Collusion, Obstruction, Doesn't Matter, We'll Make Something Stick!

WaPo  |  “Report: ‘ANTI-TRUMP FBI AGENT LED CLINTON EMAIL PROBE’ Now it all starts to make sense!”

Republicans in Congress took the cue, seizing upon the texts to attack the credibility of the FBI and the Mueller investigation.

“The senior levels of the FBI have been infected with an intractable bias that seemed to favor Hillary Clinton and work against President Donald Trump,” said Rep. Matt Gaetz of Florida on Fox News on Wednesday, adding, “It’s time for Bob Mueller to put up or shut up: If there’s evidence of collusion, let’s see it.”

The calls for Mueller’s ouster are strongest in the House, where a group of Republicans has been calling for the special counsel to resign.

House Speaker Paul D. Ryan (R-Wis.) has said Mueller’s investigation should proceed without interference. But he has allowed several committee investigations that are calling into question the integrity of the probe.

“The House has a constitutional obligation to exercise congressional oversight, and the speaker is supportive of our committee chairmen carrying out their work,” said Ryan spokeswoman AshLee Strong.

In recent days, for example, three House committees grilled McCabe over his participation in the FBI’s Russia investigation and his role in the FBI examination into Clinton’s use of a private email server.

Democrats called it a thinly veiled attempt to weaken McCabe and slow down Mueller’s probe. McCabe plans to retire in a few months when he becomes fully eligible for pension benefits, people familiar with the matter told The Post.

“Those people should be investigating the real crime, which is Russia’s interference in our democracy, and instead they’re being hauled before a six-hour series of interviews,” said Rep. Raja Krishnamoorthi (D-Ill.).

At the House Intelligence Committee, Rep. Devin Nunes (R-Calif.) and a small group of Republican lawmakers are discussing writing a report next year that would highlight alleged “corruption” at the FBI, according to people familiar with the plans. Such a report would focus on information about the conduct of FBI officials in the course of the Russia investigation, those people said.

On the Senate side, one of the loudest voices has been Republican Charles E. Grassley of Iowa, who chairs the Judiciary Committee and has raised questions about the impartiality of Mueller’s probe.

He has called for McCabe to be fired and shown a willingness to dig into Mueller’s past tenure as FBI director, complaining Thursday that the FBI and the Justice Department have been too slow to rout out people peddling “political influence.”

Grassley has also called for a second special counsel to look at decisions the FBI and the Justice Department made at the time that the Obama administration approved a uranium deal giving Russia a significant stake in the U.S. market. The inquiry would bring de facto scrutiny of Mueller, who was FBI director at the time.

Grassley said that his staff is in touch with Nunes’s staff, though he would not specify exactly what elements of their committees’ parallel inquiries they were communicating about.

It's Our Story Dammit - And We're Sticking With It!!!

conservativetreehouse |  Several new developments happening today center around the FBI’s use of the Christopher Steele Dossier in gaining FISA warrants to wiretap and monitor the 2016 campaign of Donald Trump; ie. “The Trump Project”. Doug Ross continues to update the ongoing conspiracy Timeline – SEE HERE. And that timeline just gained a big addition from a recently discovered visitor to the White House.

Before going to the White House visitor angle, it’s important to express appreciation for Tablet Mag who did a deep dive into the Fusion-GPS connection to the creation of the Steele Dossier, and more specifically how Fusion-GPS head Glenn Simpson and his wife Mary Jacoby were instrumental in getting the dossier assembled and into the hands of the White House prior to the DOJ and FBI applying for the FISA warrant – SEE HERE.

Tablet Mag outlines how Mary Jacoby even bragged about getting the “Russiagate” narrative started:

A Tablet investigation using public sources to trace the evolution of the now-famous dossier suggests that central elements of the Russiagate scandal emerged not from the British ex-spy Christopher Steele’s top-secret “sources” in the Russian government—which are unlikely to exist separate from Russian government control—but from a series of stories that Fusion GPS co-founder Glenn Simpson and his wife Mary Jacoby co-wrote for TheWall Street Journal well before Fusion GPS existed, and Donald Trump was simply another loud-mouthed Manhattan real estate millionaire.
Understanding the origins of the “Steele dossier” is especially important because of what it tells us about the nature and the workings of what its supporters would hopefully describe as an ongoing campaign to remove the elected president of the United States.

[…] In a Facebook post from June 24, 2017, that Tablet has seen in screenshots, Jacoby claimed that her husband deserves the lion’s share of credit for Russiagate. (She has not replied to repeated requests for comment.) “It’s come to my attention that some people still don’t realize what Glenn’s role was in exposing Putin’s control of Donald Trump,” Jacoby wrote. “Let’s be clear. Glenn conducted the investigation. Glenn hired Chris Steele. Chris Steele worked for Glenn.”
This assertion is hardly a simple assertion of family pride; it goes directly to the nature of what became known as the “Steele dossier,” on which the Russiagate narrative is founded. (read more)

The Tablet-Mag outline shows the distinct trail of the finished Steele Dossier entering into the White House and how President Obama likely saw and reviewed the content.  However, missing from the this report is an origination angle even more nefarious.

Remember, previous media reporting -in conjunction with Clinton campaign admissions- have confirmed the DNC and Clinton Campaign financed Fusion-GPS through their lawyers within Perkins Coie.   Fusion then sub-contracted with retired British MI6 agent Christopher Steele to write the dossier.

