. Step forward Emily Yahr of the Washington Post. In a tweet announcing her article, she wrote: ‘As Luke Combs’s hit cover of Tracy Chapman’s “Fast Car” dominates the country charts, it’s bringing up some complicated emotions in fans and singers who know that Chapman, as a queer black woman, would have an almost zero chance at that achievement herself.’

There is so much wrong in this tweet. For one thing, the fact that the original version is very clearly not a country song, and that Chapman is not a country artist, seems to have passed Yahr by entirely.

The article itself is even worse. Yahr tries – hard – to equate Luke Combs’s cover, which Chapman has wholeheartedly endorsed, with the genuine grievances of those black rock’n’roll artists in the 1950s who never achieved the same recognition as the white singers who covered or ripped off their songs.

The article is on an even stickier wicket when it comes to Chapman’s sexuality. It tells us that Chapman ‘does not discuss her personal life’. Nevertheless, Yahr feels perfectly entitled to do so based on hearsay. She is also blasé about pigeonholing Chapman with the ridiculous word ‘queer’.

Worse still, the thrust of the Washington Post article more or less erases Chapman’s huge success in the 1980s, implying that being a black lesbian thwarted her ambitions. Back in the real world, Chapman was nominated for several Grammy Awards, including Record of the Year and Song of the Year for ‘Fast Car’ (Bobby McFerrin’s ‘Don’t Worry, Be Happy’ beat her to those, somewhat incredibly). She won Best Female Pop Vocal Performance and Best New Artist.

Yahr’s article speaks to a broader phenomenon. It is yet another example of how fairly recent lesbian and gay history is being rewritten. Everything is being remoulded to fit the ‘LGBT+’ movement’s Year Zero worldview.

Singer Sam Smith has made similarly ridiculous claims about being a pioneering gay voice in pop music, seemingly unaware of the careers of those little-known, shunned artists Elton John, Freddie Mercury and George Michael.

Outside the sphere of pop music, trans activists are now being given the credit for leading the gay-rights movement. Think of the oft-repeated claim that ‘a black trans woman threw the first brick at the Stonewall riot’ in New York in 1969. In truth, the drag artist in question, by his own account, didn’t actually arrive at the Stonewall Inn until several hours later. Similarly, Dublin Pride recently photoshopped the slogan ‘trans rights are human rights’ on to a placard in a photograph of a gay-rights protest in 1983 – a feat worthy of Stalin.

It is profoundly weird that people who claim to be standing up for gays and lesbians are actually the ones erasing the history and achievements of homosexual people.

But then again, memory is unreliable. Perhaps I’m wrong. Maybe the Before Times, pre-the Great Awokening, didn’t actually happen. Did we dream them? Am I misremembering? Or was there a time when people weren’t such colossal ideological idiots?

Tracy Chapman Talking About A Revolution (2:39 min) Audio Mp3

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https://archive.ph/HqxNh

Source

Gareth Roberts is a screenwriter and novelist, best known for his work on Doctor Who.

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The Old Testament – Yale University – Course Videos

Lecture 1

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Lecture 2

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Lecture 3

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Lecture 4

Bible – Old Testament – Yale Course – Class 4 of 24
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Lecture 5

Lecture 5. Critical Approaches to the Bible: Introduction to Genesis 12-50

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Lecture 6

Lecture 6. Biblical Narrative: The Stories of the Patriarchs (Genesis 12-36)

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Lecture 7

Lecture 7. Israel in Egypt: Moses and the Beginning of Yahwism (Genesis 37 )

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Lecture 8

Lecture 8. Exodus: From Egypt to Sinai (Exodus 5-24, 32; Numbers)

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Lecture 9

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Lecture 10

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Lecture 11

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Lecture 12

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Lecture 13

Lecture 13. The Deuteronomistic History: Prophets and Kings (1 and 2 Samuel)

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Lecture 14

Lecture 14. The Deuteronomistic History: Response to Catastrophe (1 and 2 Kings)

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Lecture 15

Lecture 15. Hebrew Prophecy: The Non-Literary Prophets

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Lecture 16

Lecture 16. Literary Prophecy: Amos

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Lecture 17

Lecture 17. Literary Prophecy: Hosea and Isaiah

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Lecture 18

Lecture 18. Literary Prophecy: Micah, Zephaniah, Nahum and Habbakuk

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Lecture 19

Lecture 19. Literary Prophecy: Perspectives on the Exile – Jeremiah

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Lecture 20

Lecture 20. Responses to Suffering and Evil: Lamentations and Wisdom

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Lecture 21

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Lecture 22

The Restoration: 1 and 2 Chronicles, Ezra and Nehemiah 

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Lecture 23

Lecture 23. Visions of the End: Daniel and Apocalyptic Literature – Creative Commons License – Re-use Allowed

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Lecture 24

Lecture 24. Alternative Visions: Esther, Ruth, and Jonah

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James Webb Space Telescope’s First Year of Discoveries – 16 July 2023

James Webb Space Telescope’s First Year of Discoveries (6:00 min) Audio Mp3

Wednesday, 12 July 2023, marked the first anniversary of the start of science operations of the James Webb Space Telescope (JWST), the most powerful space-based astronomical observatory ever launched. It is jointly operated by NASA, the Canadian Space Agency (CSA) and the European Space Agency (ESA) and has, over the past year, already provided countless insights into the natural world, from inside the Solar System to the farthest reaches of the Universe.

The first anniversary of JWST was celebrated with the release of new data of the star-forming region Rho Ophiuchi. It is the nearest such cloud complex to Earth, about 390 light years away by the most recent estimates (a mere 3.7 million billion kilometers or 2.3 million billion miles), and one of the most studied. The image from the telescope shows about 50 very young stars, all 1 million years old or less (compared to our Sun’s age of 4.6 billion years), all of which are about the mass of the Sun.


Rho Ophiuchi is a relatively small stellar nursery located only 390 light years from Earth. The cloud complex has been studied numerous times because of its proximity and the fact that all the stars are very young, 1 million years old or less, providing insight into the properties of our own Solar System when it was forming more than 4.6 billion years ago. Credits: NASA, ESA, CSA, STScI, Klaus Pontoppidan (STScI)

Many of the objects imaged are known as T Tauri stars, which shine not as a result of nuclear fusion in their core, but because of the radiation powered by the gravitational contraction of the star which is steadily shrinking. After about 100 million years, they will have shrunk enough to raise the temperature in their core to the level where nuclear fusion from hydrogen to helium will commence, beginning their life as a main sequence star, the stable mature form in which the star will spend most of its life.

The dark areas are thick clouds of dust, so dense that not even the specialized instruments of JWST can capture light emitted from inside them. The large red streams, sometimes called Dark River clouds or Rho Ophiuchi Streamers, consist of molecular hydrogen and are often formed when a newborn star finally emits enough radiation to fling off its natal cocoon of dust and send out jets of material into deep space.

Some of the stars in the image also have signs of protoplanetary disks, potential future planetary systems still being formed.

The latest image from JWST reaffirms what a group of NASA, ESA and CSA researchers said last year when the telescope was fully commissioned, that “almost across the board, the science performance of JWST is better than expected.”

Data from the JWST instruments NIRCAM and MIRI were combined to study the protoplanetary system around the star d203-506 revealing the presence of the molecule methyl cation, which is theorized to play a key role in the construction of complex organic molecules. Credits: ESA/Webb, NASA, CSA, M. Zamani (ESA/Webb), the PDRs4All ERS Team

Another recently imaged protoplanetary disk, that surrounding the star d203–506 in the Orion Nebula, was recently confirmed using JWST data to have the molecule methyl cation (CH₃⁺). While CH₃⁺ was first predicted to be involved in interstellar chemistry in the 1970s, it was only first detected using the telescope’s MIRI and NIRCam instruments. Initial results were released at the end of June.

Carbon compounds are carefully studied because they form the basis for all known life, and CH₃⁺ is particularly important because it does not react with hydrogen, which is most of the visible universe, but does react with a wide range of other molecules, indicating it could be a catalyst for the emergence of other molecules and more complex structures, such as amino acids and proteins, and ultimately the emergence of organic life.

The analysis of CH₃⁺ also provides insight into the contradictory nature of ultraviolet light in the formation of planetary systems. Those wavelengths of light are known to be very destructive when they interact with organic molecules (which is why too much sunlight, part of which is in the ultraviolet spectrum, produces sunburns and, in extreme cases, skin cancer). Ultraviolet light is however also known to scour young planetary systems, including our own. The current research sheds light on the contradictory nature of ultraviolet light being detrimental to existing organic molecules, but also necessary to form the building blocks to make those molecules in the first place.

The lead investigator of this study, Olivier Berné of the University of Toulouse, France, elaborates, “This clearly shows that ultraviolet radiation can completely change the chemistry of a protoplanetary disc. It might actually play a critical role in the early chemical stages of the origins of life by helping to produce CH₃⁺—something that has perhaps previously been underestimated.”

Abell 2744 has been studied by Hubble in the past, but never with the breadth and depth produced by the JWST. Each object in the photo is a galaxy, with light having traveled across the Universe to Earth for between 350 million years and more than 13 billion years. Credits: NASA, ESA, CSA, Ivo Labbe (Swinburne), Rachel Bezanson (University of Pittsburgh), Alyssa Pagan (STScI)

JWST has also continued to study distant galactic clusters. In February, the telescope was used to take a deep field of Abell 2744 (nicknamed Pandora’s cluster), which involved a total of 30 hours of observing time with the NIRCam instrument. The cluster itself is made up of at least four separate galactic clusters that initially collided some 350 million years ago, and have since produced a whole host of exotic phenomena that astronomers are still trying to uncover.

Similar to other galactic clusters, the colossal gravity of Abell 2744 also acts as a lens for the light of other, even more distant objects that are behind Abell 2744 relative to Earth. In total, JWST imaged more than 50,000 sources of infrared light at once, all of them either galaxies or galactic clusters from far back in cosmic history. There are at least two candidates from which light has traveled for more than 13 billion years (in astronomical terms, a redshift greater than 10) before being collected by JWST, providing insight into galactic formation in the earliest epoch of the Universe.

Earth’s planetary neighbors in the outer Solar System have also been studied by JWST. During its commissioning, the telescope observed Jupiter and its moons Europa, Thebe and Metis to test its capabilities to track moving targets. Another imaging campaign of the Jovian system was undertaken, this time including the moons Amalthea and Adrastea, as well as Jupiter’s rings and aurora.

A composite of infrared images of Jupiter, Saturn, Uranus and Neptune taken by the JWST, all of which reveal new properties about the planets of the outer Solar System. Credits: NASA, ESA, CSA, STScI

The observatory has also produced the most high-resolution infrared images of Uranus and Neptune, which have been intermittently observed by Hubble and ground-based observatories for years, and only visited once each for close inspection by the spacecraft Voyager 2 in 1986 and 1989, respectively. As JWST is viewing both in infrared light, it has provided new information about the structure of each planet’s ring system and the respective atmospheric dynamics.

The most recently released image from the outer Solar System was of Saturn, in late June. In contrast to the bright hues of images taken by the Cassini spacecraft, JWST in infrared sees Saturn as extremely dark, surrounded by extraordinarily bright icy rings. Some of the more interesting discoveries include the dark clouds in the planet’s northern hemisphere, which may be the result of planet-scale waves in Saturn’s atmosphere, a phenomenon not seen before.

A treasure trove of even more data has been collected over the first year of JWST’s operation, much of which is summarized in various press reports by the European Space Agency. It is to the immense credit of the tens of thousands who operate the telescope and process the data that so much has been achieved in so little time. Each new image provides further insight for humanity’s understanding of the natural world and our place within it. We eagerly await further discoveries.

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Source

https://archive.ph/srCX1

Novels of Decline – Cormac McCarthy (1933 – 2023)

Novels of Decline – Cormac McCarthy (1933 – 2023)

Cormac McCarthy (1933-2023): Chronicler of American carnage

by Eric London

Cormac McCarthy, celebrated American fiction writer, died 13 June 2023 at his home in Santa Fe, New Mexico, at the age of 89. Over the course of a 60-year career, McCarthy was best known as a novelist who achieved fame relatively late in his career with works like Blood Meridian (1985), All the Pretty Horses (1992), No Country for Old Men (2005) and The Road (2006).

McCarthy’s death has led to an outpouring of praise for his work in the capitalist main stream media. A. O. Scott of the New York Times praised McCarthy for “redefining American prose” and placed him on a par with Don DeLillo, Toni Morrison and Philip Roth. CNN’s Dakin Andone called McCarthy “among America’s greatest authors.” In a March 2023 article published before McCarthy’s death, the Nation managed to compare him to Aeschylus, Euripides, Shakespeare, Cervantes, Bach, Mozart and Thomas Mann.

Cormac McCarthy attends the premiere of The Road in New York on Nov. 16, 2009 [AP Photo/Evan Agostini]

Cormac McCarthy is a writer whose undeniable artistic abilities were fatally undermined by both the pessimistic, ahistorical and irrationalist ideological concepts that dominate his work and by the generally reactionary political and cultural climate in which he ultimately rose to fame.

