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Noam Chomsky: Occupy The Future

In These Times published an essay adapted from Noam Chomsky’s talk at Occupy Boston on Oct. 22. Chomsky’s speech was part of the Howard Zinn Memorial Lecture Series sponsored by the encampment. It’s a must read:

Delivering a Howard Zinn lecture is a bittersweet experience for me. I regret that he’s not here to take part in and invigorate a movement that would have been the dream of his life. Indeed, he laid a lot of the groundwork for it.

If the bonds and associations being established in these remarkable events can be sustained through a long, hard period ahead, victories don’t come quickly, the Occupy protests could mark a significant moment in American history.

I’ve never seen anything quite like the Occupy movement in scale and character, here and worldwide. The Occupy outposts are trying to create cooperative communities that just might be the basis for the kinds of lasting organizations necessary to overcome the barriers ahead and the backlash that’s already coming.

That the Occupy movement is unprecedented seems appropriate because this is an unprecedented era, not just at this moment but since the 1970s.

The 1970s marked a turning point for the United States. Since the country began, it had been a developing society, not always in very pretty ways, but with general progress toward industrialization and wealth.

Even in dark times, the expectation was that the progress would continue. I’m just old enough to remember the Great Depression. By the mid-1930s, even though the situation was objectively much harsher than today, the spirit was quite different.

A militant labor movement was organizing, the CIO (Congress of Industrial Organizations) and others, and workers were staging sit-down strikes, just one step from taking over the factories and running them themselves.

Under popular pressure, New Deal legislation was passed. The prevailing sense was that we would get out of the hard times.

Now there’s a sense of hopelessness, sometimes despair. This is quite new in our history. During the 1930s, working people could anticipate that the jobs would come back. Today, if you’re a worker in manufacturing, with unemployment practically at Depression levels, you know that those jobs may be gone forever if current policies persist.

That change in the American outlook has evolved since the 1970s. In a reversal, several centuries of industrialization turned to de-industrialization. Of course manufacturing continued, but overseas, very profitable, though harmful to the workforce.

The economy shifted to financialization. Financial institutions expanded enormously. A vicious cycle between finance and politics accelerated. Increasingly, wealth concentrated in the financial sector. Politicians, faced with the rising cost of campaigns, were driven ever deeper into the pockets of wealthy backers.

And the politicians rewarded them with policies favorable to Wall Street: deregulation, tax changes, relaxation of rules of corporate governance, which intensified the vicious cycle. Collapse was inevitable. In 2008, the government once again came to the rescue of Wall Street firms presumably too big to fail, with leaders too big to jail.

Today, for the one-tenth of 1 percent of the population who benefited most from these decades of greed and deceit, everything is fine.

In 2005, Citigroup, which, by the way, has repeatedly been saved by government bailouts, saw the wealthy as a growth opportunity. The bank released a brochure for investors that urged them to put their money into something called the Plutonomy Index, which identified stocks in companies that cater to the luxury market.

“The world is dividing into two blocs, the plutonomy and the rest,” Citigroup summarized. “The U.S., U.K. and Canada are the key plutonomies, economies powered by the wealthy.”

As for the non-rich, they’re sometimes called the precariat, people who live a precarious existence at the periphery of society. The “periphery” however, has become a substantial proportion of the population in the U.S. and elsewhere.

So we have the plutonomy and the precariat: the 1 percent and the 99 percent, as Occupy sees it, not literal numbers, but the right picture.

The historic reversal in people’s confidence about the future is a reflection of tendencies that could become irreversible. The Occupy protests are the first major popular reaction that could change the dynamic.

Continue reading Chomsky’s analysis of the international arena at In These Times

Part II and Part III of Noam Chomsky at Occupy Boston

Posted by Richard Metzger | Leave a comment
A young and glamorous Lou Reed talks about Jimi Hendrix
01:42 am

Pop Culture

Jimi Hendrix
Lou Reed

Here’s a reminder of just how cool Lou Reed can be. Consider it a palate cleanser for the shit sandwich that is Lulu.

I think this is from the mid-70s. Anybody know?

Update 11/1: The clip is from Jimi Hendrix directed by Joe Boyd and John Head in 1973. Thanks to DM reader Steve.

Posted by Marc Campbell | Leave a comment
Undercover cops outed at Occupy Oakland

Ouch. I’m curious if these guys were in uniform or not when the rock throwing started, aren’t you?

