I was a guest on the fantastic podcast, In the Context of Empire, where I spoke with co-host Matt McKenna about lots of things, but mainly about how imperialist propaganda works.
On the last day of defense evidence in the Assange Trial (September 30/20), a statement from Chomsky was read into the record. This is a solo episode where I go over Chomsky’s succinct, remarkable statement about power, propaganda, and the importance of Assange’s work.
Another one in the Kung Fu Yoga series, with Carl Zha.
This time we’re comparing the situations in Kashmir and Xinjiang, reporting what we’ve studied about state violence, censorship, economy, freedom of religion, popular agendas and state agendas of India and China in Kashmir and in Xinjiang.
Chomsky signed a letter about free speech and something called “cancel culture“, which has prompted a small social media wave of responses.
There is a good piece by Jonathan Cook about how focusing on Chomsky’s signature misses the point. But I am going to focus only on Chomsky here.
My argument: Chomsky’s most powerful message is anti-imperialism. Containing that message has been the preoccupation of the propaganda system since the 1960s.
In 1973, they shut down a whole company and pulped the print run of his book with Ed Herman, Counter-Revolutionary Violence.
Mostly, though after the peak of protests, he was just driven out of the mainstream. He published with activist publishers and the alternative media.
Like Z Magazine and ZNet, one of the principals of whom was Michael Albert, who’s now… a podcaster.
A French publisher slapped a free speech essay he wrote on a holocaust denier’s book, and they smeared him about that.
In the 1990s, a new generation of people discovered Chomsky on the web. The web was different then. Not fully sealed up by the tech giants.
Chomsky’s influence grew and some of the alternative media also grew and became mainstream or close. By the time of the Afghanistan War 2001, he could no longer be marginalized.
Indeed it became a good careerist move to make a showy denunciation of Chomsky in the mainstream. It worked for Samantha Power, for example.
A hilarious 2005 interview by Emma Brockes in the Guardian resulted in a very extensive corrections page that was basically a retraction.
Johann Hari, who went somewhat downhill and then turned around and did some good work since, invented a comment by Chomsky at a luncheon.
George Monbiot did the same in the 2010s, and others.
These are just off the top of my head and intended to reveal the particular way that Chomsky was handled by the mainstream in the 2000s: try to introduce inaccuracies and falsehoods; prove your liberal credentials by denouncing Chomsky the leftist.
Chomsky’s influence didn’t stop, but the whole media ecosystem that he analyzed has changed. So has the strategy for containing him.
The strategy today is to select the views that he holds that are closest to the mainstream and amplify those, while de-emphasizing the anti-imperialism.
That’s what the Intercept does when it sends someone to interview Chomsky on how Biden is the lesser evil.
That’s what the new “cancel culture” petition is about.
Yes, Chomsky is a free speech absolutist, he’s a lesser-evilist on electoral politics, he’s a two-stater on Palestine, he broadly prefers nonviolent strategies, and is critical of every state, including those targeted by imperialism.
But can find those views everywhere in the mainstream. They are not why people admire Chomsky and they are not why imperialists hate Chomsky.
Chomsky says that every US president is a war criminal.
Chomsky talks about the US sanctions against Cuba.
Chomsky talks about the US-led counterinsurgency in Colombia.
Activists in every anti-war movement in the US since the Vietnam war have relied on Chomsky’s analysis and arguments; including movements against Israel’s wars in Lebanon & Occupied Palestine.
Chomsky talks about how propaganda systems work and push for war.
Chomsky believes in challenging the reader or audience: in Canada, he talks about Canada’s crimes, because it’s cowardly to denounce crimes you can’t affect while doing nothing about crimes you can affect.
There’s much more. My point: Chomsky is a proven person of principle, impossible to deny. The Biden people, the “cancel culture” people, they want to use that to advance their agendas.
As they do so, they want you to forget the anti-imperialism that is what Chomsky is really about and has been about for 50 years.