While McCarthy genuinely attempted to develop the styles of writers like William Faulkner and Ernest Hemingway, his works are so permeated with misanthropy and a hostility to human progress that his literary output represents a step back from the great American writers of the 20th century. Faulkner declared “man will not only endure, he will persevere” and Hemingway began For Whom The Bell Tolls with Donne’s “no man is an island,” but McCarthy told the New York Times in 1992:

“There’s no such thing as life without bloodshed. I think the notion that the species can be improved in some way, that everyone could live in harmony, is a really dangerous idea. Those who are afflicted with this notion are the first ones to give up their souls, their freedom. Your desire that it be that way will enslave you and make your life vacuous.”

Great works of art cannot come from ideas as false and shallow as these. They do not make possible a genuinely realistic and deep-going grasp of life. Though McCarthy personally struggled financially for much of his career and never wrote simply for a paycheck, his work gave expression to the outlook of an affluent and complacent social layer in the stagnant cultural desert of the 1980s and ‘90s.

McCarthy was born in Providence, Rhode Island in July 1933. The son of a prominent New Deal attorney, he moved with his family to Knoxville, Tennessee in 1937 where his father represented the Tennessee Valley Authority, the largest public works program in American history. McCarthy briefly attended the University of Tennessee in the early 1950s before dropping out and joining the Air Force. He was stationed in Alaska, then a US territory and critical Arctic outpost in the Cold War against the Soviet Union, and it was during his tour there that he “read a lot of books very quickly,” he later recalled, apparently to combat the routine and boredom of military life.

In the post-war period, the American state and ruling class created a toxic anti-communist environment and attempted to purge socialist and left-wing views from movies, writing and culture as a whole. Under these conditions, artists and writers became vulnerable to irrationalist “explanations” for the horrors of World War Two, fascism and the Holocaust. Books such as William Golding’s Lord of the Flies (1954), which also presents violence and atavism as central to the human condition, convey the attitudes dominant in certain circles during this period.

McCarthy published his first novel at the age of 32, while he was working in an auto parts plant outside Chicago. From the beginning of his writing career, McCarthy placed disturbing tales of bloodthirsty violence at the center of his efforts.

The Orchard Keeper (1965) deals with the aftermath of the strangling murder of a hitchhiker and focuses on the theme of vengeance. Outer Dark (1968) involves a baby born out of an incestuous relationship between a brother and sister and draws its title from the Gospel of Matthew, “The children of the kingdom shall be cast out into outer darkness: there shall be weeping and gnashing of teeth.” McCarthy’s third novel, Child of God (1973), tells the story of a homeless man who becomes a serial killer and necrophiliac, storing his victims’ bodies in a cave.

Photo portrait of Cormac McCarthy used for the first-edition back cover of Child of God (1973).

McCarthy’s presentation of violence is often gratuitous and not developed from the standpoint of critiquing the social conditions that give rise to criminality and conflict. To the extent he criticizes society, it is from the point of view of presenting humanity as a whole as inherently violent. Describing the homicidal main character in Child of God, McCarthy once said in an interview, “There are people like him all around us,” as if to say: this is more or less what mankind truly amounts to.

In another passage in Child of God, McCarthy describes all of humanity as driven by violent, anti-social impulses: “See him,” he writes of the killer-protagonist. “You could say that he’s sustained by his fellow men, like you. Has peopled the shore with them calling to him. A race that gives suck to the maimed and the crazed, that wants their wrong blood in its history and will have it.”

McCarthy’s novels of the 1980s and early 1990s maintained these themes, even as the setting moves from the hardscrabble towns of Appalachia to the beautiful, barren landscapes of the American Southwest.

Blood Meridian, written in 1985, is McCarthy’s semi-historical account of the Glanton Gang, a gang of Texas slaveholders who carried out horrific massacres of the Native peoples of the Southwest in the late 1840s at the behest of Mexican and American authorities and claimed bounties on indigenous scalps.

McCarthy’s selection of the Glanton Gang for subject matter is one-sided and superficial. He writes of the Glanton Gang not to draw attention to the reactionary character of Texan independence and its connections to slavery, or to the US invasion of Mexico, but to present American history as nothing but a long string of senselessly violent, even sociopathic acts. The late 1840s were not only a period of pro-slavery slaughter, they were also marked by the emergence of a popular movement fighting for the abolition of slavery and witnessed heroic sacrifices in the struggle to free the slaves.

Blood Meridian Cormac McCarthy (1985)

The “American Renaissance,” associated with figures such as Emerson, Thoreau, Hawthorne, Melville, Dickinson, Stowe and Whitman, along with towering abolitionist leader Frederick Douglass, not to mention Abraham Lincoln and Ulysses S. Grant, began its flowering during these years, the intellectual preparation for the earthshaking Civil War. Why does McCarthy choose only the most appalling aspects of American history, and then make so little of them?

He undoubtedly did capture something of the ruthless and brutal character of Westward expansion, especially in the character of Judge Holden, who Harold Bloom called “the most frightening figure in all of American literature.” In Blood Meridian, McCarthy has Judge Holden say:

“It makes no difference what men think of war, said the judge. War endures. As well ask men what they think of stone. War was always here. Before man was, war waited for him. The ultimate trade awaiting its ultimate practitioner. That is the way it was and will be. That way and not some other way.”

Though one must always be cautious about identifying an author’s views with those of a protagonist, in this case Holden’s notions are clearly not so far from McCarthy’s own, which he expressed on numerous occasions, and the passage reads not as a criticism of the judge’s sentiments but as an endorsement. Through Judge Holden, violence and war are presented as the guiding forces of human history. But this is a deeply false conception, and when McCarthy forces his characters into such retrograde schemas, they fail to become “real” in an artistic, historical and psychological sense and instead feel contrived and ideologically driven.

In his 1992 novel All the Pretty Horses—the novel which first introduced McCarthy to a mass audience—McCarthy writes that humanity’s miserable state of violence is inevitable and pointless to oppose:

“We weep over the might have been, but there is no might have been. There never was. It is supposed to be true that those who do not know history are condemned to repeat it. I don’t believe knowing can save us. What is constant in history is greed and foolishness and a love of blood and this is a thing that even God — who knows all that can be known — seems powerless to change.”

With these sentiments McCarthy was drawing from and tapping into attitudes growing in strength within official political and intellectual life. It is not McCarthy’s fault that he rose to fame in the era of Reagan and Thatcher, but it is not accidental either. McCarthy’s work was a means by which a retreating, disoriented intelligentsia introduced into fiction Thatcher’s aphorism that “there is no society” and Fukuyama’s proclamation of “the end of history.”

In this regard, it is worth noting that American novelist Philip Roth, who, like McCarthy, was also born in 1933, acquired a popular audience in the 1960s and ‘70s, while McCarthy remained relatively marginalized at the time, only gaining broader public recognition and approbation in the late 1980s and especially the early 1990s. Roth’s writing, which is much more humane, sympathetic and historically oriented, tapped into broader democratic moods of the time, while McCarthy emerged to prominence in a period of general political reaction.

Javier Bardem in No Country for Old Men (2007)

McCarthy’s profile grew after the publication of his 2005 novel No Country for Old Men, which sold widely and was adapted for the screen by the Coen brothers.

But it was McCarthy’s 2006 novel, The Road, which won the strongest accolades. The Road is a post-apocalyptic story of a father and son traveling through a wasteland ruined by either nuclear war, environmental disaster or some other universal catastrophe. The book was featured on Oprah Winfrey’s book club and won the 2007 Pulitzer Prize for Fiction.

In The Road, McCarthy expresses his attitude toward humanity in the most troubling way. Following the unexplained apocalyptic event, McCarthy portrays humanity as descending into a state of unfathomable barbarism, whose human figures are less human than the sinners in Dante’s Inferno.

“Within a year” of the catastrophe, McCarthy writes, “there were fires on the ridges and deranged chanting. The screams of the murdered. By day the dead impaled on spikes along the road.” 

Those who have survived the disaster form marauding bands, traveling the countryside for survivors to rape and devour. McCarthy describes the dungeons where humans are kept as slaves and farmed for their meat. The protagonists, who view themselves as “the good guys,” are presented as completely and utterly alone. Touching moments between the father and son characters appear against a backdrop of hopelessness. 

When asked by talk show host Winfrey what he meant to accomplish with this book, McCarthy (in a rare interview) commented, “Maybe since 9/11 people are more concerned with apocalyptic issues,” adding that he wanted audiences to “care about things and people. Life is pretty damn good even when it looks bad. You should be thankful for what you have.”

This confused and fundamentally complacent attitude helps drown out his abilities as a writer.

McCarthy’s skill at prose writing is undeniable, and it was not for nothing that Saul Bellow praised McCarthy in 1981 for his “absolutely overpowering use of language, his life-giving and death-dealing sentences.”

At his best moments, he slips into a simple descriptive style that clearly draws on Hemingway, and he could weave together staccato dialogue with long, individual sentences whose cadence is maintained by prepositions, not punctuation, in a style developed by Faulkner and also favored by the Portuguese writer Jose Saramago.

But McCarthy was drawing largely from reactionary subjective idealist sources, and this drains much of the richness and depth from his prose. Present are Nietzschean conceptions about violence and the will to power as the driving forces of history, as well as the Frankfurt School’s denial of history as a knowable, law-governed process and its rejection of the prospect of human progress. Such a social outlook permeates academia and dominates the thinking of broad sections of the affluent upper middle class today.

A fresh, new attitude is called for in fiction writing today. In his 1912 lecture Art and Social Life, Georgi Plekhanov wrote, “The merit of a literary work is determined in the final analysis by the weightiness of its content.” He continued, “Works whose authors lay store only on form always reflect a definite—and as I have already explained, a hopelessly negative—attitude of their authors to their social environment.”

The crisis of capitalism has wrought pandemics, wars, the threat of environmental collapse and unprecedented levels of exploitation and inequality. But a study of the lessons of history also reveals the revolutionary potential in the present moment. These struggles, and the changes they bring to the lives of the people going through them, present ample material for artistic creation. Tapping into the vast tangle of social relations and telling the truth about reality are necessary to facilitate a rebirth in realist writing today. This requires a conscious break from McCarthy’s ahistorical, irrationalist and individualist outlook and approach.

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Source

https://archive.ph/2pTNl

Chevalier: The life of composer Joseph Bologne – Movie Review – July 2023

Chevalier and the life of composer Joseph Bologne: Why the mean-spirited attack on Mozart and Gluck? (14:53 min) Audio Mp3

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Movie Trailer

(First Seven Minutes of the Movie on Youtube )

by David Walsh

Chevalier, directed by Stephen Williams and written by Stefani Robinson, is a biographical film inspired by the life and career of Joseph Bologne, Chevalier de Saint-Georges (1745-1799), the French-Caribbean violinist, conductor and composer.

Bologne’s mother was a slave on his father’s plantation in Guadeloupe, the French colony in the Caribbean. Raised and educated in France, Bologne became renowned for his music as well as his fencing and other skills. The future American president, John Adams, in 1779 referred to Bologne as “the most accomplished Man in Europe in Riding, Running, Shooting, Fencing, Dancing, Musick.” Bologne/Saint-Georges was very much a figure of the Enlightenment, the epoch which, in the first place, made possible the emergence of the son of a slave as a leading artistic and social personality.

Kelvin Harrison Jr. in Chevalier

At the time of the French Revolution of 1789, Saint-Georges, who had been made a chevalier, a lower-ranked knight, by Louis XV, became the commander of a legion of black volunteers in defense of the revolution. However, from 1793-94, in part because of his musical association with Marie Antoinette before and after she became queen of France, Saint-Georges was imprisoned by the revolutionary authorities for 11 months. He died in relative obscurity in 1799.

Saint-Georges composed numerous works, including several opéra comiques, of which only one, The Anonymous Lover (1780), survives in its entirety. He also wrote 14 violin concertos and two symphonies, along with chamber music pieces, including sonatas and string quartets. He is considered to be one of the pioneers of the symphonie concertante, an orchestral work in which one or more solo instruments contrast with the full orchestra. His work continues to be performed.

This is obviously a remarkable figure, with an equally remarkable and eventful life, and entirely worthy of dramatization.

Unfortunately, Chevalier is seriously marred, not only by the gravitational pull of identity-racial politics but by a generally low level of historical knowledge and understanding. This is another instance—the most recent of many—where the creators simply decided at a certain point to make things up, apparently in the interests of generating a myth they thought would be helpful to themselves.

Joseph Bologne, Chevalier de Saint-Georges (1787)

The film follows Joseph as a child, ripped from his mother’s arms in Guadeloupe and sent to an austere, unforgiving French boarding school, where he suffers abuse because of his origins.

