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Today's Stories March 29 / 30, 2008 Patrick Cockburn Robert Fantina John Ross Nelson P. Valdes Suzanne Baroud Carl Finamore Missy Beattie Jeffrey St. Clair Website of the Weekend
March 28, 2008 Saul Landau Alan Farago Peter Morici Andy Worthington Felice Pace Peter Montague Dave Lindorff March 27, 2008 Patrick Cockburn Binoy Kampmark Joanne Mariner Norman Solomon William S. Lind John V. Walsh Robert Weissman Ron Jacobs Ralph Nader David Macaray John Borowski Website of
the Day
March 26, 2008 Stan Cox Sharon Smith Anita Sinha / Jill Tauber Matt Vidal William S. Lind Joe Mowrey Dave Lindorff Ray McGovern Justin Smith Sam Husseini Martha Rosenberg Michael Dickinson Website of the Day
March 25, 2008 Ishmael Reed Corey D. B.
Walker Linn Washington Jr. Alan Farago Vijay Prashad Joshua Frank Ralph Nader David Rovics Peter Morici Dave Zirin David Krieger Website of
the Day March 24, 2008 Jeffrey St.
Clair Peter Morici Uri Avnery Wajahat Ali Paul Craig Roberts George Ciccariello-Maher Stephen Lendman Christopher
Brauchli Cat Woods Stacey Warde Dave Lindorff Website of
the Day
March 22 / 23, 2008 Ralph Nader Nicole Colson James Petras Laura Carlsen Greg Moses Andy Worthington Michael Dickinson John Ross Missy Comley Beattie David Michael
Green Ramzy Baroud Martha Rosenberg Paul Watson Isabella Kenfield James Murren Jacob Hornberger Kathlyn Stone Seth Sandronsky Kim Nicolini Jeffrey St.
Clair Poets' Basement Website of
the Weekend
March 21, 2008 Marleen Martin Peter Montague Saul Landau Anis Hamadeh Jacob Hornberger Khalil Nakhleh Adam Isacson Kenneth Couesbouc Madis Senner Monica Benderman Website of the Day March 20, 2008 Damien Millet
/ Mike Whitney John Ross Dave Lindorff Wajahat Ali Jill Nagle Manuel Garcia, Jr. Dan La Botz Robert Weissman Stella Dallas
/ Website of the Day
March 19, 2008 Patrick Cockburn Robert Fisk Jeff Taylor Ed Ruggero Ron Jacobs Christopher
Fons Sherwood Ross Cynthia McKinney Joshua Frank Robert Weissman Walter Brasch Yifat Susskind Andrew Wimmer Website of
the Day
March 18, 2008 David Price Paul Craig
Roberts Tim Wise Patrick Cockburn Conn Hallinan James T. Phillips Uri Avnery David Macaray Marjorie Cohn Peter Zinn Dan La Botz Monica Benderman
March 17, 2008 Pam Martens Sasan Fayazmanesh Nelson P. Valdés Peter Morici Wajahat Ali Ronnie Cummins Shaun Harkin Ali Khan Robert Jensen P. Sainath Greg Moses Dr. Susan Block Website of the Day
March 15 / 16, 2008 Patrick Cockburn Mike Whitney Ralph Nader Robert Pollin Diane Christian Wajahat Ali Tom Wright
/ Alan Farago Greg Moses Michael Hudson Martha Rosenberg John Goekler Uzma Aslam
Khan Oren Ben-Dor David Underhill Fred Gardner David Michael
Green Rev. William E. Alberts Gail Dines David Yearsley Chris Clarke Poets' Basement Website of
the Day
March 14, 2008 Paul Craig
Roberts Don Santina
Patrick Cockburn
Tim Rinne Robert Fantina
Saul Landau
David Macaray
Franklin Lamb
Michael Neumann
March 13, 2008 Paul Craig
Roberts Mike Whitney
Assaf Kfoury
Andy Worthington Adam Federman
March 12, 2008 Dave Lindorff
R.F. Blader
Yonatan Mendel
Jonathan Cook
Bill and Kathy
Christison James J. Brittain
Ron Jacobs
March 11, 2008 Paul Craig
Roberts Ed O'Loughlin
Ramzy Baroud Kathy Christison
China Hand John Joslin
Mike Averko
Ben Rosenfeld
Thierry Paquot
March 10, 2008 Uri Avnery
Col. Dan Smith
R.F. Blader
Michael Neumann
Bob Fitrakis
and Harvey Wasserman James J. Brittain
Missy Comley
Beattie March 8-9, 2008 Weekend Edition JoAnn Wypijewski
Mike Whitney
Peter Morici
Ralph Nader
Jonathan Cook
Steve Niva
Bill and Kathy
Christison Hervé
Do Alto and Franck Poupeau Eric Walberg
Scott Johnson
Mark Scaramella
Bill Clinton Poet's Basement
Website of
the Weekend March 7, 2008 Patrick Cockburn
Robin Blackburn
Saul Landau
Binoy Kampmark
Chris Floyd
Andy Worthington Will Potter March 6, 2008
March 6, 2008 Vincent Navarro Forrest Hylton Peter Morici George Ciccariello-Maher John Ross Jacob Hornberger Paul Watson Dan Bacher Website of the Day
March 5, 2008 Cockburn /
St. Clair Joanne Mariner Fidel Castro Christopher
Brauchli Steven Sherman Dave Lindorff James Murren Adam Engel Website of Day
March 4, 2008 Wajahat Ali William Blum Bill Quigley Ralph Nader Patrick Irelan James J. Brittain
/ Norman Solomon Jacob Hornberger Andy Worthington Mike Averko Website of the Day
March 3, 2008 Jennifer Loewenstein Alan Farago Richard Gott Wajahat Ali Paul Craig Roberts Robert Weissman Uri Avnery Martha Rosenberg Eva Liddell Michael Donnelly Website of the Day
March 1 / 2, 2008 Alexander Cockburn Paul Craig
Roberts Kathleen and Bill Christison Nelson P. Valdés Christopher Brauchli Ron Jacobs John Ross Robert Fantina Robert Weissman Mohammed Omer Remi Kanazi Bob Jackson Richard Rhames Franklin Lamb Rannie Amiri David Michael
Green Conn Hallinan Faheem Hussain Poets' Basement Website of
the Weekend