The dates here are important because they tell a story.

The origin of the Clinton effort with Fusion-GPS was April 2016.  That’s the same month Fusion hired Nellie Ohr, wife of DOJ Deputy Bruce Ohr, to gather opposition research on candidate Trump.  It would be most likely that Nellie Ohr was in contact with Christopher Steele.  DOJ Deputy Attorney Bruce Ohr was later demoted for his unreported contacts with Christopher Steele and Fusion-GPS founder Glenn Simpson.

However, there was another event in this April 2016 timeline which enhances the trail of the Dossier origination. [Hat Tip Katica]  Check this out:

In April 2016 Mary Jacoby shows up on White House visitor logs meeting with President Obama officials. In April 2016 the Clinton Campaign and DNC hired Fusion-GPS to organize the Russia research, that later became known as the “Steele Dossier”.

The Only Prospect for Civilizing Society and Detoxifying Politics is ____________?

project-syndicate |  The Anglosphere’s political atmosphere is thick with bourgeois outrage. In the United States, the so-called liberal establishment is convinced it was robbed by an insurgency of “deplorables” weaponized by Vladimir Putin’s hackers and Facebook’s sinister inner workings. In Britain, too, an incensed bourgeoisie are pinching themselves that support for leaving the European Union in favor of an inglorious isolation remains undented, despite a process that can only be described as a dog’s Brexit.

The range of analysis is staggering. The rise of militant parochialism on both sides of the Atlantic is being investigated from every angle imaginable: psychoanalytically, culturally, anthropologically, aesthetically, and of course in terms of identity politics. The only angle that is left largely unexplored is the one that holds the key to understanding what is going on: the unceasing class war unleashed upon the poor since the late 1970s.

In 2016, the year of both Brexit and Trump, two pieces of data, dutifully neglected by the shrewdest of establishment analysts, told the story. In the United States, more than half of American families did not qualify, according to Federal Reserve data, to take out a loan that would allow them to buy the cheapest car for sale (the Nissan Versa sedan, priced at $12,825). Meanwhile, in the United Kingdom, over 40% of families relied on either credit or food banks to feed themselves and cover basic needs. 

William of Ockham, the fourteenth-century British philosopher, famously postulated that, when bamboozled in the face of competing explanations, we ought to opt for the one with the fewest assumptions and the greatest simplicity. For all the deftness of establishment commentators in the US and Britain, they seem to have neglected this principle. 

Loath to recognize the intensified class war, they bang on interminably with conspiracy theories about Russian influence, spontaneous bursts of misogyny, the tide of migrants, the rise of the machines, and so on. While all of these fears are highly correlated with the militant parochialism fueling Trump and Brexit, they are only tangential to the deeper cause – class war against the poor – alluded to by the car affordability data in the US and the credit-dependence of much of Britain’s population.

True, some relatively affluent middle-class voters also supported Trump and Brexit. But much of that support rode on the coattails of the fear caused by observing the classes just below theirs plunge into despair and loathing, while their own children’s prospects dimmed.

The Atlantic Even More Devoid Of Solutions Than Its Protege Ta-Nussy....,

theatlantic |  It isn’t just chain stores in economically distressed suburbs that are going belly up, but high-end luxury-goods purveyors along the retail corridors of America’s leading cities, such as New York’s Madison Avenue, Rodeo Drive in Beverly Hills, and Chicago’s Miracle Mile. All told, roughly 100,000 retail jobs were lost between October 2016 and April 2017. In the next five years, one out of every four malls is projected to close, according to an analysis by Credit Suisse. The square footage of America’s already dead malls covers more land than the city of Boston.

But painful as this retail retrenchment may be, it creates real opportunities that cities and suburbs can take advantage of.

First things first: Brick-and-mortar retail is not going away. Even as it sheds workers, the sector is still growing at a rate of 3 percent per year. The IHL Group, a research- and advisory-services firm, estimates that retail sales are up by more than $100 billion this year, and 4,000 more chain stores will have opened than closed in the U.S.

Much of the retail apocalypse is in fact a long-overdue correction. The United States devotes four times more of its real-estate square footage to retail, per capita, than Japan and France; six times more than England; nine times more than Italy; and 11 times more than Germany.

The way Americans shop is also undergoing a fundamental reset. As more and more people shop online, the stores that are drawing in customers are those that emphasize experiences. Customers want to sit on that new sofa, feel the weight of a stainless-steel skillet in their hands, and try out new gadgets.

In fact, the line between e-commerce and physical retail is not as traceable as most people think. The most successful virtual stores are currently increasing their physical presences. Amazon is opening up bookstores, and with its acquisition of Whole Foods, it has gained a footprint in hundreds of affluent cities and suburbs. As the physical embodiment of Apple’s brand proposition, Apple stores showcase cutting-edge designs, provide service and advice, build community, and are a big part of what differentiates the company from its competition.

While there can be no doubt that the lost jobs and diminished tax bases that accompany the retail retrenchment hurt, the shift has an upside as well.

WeWork’s takeover of Lord & Taylor could be a good portent for urban economies. Work, not shopping, is the key to urban productivity and growth. When asked why rents are so high in cities like New York and Chicago, the Nobel Prize–winning economist Robert Lucas famously answered that it had nothing to do with the availability of high-end shopping; higher urban rents, he said, are a function of higher urban productivity.

