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Author Topic: The Anti-War Movement and the Cult of Defeat  (Read 92 times)
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« on: March 28, 2008, 01:46:00 PM »

Note: It speaks of the Phoenix anti-war movement but can apply to just about every city in the U.S.

Damn Near Seven Years of Failure: The Phoenix Anti-War Movement and the Ritual Cult of Defeat



By Phoenix Insurgent
http://www.phoenixinsurgent.blogspot.com

In the process of getting ready to write something new about the anti-war movement here in Phoenix, I re-read my past writings on the topic. Looking them over, I realized, why bother? Nothing has changed. Ritual and ineffectiveness still dominate the movement, as do activists who need the war to justify their management of others (to get votes, to build organizations or just to massage their own egos). A fear of shaking things up and a conservative attitude towards tactics prevails.

Failure, rather than success, has become the benchmark for the movement. To continue losing, to continue to stand impotent before the forces of the elite war machine, has in fact become a sort of measure of success in its own right. We're still here, and we're still against the war, seems to be the message, ignoring the fact that as long as that's true, the war must also still churn mercilessly on, devouring both American and Iraqi alike (although one in substantially greater proportion than the other). After all, you can't be against a war once it's over.

Heavy on symbol and low on substance, the movement in Phoenix has become a candle-holding caricature of itself, at war with imagination and as a result completely unable to conceive of any action other than to repeat its own failed mistakes of the past. Nearly seven bloody years of war have passed and still the local liberal anti-war movement has yet to claim anything remotely approaching a victory, having instead allowed itself to be diverted into dead ends like electoralism, petitioning and moral witness.

Literally, the movement here has engaged in the exact same protest almost since the day American bombs started pummeling Iraq: show up at Senator McCain's office, hold some signs and deliver a petition. The movement's success is judged in terms of honking horns rather than concrete results. Initially, there were street protests and some enthusiastic energy, but those days are long gone. The vampires of the liberal left have sucked all the blood from the movement, leaving behind a lifeless, mindless corpse incapable of creative action.

And why not? This was a predictable result of allowing these liberal ghouls to get their cold hands on the movement in the first place. Squash and marginalize the militants, that was their first goal, then manage the rest. And so the fire of the anti-globalization movement went away and the candles of the anti-war movement came out. It was predicted at the time, by anarchists and other radicals in town, who argued against liberal leadership of the movement. And so it has now come to pass and what we're left with is an anti-war leadership morally and organizationally invested in the continuation of the war. To varying degrees they have been duped or acted as enthusiastic movement-slayers but either way, they offer no solutions to our predicament. And how could they? They caused it.

And yet support for the war dwindles along with the attendance, even here in conservative Arizona. This sheer fact alone, that the population is much more anti-war now than ever before while at the same time the numbers showing up at anti-war rallies has generally and noticeably moved in the opposite direction, should give everyone pause. Unsurprisingly, the increasingly marginal rallies and boring tactics have not worked, nor have they inspired new blood to join the movement with fresh ideas. If the goal is to stop the various imperialist wars waged on the world by the United States, then the Phoenix anti-war movement has been a colossal failure. This fact must be faced up to.

My advice now is the same it has been for the last seven years. Either way, at some point we need to start evaluating whether we want an anti-war movement to end the war or just to sooth our consciences. One is based on solidarity with other people and the other is an exercise in First World privilege at best or default imperialism at worst. One empowers people and the other empowers politicians and the other slimy managers of social change. One shakes the halls of power and imposes change on the criminal ruling class, emboldening ourselves in the process, while the other slinks in on all fours and begs for a hearing, further empowering the parasitic liberal activists and their political allies.

So, if you want a good look at the anti-war movement today, have a look at my piece from last year, entitled "So Many Candles, So Little Fire: The Sad State of the Phoenix Anti-War Movement". Truthfully, you could go back and read any of the many articles I wrote or the fliers I handed out on the topic over the past many years and get the same points, because nothing has changed since then either. If anything, the anti-war movement has become even more entrenched in bad habits and bad thinking, its leaders even more managerial and its ideas even more bankrupt.

Further, its analysis has regressed, no longer recognizing the central interests of Capital behind the elite's desperate aggressions abroad. This failure has allowed capitalist politicos like those in the Democratic Party to infuse themselves and exploit and neutralize the movement. Lifestylist, thinly veiled calls for what amounts to a liberal interventionist green empire free of fossil fuels have replaced demands for the dismantlement of the empire.

