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Should the Left Cheer the Dollar's Drop? How to make the bankers scream: Robert Pollin, world's best obituarist of Clintonomics, explains it all for you. Do police states make people feel safer? Vicente Navarro on Franco's Spain, Cockburn on Ireland in the Fifties under the Catholic Hierarchy, Alevtina Rea on growing up in Brezhnev-time. Capitalism's true utopia? St Clair on the Pentagon's no-bid arms contracts. How's the press doing in Iraq? Patrick Cockburn tells all to Omar Waraich. Get the answers you're looking for in the latest subscriber-only edition of CounterPunch... CounterPunch Online is read by millions of viewers each month! But remember, we are funded solely by the subscribers to the print edition of CounterPunch. Please support this website by buying a subscription to our newsletter, which contains fresh material you won't find anywhere else, or by making a donation for the online edition. Remember contributions are tax-deductible. Click here to make a donation. If you find our site useful please: Subscribe Now! or write CounterPunch, PO BOX 228, Petrolia, CA 95558 |
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Other Lands Have Dreams: From Baghdad to Pekin Prison by KATHY KELLY ![]() Today's Stories May 25, 2005 John
Ross May 24, 2005 Dave
Zirin Michele
Bollinger Winslow
Wheeler Uri
Avnery Michael
Donnelly Joshua
Frank Stephen
Dunifer Paul
Craig Roberts
May 23, 2005 Esther
Sassaman / Thomas Nagy Mike
Whitney Ramzy
Baroud Michael
Dickinson Walter
Brasch Dick
J. Reavis Maria
Tomchick Norman
Solomon Kevin
Zeese Website
of the Day
May 21 / 22, 2005 David
H. Price Gabriel
García Márquez Oren
Ben-Dor Gary
Leupp Laith
al-Saud Elaine
Cassel Greg
Moses Fred
Gardner Dave
Lindorff Alan
Maass William
Blum Tom
Crumpacker Niranjan
Ramakrishnan Doug
Giebel Evelyn
J. Pringle Carolyn
Baker Chris
Floyd Frederick
B. Hudson Ben
Tripp Poets'
Basement
May 20, 2005 Dave
Lindorff Kevin
Zeese Paul
de Rooij Christopher
Brauchli Mark
Engler Joshua
Frank Robert
Jensen Jeffery
R. Webber
May 19, 2005 Bill
Forman Stan
Goff Neve
Gordon Michael
Dickinson Karyn
Strickler Andrew
Freedman Paul
Craig Roberts
May 18, 2005 Jean
Bricmont Laura
Carlsen Mike
Whitney Joshua
Frank George
Galloway Manuel
Garcia, Jr. Dwight
D. Eisenhower Dave
Lindorff
May 17, 2005 Mickey
Z. Petuuche
Gilbert Paul
Craig Roberts Ramzy
Baroud Robert
Jensen / Pat Youngblood Stan
Cox Dave
Zirin Diana
Barahona Website
of the Day May 16, 2005 Michael
Gillespie Jason
Leopold Jesse
Muldoon Norman
Solomon Robert
Cray Patrick
Cockburn Website
of the Day
May 14 / 15, 2005 Alexander
Cockburn Saul
Landau Gary
Leupp JoAnn
Wypijewski Ben
Tripp Brian
J. Foley Tom
Barry Mitchell
Verter Mike
Ferner Dan
Smith Mark
Scaramella Don
Fitz Diane
Farsetta Michael
Dickinson Ron
Jacobs Fred
Gardner Farrah
Hassen Douglas
Valentine Poets'
Basement Website
of the Weekend May 13, 2005 Tom
Stephens Patrick
Cockburn Mike
Whitney Chris
Floyd Jenna
Orkin Dave
Lindorff Joshua
Frank Website
of the Day
May 12, 2005 Paul
Craig Roberts Uri
Avnery Greg
Moses Carolyn
Baker Pat
Williams William
S. Lind Jack
Random Gary
Leupp
May 11, 2005 Patrick
Cockburn Kevin
Zeese Christopher
Brauchli Zalman
Amit Robert
Shull Mike
Whitney Dr.