February 29, 2008 Matt Gonzalez Jonathan Cook Joshua Frank Anthony DiMaggio Linn Washington, Jr. Binoy Kampmark Robert Bryce Sonja Karkar Dave Lindorff Website of
the Day
February 28, 2008 Patrick Cockburn Fred Gardner Michael Levitin William S.
Lind David Macaray Stephen Fleischman George Wuerthner Laura Carlsen Carl Finamore Michael Dickinson Website of the Day
February 27, 2008 David Rosen Vijay Prashad Harvey Wasserman Andy Worthington Wajahat Ali Peter Morici Stephen Philion Michael Donnelly Erica Rosenberg / Website of
the Day
February 26, 2008 Debbie Nathan Alan Dershowitz
Harvey Wasserman Michael Colby Gary Leupp David Orchard Martha Rosenberg Fran Shor Serge Halimi Global Balkans Website of
the Day
February 25, 2008 Roger Morris Anthony DiMaggio Ralph Nader Patrick Cockburn Paul Craig Roberts Peter Morici Dave Lindorff Saul Landau
/ Heather Gray Robert Weitzel John Halle Website of the Day
Alexander Cockburn Paul Craig
Roberts Wajahat Ali Ralph Nader Jürgen
Vsych Fidel Castro Andy Worthington David Macaray Jeremy Scahill David Krieger Ron Jacobs Michael Garrity Brian McKenna Missy Beattie Fred Gardner Boris Kagarlitsky Mike Ferner Dan Bacher Christopher
Ketcham Poets' Basement Website of
the Weekend
February 22, 2008 Mike Whitney Jason Hribal Liaquat Ali Khan Joshua Frank Dave Lindorff Liliana Segura Robert Fantina Yifat Susskind Norm Kent Website of
the Day February 21, 2008 Saul Landau Elizabeth Schulte Helen Redmond Benjamin Dangl Michael Levitin Liam Leonard Patrick Irelan Linn Cohen-Cole Michael Simmons CounterPunch
News Service Website of the Day
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Weekend
Edition Trascending the Now in Richard Kelly's "Southland Tales"Cock Chuggers and Cheese CurlsBy KIM NICOLINI Richard Kelly's Southland Tales was one of the most underappreciated and underscreened movies of the past year. For the most part, critics found it confusing and didn't understand that it is not just a movie but a critique of media in general that uses the mechanisms of mass media against itself to deliver a scathing portrait of a dumbed-down media saturated wartime apocalyptic landscape, otherwise known as the United States. I am not an adoring Richard Kelly fan, nor do I read comics, but I was inspired to see Southland Tales because I love an apocalyptic narrative and because when I read all the reasons people hated the movie, I knew they were all reasons why I would love it. I was right. Southland Tales not only met my expectations, but it exceeded them by a thousand fold. While the film stands on its own a mind-blowingly complex piece of 21st century cinema, I must say that reading the prequel comic first definitely made the film more intelligible but also made the experience of the film more complete, because Southland Tales is more than just a movie. It's a media event. It is a happening, a multi-media extravaganza that exploits the very nature of media to transcend the confines of media. Not unlike Brian De Palma's Redacted, Richard Kelly's Southland Tales uses an almost guerilla style of visual assault and employs the aesthetics of mass media to expose the humanity trapped inside the artificial construction of media. It asks us to question the very nature of ourselves, our constructed identities and how our lives are narrated by outside forces. Using pop icons for actors and incorporating an assault of MTV meets CNN meets Sci-Fi Soap Opera cinematic styles, the movie plays like some kind of insane infomercial reality show gone awry. Media is layered within media as sidebars frame the screen and we watch the movie like we're watching a CNN report on the disintegration of humankind. Disintegration is the critical word here because no one in this story is allowed to be a singular identity. Everyone is botched together, living lives of dualities and projections. One thing the comic emphasizes and that is not so clear in the movie is that there are two conjoining narratives. The characters operate on two planes --one in which they are characters in a screenplay and one in which they are "real" people who converge with and become the characters in the screenplay. No one can be trusted with who they are, and everyone is a projection and construction of a scripted plot. Are we watching Roland or Ronald Taverner? Is he a veteran of the Iraq War or a racist cop? Is Dwayne Johnson Boxer Santeros or Jericho Kane? Is he a movie star or a cop? Is this couple a pair of Marxist revolutionaries or a bourgeois bride and groom? Everything is doubled and muddled, even the politicians and revolutionaries. The Marxists are in with the Republicans. The corporation is assisting the leftists. The feminist is colluding with the corporation. It's all duplicitous. There are no clear cut good guys and bad guys, just guys who have all melded together in a