Maybe they were just protesting when they were off work? Yeah right….

It’s like they didn’t even try…

Thank you kindly, Frank!

Posted by Richard Metzger | Leave a comment
If U.S. land were divided like U.S. wealth
03:18 pm

Class War


Not much to comment on here is there?

Via Crooks and Liars

Posted by Richard Metzger | Leave a comment
‘Little Malcolm’: George Harrison’s lost film starring John Hurt and David Warner

A “lost” film produced from “top to bottom” by George Harrison, has been rediscovered and released on DVD by the British Film Institute. Little Malcolm was made in 1973, and starred John Hurt, David Warner,  John McEnery, Raymond Platt and Rosalind Ayres. Based on the play Little Malcolm and His Struggle Against the Eunuchs by David Halliwell, it was Harrison’s first film as producer, and one that was thought long lost, as director by Stuart Cooper explained in an interview with the Guardian:

“George never said this to me,” says Cooper, “but I definitely got the feeling that Little Malcolm may have been the first and last time George ever went to a play. But he was a big, big fan of it and also a big fan of [its star] Johnny Hurt, so he was in our corner already. Also, at the time, the other Beatles all had a film gig, John had done Imagine, Paul, I guess, directed Magical Mystery Tour, and Ringo was in Candy and The Magic Christian. So the only one without a film gig was George. He financed Malcolm through a company called Suba Films, which existed solely to receive profits from the animated Yellow Submarine. It was financed entirely by Yellow Submarine! It wasn’t a big budget, somewhere around a million, million and a half pounds – not expensive. He financed it top to bottom. He stepped up, wrote the cheque, and we made the movie.”

Little Malcolm is the story of Malcolm Scrawdyke (Hurt), a delusional Hitlerite revolutionary, who plots his revenge after his expulsion form college, by forming the Party of Dynamic Erection, with fellow slackers, Wick (McEnery), Irwin (Platt) and Nipple (Warner). Malcolm’s battle is against an unseen enemy, and the film is a mix of Young Adolf meets Baader-Meinhof via Billy Liar.

Halliwell wrote Little Malcolm in 1965, it was his first and most successful play. Directed by Mike Leigh, the role of Malcolm was originally played by Halliwell, who explained his thoughts behind the drama at the time:

“The Nazis made a big impression on people of my age, they almost destroyed Europe. But as well as being pretty threatening they were also seen as a laughing stock even during the war.”

The play’s director, Mike Leigh had a different view of Halliwell and the production, as he wrote for Halliwell’s obituary in 2006:

David Halliwell was a loner. He lived alone and, typically, it seems he died alone. Indeed, his eponymous loner, Little Malcolm Scrawdyke, was in many ways a self-portrait, although David always denied this. Having met at Rada and become close friends, he and I founded Dramagraph with Philip Martin in 1965, and I directed and designed our original production of Little Malcolm at Unity Theatre. David played Scrawdyke. He was impossible to direct, resisted cuts, and the production was famously overlong and unwieldy. But it was and remains a magnificent piece of writing, and it is truly tragic that this quite brilliant and original dramatist procrastinated for the remaining 40 years of his life.

Halliwell didn’t really procrastinate, he was a prolific writer, who, as Michael Billington also pointed out:

...pioneered the idea of lunchtime theatre and multi-viewpoint drama and left his mark on several close collaborators, including Mike Leigh.

Unfortunately, through his determination to do things his way, Halliwell never fully developed his ideas, and as Billington noted, “Halliwell suffered the fate of the pioneer whose ideas are refined and improved by later practitioners”.

Originally Little Malcolm ran for 6 hours, but after subbing by Leigh, it transferred to London’s West End, where John Hurt took over the title role - it was a career defining performance - one of many in Hurt’s case - and after a short run, moved to Dublin and New York. The play won Halliwell a Most Promising Newcomer Award, and also attracted Harrison’s interest, enough for the Beatle to bank roll the movie. But once made, the film was caught up in The Beatles’ acrimonious split, as Cooper explained:

“In the end, we got hung up by the Beatles’ breakup, when all of the Apple and Beatles assets went into the official receiver’s hands. So Little Malcolm just basically sat there for a couple of years. Whatever heat and buzz we generated was all lost. It didn’t diminish the movie but it stopped the momentum. George had to fight to get it back.

