Category Archives: Mainstream media
In my last post, I criticized TV news, and suggested searching for alternative text or online news sources. You can access news via phone and tablet apps, and those based on a subscription to a newspaper can be useful (I use one for my local paper). Other news apps that you think might be good give you mostly ads and junky articles, however. Apple News is a good example of this – and of my love-hate relationship in general with Apple. It claims to personalize the news in your feed and allow you to order the subjects you’re interested in, but it doesn’t, and it’s full of ads for Apple’s $9.99 a month magazine subscription service, some of which actually prevent you from reading articles. Flipboard is also problematic. I’ve decided to try Google News, Feedly, and a few more radical sites instead. P.S. To read magazines for free on your phone or tablet, see if your local library is connected with RBDigital, an app for reading magazines your library subscribes to.
Whenever I visit friends and family who watch more TV than I do, I’m re-confronted with the toxicity of network and cable news programs, even on supposedly liberal channels like MSNBC. The emphasis these shows place on toxic personalities like President Trump and Jeffrey Epstein and the all-too-common mass shootings in the US is not only depressing and disempowering, I believe it’s skewing the thought and behavior of Americans in negative directions. I think there would be fewer mass shootings, even without the strict gun control we obviously need, if the news didn’t make heroes, however negative, out of the shooters. Trump is also given way too much attention, his every lying, self-aggrandizing tweet and statement dominating the headlines and endlessly commented upon. We know by now that his statements and actions aren’t always followed by concrete action, so what’s the purpose of all this attention? Just as during the 2016 presidential campaign, it encourages him and his followers, and makes him seem like a real option for political leadership, rather than just the “star” of his own bizarre, un-reality show. The mass media have been and are allowing Trump’s surreal, insane, and completely uninformed unreality to become our reality – clearly a bad thing for our country and our individual psyches, including those of our children.
There are a lot of other things the news media could and should be focusing on: climate change; cruel, destructive, and unnecessary wars, many of them mounted or aided and abetted by the US; national and worldwide poverty caused by the corporate capitalist system and the “Washington consensus;” and uplifting news about the good things many people in the US and around the world are doing. These kinds of stories would stimulate needed discussion about national and world problems and provide a positive example for the children and teenagers exposed, even tangentially, to the mass media.
If you want a proper emphasis on what’s happening, including a lot more actual facts, you have to go a bit out of your way. I hope you will. Amy Goodman’s “Democracy Now,” available on public radio, cable TV, and online at democracynow.org is one of my favorites, and her show will point you in the direction of other good sources of news and information. Stop polluting your mind and soul with ad-saturated mass media “news,” catering to the lowest common denominator because all these outlets care about is selling us their products, and get adult viewpoints featuring real potential solutions to the all-too-serious problems facing us (with no ads).
Capitalism is killing us, sending us and the rest of the natural world we depend on down the tubes, and TV news is one of its major tools. Expose yourself to alternative thinking for the good of all of us.
Chance recently landed me on the crimethinc.com anarchist website, where I found two important books (click on “Books”), available for free online in PDF format. The first, No Wall They Can Build: A Guide to Borders and Migration Across North America, scrutinizes the borders that control movement on the continent. “Drawing on nearly a decade of solidarity work in the desert between Mexico and Arizona, the authors uncover the real goals and costs of US border policy, who benefits from it, and what it will take to change it.” The second, From Democracy to Freedom: The Difference Between Government and Self-Determination, makes the case for anarchy (voluntarism and mutual aid) against any form of direct democracy, which will only reproduce the oppressive state. I highly recommend both, lengthy and dense, but key books for your attention.
Here’s a quote I just found in From Democracy to Freedom that I especially liked: “It’s no coincidence that today’s revolutionary movements lack visions of other worlds, or that a great part of capitalist production supplants imagination among its consumers, offering imaginaries that become more elaborate every day – more visually stimulating and more interactive, so that people no longer have to imagine anything for themselves because a thousand worlds and fantasies already come prepackaged. All the old fantasies that used to set us dreaming have now been fixed in Hollywood productions, with convincing actors, fully depicted terrains, and emotive soundtracks. Nothing is left for us to recreate, only to consume. In the current marketplace of ideas, it seems that the only imaginaries that describe our future are apocalypses or the science fiction colonization of outer space. The latter is the final frontier for capitalist expansion now that this planet is getting used up, and the former is the only alternative capitalism is willing to concede outside its dominion. The revolutionaries of a hundred years ago continuously dreamed and schemed of a world without the State and without capitalism. Some of them made the mistake of turning their dreams into blueprints, dogmatic guidelines that in practice functioned as yardsticks by which to measure deviance. But today we face a much greater problem: the absence of revolutionary imaginaries and the near total atrophy of the imagination in ourselves and in the rest of society. The imagination is the most revolutionary organ in our collective social body, because it’s the only one capable of creating new worlds, of traveling outside capitalism and state authority, of enabling us to surpass the limits of insurrection that have lately become so evident.