Joseph, now a young man (Kelvin Harrison Jr.), becomes a celebrated swordsman, defeating a fencing champion who has taunted him with racial slurs. Following his victory, in one of many unlikely and contrived sequences, Marie Antoinette (Lucy Boynton), the queen of France, anoints him Chevalier de Saint-Georges: “Well, come on. Someone get him a shiny sash or something. Let’s make this festive.”

Saint-Georges has female admirers, such as La Guimard (Minnie Driver), a ballerina and slightly aging star of the Paris Opera who will not react well to his rejection. He does fall in love with Marie-Josephine (Samara Weaving), an independent-minded woman married to a brute, the Marquis de Montalembert (Marton Csokas).

Saint-Georges sets his sights on becoming the director of the Paris Opera: “There are countless men with titles in France, but there is only one head of the Paris Opera. There is no greater post, and I want it. I can do it. I can fill that theater every night. I will put it on the map.”

However, the committee in charge favors the German-Bohemian composer, Christoph Gluck (Henry Lloyd-Hughes). The queen proposes a competition for the post. Gluck and Saint-Georges will each write an opera, and “the music committee” will “ select a victor based on the quality of the production.”

Joseph’s mother, Nanon (Ronke Adekoluejo), arrives in Paris, but a great distance remains between mother and son, because she is black and loyal to her Afro-Caribbean customs and culture while Saint-Georges has accustomed himself to “white” society. (The “greatest evil,” she informs him, “is not what they have done to our bodies. It is what they have done to our minds.”)

Saint-Georges convinces the writer Madame de Genlis (Sian Clifford), someone with connections, to produce his opera, Ernestine. She agrees, predicting they will “defeat Gluck and rub his nose in all that greasy smarm.” Against her husband’s will, Marie-Josephine stars in the production. In the end, however, in part because of a petition signed by La Guimard, complaining that Saint-Georges “belongs to a sub-human race and such a man should not be allowed the honor of holding the highest musical position in France,” the directorship of the Paris Opera goes to Gluck. Saint-Georges attends a performance of Gluck’s winning opera, drunk, and insults La Guimard, the composer and the queen.

Marie-Josephine has a child, who is dark-skinned. Montalembert takes the child away and apparently has him killed.

The French Revolution arrives, tepidly as portrayed in the film, and Saint-Georges organizes a concert to support its ideals. “I’m putting on a concert. Invite anyone. Everyone. Charge them a fair price. The funds will go to those who need it. Food, resources. The rest we’ll use to help fund the revolution.”

Marie Antoinette berates him for his ingratitude and further warns that “there will be no new France. You cannot topple what has been ordained by God.” Events will prove her wrong.

As noted above, racial politics and an unserious attitude toward history fatally damage Chevalier.

Kelvin Harrison Jr. and Joseph Prowen in Chevalier

The first scene sets the tone. At a concert in Paris, following the completion of his scheduled pieces, a youthful and arrogant Wolfgang Amadeus Mozart (Joseph Prowen) turns to the audience for “requests.” His “Violin Concerto No. 5” is called out. Beginning to play the piece, Mozart is interrupted by Joseph Bologne, Chevalier de Saint-Georges, who comes out of the audience and asks if he can join the composer on the violin. Mozart agrees, sneeringly, (“Well, I hope this won’t be embarrassing for you”) and proceeds to be outplayed by this “dark stranger.”

No such incident ever took place. Saint-Georges may have attended a performance by Mozart, a 10-year-old child prodigy, during the Mozart family’s visit to Paris in 1766. When Mozart was in Paris again in 1778, his father urged him to approach the Le Concert des Amateurs, the orchestra where Saint-Georges served as conductor, for a possible commission. In his biography of Saint-Georges (The Chevalier de Saint-Georges—Virtuoso of the Sword and the Bow), Gabriel Banat points out that Mozart followed Leopold’s advice and sought out Saint-Georges. Banat goes on, “They met at a difficult time in Mozart’s life, for on July 3, 1778, Wolfgang’s mother died in their tiny, dank apartment on rue du Gros Chenet.” Wolfgang, “alone and helpless,” found lodging through an admirer. “It is a matter of record that from July 5 to September 11, 1778,” writes the biographer, “Mozart and Saint-Georges lived—and dined—under the same roof.”

Referring to the initial sequence in Chevalier, the Guardian reviewer comments that this “is the moment that Amadeus finally knows how Salieri felt. Strutting with arrogance, Mozart is challenged to a violin duel and upstaged by a precocious rival. … Whether this showdown ever took place is doubtful but it makes for a playful opening.” People who take comfort in such ethno-historical wishful thinking are driven by something other than an interest in truth and reality.

Chevalier generally plays fast and loose with Saint-Georges’ life and times. It suggests that Joseph is roughly taken from his mother, Nanon, at a tender age, by his father George (Jim High) and kept from her as long as the latter is alive, until Joseph is an adult. In the film, Nanon tells her son, once she has arrived in Paris, over images of her distraught self: “After he took you from me, I ran to find you nearly every day. … I fought anyone who tried to stop me. … I did not care if I died. I chose to fight for you, my son. And now, I am here.” None of this is true.

In reality, mother and son were separated for only 20 months. Nanon came to live in Paris in 1755, and Banat writes that it is clear that “George Bologne was not ashamed of their relationship, either at home or in France. As for Joseph, there is no question that he was and remained deeply devoted to his mother.”

As for Nanon’s economic situation in Paris, “she certainly did not need to work because he [George] left her and Joseph an annuity more than adequate for a comfortable lifestyle.” George “was always generous to a fault, seeing that Joseph had the best of everything,” and “Nanon was well taken care of … She had a nice apartment where the boy could feel at home—whether his father was sharing it with her or not.”

Mozart is hardly in need of a defense, but the lesser-known Christoph Gluck perhaps could use one. Why the malicious, entirely gratuitous assault on an important, revolutionary figure in the history of opera? Have the filmmakers looked into the history at all? Nearly all the facts presented in the film surrounding Gluck are fictional.

Each time Saint-Georges refers to Gluck, his comments are dipped in spite and jealousy. Told that the composer has “hopped over from Vienna” and that he is “putting on a concert for someone,” Saint-Georges snidely responds, “Someone without ears or taste, probably.”

American violinist Rachel Barton Pine, an admirer and performer of Saint-Georges’ music, replying to the question, “Did he [Saint-Georges] disparage other composers and musicians on a regular basis?,” writes that “Such a characterization contradicts what we know of Bologne’s character from contemporary reports. For example, in La Borde’s entry on Bologne in his Esssy sur la musique (1780), he writes: ‘In addition to his multiple talents … M. de Saint-Georges possesses the uncommon virtues of great modesty and gentleness.’”

In any event, Christoph Willibald Gluck never sought the Paris Opera position and Saint-Georges had been rejected for the job well before Gluck arrived in Paris. They were never asked to write competing operas, nor did Saint-Georges ever attack Gluck in public. All of this is fanciful, and stupid.

Kelvin Harrison Jr. and Lucy Boynton in Chevalier

Gluck himself was embattled while in Paris, fighting for his innovations against stale, outworn traditions.

A little history is called for. After registering success with his operas in Vienna at the Hapsburg court, Gluck (1714-1787) became critical in the 1750s of the traditional Italian forms, which he felt had become threadbare and unnatural.

Catherine Dualt asserts that “Gluck looked for a way to free himself from the tyranny of musical hedonism. The real turning point in his career came with a decisive meeting, with an Italian scholar attracted to the new aesthetic concepts advanced by Diderot and Rousseau: librettist Raniero di Calzabigi (1714-1795) whose ambition was to revive opera.”

With Calzabigi’s help, Gluck deliberately set out to reform lyrical drama. The masterpiece that emerged in 1762, Orfeo ed Euridice (Orpheus and Eurydice, based on the Greek myth) “was the first attempt to implement the ‘opera reform’ that Gluck wanted: ‘My purpose was to strip music of the abuses which, introduced by the poorly understood vanity of the singers or by an exaggerated complacency on the part of the masters, have long marred Italian opera. … I intended to restrict music to its true office, which is to serve poetry for the uninterrupted expression of the action, and without damping it down with superfluous ornamentation.’”

The plot of Orfeo ed Euridice, which follows Orpheus’ descent into hell and the initial failure of his efforts to bring his beloved wife Eurydice back to the land of the living, embodies the socially progressive philosophical ideals of the time and the rejection of the ancient version, in which nature and death still hang over humanity like a fate. “Only the intervention of Love,” Dualt points out, “which stops Orpheus’s hand as he draws his sword to kill himself, allows a happy ending consistent with the spirit of the Enlightenment. This favourable outcome points to a permanent faith in man’s capacity to triumph over Fate through courage and virtue. The couple have defeated Death and are once again together despite a momentary setback.”

In performance, Gluck demanded a greater naturalness. Banat: “He [Gluck] insisted that the chorus, too, had to act and become a part of the drama—that they could no longer just stand there posing stiffly and without expression while singing their lines. As for the soloists, they were especially exposed to his temper, for Gluck could not abide what the French considered proper acting: the men posturing, feet apart, one arm thrust forth, the women, hands clutching at their throats or pressed against their bosoms. His demand that they actually feel emotion in order to convey it to an audience was completely novel to them.”

Moreover, as Rachel Barton Pine comments, it was hardly likely that Bologne/Saint-Georges “hated” Gluck. On the contrary, she explains, “one of the motivations for promoting Bologne was that he was known to be a ‘Gluckiste.’ Bologne’s success in transforming the Amateurs into one of the finest orchestras in Europe persuaded his backers that he was exactly the right man to galvanize the Opéra and raise its standards.”

These two deservedly famed arias, “Che faro senza Euridice” (“What will I do without Euridice”) from Orfeo ed Euridice and “Divinités du Styx” (“Gods of the River Styx”) from Alceste (1767), another “radical, new work,” respectively, amply demonstrate the enduring power of Gluck’s work.

(On Youtube – Joseph Bologne Chevalier de Saint George – Violin Concertos (1:19:36 min)

The effort to elevate Saint-Georges by denigrating Mozart and Gluck is false, unworthy and unnecessary. Each was an extraordinary artist and personality, shaped by the dynamic, often shattering conditions of a revolutionary epoch.

Over the years, the WSWS has systematically criticized those fighting for privileges based on race and ethnicity who accept the existing sum of spending on social programs, for example, and merely seek a fatter share for “their” nationality or skin color (in reality, often, their own pockets). Some of the guiding notions in Chevalier seem to borrow from that impoverished way of thinking.

Director Stephen Williams, best known for Watchmen (the mini-series, 2019), Undercovers (2010) and Lost (2004), told an interviewer from Screenrant that the filmmakers did not “set out to make a cradle-to-grave biopic.” With a script by Stefani Robinson (Atlanta and What We Do in the Shadows), Williams explained that the intention was “to make a movie that was an imagining of this historical figure, but one where we used our own connection to the material to get at what we experienced to be the truthful essence of this person’s life.” They did this “even where factual aspects of it were either not known to us or rearranged and redeployed to better tell the story of this portion of [Joseph’s] life in as cinematic and as operatic a way as possible.”

This is a convoluted manner of saying that Williams, Robinson and company were not especially interested in the facts of Bologne’s life and interpreted his life story through the prism of their contemporary middle class prejudices and concerns. In fact, they actively imposed many of the latter on their work. The results are accordingly weak.

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Source

Sri Lanka: Government Releases Comedian On Bail – Natasha Edirisooriya Accused of Insulting Buddhism

බස් එකේදී සිප් එක ඇරලා පෙන්නලා බලාපොරොත්තු වෙන්නේ මොනවාද ? Standup Comedy By Nathasha Edirisooriya

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Also on Youtube

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Sri Lankan standup comic Natasha Edirisooriya was released on 100,000-rupee ($US320) bail in Colombo on 5 July 2023, following the intervention of a high court judge. She was arrested on 28 May 2023 at Katunayaka International Airport and spent more than one month in remand prison after being accused of having “defamed Buddhism” during her performance on the “Modabhimanaya” (Fool’s Pride) comedy program in April.

Sri Lankan comedienne Natasha Edirisooriya [Photo: Facebook]

Several Buddhist monks and Sinhala extremists initiated a virulent chauvinist campaign against Edirisooriya, demanding that she be severely punished for insulting Lord Buddha following her April performance.

The Commissioner of Buddhist Affairs and several monks then lodged a formal complaint with the Criminal Investigation Department (CID) of the police, calling for her arrest under section 3 (1) of the International Covenant on Civil and Political Rights (ICCPR) Act. Presented to parliament in 2007 by the Minister of Foreign Affairs Rohitha Bogollagama under President Mahinda Rajapakse’s government, the ICCPR has always been used against political dissidents.

As the World Socialist Web Site explained in a June 11 article calling for the comedian’s immediate release, Edirisooriya’s arrest was a direct attack on basic democratic rights, including the right to the freedom of speech. Its purpose was to whip up communalist sentiment and divert the growing popular anger against the Wickremesinghe government’s brutal austerity policies.