“Berlin was the first airing we managed, but it won best direction and the response was incredible. We got great reviews from Alexander Walker and Margaret Hinxman, but by then it really didn’t have any legs. It was a film that got lost, and I had to put it on a shelf and say to myself, well, there might be a day for that one day – and here we are now, after so many years.”

In 1974, Little Malcolm won the Silver Bear at Berlin Film festival. It was Cooper’s first, he won a second in 1975 with Overlord before directing Hurt, Warner and Donald Sutherland in the film version of Derek Marlowe‘s The Disappearance in 1977.

Harrison was certainly an innovator as Little Malcolm and his later movies Monty Python’s Life of Brian, and The Long Good Friday proved. Now, nearly forty years after its first screening, Harrison’s “lost” first film as producer is available at last.


Posted by Paul Gallagher | Leave a comment
‘Twin Peaks’ in Red Vines® by Jason Mecier
12:52 pm


Twin Peaks
Jason Mecier
Red Vines

Endlessly creative artist collage/mosaic artist Jason Mecier’s new exhibit “Licorice Flix, Edible Movie Mosaics” also features portraits of Harry Potter, Willy Wonka, ET, Elizabeth Berkley in Show Girls and Freddy Krueger rendered in Red Vines®. As usual, they’re pretty amazing.

Appropriately, there is a portrait of Charlie Chaplin included. It’s a little-known fact that the shoe the Little Tramp boils and eats in The Gold Rush was made of licorice by the American Licorice Company, the same company who make Red Vines® (and who are sponsoring the art show).

The show is opening at the IAm8Bit Gallery at 2147 W. Sunset Blvd. in Los Angeles, with a reception for the artist on November 4 from 7-10 PM.




Posted by Richard Metzger | Leave a comment
For those who don’t like Halloween
12:32 pm



The Scottish comedian, Limmy’s take on Halloween. I am sure there are few out there who can identify with this.

More Limmy can be found here.

With thanks to Joseph McKay

Posted by Paul Gallagher | Leave a comment
Help keep Wall Street occupied from your own home

No reason to miss out on the anti-capitalist fun anymore if you don’t live near New York! Here’a a way to combine getting rid of junk mail with political activism, it takes just 5 minutes a day and you don’t have to leave home to do it.

It’s simple: Keep Wall Street occupied by sending all those junk mail credit card and loan offers right back to banks that sent them at their expense! Bankrupt the bankers one piece of junk mail at a time… Here are some tips:

Posted by Richard Metzger | Leave a comment
‘Educate you!!!’: Warning about evil Halloween candy
11:59 am



Redditor dktastic says he found this on the windshield of his car. This zany leaflet reads like a perverted Nigerian spam email, doesn’t it?

(via reddit)

Posted by Tara McGinley | Leave a comment
Horror Express: Campy gore classic returns

Playing almost like a particularly claustrophobic Argento film produced by Roger Corman, but starring Hammer’s two most notable leading men, the gory low-budget—but totally wonderful—Horror Express is one of those films that we of a certain age saw repeatedly on “Chiller Theater” type TV shows in the mid to late 70s. When I was a ten-year-old kid, this film absolutely scared the shit out of me.

In Horror Express, which is almost a horror comedy, a supposed “missing link” is discovered in Siberia, but the frozen creature is merely the vessel for an extraterrestrial spirit of “pure evil” that can hop from victim to victim turning them into zombies that bleed from their eyes. It stars Christoper Lee and Peter Cushing as two competitive archaeologists. Telly Savalas has a great supporting role as a brutal Cossack officer who’s a nasty piece of work and there is even a weird Rasputin character, too.  It was written by Arnaud d’Usseau and Julian Zimet, the same (one-time blacklisted) screenwriters who penned the “undead biker” classic Psychomania. It was directed by Eugenio Martín. Like many European films of the time, this Spanish production was shot without sound and the actors dubbed their voices in later so it’s got that loopy sort of feel.

The film has been in the public domain for years and crappy quasi-bootleg copies have been making the rounds for a while (I have one that has the film reels out of order). At long last, Horror Express fans are getting treated to a new deluxe 2-disc dual DVD/Blu-ray release from cult meisters extraordinare, Severin Films. The new high-definition master has been created using the original camera negative and DVD extras include a recording of an extensive 1973 interview with Peter Cushing. (Cushing’s wife died before filming on Horror Express commenced. He almost backed out of the film entirely).

Pre-oder a copy of Horror Express on Amazon.

Posted by Richard Metzger | Leave a comment
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