I know very few people who can imagine what anarchy might look like, and uncertainty isn’t the problem. Uncertainty is one of the fundamentals of chaotic organization, and only the authoritarian neurosis of states obliges us to impose certainty on an ever-shifting reality. The problem, rather, is that our lack of imagination has disconnected us from the world. A vital part of ourselves is no longer there, as it used to be, on the cusp of the horizon, on the threshold between dark and light, discerning, modulating, and greeting each new element coming into our lives. Our prospects, however, aren’t irremediably bleak. Imagination can always be renewed and reinvigorated, though we must emphasize the radical importance of this work if people are once more to create, share, and discuss new possible worlds or profound transformations of this one.”
As a student of history, particularly Russian history, I was curious about the new film “The Death of Stalin,” then appalled when I did some online research and found out that it’s a slapstick comedy about officials grasping for power after Stalin died in 1953. What’s funny about something like this? Nothing. Also shocking is the way the film gives absolutely no context about Stalin, one of the key historical figures, for good or ill, of the 20th century. As Peter Hitchens, a London reader of The Guardian wrote in that paper’s letters section on 10-27-17, “As far as I know, this is the first time a mass-market film has dealt with this event. We may be saturated with serious drama and documentary material on the Nazis and the end of Hitler, but the equivalent evils of the Stalin nightmare haven’t received anything like the same treatment. For most who see the film, it will be the first time they’ve ever heard of these strange events. And what do they see? An intensely serious moment in human history played for laughs, with lavatory humor and plentiful use of the failed comedian’s standby, the F-word. We’re so free and safe that we can hardly begin to imagine a despot so terrifying that his subordinates are even afraid of his corpse. This trivial and inaccurate squib doesn’t help us to do so. Perhaps it’s the comedians who need to be satirized, by some fitting seriousness about a serious subject.”
The only critical review I found of the film online was one posted on the World Socialist website (www.wsws.org) on 3-9-18. David Walsh describes it as “a fatally ill-conceived ‘black comedy’ about the demise of the gravedigger of the Russian Revolution, Joseph Stalin, in March 1953. The film is not so much maliciously anticommunist as it is, above all, historically clueless. Iannucci presents the various surviving Stalinist officials, Nikita Khrushchev, Georgy Malenkov, Vyacheslav Molotov, Anastas Mikoyan, Nikolai Bulganin, and the rest, all of whom had gallons of blood on their hands, as a largely ineffectual bunch of bunglers and toadies, jockeying ‘comically’ for position. The betrayal of the Russian Revolution was one of the greatest tragedies in world history [not to mention the planned famine in Ukraine and Stalin’s purges, which together killed more people than Hitler]. Iannucci’s film doesn’t begin to confront the vast significance of events in the Soviet Union.
Taken in and of themselves, there are amusing lines and moments, until one remembers the general context and the historical stakes, and the laughter freezes in one’s throat. All the actors are fine at doing what they’re asked to do, but what they’re asked to do is terribly off the mark. It’s impossible to make sense of a film like ‘The Death of Stalin’ except in the context of the disastrously low level of historical knowledge or interest that exists in the arts at present.
Iannucci is a Scottish-born television, film and radio writer and director, responsible for ‘I’m Alan Partridge’ (along with Steve Coogan), ‘The Thick of It,’ ‘In the Loop,’ and ‘Veep,’ among other efforts, and under the right circumstances, he’s capable of creating funny, pointed satire. When it comes to bringing out the dishonesty, careerist opportunism, and stupidity of garden-variety politicians, media personalities, and other establishment figures, he probably has few equals today. However, when the writer-director steps outside the fairly narrow confines of parliamentary and entertainment industry backroom shenanigans, he falters badly. The second half of ‘In the Loop,’ which satirized the British government’s complicity in the Bush administration’s drive to war in Iraq, is politically blunted and largely unfunny. HBO’s ‘Veep,’ too, about a fictional female US vice president, finds Iannucci over his head. For all its coarseness, it’s quite timid in its portrayal of the ugliness of American politics, with little mention of war policy, drone strikes, and other things that surely consume a great deal of a real president’s focus and attention.
Art and comedy have to rise to – or at least approach – the level of the events or personalities they’re treating. That is, there needs to be some artistic and intellectual correspondence between subject and object. Iannucci’s film is based on a [non-comic] French graphic novel series by Fabien Nury and Thierry Robin. Iannucci has undoubtedly added his own touch. And it’s simply inappropriate and, at times, grotesque.”
I believe history, as the backstory to current and future events, is the key to understanding where we are and where we could go, and I’m more than saddened by the preponderant lack of knowledge of or interest in it today – probably because of the boring, textbook-centered way it’s taught in high school. Good historical novels and films can make up for some of this, but bad ones, like “The Death of Stalin” just deepen the ignorance. Take the time to be curious about your world, and how it came to be the way it currently is. Find important history books by reading reviews on Amazon, then buy or borrow and read them!