Teresa Whitehurst Norman
Solomon
May 10, 2005 Richard
Drayton Dave
Zirin Jackie
Corr Dave
Lindorff Michael
Donnelly Reza
Fiyouzat Scott
Parkin Stephen
Babcock Alan
Farago Michael
Neumann Website
of the Day
May 9, 2005 Louis
Proyect Robert
Fisk Kevin
Zeese Joshua
Frank Sasha
Kramer Andrew
Wimmer Jeffrey
Webber Jeffrey
St. Clair
May 7 / 8, 2005 Alexander
Cockburn Gary
Leupp Saul
Landau Joe
DeRaymond Daniela
Ponce Heather
Williams Gregory
Elich Anis
Memon John
Chuckman Mike
Whitney Ron
Jacobs Colin
Kalmbacher Lance
Selfa Fred
Gardner Ben
Tripp Mickey
Z. Richard
Joseph Dr.
Susan Block Poets'
Basement
May 6, 2005 Patrick
Cockburn Erin
Yoshioka Sam
Husseini Dave
Lindorff Kevin
Zeese Joshua
Frank Dan
Bacher P.
Sainath
May 5, 2005 Carles
Mutaner Carl
G. Estabrook Farrah
Hassen Kevin
Zeese Michael
Leonardi Bennett
Ramberg Ray
McGovern Norman
Solomon Nicole
Colson Brian
Concannon, Jr.
May 4, 2005 Colin
Kalmbacher John
Walsh Greg
Moses Ali
Khan Chris
Floyd Linda
S. Heard Dave
Zirin William
S. Lind Gary
Leupp Website
of the Day
May 3, 2005 Dave
Lindorff Brian
Cloughley Ira
Kurzban Seth
Sandronsky Gilad
Atzmon Michael
Donnelly Alex
Sanchez Peter
Linebaugh
May 2, 2005 Ron
Jacobs Stan
Goff Karyn
Strickler Joshua
Frank Kevin
Zeese Vicente
Navarro
April 30 / May 1, 2005 Alexander
Cockburn Gabriel
Kolko Jennifer
Loewenstein Lee
Sustar Saul
Landau T.W.
Croft Nikolas
Kozloff William
Blum Dave
Lindorff Joshua
Frank Doug
Giebel Steven
Erlanger Fred
Gardner Mike
Whitney Kurt
Nimmo Joe
DeRaymond Michael
Dickinson Mickey
Z. Justin
Taylor Poets
Basement Website
of the Weekend
Hot Stories Alexander Cockburn Subcomandante
Marcos Norman Finkelstein Steve Niva Dardagan,
Slobodo and Williams Steve
J.B. Sheldon
Rampton and John Stauber Wendell
Berry CounterPunch
Wire Cindy
Corrie Gore Vidal Francis Boyle
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May 25, 2005 A Review of Naomi Klein's "The Take"Occupy, Resist, Produce!By SEAN CAIN With the popularity of such documentaries as Mark Achbar and Jennifer Abbott's The Corporation and Michael Moore's Fahrenheit 911, so-called "guerrilla filmmaking" is quickly becoming a new genre in itself. The most recent example of this is The Take, a Canadian documentary written by No Logo author Naomi Klein and directed by her husband, former CBC Counterspin host Avi Lewis. The backdrop of the film is the spectacular failure of neo-liberal economics in Argentina. It is the same story that could be told of a multitude of countries from the Global South: under pressure from the International Monetary Fund (IMF), Argentina's government, led by President Carlos Menem, privatizes state assets, deregulates financial markets, cuts social spending, raises interest rates to unprecedented levels, and slashes wages. Not surprisingly, the incomes of the wealthy and powerful increase almost exponentially, while unemployment and poverty skyrocket for the poor and working class, leaving the society ridden with greater inequality and public squalor. This leads to a financial collapse in 2001, when even hundreds of thousands of well-to-do, middle-class Argentines lose their jobs and savings. The documentary takes viewers into the industrial wastelands of the country, where, after the crisis, thousands of factories are abandoned and stripped of their assets by their owners. Out of desperation, some of the unemployed workers fight back, organizing to re-take control of their former industries and manage them on their own, without owners or bosses. As the workers' motto proudly states: "Occupy, Resist, Produce!" Klein and Lewis introduce viewers to Freddie Espinosa and his family, who have spent virtually all of their savings since Espinosa lost his job at the Forja auto parts factory. The documentary follows Espinosa and his co-workers as they attempt to salvage their factory and resume work. They are supported by, and learn from, other workers in Argentina who have successfully expropriated industries and placed them under workers' control, including those at Zanon Ceramics and the Brukman garment factories. Klein and Lewis also cover the politics of Argentina, including a presidential election that took place during the actual