While reactionary Buddhist elements and sections of the media desperately attempted to stir up wider communal sentiment, their efforts were not successful. Instead, Edirisooriya’s arrest created a significant public backlash and international opposition.

Hours before bail was granted on July 5, Colombo Fort magistrate Thilina Gamage ordered the comedian to be further remanded till July 12. He was overruled later that day by High Court Judge Aditya Patabendige in response to a petition filed on Edirisooriya’s behalf.

Magistrate Gamage rejected a previous bail application for Edirisooriya on June 21, while granting bail to social media activist Bruno Divakara, also arrested for “abetting”—i.e., publishing the comic’s video on his YouTube channel.

Gamage claimed that Edirisooriya “deliberately defamed Lord Buddha” and that “the crime” in her comedy “cannot be diminished.” He also referred to Sri Lanka’s constitution, which, he said, “awarded primacy to Buddhism,” and that therefore, “Lord Buddha’s name was defamed (by Edirisooriya).”

Addressing the media on June 21, Manoj Gamage, a lawyer for a Buddhist monk petitioner, praised the magistrate court’s denial of bail as a “great judgment” and denounced those calling for the separation of religion and the state. These remarks, and of those of Magistrate Gamage, underscore the deep connections between Sri Lanka’s political establishment and the state apparatus, including judiciary, with Sinhala-Buddhist chauvinism.

The establishment of Buddhism as the priority religion in the 1972 constitution, along with Sinhala as the official language in 1956, were part of the efforts of the ruling class to divide and weaken the working class on communal lines. The separation of religion from state is a fundamental democratic principle.

In his 12-page bail order overruling the Fort magistrate’s ruling, Colombo High Court Judge Aditya Patabendi said the ICCPR had “to be interpreted within freedom of speech and expression.”

He ruled that “no evidence has been established [that the audience for Edirisooriya’s comic routine] had engaged in any hostility or violence in relation to the target group or against the target group which is Buddhists…”

“[I]t is not the task of the investigator to arrest a person,” just because of a complaint made by a Buddhist monk or influential person, he added.

While these limited points have some validity, it would be a mistake to present the High Court as a defender of democratic rights. Edirisooriya has been bailed out but there is no guarantee that she will not be found guilty and prosecuted on the concocted allegations hurled against her.

The High Court decision to overrule the magistrates court indicates that a section of the ruling class and the establishment want to avoid international criticism and political pressure.

Local and international human rights organisations, including Amnesty International South Asia, raised concerns over Edirisooriya’s arrest and demanded her immediate release and withdrawal of all charges. Amnesty said the ICCPR act “has been used time and time again to restrict freedom of expression.”

UN Deputy High Commissioner for Human Rights Nada Al-Nashif critically highlighted the arrest of Edirisooriya during the ongoing 53rd session of the Human Rights Council. “The past months have unfortunately witnessed the old reflex of using draconian laws to curtail opposition and control civic space, with a heavy-handed approach to protest too often, including the arrest of protest leaders and forceful crowd control measures, as well as the persistent use of the military in police functions,” she said.

UN Deputy High Commissioner for Refugees Kelly T. Clements warned that a full report on human rights in Sri Lanka would be presented at the council 54th session to be held between September 11 and October 13 this year.

Imperialist countries led by the US have in the past used grave violations of human rights in Sri Lanka as political leverage to pressure Colombo to break economic and political links with China. These powers have no concern for the democratic rights of the Sri Lankan people but cynically use it to pursue their own strategic interests.

Undoubtedly, the government has taken the UN representative’s remarks as a warning of another “tough” resolution against human rights violations could be brought at the next Human Rights Council session.

The Colombo High Court, moreover, has been closely associated with a number of anti-democratic attacks during the April–July protests in 2022 and justified the arrest of thousands of anti-government protesters. It has also endorsed the arrest of writer Shakthika Sathkumara and others accused of defaming Buddhism. Likewise, the courts have issued numerous orders prohibiting strikes and protests by workers.

On July 4, journalist Tharindu Uduwaragedara was summoned to the CID to record a statement regarding a comment he made during a press conference on May 29 opposing the arrest of Edirisooriya.

Communalist campaigns by Sinhala-Buddhist extremists have been encouraged by President Wickremesinghe and his government. Just as Edirisooriya was arrested, Wickremesinghe advised his minister of public security to establish a special police unit to “investigate into and act on persons or groups that disrupt religious harmony.”

Joining this chauvinist campaign, Janatha Vimukthi Peramuna (JVP) general secretary Tilvin Silva told a press conference that Edirisooriya had “no right to hurt the religious beliefs that are being embodied within hearts of people” and “such actions do not come under the freedom of expression.” Silva denounced the comedian for paving the way for the world to “defame our country.”

This was echoed the same day by Pubudu Jayagoda, propaganda secretary of the pseudo-left Frontline Socialist Party (FSP). He told that the media that Edirisooriya’s comic routine was “an attack on cultural and religious beliefs of the people who suffering from various issues.… Buddhists thoughts have been hurt.” He claimed the comic was among those who wanted to divide the masses who had united in the last year mass uprising.

Sri Lanka workers cannot rely on capitalist institutions such as the courts to defend their democratic rights. There is no constituency among any faction of bourgeoisie or among their pseudo-left hangers-on that defends democratic rights.

In line with the ruling elites internationally, the Sri Lankan capitalist class is intensifying its attacks on democratic rights and taking steps towards dictatorial forms of rule. The working class can only defend its basic democratic rights by breaking from every faction of capitalist class and mobilising its independent political strength in the fight on the basis of a socialist program to abolish capitalist system. Its ally in this political struggle is the international working class.

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Source

Theaters of War: Hollywood in bed with the Pentagon and the CIA – Movie Review – 22 Dec 2022

by Richard Phillips

The 2022 documentary Theaters of WarHow the Pentagon and the CIA took Hollywood is a chilling exposure of the deep-going collaboration between the American entertainment industry and the US state apparatus. It demonstrates how Hollywood and other segments of the industry glorify the multi-trillion dollar war machine, whitewash its bloody global interventions and attempt to condition the population to even greater crimes.

Released earlier this year and available on some streaming services, including Kanopy, the 87-minute film is directed, edited and narrated by Roger Stahl, a communication studies professor at the University of Georgia.

(Movie Trailer )

Stahl’s film, which was recently screened at the Barcelona Human Rights Film Festival, however, has not received the publicity it deserves. This is no surprise but is in line with the efforts to minimise the significance of the Biden administration’s gargantuan increases in the Pentagon budget as part of its military operations against Russia in Ukraine and the preparations for military conflict with China. Anything that accurately references or even raises concern about the real record and catastrophic consequences of US imperialist militarism is brushed aside and marginalised.

Stahl’s documentary draws heavily from National Security Cinema: The Shocking New Evidence of Government Control in Hollywood written by Matthew Alford and Tom Secker and published in 2017 (see WSWS review) and recently obtained internal Pentagon documents and emails.

Alford, Secker and other academics, along with director Oliver Stone, two Iraq War veterans, and others are interviewed in the documentary.

US military intervention in Hollywood film production, of course, is not a new phenomenon. Washington established a so-called Committee of Public Information in 1917 to formulate media guidelines and promote domestic support for its entry into World War I.

The film industry responded by pledging to provide “slides, film leaders and trailers, posters… to spread that propaganda so necessary to the immediate mobilisation of the country’s great resources.”

Wings (1927, directed by William Wellman), the first-ever Academy Award winner, was given crucial assistance by the military, thus opening the way for a spectacular increase in this sort of partnership following America’s entry into World War II in 1941.

While this is generally well known, few Americans today are aware of the massive expansion of this collaboration since WWII and the censorious control that the Pentagon and CIA have over the much of the mainstream entertainment industry. As Matthew Alford tells Theaters of War, “The Pentagon operates like a slickly oiled PR machine that’s advertising the most violent and powerful organisation on the planet.”

Since the end of WWII US-based filmmakers and television producers wanting Department of Defense (DoD) or CIA assistance—i.e., cut price or free use of military equipment and facilities, technical advice, and military personnel as extras—have had to accede to the demands of these agencies.

Directors and producers must be prepared to have their scripts vetted, and then accept all changes demanded. “Production assistance agreements,” include direct control of subject matter, plot, and character development.

The DoD’s Entertainment Media Office, in fact, has a long list of “showstopper” rules that automatically ban all military assistance to films depicting war crimes, torture, fragging, veteran suicides and sexual assaults and racism in the armed forces.

The Pentagon’s interventions are no longer confined to the film industry but include, dramatic television series, cooking shows, endurance competitions and other “reality” programs, as well as video games and social media.

Prior to its production, Stahl’s documentary team secured up to 30,000 pages of internal DoD documents, emails and other material, revealing that the Pentagon and CIA have exercised direct editorial control over more than 2,500 film and television productions, most of them since 2001. Most commentators previously thought these agencies had only been involved in a few hundred films.

Top Gun: Maverick

Theaters of War opens with the Pentagon’s involvement in Top Gun: Maverick, which made $US1.48 billion this year, the highest grossing film for 2022.

Following on from the military assistance it provided to Top Gun, its 1986 predecessor, the studios allowed the Pentagon’s Entertainment Media Office to edit and modify the script to add key “talking points.” The “Office” was also given a special screening of the final result before its official release.

The documentary then traces out the evolution of Hollywood’s post-WWII relationship with the military-industrial complex and academic hacks, such as Lawrence H. Suid (Guts & Glory: The Making of the American Military Image in Film [2002]). It also reviews how the CIA went on to establish its own entertainment media office in the 1990s, which quickly developed into pitching, advising and even writing some movies for the studios.

Oliver Stone [Photo: Theaters of War]

Oliver Stone tells Theaters of War about his unsuccessful attempts to secure assistance for Platoon, based on his own experiences in the Vietnam War, and Born on the Fourth of July, about paralysed Vietnam veteran Ron Kovic. The military categorically rejected Stone’s anti-war scripts, cynically claiming they were inaccurate.

“The whole ethos of that [entertainment media] office at the Pentagon is that they’re supposed to provide accuracy to the filmmakers, but they do the opposite. They provide inaccuracy and lies,” Stone explains. “They only want movies that glorify the American soldier, glorify our patriotism, the homeland and nationalism, [and] this [sort of] nonsense. They fetishise the military.”

Although there are too many examples of the Hollywood/Pentagon-CIA productions to cite here, Theaters of War focuses on several high profile movies and producers. These include Jerry Bruckheimer (Pearl Harbor) and Michael Bay (Armageddon) and his Transformers franchise.

Michael Bay on the set of Transformers, New Mexico, May 2006.

Theaters of War has a clip of Bay, sitting alongside Phil Strub, who headed the Entertainment Media Office for almost 30 years, boasting about how he has “a direct line to the Pentagon.”

The documentary also examines some multi-million dollar blockbusters, such as Godzilla and the Marvel Comic’s Iron Man franchise, which, following Pentagon interventions, flip the political intent of their original stories and glorify the military, presenting the use of nuclear weapons as a force for good.

As Ontario Tech University’s Tanner Mirlees tells the documentary, science fiction and fantasy provide “a fictional imaginary space for the various melodramas of the military to be scripted and played out, without ever having to address the real motives of foreign policy in the world today or the consequences for those who fight on its behalf and die in its wake.”

Theaters of War also pulls apart The Long Road Home, (2017), a television miniseries about the disastrous US army military intervention into Iraq’s Sadr City in which 60 US soldiers were wounded and eight killed in early April 2004.

The miniseries was made with the close collaboration of the Pentagon, which provided Fort Hood, the largest army base in America and its inner-urban warfare training ground, which was remodelled to look like Sadr City and used to film the television production.

Two former US soldiers—Duncan Koebrich and Travis Walker—who were involved in the action explain how the show blatantly distorts what occurred, falsely presenting Lieutenant Colonel Gary Volesky as a frontline hero. They also denounce the program for denigrating Tomas Young, one of the many seriously wounded.

The Long Road Home (2017) [Photo: natgeotv.com]

Young, who was permanently paralysed after being wounded, went on to become a determined Iraq veteran anti-war activist and peace activist (see: “Dying US army veteran denounces ‘illegal’ Iraq War”). Casey Sheehan, the 24-year-old son of anti-war campaigner Cindy Sheehan, was killed in the same incident.

Theaters of War notes that the US has spent an estimated $8 trillion bombing 70 countries around the world since the end of WWII and references the staggering numbers of deaths and untold suffering. This includes, it states, over 200,000 dead in Afghanistan and over one million in Iraq alone, and about 59 million refugees globally.

Notwithstanding the powerful material assembled in Theaters of War, the documentary concludes with a call for legislation or court action to compel Hollywood to place text at the beginning of every film or television show telling the viewer that it was made in collaboration with the Pentagon and/or the CIA. Such an appeal is entirely futile.