Wandered Into A Still Working Time Machine Yesterday

Forty years on and functioning relatively well - not yet ruined by the Morlocks....,

Morlocks broke and killed every other time machine hereabouts...,

Unintended Consequences of Decades of Deep State Hegelian Headfakes..,

melmagazine |  Dale Baker was introduced to simulation theory five years ago as an 18-year-old freshman at the University of Iowa. The idea that our reality may be nothing more than a computer-generated simulation was first presented to him in his Religion vs. Science class. Later, he discovered the work of Oxford University philosophy professor Nick Bostrom, one the world’s leading simulation theorists.

Still, Baker didn’t believe in simulation theory outright; he merely considered it plausible. The Earth, as we know it, is 4.5 billion years old, he reasoned. That’s enough time for a civilization to evolve to the point where they could create such a simulation.

That all changed last November, though, when the Chicago Cubs, the most futile franchise in the history of professional sports, won the World Series, and Donald Trump, the most unqualified candidate in the history of the U.S. presidency, won the Electoral College.

I come to the reality that this entire world is fake. We don't really exist. The Cubs and Trump in the same year?? This is a simulation.

— Lawrence (@oceankusher) November 9, 2016

The tweet was part-joke, part-truth. “I was dumbfounded at the events that occurred,” Baker says. “If Trump and the Cubs can win, anything is possible.”

Few would argue his point that the past year has been strange. Apart from the two examples above, there’s been a constant barrage of natural disasters; the New England Patriots’ improbable comeback victory in Super Bowl LI; a possible nuclear war with North Korea; the reality-distorting effects of fake news; the sudden deaths of Prince, David Bowie and other legendary pop culture figures; and most recently, the spate of sexual abuse and harassment charges that have upended industry power structures that once seemed indestructible.

Some have welcomed the changes, but for others, they’ve been so drastic and swift that they defy all logic. Rather, they’re proof that the simulation is real — and that whoever is at the helm has started fucking with the levers.

Why Alien Abductions Are Down Dramatically

BostonGlobe |  Belief that alien life exists on other planets is persuasive, sensible; nearly 80 percent of Americans do believe it, according to a 2015 poll. But belief that the aliens are already here feels like something else, largely because it requires a leap of faith longer than agreeing that the universe is a vast, unknowable place. Abduction and contact stories aren’t quite the fodder for daytime talk show and New York Times bestsellers they were a few decades ago. The Weekly World News is no longer peddling stories about Hillary Clinton’s alien baby at the supermarket checkout line. Today, credulous stories of alien visitation rarely crack the mainstream media, however much they thrive on niche TV channels and Internet forums. But we also still want to believe in accounts that scientists, skeptics, and psychologists say there is no credible evidence to support.

The abduction phenomenon began with strange case of Betty and Barney Hill. On Sept. 19, 1961, the Hills were driving from Montreal to their home in Portsmouth, N.H. Betty spotted a UFO following them. Barney stopped the car on the highway, near Indian Head in the White Mountains, and got out to look at the craft through binoculars. Seeing humanoid figures in Nazi-like uniforms peering through its windows, he ran back to the car, screaming, “Oh my God, we’re going to be captured!” They drove off, but two hours later, they found themselves 35 miles from the spot where they’d first seen the craft (there is now a commemorative marker at the site), with little memory of how they’d gotten there. Soon after, Betty began having nightmares.

In 1964, the Hills underwent hypnotherapy. Under hypnotic regression — hypnosis with the intent to help a subject recall certain events with more clarity — the couple said that they had actually been pulled on board the vessel by aliens and subjected to invasive experiments. The Hills’ story, revealed to the public in 1965 with an article in the Boston Traveler and a year later in the book “The Interrupted Journey,” launched a flurry of public fascination with abductions.

Barney died of a cerebral hemorrhage in 1969, but Betty went on to become a kind of sage of paranormal experiences. Their story became the blueprint for alien abduction experiences in the years that followed, especially after the airing of the 1975 made-for-TV film “The UFO Incident,” starring James Earl Jones as Barney Hill. Subsequent experiencers would describe similar missing time or have bizarre dreams and flashbacks of things they couldn’t understand. Many would use hypnotic regression to recall their experiences.

Over the next two decades, the alien abduction narrative wound its way into the American consciousness, fed by science fiction films like “Close Encounters of the Third Kind” and breathless news reports of mysterious incidents. In 1966, a Gallup poll asked Americans if they’d ever seen a UFO; 5 percent said they had, but they meant it in the literal sense of an unidentified flying object — only 7 percent of Americans believed that the UFOs were from outer space. By 1986, a Public Opinion Laboratory poll found that 43 percent of respondents agreed with the statement: “It is likely that some of the UFOs that have been reported are really space vehicles from other civilizations.”

Some experiencers said the aliens were here to save us and study us, some said they were here to harvest our organs and enslave us. But by the late 1980s, people whose stories would have been dismissed as delusional a generation earlier were being interviewed by Oprah and “true stories” of alien experience, such as Whitley Strieber’s “Communion” and Budd Hopkins’s “Intruders,” were bestsellers. By the 1990s, those who believed in the literal truth of alien abduction stories gained an important ally in John Mack, a Harvard professor and psychiatrist who compiled his study of the phenomenon into a 1994 book titled “Abduction: Human Encounters with Aliens.” He later told the BBC, “I would never say there are aliens taking people away . . . but I would say there is a compelling, powerful phenomenon here that I can’t account for in any other way.”