filming. Seeking a political comeback, disgraced conservative Carlos Menem, blamed by most Argentines for the crisis, is challenged by a more progressive rival, Peronist Nestor Kirchner. The documentary includes a clip of a hilarious Menem TV campaign commercial, where Menem apologizes for his previous economic mismanagement and then, with a straight face, attempts to display himself as a Christ-like figure seeking forgiveness from the voters of Argentina. Unlike a Michael Moore documentary, Klein and Lewis have limited time on camera. Instead, they let the cameras roll, filming how the Forja workers confront one crisis after another. They are the stars of the film. Framing a grim reality, The Take films the workers and their families as they face off against the former owner of the factory, corporate-backed politicians, the corrupt Argentine judicial system, and an appallingly violent police state. There is an alternative to global capitalism, but no one said that creating workplace democracy was going to be easy. As decades of labour research has shown, industries that are self-managed and controlled democratically by their workers are, under static conditions, more efficient and cost-effective than companies that possess a traditional, top-down, bureaucratic form of administration. More importantly, they also create far better working conditions for employees. Further studies have revealed that those working in democratic workplaces tend to live longer and healthier, enjoy more satisfying personal and family life, and are more likely to engage in social activities such as volunteering, community service and political participation. Of course, we're not supposed to know this. People are trained to believe that workers are uninformed, careless, and lack the capability to manage their own businesses. The irony about this myth is illustrated in the film, where the former owners who only a few years ago abandoned their businesses, including Mr. Zanon of the ceramics factory, all of a sudden want them back now that many of them are operating so successfully. A noteworthy scene is an interview with a female worker at the Brukman garment factory, who speaks of being both surprised and relieved to realize how easy it was for workers to manage the factory and undertake such duties as accounting, purchasing, sales, and other financial planning, activities that were once thought only to be the responsibilities of educated and well-paid managers. When asked about the larger picture, she smiles and confidently declares, "Maybe we can run the entire country this way." She was definitely on to something here. Due to whatever reason, whether time, budget or the desired focus of the film, Klein and Lewis don't look at the larger picture of a democratically-controlled economy that is socially-owned and controlled by workers and consumers. What does the existence of worker-managed companies say of the millions of other workers who still labour under the thumb of corporate management in other businesses? And what happens if some of the democratic firms cannot survive in the global economy? Could they be forced to cut back production and fire workers in order to remain afloat? This could result in a kind of "people's capitalism," where worker-controlled firms have to compete with each other, just like traditional corporations. This is where the issue of social ownership becomes vitally important: factories, as well as entire economies, would need to be owned and planned democratically by local communities to guarantee full employment, environmental sustainability and social justice. This is not a critique of the The Take or of the courageous struggles of Freddie Espinosa and thousands of other working people in Argentina. We in the more industrialized world have much to learn from them, and it is only these struggles that will lead to larger mobilizations for economic democracy on a global scale. As one woman working in a democratic
enterprise proudly declares near the end of the film, "We
are now where the rest of the world is going." For more information about
The Take, visit www.thetake.org.
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