While audiences should be told about who made what they’re watching, this seriously underestimates US imperialism and its military-industrial complex and the threat it constitutes to basic democratic rights and the existence of all of humanity. Despite this critical weakness, Theaters of War deserves to be made available to audiences everywhere. Its revelations are a devastating indictment of Hollywood and the entertainment industry chiefs who needed little persuasion that massive profits could be made by producing war propaganda for the US military.

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Source

Theaters of War: How the Pentagon and CIA Took Hollywood – Roger Stahl Discussion – January 2023

Roger Stahl spokes with about his new documentary Theaters of War: How the Pentagon and CIA Took Hollywood.

(Official Movie Trailer) (Long Excerpt On Youtube – 1:27:00 min)

Roger Stahl

Stahl is a professor of communication studies at the University of Georgia and the author of Militainment, Inc. and other documentary films on the military-entertainment complex, including Returning Fire and Through the Crosshairs. The following is an edited version of the conversation.

Richard Phillips: Military involvement in Hollywood film productions has a long history. How did it all start?

Roger Stahl: It goes all the way back to films like The Birth of a Nation. The army assisted the film, which gave them some leverage over the story. This was the early model for what became a massive public relations operation.

By 1927 the US military was advertising its air power with the World War I film Wings, which exaggerated its role in the air conflict. It supplied an enormous amount of military equipment from multiple bases—more than 3,000 infantrymen, hundreds of planes. There were lots of accidents and injuries. 

To give you a sense of the level of military commitment, a cadet died in one of the many staged plane crashes, and the Army ruled that he was killed in the line of duty. Absurd but true. The film went on to win the first ever Academy Award, so it paid off in terms of military publicity.

Wings poster (dir. William A. Wellman, 1927)

By World War II, the Office of War Information [OWI] as it was called then had made further inroads with Hollywood. After the war, in 1949, the military formally established what was then known as the Motion Picture Production Office, which brought together all individual branches of the Defense Department at the Pentagon in Washington, D.C. It’s now called the Entertainment Media Office.

We could get into the weeds here, but it mainly worked with Hollywood film producers before ramping up its operations with television in the ’70s. The number skyrocketed, however, during 1990s and in the 2000s, with perhaps the majority happening in the post-2000 period. In broad strokes, that’s the history of the operation. We can currently confirm Pentagon and CIA cooperation on over 2,500 films and television shows. This means script control.

RP: What is the Entertainment Media Office’s budget?

RS: If we’re just talking about the office itself, there’s not much money involved, and in terms of manpower it’s not a big operation. But it has so much materiel at its disposal—access to billions of dollars of equipment, military bases, people, and things like that—so it acts as gatekeeper. This is what gives it leverage.

And it’s keen to maximize that leverage. Producers are supposed to pay for what they use, which is a rule the office always mentions in public statements.  What they don’t say is that the military has a history of low-balling and shaving costs. They want producers to come back again and again. They’d give it all away for free if they could.

In fact, they did do it for free up until 1964, when Congress forced them to start charging. There was a controversy around the production of The Longest Day [1962]. The military pulled a bunch of people from a base in Germany to work on the Normandy beaches in France as extras, which meant there were not many troops around to deal with the Berlin Crisis which was unfolding at that same time. This hit the papers, Congress talked about it and there was a lot of airtime spent about how much the taxpayer was paying to make Hollywood movies. So now there’s a rule to appease the public. Nominally, help is supposed to come at no cost to the taxpayer, but the entertainment office always seems to be looking for ways around the rule.

RP: Theaters of War draws on material from the book Operation Hollywood, but you were able to get additional material via Freedom of Information Act [FOIA] requests. What were the most surprising things that you discovered? By the way, I thought the animation and graphics in the documentary are very good.

RS: Thanks. It was a challenge to make a film that’s so document-driven. I didn’t have the budget to pay for all the graphics work, so I had to learn it myself. It took three years to get it right.

You asked about Operation Hollywood, which David Robb put out in 2004.  That was a huge inspiration for all of us working on this project, a true work of investigative journalism. He had access to documents dealing with about 90 to 100 films. And he worked for Variety, so he was able to interview filmmakers who were miffed that the Pentagon had changed their scripts or prevented their films from getting made.

Robb eventually turned all his documentation over to my crew and was happy that someone else could “take up the torch” as he put it. His book was ground-breaking and got everyone’s attention, but the number of documents that he got pales in comparison to what we have now.

Robb was mainly working in the ’70s, ’80s and ’90s, when the Entertainment Media Office was mainly dealing with feature films. My colleagues, Matt Alford and Tom Secker, started doing FOIA requests and they got about 10,000 to 15,000 pages of documents—notes, letters, script-change requests, that sort of stuff—covering productions from 2004 to 2016 or thereabouts. Feature films were now being eclipsed by other media ventures. That kicked off another wave of research and their book National Security Cinema. Since then, we’ve been able to bump that number up to about 40,000 through new FOIA requests and by getting access to new archives.

Some of the hundreds of films opposed by the Pentagon. [Photo: Theaters of War]

A good bit of what the Entertainment Media Office was doing in the late 2000s was Reality TV and talk shows, but by the time you’re into the 2010s it is getting into YouTube territory, games and all sorts of other media platforms.

The biggest surprise was just how much stuff—how many different kinds of media that they’re working with. To call it the military-Hollywood complex now is really a misnomer because you’re dealing with almost every kind of media activity—sporting events and parades, in fact, anything that shows up on TV, video games, social media, you name it. The military are involved in things that you would not recognize as military productions. They do an astonishing number of cooking and cake shows, for example.

All this signaled a shift away from the war film to working within a story-telling realm that is designed to do something else. This is not only to justify military policy but to pull emotional strings and get people acclimated to the presence of military personnel, military bases, military operations, and weapons. They’re injecting this stuff into all the crevices of everyday life, normalizing the omnipresence of the military. That’s the basic strategy. It’s geared around massaging the political attitudes of the American body politic so that the military funding keeps flowing.

Zero Dark Thirty (2012)

There’s indication that the Pentagon felt that they were being shouldered out by the CIA and they weren’t interested in playing second fiddle. It ultimately became a CIA/White House film. The basic storyline was that the CIA was able to investigate and figure out Osama bin Laden’s whereabouts by using enhanced interrogation—torture.

The film was a coup for the CIA and the White House in the sense that it was able to represent these techniques not as abhorrent but as saving American lives and leading to the elimination of Osama bin Laden. This was the exact opposite of what actually happened. They did not learn anything about his location from so-called enhanced interrogation techniques.

There was a huge uproar amongst progressives in the US and folks like Senator John McCain, who had been tortured in Vietnam. Die-hard Republicans critical of the Obama administration also said this was overstepping the bounds and described it as propaganda. They weren’t worried about the depictions of torture so much as concerned that the film would boost the Obama administration’s reputation.

So these two very different groups joined ranks and protested the film. When it went up for an Oscar, it became a bit of a political hot potato and ultimately did not win Best Picture. You’re right though, it was presented as a respectable, high quality, high concept film that could very well have gone the distance had there not been the political controversy.

One of the by-products of the controversy though, and this has only happened a few times, was that it forced people to acknowledge the existence of the Pentagon’s Entertainment Media Office.

RP: Could you speak about the movie Godzilla and how the original version, which was conceived of as a warning about the dangers of nuclear war, and what the latest version of this film has now been transformed into?

RS: It is useful to step back and look at how nuclear weapon proliferation and stockpiling has been normalized by Hollywood and the Pentagon over the years. Godzilla is a good example. You’re right that since the first movie in the ’50s, the franchise has been a critique of the bomb and nuclear proliferation, which is one reason why there has been no Pentagon support all the way through to 2014.

Godzilla (2014)

It’s not the only reason. There was a version made in 1998, which starred Matthew Broderick. In that movie the military are a bit like the Keystone Cops. They fire missiles at Godzilla but miss and take down the Chrysler Building. The military don’t look good and so the entertainment office objected and denied assistance.

The military did fully support the 2014 version of Godzilla, though, which showed them in a heroic light. More importantly, it turned the anti-nuclear narrative on its head. The military took out references to Hiroshima, and suddenly nuclear weapons are part of the solution to the monster problem. This was a huge PR victory for those intent on holding us all hostage to an accidental Armageddon.

The military denied help to the producers of the next version of the film in 2019. We don’t know the exact reason—maybe there was less of a heroic role—but the tragic thing is that the narrative of “nukes save the day” persisted.  That’s after just one intervention by the DoD.

RP: I remember the shooting of Stanley Kramer’s anti-nuclear film On the Beach in Melbourne, which is about US sailors stationed in Australia following a devastating nuclear war between the US and the Soviet Union. How did the DoD react to that film?

On the Beach (1959)

RS: We didn’t deal with On the Beach in the documentary, but I’m glad you bring it up. The Navy did not have a problem with the portrayal of the military or the officer corps per se, but they hated the suggestion that the US was on a hair trigger and potentially responsible for a nuclear war. The military explicitly said that the film would weaken American domestic support for building up its nuclear arsenal. If they were going to help the film, they wanted it to be clear that the Soviets started the war. The filmmakers balked, so the DoD ultimately denied support to On the Beach. There are other movies like this. The Day After in the ’80s was rejected by the DoD for almost exactly the same reasons.

RP: What was the DoD’s reaction to Dr. Strangelove?

RS: Kubrick and his producers didn’t approach the Pentagon because they didn’t think they would get any help. And they were right. This meant the Pentagon had no influence on Dr. Strangelove, but after it was made, they successfully pressured the studio to add a disclaimer at the beginning of the film. You might remember it starts with white print across a black screen that says all the things depicted in this film are fictional and the military has safeguards in place to prevent such events—accidental nuclear war—from happening.

Stanley Kubrick had no idea that this was being done and was not happy that the studio had pulled this fast one on him. The studios caved to that kind of thing because they wanted to maintain good relations with the military.Donate to the WSWS 25 Year FundWatch the video of workers internationally explain why you should donate to the WSWS.DONATE TODAY

RP: Your documentary deals with The Long Road Home mini-series. Could you speak about that?

RS: That’s a relatively recent show about a 2004 ambush and rescue of US soldiers in Iraq. The whole thing was filmed at Fort Hood with tons of DoD help. I became interested in it because we had 400 pages of internal emails that we were able to pry loose via FOIA.

The Long Road Home (2017) [Photo: natgeotv.com]

The emails revealed that the army at Fort Hood were shaving costs to get the production company the best possible deal they could. The original bill came in at $500,000, which is a pittance to begin with, and it was shaved down after that by more than $100,000. The word that kept coming back from the entertainment office to the folks at Fort Hood was, “Call all of it training if you can.” That’s not unusual. It’s an aspect of the game that we didn’t get into in the documentary.

The show is also partly about the peace movement at home, which we did get into. And here you see in the documents that the DoD even vetted all the signs carried by the anti-war protesters portrayed in the show. A list of the slogans was sent to the DoD for approval.

As we were looking into these documents, I noticed that Duncan Koebrich, a veteran who was wounded in the Sadr City ambush, had been posting on social media about how much he hated the show.

I got in touch with him and wanted to know why. Was it just aesthetics or did they screw up the story? He hooked me up with other friends from the unit who also had similar reservations. One of those was Travis Walker. My initial idea was for all of us to visit the site at Fort Hood where they filmed the show, a repurposed urban combat training facility. Crazily enough, this is where the vets had trained before they shipped out to Iraq. Now it was being used to restage their story. But alas, Fort Hood wouldn’t let us in without permission from—guess who?—the entertainment office.

Iraq War veterans, Duncan Koebrich (left) and Travis Walker. [Photo: Theaters of War]

The vets said that the ambush had been an embarrassment to the leadership for a long time, a strategic blunder and also a sign of blatant disregard for their own troops. The higher-ups made decisions that antagonized the local population, for example, and at the same time made little attempt to provide soldiers with basic body armor and armored vehicles. After the ambush, the military leadership was so anxious about the public reaction at home that it instituted a communications lockdown. Wounded and dying soldiers could not call their families.

The show ignores all of this and instead presents its own counter-narrative. There’s an entire scene of wounded veterans calling their loved ones at home right away. That’s not a discrepancy that we included in the documentary, but it was an indicator to me that something was up.

The doc does tell the story of Lieutenant Colonel Gary Volesky, though. He was in charge when the ambush went down. In real life, he stayed at headquarters. In the show, though, he’s on the front line heroically fighting for his men. The vets couldn’t believe their eyes when they saw this on TV. One of them called it a blatant cover-up. I would say that it’s a lot like how Black Hawk Down rehabilitated the debacle in Somalia.

RP: You say in the documentary that Tomas Young is portrayed as being weak and cowardly, etc., which Koebrich and Walker were angry about.

RS: Yes, Young was their friend. He was wounded, paralyzed in the battle. He later became involved the anti-war movement, along with Cindy Sheehan, whose son was killed in the same incident. They both were part of the protests outside Bush’s ranch in Texas and a thorn in the side of the administration.