The gains of the anti-globalization movement, which inspired so many of us not leastwise because it had settled so many of the issues that now bog down the anti-war movement, have faded into the past, both in terms of tactics and analysis. Unlike the anti-globalization movement, the anti-war movement lacks contact with other domestic movements, and as a result it has withered on the vine intellectually, cannibalizing itself and squandering its potential. The truth is, the anti-war movement has become a reactionary force, recuperating past militant movements, neutralizing them and purging them from the collective memory.

Indeed, the obsession of the liberal anti-war movement elite with the coming attack on Iran betrays it's own impotence, as they religiously consult the bones over breaking news of impending attacks, belying their own failure to create a movement capable of stopping them before they begin. The anti-war elites fret over the machinations of their political adversaries and openly plot to replace them. Indeed, if the anti-war movement managers are not able to stop the attack on Iran, it will be hard to come to any other conclusion than to declare the national anti-war movement dead on arrival.

Where are the blockades and destruction of war-related property? Phoenix has plenty of war profiteers. Where is the call for shutting down the whole of elite society until troops are withdrawn (not redeployed) and guarantees for Iran's people are issued? Indeed, where is the generally white and affluent anti-war left when other movements here in town ask for solidarity? Where is the anti-war left when migrants and immigrants take the streets in defense of basic human freedoms? Where was the anti-war left in Jena, Louisiana, not to mention in downtown Phoenix on Mayday 2006?

Further the movement is still mired in infantile anti-Bush and anti-Republican thinking, forgetting the right's many willing accomplices on the left. There are clear reasons why the liberal left prefers to frame things this way, but we have to ask ourselves if it really represents reality and if it's a strategy for stopping America's ongoing war against the world. Indeed, the tendency of the anti-war left to ignore the situation in Afghanistan almost entirely, marking time instead by the invasion of Iraq, betrays the pro-imperialist logic of this mindset by setting Iraq into a special category - a war somehow gone wrong or for the wrong reasons - rather than a continuation of imperial global strategy.

But in the end, if we can't evaluate the anti-war movement on it's ability to hamper or end the war, just what measure should we use? Useless votes? Lip service from politicians? The elevation of local anti-war leaders to elected office, like Kyrsten Sinema, who managed to ride the early anti-war wave for her own personal political gain? Politicos like this can't help us make the kind of radical changes that are necessary to stop the Iraq and other wars. The activists, politicians and other professional managers of social change (after all, whither the anti-war activist without the war?) have had their time. Militance and direct action are the watchwords of the day now.

There is no argument they can make against us. They can't say now is not the time, because it's been damn near seven years and there have been more than a million deaths in that time. They can't say wait for the next election, because we've given them three national shots at the ballot box ('02, '04, '06), including going on two years with liberal control of Congress. They can't say we must persuade more people because more than half the American population want out NOW, not later. It's time for the movement to wake up and realize that when the activists urge passivity, it's not because it's a successful tactic, but because it does not disturb their own positions in the movement. And, in the end, what's the difference between that and supporting the slaughter themselves?

If we have one advantage here in Phoenix, it is the total lack of an organized communist left. Many, many hours of very hard work, often including direct action at their meetings and rallies, consciously directed by anarchist militants, has kept the Valley thankfully free of authoritarians of the leftist variety, and we are all better for it. In other cities, authoritarian communists and socialists destroy movements in ways similar to liberals, with common front tactics and marginalization of militant, critical voices and often direct collaboration with the police. Often, however, their organizing is more insidious because their language is seductive to folks looking for something more radical than what the liberals have to offer. Local anti-war militants should take advantage of this fact and act to make irrelevant, through our own creative action, the liberal anti-war leaders in town.

The time is now for militant action. Pick a target and shut it down. Build solidarity and fight for and with others. Link the war to other local struggles and leave room in your organizing to support them unselfishly. Militants must challenge the dominant cadre in the movement and seek to broaden the space for resistance. Politicians and activists must be driven from the movement (they had their chance) and our actions must develop strict criteria for evaluating our success. Let's take the power into our own hands. The time is now.

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If you hate America so much, why don't you leave?

Leave America? That would potentially put me on the other end of U.S. foreign policy. No thanks.
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Mobile-friendly version Immortal Technique Biography

Born Felipe Andres Coronel on the 19th of February 1978, hip-hop artist Immortal Technique is a controversial figure in the U.S. His songs speak of the need for social justice and equality among all races, with special emphasis on the people of color or Latin Americans, but they also cover topics such as the fight against unfair imprisonments or militarism and many others.