Billionaires The Future Of Space Policy

FP |  Last month, the first space nation left the International Space Station.

That space nation, Asgardia-1, is actually a satellite containing personal data from some of the “nation’s” 300,000 “citizens,” launched into space by billionaire Igor Ashurbeyli. 

Asgardia is as yet unrecognized by the United Nations, and its citizens are people who filled out an application form. The goal “is to provide permanent presence of humans in space,” Ashurbeyli told Foreign Policy in a recent interview. 

Ashurbeyli isn’t the only billionaire with unusual ideas about what humanity should be doing in space. On Saturday, Politico and the New York Times both published articles revealing that another tycoon, Robert Bigelow, had convinced lawmakers to secretly appropriate money to have the Pentagon look for UFOs. 

In fact, a number of private individuals of great wealth are charting the future of space policy, whether through money or influence. Some are in it for commercial interests, others for scientific curiosity. But whatever the reason, their new space race will change the rules of the game — space is currently the realm of governments (the Outer Space Treaty of 1967 was written for countries, not business magnates), and so the involvement of wealthy individuals is changing the nature of all that’s out of this world. 

Here are some of their plans:

Space Is White

opendemocracy |  Fundamental to this process is the recognition that space is a potential destination for everyone. Contemporary Afro-futurist Denenge Akpem has attempted to spark this discussion through, “The MARS Project – Teaching Afro-futurism as Methodology of Liberation.” Akpem, a performance artist and sculptor who has taught at both the School of the Art Institute Chicago and Columbia College Chicago, invites her students to imagine the first mission to, and settlement of Mars through the lens of Afro-futurism and diversity.

In contrast, Mars One, a private Dutch initiative to settle Mars by 2026, has raised eyebrows for seeming to select its astronauts using a format akin to reality TV. And while National Geographic’s upcoming docu-drama miniseries MARS features an internationally, racially and gender diverse crew in 2033 aboard the Daedalus, it’s noticeable that they are led by an all-American white male mission commander who will “be the first to walk on Mars”.

In addition, if we are to colonize Mars or any other planet or space station for that matter, then genetics and population dynamics call for the largest and broadest sample of who we are to be included among the settlers. As Sun Ra highlights, the worlds of art, music, philosophy, science and literature are created by all of us. In space as on Earth, there is a deep value to embracing and maintaining the plurality of our existence: it celebrates our empathy and love for one another.

As Ra presaged, Space Is The Place for us to take this love—the best of Earth’s legacy—to Mars and beyond.

The Information Industrial Complex

corbettreport |  So what is the problem with this? As Ike explained:

“Yet, in holding scientific research and discovery in respect, as we should, we must also be alert to the equal and opposite danger that public policy could itself become the captive of a scientific-technological elite.”

Here again the warning is of fascism. But instead of the military-industrial fascism that dominated so much of the 20th century, he was describing here a new fascistic paradigm that was but barely visible at the time that he gave his address: a scientific-technological one. Once again, the threat is that the industry that grows up around this government-sponsored activity will, just like the military-industrial complex, begin to take over and shape the actions of that same government. In this case, the warning is not one of bombs and bullets but bits and bytes, not tanks and fighter jets but hard drives and routers. Today we know this new fascism by its innocuous sounding title “Big Data,” but in keeping with the spirit of Eisenhower’s remarks, perhaps it would be more fitting to call it the “information-industrial complex.”

The concept of an information-industrial complex holds equally explanatory power for our current day and age as the military-industrial complex hypothesis held in Eisenhower’s time.

Why is a company like Google going to such lengths to capture, track and database all information on the planet?

The information-industrial complex.

Why were all major telecom providers and internet service providers mandated by federal law to hardwire in back door access to American intelligence agencies for the purpose of spying on all electronic communications?

The information-industrial complex.

Why would government after government around the world target encryption as a key threat to their national security, and why would banker after banker call for bitcoin and other cryptocurrencies to be banned even as they plan to set up their own, central bank-administered digital currencies?

The information-industrial complex.

The effects of this synthesis are more and more felt in our everyday lives. Every single day hundreds of millions of people around the world are interfacing with Microsoft software or Apple hardware or Amazon cloud services running on chips and processors supplied by Intel or other Silicon Valley stalwarts. Google has become so ubiquitous that its very name has become a verb meaning “to search for something on the internet.” The 21st century version of the American dream is encapsulated in the story of Mark Zuckerberg, a typical Harvard whizkid whose atypical rise to the status of multi-billionaire was enabled by a social networking tool by the name of “Facebook” that he developed.

But how many people know the flip side of this coin, the one that demonstrates the pervasive government influence in shaping and directing these companies’ rise to success, and the companies’ efforts to aid the government in collecting data on its own citizens? How many know, for instance, that Google has a publicly acknowledged relationship with the NSA? Or that a federal judge has ruled that the public does not have the right to know the details of that relationship? Or that Google Earth was originally the brainchild of Keyhole Inc., a company that was set up by the CIA’s own venture capital firm, In-Q-Tel, using satellite data harvested from government “Keyhole” class reconnaissance satellites? Or that the former CEO of In-Q-Tel, Gilman Louie, sat on the board of the National Venture Capital Association with Jim Breyer, head of Accel Partners, who provided 12 million dollars of seed money for Facebook? Or that in 1999, a back door for NSA access was discovered in Microsoft’s Windows operating system source code? Or that Apple founder Steve Jobs was granted security clearance by the Department of Defense for still-undisclosed reasons while heading Pixar in 1988, as was the former head of AT&T and numerous others in the tech industry?