Tomas Young at the Capitol building in Washington DC. [Photo: Body of War (2007)]

So this is the other DoD angle in addition to covering up an embarrassing episode—discredit the peace movement. According to the vets, Young was a cool guy, but the series presents him as kind of out-to-lunch idiot who had visions of grandeur but lacked the skills to back it up. The series blames him for getting wounded. He’s under attack, and because he’s such a peacenik, he can’t pull the trigger to defend himself. He’s angry about it for the rest of his life. This was not the case, according to the vets.

Young’s real story for a decade and a half is one of heroism—of being wounded, and then, against all odds, surviving long enough to devote his life to peace and making sure other tragedies like his don’t happen again. Apparently, his message was threatening to the powers that be. The public relations machine turned his story into one of incompetence, resentment and bitterness.

RP: Your documentary concludes with a powerful description of the decades of post-war US imperialist interventions around the world and the horrendous human cost. It then argues for audiences to be told, via a warning title, when films or entertainment products are made with DoD or CIA assistance. How is this to happen given that you’re dealing with a massive and ruthless apparatus?

RS: Good question. Well, short of abolishing the office, the least we can do is mandate that filmmakers put such a notice at the beginning of the film. And in our dreams, we’d love a policy that forces the automatic release of the documents.

Of course, your skepticism is warranted. Even if Congress enacted such a policy, the DoD and CIA would likely find some loophole or a way of dealing in the backroom and not putting anything in writing. You’re absolutely right about that. They’re already pulling legal tricks to exempt themselves from having to make these documents available. Quite often, they’ll block access, supposedly to protect trade secrets in the film and television industry.

Some things could be done in the courts. With decent legal representation, we could fight the stonewalling and get our hands on more documents. Also, it would be great if someone brought a case against the entertainment office for censorship or propaganda. There are DoD and Defense appropriations provisions that explicitly prohibit both. They could be tested. Any pro bono attorneys out there want to take it on?

If I sound optimistic, it’s because I am. One of the things that intrigues those of us who study this is how hard the office has worked to keep the lid on over the years. You see it in the documents. And that means that letting in even a little sunlight can set off big changes.

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https://archive.ph/AR7by

Detection of the Universe’s Gravitational Waves (17:32 min) Audio Mp3

Count what is countable, measure what is measurable, and what is not measurable, make measurable”—attributed to Galileo Galilei

The detection of a predicted universal background of gravitational waves rippling across the fabric of space-time was announced last Wednesday by the NANOGrav consortium of over 190 scientists at more than 70 institutions. Like the very first detection of gravitational waves themselves, made just eight years ago, it represents a triumph of mankind’s increasing technical mastery of the natural world.

The 2015 experimental discovery of gravitational waves targeted “high frequency” waves produced by merging compact objects weighing around the mass of heavy stars, whose oscillations have periods in the range from a fraction of a second to several seconds. This week’s announcement, using an entirely different technique, probes a very different frequency range of waves whose periods range from months to decades. In doing so, it probes a very different set of physical phenomena but confirms the same underlying physical principle, that matter in motion also sets space-time into rippling motion.

The NANOGrav discovery builds upon decades of work in opening gravitational radiation as a new window into probing the universe and some of its most exotic elements and builds atop a great edifice of physics whose foundation was laid in the opening years of the 20th century by Albert Einstein in his theories of Special and General Relativity. That such a large consortium and such an immense undertaking could be confidently assembled and brought to fruition is itself a validation of the materialist conception of nature and the harmonious and comprehensive achievements in physics over the past two centuries.

To properly explain this week’s announcement requires a digression into the history of gravitational waves and their background. Einstein carried to its natural conclusion the idea of Nicolaus Copernicus (1473-1543) that the Earth was not the center of the Universe: he modified and extended the tremendously successful physical theories of Isaac Newton (1642-1727) so that they had no presumption of any special “center” or reference frame from which physical laws emerged. To make the unification, he had to integrate time itself in a fundamentally new way into the mathematical fabric on which physical laws of motion were built. With his General Relativity of 1915, he additionally incorporated curvature into this fabric to describe the motion of bodies acting under the influence of gravity.

A common summary of General Relativity is that matter tells space how to bend and bent space tells matter how to move. But behind this simple explanation lies fiendishly difficult mathematics and predictions once thought so exotic that some felt they would forever remain an exercise in pure thought.

General Relativity and astronomy

The impact of Einstein’s theory and the equally transformative introduction of the new Quantum Mechanics into physical law wrought a qualitative reformation in astronomy. Oddities were already piling up: a new class of object, the “white dwarf,” had by 1914 already stretched physical conceptions based on prior knowledge to their limits. The physicist Arthur Eddington would write in his Stars and Atoms of 1927:

We learn about the stars by receiving and interpreting the messages which their light brings to us. The message of the companion of Sirius when it was decoded ran: “I am composed of material 3,000 times denser than anything you have ever come across; a ton of my material would be a little nugget that you could put in a matchbox.” What reply can one make to such a message? The reply which most of us made in 1914 was—“Shut up. Don’t talk nonsense.”

And yet only three years later in 1930 the physical nature, drawing from both Relativity and Quantum Mechanics, of such “white dwarf” stars would be worked out by Subrahmanyan Chandrasekhar, and a limit to their mass derived. And four years following that, even more exotic objects would be hypothesized.

The discovery of the atomic nucleus in 1906 by Ernest Rutherford had revealed the astonishing truth that most of the mass of an atom was localized in its very compact nucleus: and that most of the atom itself was empty space. Rutherford aimed high-speed helium atoms (called alpha particles) at a very thin foil of gold. Most passed through unaffected or with only the slightest deviation. But for a few, Rutherford would later recount, “It was quite the most incredible event that has ever happened to me in my life. It was almost as incredible as if you fired a 15-inch shell at a piece of tissue paper and it came back and hit you.” Those alpha particles had made rare hits on the tiny gold nucleus and bounced back, revealing the concentration of mass inside the atom. That most passed through undeflected revealed that most of the space inside the atom was empty.

And so, in 1934, Fritz Zwicky would hypothesize an even more exotic object, the “neutron star” (just two years after the discovery of the particle whose name it bore), in which the empty space of atoms was eliminated, and the entire star was at the density of the matter of the atomic nucleus. In it, the density was not a mere 3,000 times higher than anything ordinary, but yet another millionfold higher, such that a tablespoon’s volume would have similar mass to Mount Everest. By the end of the decade, physicists had made the first calculations of the structures and limits on such stars. Zwicky correctly surmised that the violence of rare supernovae explosions would necessarily involve energies and densities out of which such exotic objects could emerge, though none immediately saw any prospects for their detection.

But astronomy marched forward. The century saw the expansion of the range of telescopes from visible light to the longer wavelengths of radio (and eventually to all wavelengths of the electromagnetic spectrum), and one fruit of this labor was the detection of peculiar radio sources that chirped with astonishing precision and that would come to be known as “pulsars.”

Artist’s rendering of a pulsar – a rapidly rotating neutron star that emits a beam of radiation that passes the Earth once every rotation. This results in the appearance of a pulsating star, hence the term pulsar. [Photo: Illustration by Olena Shmahalo for NANOGrav]

The first, detected by Jocelyn Bell in 1968, was so novel in this periodicity that Bell scribbled next to the peaks on the strip chart showing radio emission the letters “LGM?”—wondering whether alien intelligence or “little green men” were its authors. Once searches were targeted for such objects, many more followed; over 3,000 are now known. And with them, physicist Thomas Gold would make a compelling case that these were in fact Zwicky’s neutron stars, but with a twist: the magnetic fields which had once threaded their parent star had been compressed by the same factor as the neutron star itself, intensifying them billionfold or more (in some cases more than a quadrillion) over the magnetic field that orients compasses on the Earth. These magnetic fields, locked into the rapidly spun up neutron stars (whose spin also increases during their compression), would generally lie at some offset from the rotation axis, creating the effect of a lighthouse whose rotating beam periodically announced itself as the neutron star.

And finally, only months after Einstein’s publication of his theory of General Relativity, the physicist Karl Schwarzschild, working on the German front with Russia in World War I in 1916, would produce the first exact mathematical solution to Einstein’s equations of General Relativity, and die only months later at age 42 from illness exacerbated by his time in the trenches. Schwarzschild’s work predicted the existence of an even more exotic object, one in which the density of matter had grown beyond the ability of space-time to support it, with it folding up into a “black hole” in space-time itself, possessing mass and a type of one-way horizon, but little else. And yet motivated by Bell’s 1968 discovery and Gold’s identification of it as a neutron star, by 1971 several astronomers would independently make the case that another source, Cygnus X-1, identified by new space-borne x-ray telescopes, was the first identified astrophysical black hole.

Gravitational waves

That the mathematical framework of General Relativity admitted “wave-like” solutions rippling across their description of space-time was evident from the start. Einstein predicted their existence only months after he developed his theory’s framework but considered them of “negligible practical effect.” But even their author changed his mind—several times!—as to whether these represented a real physical phenomenon or arose as an artifact of the mathematics, in which both matter and wave moved in lockstep and produced no tangible external action. It was 48 years later and nine years after Einstein’s death, in 1964, that the physicist Richard Feynman gave a compelling argument that the waves would actually result in the observable motion of matter, elevating them from a curiosity into something potentially measurable.

Within the decade, the first efforts to actually detect such waves permeating the Universe were made by Joseph Weber at the University of Maryland, and eventually by many small groups. But even as efforts progressed to blindly detect gravitational waves, astrophysics moved forward to better understand the population of phenomena in the universe that would create these waves, and to estimate their intensity. And it turned out that the extreme weakness of the waves, predicted by General Relativity, also made them excellent probes of the most extreme objects, whose understanding itself required the mastery of Relativity, neutron stars and black holes, in their interactions with other objects.

The results were initially demoralizing. The strongest likely waves that were forecast to routinely occur, lasting only seconds, would be expected to move matter by an almost inconceivably small amount: by a thousandth the width of an individual proton over a path length of a few kilometers. The precision inherent in such a measure is equivalent to measuring the distance to the nearest star to a fineness smaller than the width of a human hair.

But astrophysical sources would reveal their existence in another way: most stars are part of multiple systems, and the same processes that give rise to neutron stars or black holes at the end of their lifetime can occur to their companions as well, producing binary or higher systems of these compact objects. If the objects are in very tight, fast orbits, their gravitational wave emission is so energetic that it materially changes their orbits as energy is lost from the system to this radiation.

In 1974, Russell Hulse, working with Joseph Taylor Jr., discovered the first known “binary” neutron star, in which a radio-“loud” pulsar is seen to change its cadence slightly but repeatably every 7.75 hours, evidence of it orbiting very close by another compact but invisible object, now ascribed to be a second neutron star whose radio pulsations are either too faint or mis-aimed to be detectable. Analysis of the system showed that both neutron stars weigh about half again more than our Sun, yet the two, each the size of a small city, orbit one another in a volume that would itself fit inside our Sun.

Artist’s rendering of black hole binaries emitting gravitational waves. As the waves overlap, they produce a background of gravitational waves that creates a distinctive correlation pattern in the timing of pulses coming from pairs of pulsars. [Photo: Illustration by Olena Shmahalo for NANOGrav]

The observational precision possible for some measurements when you have a high-precision clock orbiting another object is astonishing. Within a short period of time, it was seen that the orbit was varying in precisely the way expected by General Relativity, another triumph for its predictive power, and that the system was shrinking from the loss of energy through gravitational wave radiation by about 3.5 meters a year (in an orbit with a close approach of about half a million miles), predicting a final inspiral and merger in about 300 million years.

Experimental discovery of gravitational waves

As the WSWS has described previously, the development of technology to confirm these predictions moved from the efforts of individual and poorly funded researchers to a coordinated international effort in the 1980s and 1990s, with the Laser Interferometer Gravitational-wave Observatory (LIGO) entering operation at an initial low sensitivity in 2002. The lack of detections in its first 13 years of operation was disappointing but not surprising: the community was well aware that its initial sensitivity would only record exceptional events.

But from the start, the project planned upgrades made possible by anticipated and commissioned technology development. An “advanced” version began operation in September 2015 with about 60 times the expected detection rate of the initial project and made its first detection during engineering commissioning even before routine scientific observations began. Since then, nearly a hundred detections have been made, with a new and even more sensitive version of the LIGO detectors entering service on May 24 of this year. What was once thought far beyond human capability is now, thanks to achievements across the sciences and the organized labor of thousands, a routine measurement.

NANOGrav—the North American Nanohertz Observatory for Gravitational Waves

The same science-based confidence and optimism that enabled decades of work on LIGO, leading to the realization of its aspirations, were at work in the building of the NANOGrav collaboration, which was assembled in 2007, eight years before LIGO would finally achieve its first success, and funded in 2010, five years before LIGO finally triumphed.

LIGO was built to probe a particular wavelength of gravitational wave, those produced through mergers of objects massing a few times to a few tens of times that of the Sun. But other astrophysical processes produce gravitational waves, and the existence of detected black holes, with masses millions to billions of times the mass of our Sun, in the centers of some galaxies shows that much larger mergers must take place in the Universe. Some large galactic mergers result in binary supermassive black holes at the centers of their galaxies, which take years to orbit one another.