tangle of artifice that needs to be exploded. (And it eventually does explode quite beautifully.) Kelly brilliantly uses media against itself to extend this distrust and confusion about who and what we are watching and move it beyond the screen. We think Krysta Now is a fictional creation, yet you can visit Krysta-Now.com and browse her line of products. We think we're watching the actor Dwayne Johnson play a fictional character Boxer Santeros, yet we can visit Boxer on his Myspace page . We think that Treer-Products are a creation of Richard Kelly, yet they too have a website. This is what I mean when I say that Southland Tales is a multi-media event/construction. According to Southland Tales, life and the people who live it have become a multi-media construction. One of the biggest criticisms of the movie is the flat affect of pop icons Dwayne Johnson and Sarah Michelle Gellar. Let me just say that there is no way on earth that this movie could be as effective as it is or be what it is if it did not use pop icons who appear on screen like cardboard cut-outs with moving mouths. The flatness of the performances makes the film infinitely more effective because we feel the constraints under which these characters are operating. We feel the duality of their existence and see the humanity locked inside their outer construction. This duality is particularly effective in Boxer Santeros/Jericho Kane (Dwayne Johnson). His eyes are constantly staring out of his head like a deer caught in the headlights, and he is perpetually wringing his hands in exaggerated anxiety over the script that he is caught inside. His exaggerated, almost slapstick physical mannerisms border on camp, yet what we feel is the tension between himself as an actor (the actor Dwayne Johnson and the actor Boxer Santeros) and the person he thinks is a real person but who is also only a character in a script (Jericho Kane). Ultimately by using these pop icons, we witness the artificial construction of identity (a construction which is largely influenced by media) and a desperate need to transcend that construction. The flatness of the characters lends a kind of campy MTV production value to the film that exposes the artifice of media. Still, at its heart, the film is completely sincere and oozing with humanity, and we feel this humanity more because of the flat artificial performances. For example, we laugh heartily as Starla stuffs her garish face with cheese curls, but when she gets gunned down on the beach, we feel the horror of her death and the tragedy of her desperate identity. But our horror is amplified by her camp performance. The scene featuring the film's narrator Private Pilot Abilene (played by pop icon Justin Timberlake) lip-syncing to the Killers "I've got soul but I'm not a soldier" beautifully illustrates the film's ability to deliver camp and a kind of MTV artificial aesthetic that at the heart contains a tragic human realness. In this one scene, we witness what this movie does so well. Justin Timberlake enters the scene covered with blood and scars from the war. At first we're disoriented as he stumbles inside the screen. Then we laugh at the campy horror of his look (it's too staged to take seriously) and his ironic slacker MTV affect. Yet we are also uncomfortable because (ironically) the hallucinatory aura of the scene relates it to the reality of the "real war." The scene builds into an explosion of musical camp complete with Rockettes. As the scene whirls, we lose bearings and wonder what exactly it is we are watching. The music and the dancing are exploding with self-conscious pop/camp, yet Timberlake's affect is laden with human resignation, malaise and damage. At the end, he stares out at us as if he is saying, "Look at what this world has done to me." It's a gorgeous human moment in which media and humanity converge to powerful effect. But the reason it is so powerful is because it comes "through" to us from all these trappings of pop music and reeling hallucinatory dance numbers. As an aside, this scene is very interesting to compare to the Happiness is a Warm Gun scene in Across the Universe. Both scenes use Rockettes and surreal dance numbers to show the imbalanced mental state and damage of the returning war veteran. (And yes, Southland Tales is yet another war movie.) This scene with Timberlake is also a good example of how effectively music is integrated throughout the film. The soundtrack interjects itself perfectly and manages to move the superficial/exterior into the interior. The interior sound of the music within the film gorgeously mirrors the interior of the characters. This is not to say that the movie isn't funny. It has riotously hilarious moments. I mean, Cock Chuggers and Cheese Curls are funny. I laughed as hard during this movie as I did during Reno 911. The