The connections between the IT world and the government’s military and intelligence apparatus run deep. In fact, the development of the IT industry is intimately intertwined with the US Air Force, the Department of Defense and its various branches (including, famously, DARPA), and, of course, the CIA. A cursory glance at the history of the rise of companies like Mitre Corporation, Oracle, and other household electronics and software firms should suffice to expose the extent of these relations, and the existence of what we might dub an “information-industrial complex.”

But what does this mean? What are the ramifications of such a relationship?

What Is Art Good For?

frontiersin |  Does neuroaesthetics have a problem? Sherman and Morrissey (2017) criticize the field for focusing narrowly on how art elicits pleasurable responses, and for neglecting its social relevance and impact. Neuroaesthetics, they argue, reduces the experience of art to isolated individuals' ratings in artificial lab settings, and ignores “socially-relevant outcomes of art appreciation or the social context of art creation and art appreciation.” Consequently, it fails to “capture or appreciate the social, cultural, or historical situatedness of the art-object or the person whose experience is being studied.”

There is no question that we know little about the social aspect of art behavior and its underlying psychological and neurobiological mechanisms. Because art is often a transient phenomenon created as function of a social act, as in music, dance, or performance, the features of collective settings surely modulate cognition and affect. Dance, for instance, can coordinate emotional responses to promote social cohesion (Vicary et al., 2017). Nevertheless, the precise way in which social settings influence brain activity when experiencing art remains largely unknown.

We know of no neuroaestetician who would not welcome research on the psychology and biology of art behavior in social contexts. Yet, Sherman and Morrissey (2017) portray neuroaesthetics as dismissing such research topics and promoting an a-social conception of art experience. They fault neuroaesthetics for “conflating the art with aesthetics,” for having “privileged investigating individual judgments of beauty or preference,” for construing art appreciation as a “passive reception of perceptual information from art-objects,” and for discounting “what many would consider the very essence of art: its communicative nature, its capacity to encourage personal growth (…), to challenge preconceptions (…), and to provide clarity on ambiguous concepts or ideas.”

Money Buys Society In The Capitalist World

counterpunch |  The end of Net Neutrality is as odious to us as the British Colonial government’s monopoly on salt was to the Indians. Salt was an essential ingredient for preserving life and health in humid, pre-refrigeration India. Net Neutrality and classifying the Internet as a public utility is essential for fair, affordable, and equal access to the Internet, and thus, the life of US citizens, as well as our innovation, creativity, information, education, research, marketplace, exchange, dialogue, organizing, and so much more.

Telecom giants like Comcast and Verizon have sought the end of Net Neutrality for years. This allows them to create a two-tiered system of Internet access, charging people for “fast lanes” and relegating everything else into “slow lanes”. The chilling effect this will have on our economy, research, movements, and society is incalculable. It is a massive advance for the corporate state’s takeover and privatization of all sectors of our nation. With it, they can control everything we see (or don’t see) through their greed. Money buys society in the capitalist world. For years, the Internet has opened up arenas of public space beyond what money can buy. The sheer volume of non-commercialized creativity and information online is staggering. It matches the incredible resources of the early commons. And, like the commons, the greedy have found a way to enclose them and charge us more and more for access.

Gandhi’s Salt Campaign offers us a model of how to get out of this mess – not just from the odious injustice of the end of Net Neutrality, but also from the tyranny of corporate rule. In 1930, salt was a keystone, yet stealth issue. When the Indian National Congress tasked Mohandas K. Gandhi with planning a new campaign against the British Empire’s colonial rule, no one expected the Salt Satyagraha would unravel the empire that the sun never set upon. Even Gandhi’s buddies were skeptical about salt. As for Lord Irwin, Viceroy of India, he famously stated that he wouldn’t lose any sleep over salt.

Instead, he lost the country.

Salt was an unexpected issue, but it touched every Indian citizen’s life. And, when Gandhi announced that he was going to use civil disobedience to directly disobey the “odious salt laws” and render them unenforceable through mass noncooperation, millions of ordinary Indians cheered. In defiance of the salt laws, they made, sold, and bought salt. Even more importantly, they openly refused to obey the British Empire and thus ousted the Brits from authority. This showed the Indians what Gandhi had been saying for decades: a paltry hundred thousand British cannot rule over 320 million Indians without the Indians cooperation. Deny your support, and British rule will crumble.

Fast forward to contemporary United States, which also has 320 million people and faces a parallel of colonial rule in the corporate state. In the case of telecom giants like Verizon and Comcast, well, they’re enjoying a monopoly on our modern-day salt of Internet access. With the repeal of Net Neutrality, they’re positioned to do like the British and start charging us for something we need for everyday life and survival.

But we can pull a Gandhi and make salt.

Ta-Nussy IS the Jay-Z Empty Neoliberal Face of Black Public Intellectualism

Guardian |  Ta-Nehisi Coates’ We Were Eight Years in Power, a book about Barack Obama’s presidency and the tenacity of white supremacy, has captured the attention of many of us. One crucial question is why now in this moment has his apolitical pessimism gained such wide acceptance?