His biography is hence quite intriguing, to say the least, and, just like the best anti aging cream is probably going to be lingering over the shelves of all cosmetic stores for many years to come, Immortal Technique’s songs are going to remain hot, fresh and sought after for a really long time. Due to the fact they speak about topics which are to be considered taboos, his lyrics continue to be listened to with the exterior shutters down in most homes.

Immortal technique was born in Peru, in El Hospital Militar de Lima; several years later, his family moved to America in order to escape the harsh living conditions in Peru. Even though they could not afford to buy any terrain a vendre there, they managed to move to Harlem in the ‘80s. Immortal Technique went to Hunter High School, but just like a hip replacement recall is never of good omen, his grades and behavior weren’t any good during high school either. He was the school bully, he harassed other students and he was not afraid to get involved in scandals with drug dealers from around the area. And while his interactions with these drug dealers were not as numerous as used cars in Phoenix are, they still managed to leave an ugly mark on his biography.

Plus, his graffiti did not actually resemble any Dreamweaver templates, but he was famous for his controversial acts of vandalism. His violence against others almost got him expelled in 1996, but he somehow managed to finish high school and even attend college at Pennsylvania State University. This time, his college experience only lasted for two years; he was then charged and convicted and he was eventually imprisoned in Pennsylvania.

In prison, just like a SEO San Antonio company would focus on booting a web site’s ranking, Immortal Technique also focused on boosting his own social ranking. He began studying the policy of religious history, and, finding the inspiration he needed, he began putting his thoughts in lyrics. In 1999 he was paroled and, even though he was first considered some sort of Agen Bola, as no one had heard of him at first, he began to attend freestyle battles he started winning.

From there on, his career started to bloom, as he gave birth to albums such as “Revolutionary Vol 1” in 2002, “Revolutionary Vol 2” in 2004 and “Revolutionary Vol 3” in 2008. He also became a political activist and started to sing about political injustice (check out his opinion on the imprisonment of Mumia Abu-Jamal or the songs on George W. Bush). Despite of the fact that his albums might not have gotten the type of positive reviews African mango reviews are usually comprised of, this has not stopped him from getting involved in future projects, including an important film collaboration. He might not approve the work of the CNA Financial Corporation, but we all need to eat, right?




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The History and Growth of Rap Music

If you are a music enthusiast, then it is very likely that you have come across a genre of music called rap music. Rap music is area that has very clear distinguishing features most notably the rapid and rhythmic chanting of the lyrics perfectly timed to the beat and musical accompaniment that forms the base of the song. Rap music traces its roots to the development of the hiphop subculture which predominantly carries four complementary musical styles namely: rapping, dancing and in particular break dancing, scratching or more popularity known as DJing, and graffiti writing which others dub as vandalism. Another sub-element of this genre is beat-boxing which also features heavily in the repertoire of many rap artists. If you thought this was an easy musical genre to characterize, then you were poorly informed: consider, many research papers and doctoral dissertations have been written on the subject of rap music and its accompanying stylistic elements.

The history of rap music, or hip-hop music, is composed of a series of rapid development phases that have all culminated in the popular rap versions of today. Before rap music took off in the 1990s, it was predominantly referred to as disco rap in the late 1970s. The three rappers who had a hand in coining the term “rap music” were DJ Hollywood, Lovebug Starski, and Keith Cowboy, the last one being officially credited with the term hip-hop. Rap music original began with improvisations and freestyle singing to add an element of unpredictability to the songs in parties and other gatherings. Even in the 1960s to 1970s, the initial elements of rap music where already sown in urban subcultures particularly in New York City where adhoc performances in the streets led to a coalescing of influences in the wake of the Civil Rights era. Like the iPhone 5 release date, it had a slow and steady rise building into an explosion of creativity and style that has made it into what it has become today.

At this very early stage of rap development, it was particularly tied to emcee-ing more than it was associated to any specific song. It predominantly tied songs together as an adlib in between. It was born out of the creative inputs of DJs who had to work with self-imposed musical constraints such as the 4/4 time beat and sampling or sequencing sections of other songs to create a smooth flow of uninterrupted musical stimuli. These were eventually married with electronic equipment such as drums and synthesizers, and ultimate melodies to give it that bite and identity. In a sense, rap music artists were basically like a video game designer who had to figure out each artistic component at every turn until it developed into a more coherent musical genre that became the rap music we know today.