difference is that underneath the laughter, I was asked to think and to feel. Much of the humor of the film is delivered via the character Krysta Now and jokes about pornography. (Let's not forget that NOW also stands for National Organization of Women which is a clever joke about the "radical feminists" in the movie.) From Krysta's pop tune hit Teen Horniess Is Not A Crime (c'mon that's funny) to her television show that discusses "penetrating issues facing society today" (e.g. why Krysta doesn't do anal), there are no shortage of porn jokes delivered through Krysta's character. But truth is that in a media saturated world, everything is porn. No surprise the movie's trailer shows a tank with a Hustler sponsor logo on the side. War is porn. Media is porn. People are porn. In the end, rather than being the butt of her own jokes, Krysta is a visionary and a pragmatist. Krysta Now is the voice of reason who dares to speak the truth. She understands the ideology behind American imperialism: "Deep down inside everyone wishes they were a porn star. We're a bisexual nation living in denial all because of a bunch of nerds who got off a boat in the 15th century and decided that sex was something we should be ashamed of. All the pilgrims did was ruin the American Indian orgy of freedom." And Boxer Santeros isn't too far behind Krysta when it comes to revelations. While Krysta understands that everything is porn, Boxer is fully aware that he is a pimp: "I'm a pimp. Pimps don't commit suicide." Porn stars. Pimps. We're all whoring something, selling something and pimping something. We're all being whored, sold, and pimped. Cock chuggers and cheese curls aside, when it all comes down (and it does all come down), Southland Tales exploits media to transcend the trap of media. Underneath the MTV and CNN production values, what we feel is real humanity caught inside the trap of a media-saturated culture. We learn that not only are all the characters operating in the duality of their own existence, but that time itself has become split. The now (as in the present) is a place that cannot be trusted. The only place to find ourselves and free ourselves from the artifice we've become is to look back into what we were in the past and project what we will be in the future. Joining these two forces, who we were yesterday and what we will be tomorrow (Roland and Ronald), is the only way to reinvent today. Hence, today needs to be destroyed and you get the apocalypse! Speaking of revelations, what we learn from the prequel comic is that the "screenplay" within the narrative was inspired by the book of revelations. In the end, our experience of this film is a revelation within itself as we watch the sacrificial destruction of humanity. People fall from rooftops, are gunned down on beaches, slain in their wedding dresses, and tumble from blimps, all in a sacrificial explosion of martyrdom. And there is liberation and redemption in this death. Through their destruction, the characters can transcend their artifice. When everyone gathers in the blimp at the end --the politicians, Marxists, scientists, corporations, and movie stars --it is a conglomeration of ideology that needs to explode to transcend the now. And what a sublime transcendence it is when it all blows the fuck up. Absolutely gorgeous. It left me in goose bumps. To me, Southland Tales is a movie about transcending the tragedy that is the now. It uses media to try to transcend media and the media composites and artificial identities that have taken over human life. I found the ending dance scene in the blimp remarkably moving because I was so acutely aware of the artifice of the characters and the narrative that they were inhabiting, but also keenly sensitive to the idea that they really were reaching beyond their roles. When Krysta and Boxer dance and Boxer's wife joins them, we feel a sense of reconciliation and hope, yet we also know that everything must end for hope to exist. The now must be destroyed. It's all quite beautiful and moving, and it is one of the most accurate representations of America in the 21st century. I'm sure all of this sounds profoundly insane to anyone who hasn't seen the movie, but we live in a profoundly insane time. Southland Tales was screened at very few theaters nationwide, but it is now available on DVD. Kim Nicolini is an artist, poet and cultural critic. She lives in Tucson, Arizona with her partner, daughter, and a menagerie of beasts. She works a day job to support her art and culture habits. She is currently finishing a book-length essayistic memoir about growing up as a punk sex worker in 1970s San Francisco. Her work has appeared in Bad Subjects, Punk Planet, Bullhorn and Berkeley Poetry Review. She can be reached at: knicolini@gmail.com.
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