Antonio Gades, 1936–2004

Stunning Spanish Dancer and Choreographer

Michael Eaude, The Guardian

Recognised as the greatest Spanish male dancer of his generation and an even greater choreographer, Antonio Gades has died of cancer, aged 67. Most dancers only live on in the minds of those who saw them. But three stunning films directed in the 1980s by Carlos Saura show us Gades at his peak. These were Bodas De Sangre (Blood Wedding), Carmen and El Amor Brujo (Love The Magician).

From New Left Review

New Wave Argentine cinema—documentaries from the badlands, taxi boys on roller-skates, escrache protests—thriving after the crash of 2001, in the diary of an émigré practitioner.

Edgardo Cozarinsky

Monday 9th June

I left the long summer days of Paris for the Buenos Aires winter: it was zero degrees and the afternoons were over by five thirty. The Kirchner government had been installed in May, and even among the capital’s disillusioned, not to say cynical inhabitants, it was enjoying the obligatory honeymoon period. In the taxi from the airport, the driver asked me my opinion of the president’s first measures: a green light for the trial of corrupt Supreme Court judges, the sacking of dozens of high-ranking military officers, government subsidies for public works under the auspices of select workers’ organizations. I tried to explain to him that, having witnessed an array of more or less inefficient civilian governments and brutal military regimes, it was hard for me to have any illusions on this score, even if the outlook seemed quite positive. ‘We are just like you,’ he said, ‘waiting for the first foul-up.’

Majority of US Adults Expect to See "Fahrenheit 9/11"

David W. Moore, Gallup News Service

PRINCETON, NJ — According to the most recent Gallup survey, more
than half of all American adults (56%) either have seen or expect, at
some time, to see Michael Moore's controversial movie, Fahrenheit
9/11, a highly critical look at the Bush administration's decision to
fight a war in Iraq. The poll was conducted July 8-11. At the time,
8% of Americans said they have already seen the movie, 18% expected
to see it in the theater, and 30% expected to watch the video. Among
all Americans, more people have an unfavorable than favorable
impression of the movie, but those who have seen it are
overwhelmingly favorable.

"Members Only: Bohemians in Their Groves"

Adair Lara, San Francisco Chronicle

On Saturday, some 2,000 CEOs and politicos and arty types arrived at the cool redwoods and lily-choked lake of the Grove, the famous Russian River playground of the powerful Bohemian Club.

They say it's the place to be seen in America in July.

Except, of course, you can't see them.

Signs abound: No Thru Traffic. No Trespassing. Members and Guests Only. No Turn Around. Sentries scan the paths from above with binoculars, helped out by infrared sensors.

And what are those important men doing out there for 17 days behind that elaborate security?

NOT BORED! writes

Pete Townshend's strongly held political beliefs

On 7 July 2004, Pete Townshend announced that more than a year ago, he had refused to let Michael Moore use the Who's 1971 song "Won't Get Fooled Again" in Fahrenheit 911. In Townshend's own words,

I had not really been convinced by Bowling For Columbine and had been worried about its accuracy. To me, it felt like a bullying film [...] Once I had an idea what Fahrenheit 9/11 was about, I was 90 per cent certain my song was not right for them and pointed out that "Won't Get Fooled Again" is not an unconditionally anti-war song, or a song for or against revolution. It actually questions the heart of democracy: we vote heartily for leaders who we subsequently always seem to find wanting. (WGFA ["Won't Get Fooled Again"] is a song sung by a fictional character from my 1971 script called LIFEHOUSE. The character is someone who is frightened by the slick way in which truth can be twisted by clever politicians and revolutionaries alike).