Coates and I come from a great tradition of the black freedom struggle. He represents the neoliberal wing that sounds militant about white supremacy but renders black fightback invisible. This wing reaps the benefits of the neoliberal establishment that rewards silences on issues such as Wall Street greed or Israeli occupation of Palestinian lands and people.

The disagreement between Coates and me is clear: any analysis or vision of our world that omits the centrality of Wall Street power, US military policies, and the complex dynamics of class, gender, and sexuality in black America is too narrow and dangerously misleading. So it is with Ta-Nehisi Coates’ worldview.

Coates rightly highlights the vicious legacy of white supremacy – past and present. He sees it everywhere and ever reminds us of its plundering effects. Unfortunately, he hardly keeps track of our fightback, and never connects this ugly legacy to the predatory capitalist practices, imperial policies (of war, occupation, detention, assassination) or the black elite’s refusal to confront poverty, patriarchy or transphobia.

In short, Coates fetishizes white supremacy. He makes it almighty, magical and unremovable. What concerns me is his narrative of “defiance”. For Coates, defiance is narrowly aesthetic – a personal commitment to writing with no connection to collective action. It generates crocodile tears of neoliberals who have no intention of sharing power or giving up privilege.

When he honestly asks: “How do you defy a power that insists on claiming you?”, the answer should be clear: they claim you because you are silent on what is a threat to their order (especially Wall Street and war). You defy them when you threaten that order.

Old School Afrodemics vs. Chosen Afro-Fruiturist Media Faces

Jelani Cobb brings receipts

Philadelphia International Records: It Took A Lot To Create Great Art

wikipedia |  Kenneth Gamble and Leon Huff, the founders of Philadelphia International Records, met in 1964 while they were both playing as session musicians for various labels, including Philadelphia based Cameo-Parkway Records, whose building would later become home to Philadelphia International Records recording studio. In 1965, Huff joined Gamble's band, The Romeos, a popular moniker at the time, by replacing future Philadelphia International Records producer and arranger Thom Bell on piano. Kenny Gamble and The Romeos had seen little success up to that point playing for their label, Arctic Records, and split up soon after.

When the Romeos disbanded, Gamble and Huff went on to start one of the first iterations of Philadelphia International Records (which they named Excel and Gamble) after a visit to Motown Records in Detroit, to scope out the Motown setup. The success of their biggest signing, The Intruders, brought attention to Gamble and Huff, which allowed them to create Neptune Records in 1969. Neptune Records, a more ambitious project for the duo, was financed by Chess Records Group, and allowed them to sign later Philadelphia International Records artists The O'Jays and The Three Degrees. When Chess Records Group's management changed hands in 1969, Neptune Records folded. With the collapse of Neptune Records, Gamble and Huff transferred their signed artists onto a new project, Philadelphia International Records.^[4] Looking to attract new black acts to their label, but without the in-house know-how, Columbia Records was convinced to sign an exclusive production contract with Gamble and Huff's new Philadelphia International Records.

The label was set up in connection with Mighty Three/Assorted Music, the music publishing company run by Gamble, Huff and another Philadelphia producer, Thom Bell, to showcase their songs.

The label's major hits included: "TSOP (The Sound of Philadelphia)" by MFSB, featuring The Three Degrees, 1974 (which was later used as one of the theme tunes for the TV dance-music show Soul Train); "Ain't No Stoppin' Us Now" by McFadden & Whitehead (writers and producers with the label), 1979; "Back Stabbers" and "Love Train" by The O'Jays, 1972/3; "If You Don't Know Me By Now" and "The Love I Lost" by Harold Melvin & The Blue Notes, 1972/3; "Me and Mrs. Jones" by Billy Paul, 1972; "When Will I See You Again" by The Three Degrees, 1974; and "You'll Never Find Another Love Like Mine" by Lou Rawls, 1976.

The label had a distribution deal with CBS Records until 1984. Distribution of the catalog from 1976 onwards was then taken over by EMI, but CBS/Sony Music Entertainment continued to distribute material recorded up to 1976. In 2007, Sony's Legacy Recordings regained the rights to Philadelphia International's full catalog and the following year, PIR/Legacy released a box set titled Love Train: The Sound of Philadelphia.^[5]

Most of the music released by the label was recorded and produced at Sigma Sound Studios in Philadelphia, with chief engineer (later studio owner) Joe Tarsia recording many of the sessions. More than 30 resident studio musicians, known collectively as MFSB "Mother Father Sister Brother", were based at this studio and backed up most of these recordings. Some of these musicians also acted as arrangers, writers or producers for Philadelphia International as well as for other labels recording in the city. They included Bobby Martin,^[6][7] Norman Harris, Thom Bell, Ronnie Baker, Vince Montana and later, Jack Faith and John Usry.

Gamble and Huff worked as independent producers with a series of artists in the late 1960s and early 1970s, including Jerry Butler, Wilson Pickett and Dusty Springfield. They also produced The Jacksons' first two albums for Epic/CBS after the group had left Motown in 1976. The first, titled The Jacksons featured the platinum-selling single "Enjoy Yourself", and a second album, Goin' Places followed in 1977. Although on CBS subsidiary Epic, both albums and the singles also carried a Philadelphia International logo.