This is just the 2020 iteration of the campaign to contain Chomsky’s anti-imperialism.
Whether you’re disappointed that Chomsky signed that letter or newly concerned about cancel culture because Chomsky signed the letter, consider this option – read enough of his work to get a sense of what it is about, and if you like his ideas, principles, and methods try to assimilate them into your world view.
I forced Dan to listen to naval (Naval Ravikant)’s twitter stream/podcast about How to Get Rich Without Luck or Inheritance. Naval’s twitterstorm inspired me to create one of my own, about the real strategies used by the super-wealthy (spoiler: they aren’t available to you). But we spend an hour talking about where these “how to get rich” methods fit into a bigger propaganda and ideology scheme, pushing people towards pyramid schemes; to despise unions, taxes, and collective solutions; and to feel like social failures are their own fault.
Here are my thirty five ways to get SUPER WEALTHY.
My Dad tells me that everywhere online and on TV there are Indian guys my age teaching you how to be rich (in at least one case, without luck). I won’t be left out! After extensive study, not one but 20+ ways to become not just rich, but super-rich. Here we go.
I am going to confine myself to the great countries of the Anglosphere, where opportunity is more abundant and where the wealthy don’t have to worry about authoritarianism, socialism, or taxes.
3. We are talking country-scale wealth here, folks. So, use hundreds of millions of other people’s money to sell a country’s currency short during a financial crisis. If you guessed right, you’re a billionaire. Wrong? It’s mostly other people’s money, it’s cool. (See: George Soros).
4. Own a bank.
5. If you own a bank, charge bank fees, trading fees, mutual fund management fees, etc. These will make you rich, whatever other games you can play with interest rates.
6. Get a big contract with the government – say, to rebuild an occupied country.
7. Get a big contract with the military – supply a military with weapons. Look for countries that are violating human rights: these countries require weapons.
9. Install a monarch in power and obtain rights to the state-owned oil company. The general principle applies to other governments and resources.
10. Own the media.
12. Offer to overthrow an elected government (see: Silvercorp). Mercenaries make good money.
22. Use fancy talk about disruption to seduce investors into giving you money. Lose money year after year while your valuation increases. Being profitable is irrelevant- real wealth is about making promises.
24. Get everyone in the world to work producing content for you for free, then sell their attention to advertisers. By taking over the entire communication infrastructure for the world, you also obtain the entire advertising revenue.
33. Be born into the right social circle. Attend the right schools, join the right clubs. Never do anything to rock the boat. When you are made CEO, do exactly what everyone else does. Two years later, collect your golden parachute. Rinse and repeat.
I am planning another twitterstorm about how to stay wealthy once you already are wealthy, so sign up for my EXCLUSIVE SEMINAR and I’ll teach you the secrets that ONLY THE RICHEST PEOPLE ON EARTH KNOW! (And everyone who looks them up).
Lord Elgin, who gave Canada Responsible Government, also burned the summer palace in China during the British Empire’s Opium War.
Sir John A. MacDonald sung the glories of the Aryan Race from the floor the House of Commons in 1885.
The poem “White Canada Forever” was aimed specifically at the supposed “Yellow Peril”.
And apparently the claws of the panda have sunk into Canadian society? Dan tried to read all the Canadian media coverage about the case since the BC Supreme court judgement and couldn’t find anything of interest in it.
In this episode we talk about the relationship between racism and propaganda in the past hundred years of Canadian history, and how understanding what Canada is can help you understand the Meng Wanzhou case unfolding today. Part 2 of the series on Meng Wanzhou.
Starting with the hectoring of the Bernie movement by liberals to vote Biden – including their sudden discovery of Chomsky, who has always endorsed voting “the lesser evil”. From there, it’s on to early 20th century propaganda in both its British and American imperial incarnations.