The first recorded version of rap music came alive in the early 1980s when DJs decided to make records out of their freestyle MCing. This necessitated the documentation of song lyrics so they do not change during each and every rendition. The age of the stromanbieter for rap music was gone paving the way for more organized chaos. Still, the freestyle and improvisation element remained a part of many DJ interludes as the song goes through certain sections that did not require too much rap singing.

Likewise, as a consequence of the hip-hop records, the influence of rap began to spread faster than ever before. Artists no longer had to travel far to get their music heard. Now, records from New York City and Philadelphia can be reproduced and transported to cities like Los Angeles, New Orleans, Dallas, Baltimore, Washington, D.C., and Seattle among others for people to appreciate and enjoy. This was primarily the reason for rap music’s rapid growth. Like Christmas mini lights, cities formed the nodes through which rap music would spread to other parts of the country. From small beginnings to grand achievements, the birth certificate translation to true stardom took a matter of years for rap music to be realized. Since then, its take-off and rise has been meteoric.

In this regard, it is almost impossible to talk about rap music but not discuss the golden age of rap. This was the era from the late 1980s to the mid 1990s when rap grew at an astounding rate fueled by the creative contributions of many artists from all over the continental United States and in many parts of the world. The primary trait of the Golden Age or Rap was that it was an almost unbroken wave of transformative music with every single pushing the boundaries of the genre. From this age and in the succeeding Gansta Rap age came names like Run-D.M.C., Dr. Dre, Ice T, MC Hammer, The Wu-tang Clan, Snoop Dogg, and The Notorious B.I.G. among others. The list of names can virtually fill a Sharepoint Hive without any problems.

According to social studies published in 2005, teenagers and children are more familiar with hip-hop and rap music more than any other musical genre. Up to 65% of all children from ages 8 to 18 hear hip-hop music on a daily basis, making it their routinary keratin hair treatment session, almost to the point that it has become an intrinsic part of their lives. With the diversification of the genre to include the more stylish R&B or rhythm and blues, it is not difficult to explain how rap music has continued to pervade radio station, TV and movie song line-ups. The marriage of rap and jazz which paved the way for R&B is itself a phenomenon that warrants all sorts of social analysis.

And with its very strong following, it is safe to say that rap music is here to stay. Years from now, when you open your TV on a bright Saturday morning, there’s a big chance you would be watching the next stage in the evolution of rap music, and there’s an even better chance you would be dancing or singing to that tune.

Immortal Technique Rapper Biography

Immortal technique is the stage name for which rapper Felipe Andres Coronel is popularly known. His lyrics characterized by its unique mixture of socialist commentary of social class hierarchy, religion, wealth, poverty to contemporary issues touching on governmental and institutional racism. Perhaps you may have come across information about this popular icon as you undertake research for that mba online, or for whatever course you are undertaking, be it bachelors in criminal justice, performing arts degree, governance systems, online nurse practitioner programs, history, or any other course for which you have to do online research.

The rapper was born on the 19th day of February 1978 in Lima, Peru. During the internal conflicts that took place in their country at the time, his parents migrated to Harlem, New York. Probably, in the process of migration to the country, they may have used boats at least once in the journey. Like many American teenagers, the rapper was engaged in various acts against the law that led to his arrest several times, which in one his public interviews admitted that they were selfish and at best childish acts. After completing his incarceration terms, he took up a political science course in a bid to mend his seemingly torn life, while living with his father.

After completing his studies, he was not lucky enough to secure a job in his field of study owing to the unemployment situation prevailing in the entire United States. Like many American fresh graduates who take up it jobs, nursing jobs, waiter and nursing jobs among many other common jobs that may not necessarily need a specialist, he took up a working in a restaurant to earn a buck from which he could live on.

Through his deep interest in championing for equality between the elite and the under privileged in society, and being not a Mesothelioma Lawyer, the rapper begun his music career basing his lyrics on such issues as injustice, exploitation and mistreatment of the poor. This is captured clearly in his desire to keep control over his production, since he strongly believes that in the music industry, the producers normally make a large profit while the artist for who credit belongs, normally end ups earning peanut amounts at the end of the day.

His popular sediments are captured in his albums that include the revolutionary, both volume one and two, and the 3rd world and the middle passage album. the rapper is increasingly involved in prison visits and working with migrant rights activists, though which he speaks to youths and the unprivileged in the society trazer amor de volta. His investments are largely in farmland in Latin America, which like soweto properties is an unpopular investment option for many celebrity figures. His advice to the youth is not much on taking up an aacsb online mba or an online criminal justice degree, but rather it is based on exploiting ones talents and living soberly within the law.

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