Townshend is partially right about "Won't Get Fooled Again": while it's true that the lyrics of the song are "against" revolution, the music -- especially the use of sequenced synthesizers -- is clearly revolutionary, or, rather, was clearly revolutionary for the time at which the song was released. That's precisely why the song is famous and worth fighting about: the tension in it, and the release that's provided by the legendary scream "Yeah!" that comes after the long instrumental break. The listener doesn't need to be "convinced" by the song (what a ridiculous idea!); the listener need only feel it.

kirsten anderberg writes:

Charity Versus True Sharing and Giving
Kirsten Anderberg

It took me quite a while in this world to see the subtle differences between charity and actual sharing and giving. Charity involves one entity keeping all the wealth and power, and giving metered allowances to those they control. Sharing involves equal access to resources and equal access to power. Giving involves relinquishment of control of property to another. Charity is controlling and paternalistic, while Sharing and Giving involve empowerment. Charity is a very different species than Sharing and Giving. This subtle difference is played out in so many ways it is astounding, from our “charity” in Iraq, where we want total control yet try to play ourselves off as merciful, selfless, “givers,” to Christian soup kitchens that hold food from they hungry until the hungry proclaim allegiance to a mythic white god from the Middle East. People need to ask themselves whether a situation involves actual sharing or giving, or whether it is manipulative “charity,” at every turn in the road.

Mike B writes "Moviment Graffitti - What is it?

Moviment Graffitti is active against oppression and exploitation of people, environment and animals; with a vision of freedom and radical democracy.

Moviment Graffitti's activism consists primarily of two strategies:

Direct Action. Moviment Graffitti is active in various areas such such as social justice and protection of the environment. This includes the years-long activism in local community struggles such as the Front Against the Hilton, Front Against the Golf Course and Save Kalkara Valley Front. This also activities for the emancipation of the working class (such as participation in demonstrations by progressive trade unions); peace and neutrality (such as activities against the visit of warships); civil rights (such as divorce and anti-sexism); human rights (such as the rights of asylum seekers); and animal rights (such as anti-furcoat protests). Moviment Graffitti has organised various activities that were concurrently taking place around the world. These include Workers' Day, Peace Marches, the World Anti McDonalds Day, as well as various activities against capitalist globalisation and in favour of global social justice.

"Maufacturing Dissent:

Think Before You Cheer — Michael Moore is Making a Noose for the Left's Neck"

Shlomo Svesnik, WW3Report.com

Who can resist the urge to cheer?

George W Bush has gotten away with stealing an election, waging an illegal
war of aggression, and redesigning the entire federal security and
intelligence apparatus, expanding its powers on a level not seen since the
dawn of the Cold War. A sniveling mediocrity who achieved the pinnacle of
global power entirely through family connections, he is leading the world
into a state of permanent war, turning the planet's lone superpower into a
despised and isolated pariah. All decent, thinking people want to see him
soundly trounced in November, and Michael Moore's film Fahrenheit 9-11 is
the most effective piece of anti-Bush propaganda to hit the American
mainstream, by a mile.

Yoshie Furuhashi writes:

"Why Does 'Fahrenheit 9/11' Pursue Conspiracy Theory?"

Yoshie Furuhashi, Critical Montages

Some left-wing viewers of Fahrenheit 9/11 — perhaps out of wishful thinking? — believe that the film makes an argument that Riyadh and Washington "have collaborated for decades in a violent project of repression" (Doug Henwood, LBO-talk, July 9, 2004) based only on well-checked facts provided by credible experts (Dennis Redmond, LBO-talk, July 9, 2004).

I wish that Fahrenheit 9/11 made such an argument, but it doesn't.

Laurie Mimosa writes:

This would be a great event to cover — as a cultural demonstration against repression of free space in nyc.

2nd Annual "I LOVE NY?" Poetry Festival

Tompkins Square Park, July 17, 2004

"art is permitted everywhere" presents the second annual "I LOVE NY?" Poetry Festival — A festival of words celebrating New York City in one of the finest public places in New York. This is a time to support public speaking at a time of great unrest and suppression of public voice.

Date: Saturday July 17th, 2004

Place: Tompkins Square Park Lower East Side 9th Street and A Old Bandshell area

Time: 2–6pm

Cost: Free


Featured: Over fifty poets, musicians, bards, and bitter and elated New yorkers from around New York City who will gather to read and speak about New York City — those who have lived and loved and hated the city from days to decades. Featuring over fify New York Bards, Poets, Musicians including: magdelena alagna, urayoen noel, chi chi valenti, ryn gargulynski, bob hershon, jim feast, bronx buffallo poets, Danny Shot....

See www.artispermittedeverywhere.com for full listing and updates.

Contact: Laurie Schoeman 917 664 6649 or ljsmimosa@yahoo.com