Justin and Dan (that’s Dan Freeman-Maloy, for new listeners) talk about Chomsky – and not just manufacturing consent, but Chomsky’s influence on their political thinking, where they might have tiny disagreements, and how they try to use Chomsky’s work to think through political problems in 2020.
Tarantino’s mastery seems to be in reading the mood and making a movie for it. His latest movie is perfect for the Trump era, based as it is in nostalgia for a racially homogeneous Hollywood.
The genre for Once Upon a Time… forces some choices on both the storyteller and the audience. The movie treats the day that actor Sharon Tate was murdered by followers of Charles Manson, but it reverses that murder and ends with Sharon and friends having a nice drink in her house after the would-be murderers have been eaten by a dog, bashed in on various surfaces of a house, and incinerated by flamethrowers. But the whole hook of the movie is its ability to evoke the Hollywood of 1969, which Tarantino clearly wants us to think was a good time. So, which parts of it were real and which were changed? These were the decisions Tarantino made, the consequences of which moviegoers have to suffer.
Here’s one decision I was wondering about. Since all the protagonists were white, did they not use casual racial slurs in their conversations with one another back then? They certainly are vitriolic towards the “f#@in hippies”. But I didn’t hear them use the n-word even once. No anti-Semitism among these paragons either. At Manson’s ranch, one of the villains, “Squeaky”, or “the red-head” tells Brad Pitt’s character that she “doesn’t want to be gypped” of her time watching TV with George, the ranch’s mostly incapacitated owner. “Gypped” is a racist term that implies that gypsies, or Roma, are thieves. Like the Jews, the Roma were targeted for extermination in the Nazi Holocaust, and indeed, the term “gypped” is used interchangeably with “jewed” by racists. Tarantino inserted the word “gypped”, presumably to add some verisimilitude about the casual racism with which people talked back then. So why no casual anti-Black racism or anti-Semitism, which was also the coin of the realm at the time? Tarantino used to do that, with anti-Black racism at least: Reservoir Dogs is full of n-bombs dropped by the white cast, in all kinds of shameful ways, with deniability for the storyteller to say, hey, I’m not racist, my characters are.
Aside from the protagonists’ hatred of the “f#@in hippies”, the film is all about not showing you anything of the 1960s social movements against the Vietnam War, the effects of the Civil Rights movement, the Black Panthers — or even the East L.A. Walkouts of 1968 or the Watts riots of 1965. The only mention of that context is when one of the Manson-following villains (played by Margaret Qualley), trying to seduce Pitt’s character (a Vietnam veteran), says that “real people are dying in Vietnam”. One of the would-be killers, who gets incinerated by Leonardo Di Caprio, delivers a critique of media violence before her attempted murder and elaborate death. 1969 Hollywood was a better, cleaner place, Tarantino is saying, with the only encroachments on this purity coming via a death cult of “f#@in hippies” (not via any real Black people or people with genuinely held anti-racist values).
On the theme of purity, Tarantino’s camera worships Margot Robbie’s angelic character, Sharon Tate, lingering on her golden hair, her pristine white boots and her beautiful smile as she dances and enjoys the audience reaction to her acting (a significant amount of the movie’s runtime is of Sharon Tate watching her own movie — which means a significant amount of the audience’s time is actually spent watching someone watch a movie). The camera follows Robbie (and Qualley in a different way, since she’s a bad) the way you’d see in a Michael Bay movie or a James Bond film, with Robbie as the good Bond girl and Qualley as the bad one.
And on Bond films: if Once Upon a Time… were a Bond film, the superspy role would go to Brad Pitt’s character, Vietnam veteran and possible wife-murderer Cliff Booth. And the main way we know of Cliff’s superpowers is by way of an encounter with Bruce Lee — for me, the most insulting part of this insulting film.