In 1965, Gamble and Huff started an independent label, Excel Records. It was soon renamed Gamble Records and in 1972, was folded into Philadelphia International as a subsidiary. In 1974, the subsidiary's name was changed to TSOP Records, from the aforementioned 1974 hit single, "TSOP (The Sound of Philadelphia)". Artists for Excel/Gamble/TSOP included Dee Dee Sharp, and Archie Bell & the Drells. Later signings to the Philly International roster in the 1980s and 1990s, included Patti Labelle, The Stylistics, Phyllis Hyman, and The Dells.

Between 1973 and 1975, Gamble and Huff also distributed a boutique label called Golden Fleece, set up by musicians Norman Harris, Ronnie Baker and Earl Young, which released the second album by The Trammps. G & H also had a short-lived subsidiary called Thunder Records. Created by Thom Bell, it only had two singles from Derek & Cyndi (You Bring Out the Best in Me/I'll Do the Impossible for You) who were produced by Bell, and Fatback Band member Michael Walker whose single (I Got the Notion, You Got the Motion) was produced by The Spinners' member Philippe Wynne.^[8]

Merry Christmas Fetishists: Was Teddy the Jay-Z to Harold's Dame Dash?

Cause we all already KNOW y'all ain't know a DAYYUM THANG about this..., but anyway

Harold Melvin an'em Blue Notes really wasn't ALL THAT without the late, great, Mr. Teddy Pendergrass. 

See, and better still, listen for yourself to this epic case of aural domination....,

then in HQ Audio

The Rape of RAP - Don't Say ISHT To Me About Harvey Weinstein...,

yournewswire |  John Homeston, a retired CIA agent, has admitted this week on National Russian Television (NTV) that the CIA was behind the creation of the 1980s hip hop scene and financed major hip hop acts including NWA, Afrika Bambaataa, and Grandmaster Flash & the Furious Five.

The government at the time spent “big money, serious money” on this covert operation destined to “further division” and “corrupt the American youth to nihilist, anti-establishment and anti-American ideologies”, he explained in a half hour interview broadcast on national television.

Famous hip hop songs of the legendary hip hop outfit NWA were even scripted by a team of psychologists and war propagandists of the CIA. “F#ck the police,” and “When I’m called off, I got a sawed off / Squeeze the trigger, and bodies are hauled off,” and other nihilist and anti-establishment lyrics were intended to unleash a wave of cynicism towards authorities, promote the use of heavy drugs, and entice the youth with revolutionary, counter-establishment ideas.

The retired CIA agent claims the social engineering maneuver was “extremely successful.“

“We understood at the time that music was a powerful means of propaganda to reach the youth,” explained the 77-year-old man.

“Our mission was to use teenage angst to our advantage and turn Generation X into a decadent, pro-drug and anti-establishment culture that would create uprisings and further division within society. We even infiltrated mainstream radio to promote their music and reach millions of people everyday,” he admitted, visibly proud of the accomplishment.

“For many of us in the CIA, infiltrating the 1980s hip hop scene was one of the CIA’s most successful experiments of propaganda to date,” he acknowledged during the interview.

“You could say Frankenstein’s monster got up off the table and started goose-stepping.”

Afrofuturism > Black Speculative Arts > Hip-Hop - More "Arts" Weaponization?

vice |  VICE: What exactly is the Black Speculative Arts Movement 

Dr. Reynaldo Anderson: BSAM is an umbrella term that looks at several different positions [like] magical realism, Afrofuturism, black science fiction, black quantum futurism, Afro-surrealism, ethnography—different perspectives related to this movement. It's a collection of artists, intellectuals, and activists that we have in these conventions.

How did it start? 

BSAM emerged out of the Unveiling Visions: The Alchemy of the Black Imagination project that I co-curated with John Jennings at the Schomburg Center for Research in Black Culture in Harlem. It was during that exhibition that I wrote the manifesto for the movement, which is posted online for people to look at.

Later, while brainstorming with John, he connected me to Maia "Crown" Williams, the founder of MECCAcon, the Midwest Ethnic Convention for Comics and Arts [who] operates a film festival and is a founding member of Ava DuVernay's ARRAY out of Detroit. With her expertise in film and comic conventions, she was very valuable as a co-founder to forming an ongoing convention aspect of the movement.

How long ago did you start thinking about this movement?

We are in the second wave of Afrofuturism, and it's also sociopolitical. When you think about science fiction and what we are doing with Nightlife, a lot of these people who are addicted to drugs have similar behaviors to those of zombies. There is a connection there as a literary or critical theorist. The way I think about science fiction and speculative philosophy happens in real life when people are using all these chemicals and drugs on their body and how it impacts their behavior, as they react like some of these people that we read about in novels. I think it's because society is changing so quickly the only reference we have to understand what happens to us is science fiction or horror. Things that we read in science fiction books used to be unthinkable. Now, they are a reality.

Let's talk about your book, Afrofuturism 2.0. How did you come to be involved in that project?

The book was the result of several years of thinking about the term "Afrofuturism." Many people preceded me in its conceptual development, like Mark Dery, Alondra Nelson, Kodwo Eshun, and others. I first heard of the term in the 90s as a graduate student when I was working on my PhD focusing on the Black Panther Party. The 2.0 project came out of a couple of things. One, I thought about Afrofuturism being different than it was when it was formulated in the 90s.

