Read it in your language • Lealo en su idioma • Lisez-le…
CULTURE & CRITICISM
ERIC ZUESSE—tarting in 2015, Gallup has asked over 133,000 people around the world the following 3 questions, to score (from 0 to 100) and rank nations on “Law and Order” — and they issued their first, the “2016 Global Law and Order” report, on this basis.
CULTURE & CRITICISMMEDIA FRONTMEDIA SCOUNDRELSUS EXCEPTIONALISMUS GOVERNMENT CRIMESWESTERN MEDDLING & HYPOCRISY
CAITLIN JOHNSTONE—The plutocrat-owned narrative managers of the political/media class work constantly to shrink the Overton window, the spectrum of debate that is considered socially acceptable. They do this by framing more and more debates in terms of how the oligarchic empire should be sustained and supported, steering them away from debates about whether that empire should be permitted to exist at all.
CULTURE & CRITICISMDEEP STATEDISINFORMATIONMEDIA CRITICISMMEDIA FRONTMEDIA SCOUNDRELSMEDIA SCUM
PATRICE GREANVILLE—If nothing else I found this episode interesting because it shows how much sharper the mind of a genuine radical is, when compared to that of even a bright semi-establshmentarian liberal, like Taibbi. Let us recall that while Taibbi can be at times a very fine jornalist, he is still politically far more a temperamental rebel, a bourgeois “enfant terrible” than a genuine left social analyst. In that sense he remains ensconced in the old journo illusion that more facts assure a better grasp of the subject, forgetting that this is also a sure formula to miss the forest for the trees, and that context, the historical, cultural and socioeconomic and political contexts of anything being reported is the guarantor of clarity and public mobilisation.
CLASS ANALYSISCLASS COLLABORATIONCLASS STRUGGLECULTURE & CRITICISM
PAUL MITCHELL—What it is, at heart, however, is a superficial, rose-tinted soap opera that adds up to a crude distortion of history. It is a far cry from the reality—profoundly, extensively and subtly criticised by many socialists and artists who lived during the period. The series reflects the protracted decline of drama production and culture generally, the turn away from any interest or engagement with great social problems and the conditions of wide layers of the population.