Bruce Lee is portrayed as a fan of Muhammad Ali, which of course he was. Bruce’s philosophy was to learn about fighting from every possible source. At that time, Muhammad Ali was displaying attributes and skills to astound anyone, but even more so a student of martial arts like Bruce. A story known by every Bruce Lee fan:
Another time Yeung, aka [Bolo] went to see Bruce at Golden Harvest Studios. Bruce was screening a Cassius Clay [Muhammad Ali] documentary. Ali was world heavyweight champion at the time and Bruce saw him as the greatest fighter of them all. The documentary showed Ali in several of his fights. Bruce set up a wide full-length mirror to reflect Ali’s image from the screen. Bruce was looking into the mirror, moving along with Ali.
Bruce’s right hand followed Ali’s right hand, Ali’s left foot followed Bruce’s left foot. Bruce was fighting in Ali’s shoes. “Everybody says I must fight Ali some day.” Bruce said, “I’m studying every move he makes. I’m getting to know how he thinks and moves.” Bruce knew he could never win a fight against Ali. “Look at my hand,” he said. “That’s a little Chinese hand. He’d kill me.”
Bruce was a keen teacher, and a great showman (see the videos of his martial arts demonstrations), but he was no braggart and he spent all his time picking apart and analyzing fighting methods, practicing them, and teaching them to others. So, of course, Tarantino portrays him exactly as a loudmouth braggart and a bully, who picks a fight with Brad Pitt’s strong, silent character on a set. The fight starts when this cartoon Bruce (in direct defiance of what the real Bruce believed and said) tells someone that he would turn Muhammad Ali “into a cripple” if they fought — this, Brad Pitt’s character cannot abide. So Bruce — who in real life reluctantly accepted challenges on-set from blowhards (ie., who was much more like Pitt’s character was portrayed) — fights Cliff, who gives the foreign braggart a good old-fashioned American beating.
In the real world, Bruce Lee faced a glass ceiling in the racist Hollywood of the time, despite his extraordinary gifts. Playing Kato in the Green Hornet, the story goes that Bruce refused the plan in a crossover episode to have his character defeated by Batman’s sidekick, Robin. No one would have believed it. Screenwriters changed the fight to a draw.
So, how would Brad Pitt’s character, a stuntman and Vietnam veteran, have approached a fight with Bruce? Presumably he would have been trained in the Army Combatives system at the time — a system Bruce knew and studied. Maybe Cliff also even knew American boxing and wrestling — which would have been no surprise to Bruce, who taught American students with these backgrounds. So, would Bruce have opened with a lot of fancy movement and kiai sounds and a flying sidekick, like he does in the movie? Would he have done that same kick after challenged by Cliff to do it again? What we know of how Bruce behaved in sparring situations says no (look at this YouTube MMA analyst’s breakdown of a sparring session). Nor would Bruce have reacted to Cliff’s attacks with stunned surprise: he was an experienced fighter who would have seen it all before.
It gets worse. Because in the fight choreography Tarantino chose for the scene, Pitt’s character actually uses wing-chun style close-quarters hand-fighting for a portion of the fight (this was the first style Bruce studied before developing his own). Pitt’s stance and movement incorporate moves that were introduced to North America by (the real) Bruce Lee, who did a lot to change and improve both real martial arts training and fight choreography. While disparaging the real Bruce, Tarantino freely uses his martial arts to make his movie look cool.
In the end, Bruce is just a stepping stone, a foreigner whose fancy moves are no match for the all-American hero, a foil to show the invincibility of the white protagonist. The very role the real Bruce chafed against his entire career.
There’s more to say about the class dynamics of the movie, the way in which Pitt’s working class character knows his place and is uncritically loyal and ever-grateful to Di Caprio’s upper class character. But I’ll leave that for someone else. I’ll just say that while this movie rewrites a gruesome murder and spares the actual victims, it is also an attempted murder on, among other historical realities, the real Bruce Lee.
I talk to Greg Shupak, author of The Wrong Story: Palestine, Israel, and the Media. We use the Israel/Palestine story as a launching point for a technical discussion about tropes, frames, narratives, and propaganda, and about why and how to argue against it all.