Such mergers and binary black holes, despite pouring out far more energy, would be difficult or impossible to detect with LIGO because they operate on much larger timescales and produce waves of much larger wavelengths.

While much rarer, such mergers, plus the drumbeat of orbiting supermassive binary black holes, would create an overall “sloshing” of space-time just as distant storms on an ocean leave their imprint on waves crashing onto a shore. And it is possible that the detection and ultimate characterization of such long-wavelength gravitational radiation in detail may reveal yet-unknown astrophysical processes at work, or a signature of the early Universe.

NANOGrav’s technology aims at detection of gravitational waves whose timescale is not seconds but rather years or decades. Since the physical size of such a detector along the lines of LIGO would have to be of interstellar scale, other techniques must be used rather than construction. An idea put forward in the 1970s by Soviet astronomer Mikhail Sazhin and American astronomer Steven Detweiler cleverly uses objects understood by General Relativity, pulsars, as a probe of another prediction of General Relativity, gravitational radiation.

This technique, adopted by NANOGrav, uses the sightlines to dozens (now 68 and growing) of the most rapidly spinning and stable pulsars as yardsticks across cosmic distances. A passing gravitational wave would distort, over months and years, the timebase recorded from each. While individual pulsars may alter their behavior slightly due to local circumstances, a gravitational wave would act in concert on multiple sightlines, producing correlated advances and delays in the beat of their rhythms.

Artist’s rendering of an array of millisecond pulsars in our galaxy being used to search for a background of low-frequency gravitational waves permeating the Universe. [Photo: Illustration by Tonia Klein / NANOGrav]

As the consortium has expanded and more telescopes provided more simultaneous sightlines to remote pulsars, the effective sensitivity of NANOGrav has increased. The longer it operates, as well, the better it can detect the longest-period gravitational waves. The Wednesday announcement is only the opening salvo in its work, an announcement, confident, at roughly the 999 out of 1,000 level, of detecting this universal background of waves.

The expansion of astronomical work from visible light to other frequencies opened new windows onto the phenomena of the Universe. The entire electromagnetic spectrum, from gamma waves at high frequencies to radio waves at low frequencies, is the target of specialized observatories. And just as with visible light, the opening of gravitational wave astronomy to greater frequencies will also enlarge the scope of its scientific reach.

Prospects

Over the coming years, it is planned that NANOGrav’s work will move from detection to characterization and the production of a “spectrum” of the intensity of waves over a range of their lengths, from which the growing body of information on supermassive black holes can be contrasted. And as with all new experimental endeavors, there will be careful examination for surprises. If, for instance, the dark matter that comprises substantially more of the Universe than its visible counterpart exists in “clumps” and a clump would happen to pass by a cluster of sightlines, it would be detected. If exotic objects such as “cosmic strings” exist, which some extensions to our physical theories permit, their signature might be detected. And other gravitational wave observatories are being planned to bridge the immense gap between the low frequencies recorded by NANOGrav and the high frequencies recorded by LIGO.

For all the sophistication and refinements in technique since Galileo, he would have recognized NANOGrav (and LIGO) as examples of his dictum quoted at the start of this article: “Count what is countable, measure what is measurable, and what is not measurable, make measurable.” From the correspondence of experiment with theory, confidence is gained in theory. And where experiment and theory differ, signposts to the refinement of theory are provided, which themselves feed back into refinements in technique.

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https://archive.ph/ZBega

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The War We’re Finally Allowed to See – by Patrick Lawrence (ScheerPost) 1 June 2023

A woman walks amid destroyed Russian tanks in Bucha, in the outskirts of Kyiv, Ukraine, Sunday, April 3, 2022

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Let us consider the following paragraphs, which appear in the May 29 edition of The New Yorker:  

While Tynda and his team were fighting from the trench, long and powerful fusillades had issued from another Ukrainian position, on a hilltop behind them. I later went there with Tynda. In a blind overlooking the no man’s land stood an improbably antique contraption on iron wheels: a Maxim gun, the first fully automatic weapon ever made. Although this particular model dated from 1945, it was virtually identical to the original version, which was invented in 1884: a knobbed crank handle, wooden grips, a lidded compartment for adding cold water or snow when the barrel overheated…. 

In the course of the past year, the U.S. has furnished Ukraine with more than thirty-five billion dollars in security assistance. Why, given the American largesse, had the 28th Brigade resorted to such a museum piece? A lot of equipment has been damaged or destroyed on the battlefield. At the same time, Ukraine appears to have forgone refitting debilitated units in order to stockpile for a large-scale offensive that is meant to take place later this spring. At least eight new brigades have been formed from scratch to spearhead the campaign. While these units have been receiving weapons, tanks, and training from the U.S. and Europe, veteran brigades like the 28th have had to hold the line with the dregs of a critically depleted arsenal.

The piece, from which this passage is drawn, carries the headline, “Two Weeks at the Front in Ukraine” and is the work of Luke Mogelson, a magazine correspondent of a dozen or so years’ experience. Mogelson’s text is accompanied by the photographs of Maxim Dondyuk, a Ukrainian of roughly Mogelson’s age, either side of 40, whose work focuses on history and memory, topics that suggest a lot of thought goes into those 1/1000ths of a second when Dondyuk clicks his shutter.   

There are many things to think about and say as we read this piece. I will shortly have more to say about the excellence of Mogelson’s text and Dondyuk’s photographs. For now, the first thing to note is that, after 15 months of conflict, their work suggests Western media may at last begin to cover the Ukraine war properly. I will stay with the conditional verb for now, but this could mark a significant turn not only for the profession—which could use a significant turn, heaven knows—but also in public support for the U.S.–NATO proxy war against the Russian Federation. 

As astute readers will already know, apart from a few staged forays near the front lines—officially controlled and monitored, never at the front lines—correspondents from The New York Times, the other big dailies, the wire services, and the broadcast networks have accepted without protest the Kyiv regime’s refusal to allow them to see the war as it is. Content these professional slovens have been to sit in Kyiv hotel rooms and file stories based on the regime’s transparently unreliable accounts of events, all the while pretending their stories are properly reported and factual.

The exceptions here are Times correspondents such as Carlotta Gall, whose Russophobia seems reliably unbalanced enough to satisfy the Kyiv regime, and the two Andrews, Higgins and Kramer, who have an exquisite talent for stories that make absolutely no sense. It was the two Andrews, you may recall, who had the Russians shelling the nuclear power plant they occupied and, later on, bombing their own prisoner-of-war camp in eastern Ukraine.

If correspondents cannot see the war and it makes no matter to them, we will not see it either. The result, as your columnist noted a while ago, has been two wars: There is the presented war, the mythical war, and the real war. “Our current brainwashing for war is similar to that preceding other wars,” John Pilger, the journalist and filmmaker, wrote in a Tweet the other day, “but never, in my experience as a war correspondent, as unrelenting or bereft of honest journalism.”

This is what makes Mogelson’s file so startling. In its graphic honesty it is a major step on from the gruel of propaganda corporate media have fed us since the Russian intervention began in February 2022. Those three Times correspondents just mentioned? They all have many years’ experience on Mogelson. None of them could change his typewriter ribbon, as we used to say.

Mogelson and Dondyuk spent two weeks this past March with a Ukrainian infantry battalion as it fought in trenches “at a small Army position in the eastern region of the Donbas, where shock waves and shrapnel had reduced the surrounding trees to splintered canes.” This was just outside a village south of Bakhmut, the much-embattled city lately lost to Russian forces. I have no doubt these two journalists were officially embedded with the high command’s approval. That is the way the Kyiv regime is running this war. But, for whatever reason—and I will get to this question in a sec—there is no whiff of inhibition or self-censorship in either the reportage or the photographs. Both are raw, unflattering, as unforgiving as the scenes they depict:

By the time I joined the battalion, about two months had passed since it had lost the battle for the village, and during the interim, neither side had attempted a major operation against the other. It was all the Ukrainians could do to maintain the stalemate. Pavlo estimated that, owing to the casualties his unit had sustained, eighty percent of his men were new draftees. “They’re civilians with no experience,” he said. “If they give me ten, I’m lucky when three of them can fight.”

We were in his bunker, which had been dug in the back yard of a half-demolished farmhouse; the constant rumble of artillery vibrated through the dirt walls. “A lot of the new guys don’t have the stamina to be out here,” Pavlo said. “They get scared and they panic.” His military call sign was Cranky, and he was renowned for his temper, but he spoke sympathetically about his weaker soldiers and their fears. Even for him, a career officer of twenty-three years, this phase of the war had been harrowing.On a road that passed in front of the farmhouse, a board had been nailed to a tree with the painted words “to moscow” and an arrow pointing east. No one knew who’d put it there. Such optimistic brio seemed to be a vestige of another time.

Mogelson then introduces us to others in the battalion:  

Just two of the soldiers who were rebuilding the machine-gun nest had been with the battalion since Kherson. One of them, a twenty-nine-year-old construction worker called Bison—because he was built like one—had been hospitalized three times: after being shot in the shoulder, after being wounded by shrapnel in the ankle and knee, and after being wounded by shrapnel in the back and arm. The other veteran, code-named Odesa, had enlisted in the Army in 2015, after dropping out of college. Short and stocky, he had the same serene deportment as Bison. The uncanny extent to which both men had adapted to their lethal environment underscored the agitation of the recent arrivals, who flinched whenever something whistled overhead or crashed nearby.

“I only trust Bison,” Odesa said. “If the new recruits run away, it will mean immediate death for us.” He’d lost nearly all his closest friends in Kherson. Taking out his phone, he swiped through a series of photographs: “Killed . . . killed . . . killed . . . killed . . . killed . . . wounded. . . . Now I have to get used to different people. It’s like starting over.”Because the high attrition rate had disproportionately affected the bravest and most aggressive soldiers—a phenomenon that one officer called “reverse natural selection”—seasoned infantrymen like Odesa and Bison were extremely valuable and extremely fatigued. After Kherson, Odesa had gone awol. “I was in a bad place psychologically,” he said. “I needed a break.” After two months of resting and recuperating at home, he came back. His return was prompted not by a fear of being punished—what were they going to do, put him in the trenches?—but by a sense of loyalty to his dead friends. “I felt guilty,” he said. “I realized that my place was here.”

Reporting and writing of this caliber makes Mogelson look the dazzling star next to the correspondent-reenactors in their Kyiv hotel rooms. But for my money he also keeps pace with a lot of standout names from the past. I see in his copy a little Dexter Filkins, a little Bernard Fall, a little Michael Herr, a little Martha Gellhorn, and I’ll go so far as to say a little Ernie Pyle. As for Dondyuk’s pictures, the way they leap off the page brings to mind Tim Page, Horst Faas, Robert Kapa, and some of the other great war fotogs of their day. If this piece portends a turn or return (however you want to think of it) to reporting with some integrity to it, the project could not have got off to a better start. But let us stay with “if” for now. 

There are at bottom two kinds of journalists: There are the analysts, as I call them, who add an interpretive dimension to their coverage—understanding in addition to knowledge. And there are the reporters, empiricists in the just-the-facts vein who stay close to the ground and do not much dolly out for any kind of larger take. Mogelson is of this latter type. Reporters of his sort invite us to infer from what they tell us. What shall we infer from superbly tactile, eye-of-the-camera reportage?

Luke Mogelson is not telling us about an army on the way to victory—or an army that pretends to itself it is on the way to victory, or one that wants the world to think it is on the way to victory. There are no battlefield successes, no advances, no high expectations in Mogelson’s story. There is “holding the line,” although few seem to hold, and there is staying alive. This is a story more given to severe attrition among soldiers waiting for the end and wondering how distant in time the end will prove. 

In Mogelson’s writing we meet conscripts sent to the front after little or no training. He describes one man who was kidnapped on a city sidewalk and was under Russian fire three days later. Paralyzing fright, exhaustion, demoralization, desertions, a sort of Beetle Bailey incompetence—these are rampant among the green draftees that now make up the majority of the AFU’s infantry. They fight with Vietnam-era vehicles shipped from the U.S., or muzzle-loaded mortars long out of production, or Soviet-era weapons left over from the pre–1991 days—and, withal, too little ammunition for this kind of matériel to make any difference at all. 

A 1945 Maxim gun of 1884 design? Jeez. Mogelson is right to question, if too briefly, where may be all the weapons the U.S. and NATO allies are shipping into Ukraine. A great number of them have already been destroyed, he reports, which comes as no surprise. Being as close to the scene as he put himself earlier this spring, he would have done well to tell us something about the greedheads who run the regime and the military as they sell shocking amounts of arms into the black market as soon as they arrive across the Polish border. 

At one point Mogelson and Dondyuk spend a day in a dugout with a seasoned sergeant named Kaban and a 19–year-old codenamed Cadet, so young he hasn’t lost his baby fat. “Later, Kaban entertained us with stories about his past romantic escapades,” Mogelson recounts, “and Dondyuk, the photographer, asked him whether he’d imparted any lessons to Cadet.