Afrofuturism 2.0 is the era that we're in now, this era of social media, technological acceleration, globalization, and environmental stress that we are dealing with. I put together a call for papers to put a book around the ideas that really mattered to Afrofuturism from 2005 to now. The other difference is that Afrofuturism is now a transdisciplinary pan-African techno cultural movement. It's global. It's not just American. It takes place in Africa, Latin America—all over the world people are doing it. It was the spirit of those spiritual and intellectual currents going on that led to the book being developed that I co-edited with Charles Jones. 

Aesthetic Relativism > Moral Relativism > Cultural Assassination...,

Counterpunch |  In contrast, an ongoing exhibition at the Chicago Art Institute shows the early Soviet arts in all their bustling contradiction and coming-to-be. The CIA could not have produced anything on this scale, which required a world-shaking collision of forces and a belief uncomfortably close to the religious. Malevich, Dziga Vertov, El Lissitzky, Lenin, Mayakovsky… The US, too, had considerable forces at its disposal (Buster Keaton, first and foremost). The strange thing is that this exhibition, mounted in a refreshingly no-nonsense and rather cool style, still manages to inspire, as if the past was waiting for the present to catch up to it. This power lies not so much in the myriad forms of the works, which may be bound in time, but in the pure electricity of their still-disarming presence. Against the morose ideas of ends, the grand mortuary they call ‘history’, against the relegation of past works of art to nostalgia and price, something else appears beside the collages, constructivist paintings, fabrics and living spaces constructed for the great new socialist world. We are always told that Stalin was the culmination of this moment in time. Who says? And who paid him to say it? The answer is obvious. They say that here is only one modernism; that there is only one history (and one power able to declare that it is over); that there is only one self to express; that there is only one public and one art which can express it (sometimes fearfully, it has to be admitted). If this sums up the most banal kinds of socialist realism, it is equally applicable to the art the CIA promoted in the middle of last century. Behind the paintings was the logic of pacification.

Alan Dulles’ influence extends far beyond his admittedly meagre artistic output. The CIA’s most recent work of criticism is the destruction of San’a and Aleppo, where the Agency has taken to task outmoded theories of architecture in an imperial inversion of the Situationists’ support for the Watts riots. And The Intercept informsus that Erik Prince, infamous Blackwater capo, and that old has-been Oliver North are setting up a parallel intelligence agency to defend the embattled President against a rogue CIA. Thus, the old rivalry between Classical and Romantic has returned with a swinging post-modern, mercenary twist. Although painting seems to be off the radar for now, the ideas behind the Abstract Intelligence school await resurrection in another form whose inelegance may delight or offend, depending on the myths necessary for the murder of both the Image and its reflection.

The Long Leash

independent - 1995 |  For decades in art circles it was either a rumour or a joke, but now it is confirmed as a fact. The Central Intelligence Agency used American modern art - including the works of such artists as Jackson Pollock, Robert Motherwell, Willem de Kooning and Mark Rothko - as a weapon in the Cold War. In the manner of a Renaissance prince - except that it acted secretly - the CIA fostered and promoted American Abstract Expressionist painting around the world for more than 20 years.

The connection is improbable. This was a period, in the 1950s and 1960s, when the great majority of Americans disliked or even despised modern art - President Truman summed up the popular view when he said: "If that's art, then I'm a Hottentot." As for the artists themselves, many were ex- communists barely acceptable in the America of the McCarthyite era, and certainly not the sort of people normally likely to receive US government backing.

Why did the CIA support them? Because in the propaganda war with the Soviet Union, this new artistic movement could be held up as proof of the creativity, the intellectual freedom, and the cultural power of the US. Russian art, strapped into the communist ideological straitjacket, could not compete.

gizmodo -2010 |   There's little more divisive than modern art—most take a staunch "brilliance" or "bullshit" stance. So it should come as a surprise that the straight-laced feds at the CIA leaned toward the former camp—or at least saw it as brilliantly exploitable in the psychological war against the Soviets. Reports from former agents acknowledge what was always a tall tale in the art world—that CIA spooks floated pioneering artists like Jackson Pollock, Willem de Kooning, and Robert Motherwell, to drop an aesthetic nuke on Communism. What seemed like natural popularity of certain artists was, in part, actually a deliberate attempt at psychological warfare, backed by the US government.

But why modern art? At the time period in question—the 1950s and 60s—the artistic style of the moment was Abstract Expressionism. Abstract Expressionism (or AbEx, if you want to impress people at your next snooty cocktail party) stood for, above all else, self expression. Radically so. Take a look at a Pollock, for instance.

bbc - 2016 |  In the immediate aftermath of World War Two, something exciting happened in the art world in New York. A strange but irresistible energy started to crackle across the city, as artists who had struggled for years in poverty and obscurity suddenly found self-confidence and success. Together, they formed a movement that became known, in time, as Abstract Expressionism. It is currently the subject of a major exhibition, featuring 164 artworks by 30 artists (including Willem de Kooning, Jackson Pollock, and Mark Rothko), at the Royal Academy of Arts in London.

One of the most remarkable things about Abstract Expressionism was the speed with which it rose to international prominence. Although the artists associated with it took a long time to find their signature styles, once the movement had crystallised, by the late ‘40s, it rapidly achieved first notoriety and then respect. By the ‘50s, it was generally accepted that the most exciting advances in painting and sculpture were taking place in New York rather than Paris. In 1957, a year after Pollock’s death in a car crash, the Metropolitan Museum paid $30,000 for his Autumn Rhythm – an unprecedented sum of money for a painting by a contemporary artist at the time.