 “‘There’s no point,’” Kaban said. “‘He’ll be dead soon.’

“Cadet laughed, but Kaban didn’t.”

These are the voices of the war Mogelson tells us about. Can’t you just cut the anxiety in Cadet’s laugh with a knife? 

I have to mention some wonderful touches in Mogelson’s report because they are superlative writing of the kind that is too rare these days. Of the soldier firing that Maxim gun: “The gun’s operator, a rawboned soccer hooligan with brass knuckles tattooed on his hand, spoke of the Maxim like a car enthusiast lauding the performance of a vintage Mustang.” Describing an unwieldy personnel carrier of Vietnam vintage, Mogelson tells us: “It looked like a green metal box on tracks… The maxed-out machine sounded like a blender full of silverware.”

Did Gellhorn do any better as she covered of the Spanish Civil War for Colliers?

Mogelson shows us the war a few independent journalists have written of but a war we have not heretofore read about in mainstream media. This is the war the propaganda machine has kept from us. And now we know that what correspondents reporting for independent media have been describing is by and large the war as it is. Among much else we can now see the obvious indifference the Kyiv regime and its Western backers display for those doing the fighting—who, Mogelson tells us, are now working-class Ukrainians, the more privileged having dodged the draft or otherwise avoided service. 

Mogelson reported this piece in March, and we can justly assume conditions on the front line of this war are now three months’ worth of worse. His report makes me want to bang my shoe on the table, Khrushchev-style, in equal measure for the disgraceful conduct of mainstreamers reenacting the work of correspondents, for the senseless loss of Ukrainian lives in the service of the presented war, and for the AFU soldiers—veterans and the untrained draftees they command—who the Kyiv regime has not quite but nearly abandoned. 

The obvious question is why this piece appears now in The New Yorker, a magazine thoroughly committed to every liberal orthodoxy you can think of, including the wisdom of this war and the certainty of an AFU victory. Hell broke loose last year, you will recall, when Amnesty International and then CBS News lifted the lid on the realities of the Ukraine conflict. What is different now?

This is hard to say. But the larger picture suggests publication of this eye– and mind-opening piece reflects a creeping recognition in all sorts of places—among the policy cliques, at the Pentagon, in corporate media—that Ukraine is not going to win this war and the time has come to prepare for this eventuality. The new drift on the vaunted counteroffensive is that it is not going to make much difference. There is more talk now about the conditions necessary to begin negotiations. NATO officials, per Steven Erlanger, The Times’s Brussels correspondent, are now thinking about doing in Ukraine what the allies did in postwar Germany: Divide it such that the west joins the alliance and the east is left to the East, so to say.

Mogelson’s intent, surely, was to do good work, full stop, and he has. But read in this larger context, its publication looks to me the start of an effort to get all those people with blue-and-yellow flags on their front porches ready for a dose of the reality from which they have been shielded all these months. The Wall Street Journal, the New York Post, Business Insider, Forbes: They have all recently run pieces not nearly as good as Mogelson’s but in the let’s-get-real line. 

If I am right, the real war and the presented war will eventually be one. About time, I would say. Not that mainstream media are about to ’fess up to their sins and disgraces in their pitiful coverage of this war.  They never will. Let us not get carried away on this point. 

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Source

Le Camps des Saints – Audiolivre Sample (10:03 min) Audio Mp3

Le Camps des Saints – Audiolivre Sample (10:03 min) Audio Mp3

After hearing references to this 1970’s speculative fiction novel where a large number of Third World migrants want to come to Europe I say someone mention the work on Twitter in response to North African youth in immigrant communities rioting in July 2023. So I looked the work up. Almost $500 for an English translation hardcover book. That’s my native language, but when I saw the French text online on Kindle for $17 I got that version, which is the original language anyway.

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A view online

“This ill-reputed narrative of the invasion of France by filthy outcaste masses from India has been reprinted several times since its publication in 1973 and seems to be going stronger than ever. Recently Steve Bannon called the recent migrations from Middle Eastern countries a ‘Camp of Saints’ type of thing”. Commonly ragarded as a racist tract, this book is actually rich in ideas and says more about the West than the East.“I had no idea this Steve, eh, Bannon existed at all,” the author said recently in an interview with Tablet magazine. “… a French journalist had me listen to what Bannon said about me the other day. I must say I was stunned. … I don’t know this character and he has understood The Camp of the Saints. He has said that reading it made him see what should be done. Isn’t it extraordinary?”

The Camp of the Saints is about the decadence of the West. Author Jean Raspail, a conservative Catholic, sees the problem as a loss of stable values and order. The basic narrative is Revelations 20:9: “And when the thousand years are ended, Satan will be released from his prison, and will go forth and deceive the nations which are in the four corners of the earth, Gog and Magog, and will gather them together for the battle; the number of whom is as the sand of the sea. And they went up over the breadth of the earth and encompassed the camp of the saints and the beloved city.” In the novel, Satan is “the dung man” a preacher who leads the Indian outcaste class (the nations in the four corners of the earth) to conquer the camp of the saints (the West). On his shoulder he always carries his offspring, the “monster child”: “at the bottom, two stumps, then an enormous trunk, all hunched and twisted; no neck but a kind of extra stump, a third one in place of a head … and a mouth that was just a flap of skin over his gullet.” His huge impoverished rabble has enough collective resources to commandeer a hundred rusted steamers plus provisioning and coal to bring these outcasts from India to the West, which turns out to be the south of France.

The proximate cause of this is the dung man’s preaching. The author comments “The world is controlled, so it seems, not by a single specific conductor, but by a new apocalyptic beast, … one that in some primordial time, must have vowed to destroy the Western World.” The monster child, evidently in touch with this beast, communicates with his father by eye-flashes and grimaces. Oddly the dung man sees an “atheist philosopher”, Ballan, as a redeemer who can save him. Meeting Ballan on a crowded Calcutta pier, the dung man pleads “Please take us with you … Please.” Ballan replies “Today’s the day, my friend. We’ll both be in paradise, you and I.” Ballan muses, “Seriously, God, is this your idea?” Shortly afterward, the stampede onto the ship knocks him overboard; his last thought before drowning is regret for rejecting the West.

At the beginning of the sixty day voyage, European opinion is divided concerning the migration. Missionary doctors and clergymen admit they have encouraged it and are vaguely gratified to be carried along by a grand revolution. Among the media “ ..[There was] no lack of clever folk, willing from the start, to spread endless layers of verbal cream, spurting thick and unctuous from the udders of their minds. … Eternal France, in keeping with time-honored custom, owed it to herself to stand up, solo, and squeal out sublime and noble notes of love.” Grandest of the rhetoricians is Orelle, a government official who has won a literary prize, who intones: “All the privileged nations must stand up as one, must lend a solemn ear to the eternal question, ”Cain, where is Abel thy brother?” Among the journalists, there is a race activist, Dio, who has made a career of blowing up minor racial incidents into scandals. There is an impoverished, alert, skeptical fellow, Machefer, who asks embarassing commonsense questions of the idealists. There is Durfort, a noisy and brainless idealist-leftist. There is Vilsberg, whose favored pose is as Deep Thinker who can never make up his mind. The idealists and activists (Dio and Durfort) make lots of money while Machefer just scrapes along, but he at least is devoted to truth and common sense. Their incessant quarrels add some fun to this otherwise gloomy narrative; I thought of ‘Bonfire of the Vanities.’

As for the common man, we see workingfolks Marcel and Josiane hearing Durfort asking the people to take the “refugees” into their homes. Marcel (drill-press machinist at an auto plant) is outraged. But the author realizes that going to the people has limitations. “Marcel is the people, his mind is their mind, half Durfort and half suede [i.e. luxury], not exactly the most compatible couple, but getting along by and large. And the people won’t lift a finger to help. Not in either direction. … Marcel isn’t any less bright than his forbear the serf. But the monster has eaten away his brain, and he never even felt it. No, Marcel won’t go running to man the ramparts against the Ganges horde … Let the troops fight it out among themselves. And if they turn tail and run, it’s not up to Marcel to bring up the rear … He’ll sit by and watch today’s forts being sacked, He’ll let them all go.”

French public opinion begins to turn to self-destructive after Dio publishes a long article, “Civilization of the Ganges”. “Arts, letters, philosophy …” Here were “all the wonders that the Ganges had bestowed on us already … how could we manage without these folk any longer!” – The Pope publishes tear-jerking messages. Socially-minded bishops call for something in spirit of Vatican III. The International Ganges Rescue Commission is formed from old hands with UNESCO and UNICEF — “veterans in the rat race to gnaw the UN cheese”. The change in attitudes is overwhelming when Australia is vilified as racist simply for pointing out its right to exclude foreigners. Disgrace pours down on skippers on other ships that pass the migrants by. The fleet appears ready to pass through the Red Sea to Egypt, but when an Egyptian navy ship lobs a shell just above it, while the dung man and his monster child are on the bridge. This is enough to make the fleet change course and head around the Cape of Good Hope. The waters remain unbelievably calm throughout the long ocean trek. A storm comes up but the ships miss it only by a few hours. (The beast is on the migrants’ side.) Sufficient hints are planted to make the ending clear well in advance.

Despite appearances, The Camp of the Saints is not about race, but about the problem of assimilating the foreigner. There are billions of people for whom dung is a vital product for brickmaking, fuel and fertilizer, so it’s intimate in their lives. The question is how we deal with the two facts: world population is increasing rapidly, and there are so many people in the world whom we really don’t want to live with. What to do? The problem is of course compounded when there are memories of conquest and subjection. Practically every people has been under subjection at some time and held other peoples under subjection at other times, but few are willing to face facts in their entirety. No matter what you would include in a proposed solution, national boundaries are essential. Once we acknowledge the point, there is the further question of what to do when due to political pressures many people are enabled to get in who according to reasonable standards of civilized behavior should not have been let in. But now we have entered a strictly political realm. Like the author of this book I should know when to stop.
………………
Racism is Irrational but Cultural Suicide is a Death Wish for our Children and Grandchildren.

“… the incredible fleet from the other side of the globe, the rusty, creaking fleet that the old Professor had been eying since morning. The stench had faded away at last, the terrible stench of latrines, that had heralded the fleet’s arrival, like thunder before a storm”.
And so the tale created by Jean Raspail in 1973 titled “The Camp of the Saints” begins.

The book in and of itself is not so extraordinary as a fictional account, although well written and demanding of attention through its recreation of a reality some never thought would happen. It is the reality today that makes this book so compelling, as it stands between news reports we read, see and hear and a prophecy we try to see through the mist and clouds of the future. While I read this book many years ago, it is the current events that cause me to now write this review. What makes the book grapple with your mind is it’s picture of what we see unfolding before our eyes today. More and more of this fiction comes into our lives and becomes reality, both for those who come fleeing to our world of Western Civilization and us who live there fearing it will disappear.

While the book is set in racial geographic tones as an invasion masquerading as migration, it conveys a very real biological reality that the conduct, culture and well being of our fellow human beings varies as much or perhaps more than it remains the same around our globe. Yes, our bodies and genetics are mostly the same, but our experiences and way of life are certainly not. Values and expectations may be significantly impacted by the world we face and grew up in. The fear that haunts this book is not the obvious racial difference between those of Caucasian biology and those of other genetic heritage. It is self evident that human beings must be judged individually as to what they are and are not. Those who presume that skin, eye and other facial features define the ability, values and capacity of an individual are blind to the truth of the world we live in and our human history. The fact that such blindness has been a part of human development since the beginning of humanity, does not it any way lesson the truth that we have learned each man must be judged according to what he is in all respects and what he has made of himself as an individual. This principle is beyond question if we are to make rational judgments about each other. Any standard other than measurement of individual accomplishment and judgment fails when applied for any purpose in daily life.

Equally so, as the Raspail book so clearly portrays, is the extraordinary cultural difference between many peoples and that the only way to maintain a Culture and Civilization that you value and want is to defend it against the opposing human conflicts for domination and control of our world. This Raspail book, using fiction, hallmarks a stark confrontation and truth that no human civilization can survive unless it chooses, defends and values itself . People kill, torture, enslave and destroy each other with regularity. In the long view of human history war and competition for resources defines a part of the human experience and such battles and killing is what, in part, has brought us to what we are today, for better or worse.

Raspail’s fiction becomes a stark choice between giving up the Culture and Beliefs of what your ancestors so sacrificed for us to have today or accepting a deceiving dream that we are all the same when Culturally we most certainly are not. It is better to live than die and accepting the reality of the biology of this world in a necessity to survive in it.
If you have not yet read this book, do it and see a glimmer of warning in the biology of what we are and must accept. While some in Europe and the United States may not kill unarmed invaders and so die themselves, I have no doubt that the Chinese and Russians, if after failing to stop such an invasion by non-lethal means, would take the next step to protect themselves and their families An interesting dichotomy and a terrible choice.”