Tag Archives: project

Is the U.S. a Fascist Police-State?

With yesterday’s Holder v. Humanitarian Law Project decision (No. 08-1498, also 09-89) of the Supreme Court, coupled with last week’s Arar v. Ashcroft denial of certiorari (No. 09-923), the case for claiming that the U.S. is a fascist police-state just got a whole lot stronger. First of all, what is a “fascist police-state”? A police-state uses the law as a mechanism to control any challenges to its power by the citizenry, rather than as a mechanism to insure a civil society among the individuals. The state decides the laws, is the sole arbiter of the law, and can selectively (and capriciously) decide to enforce the law to the benefit or detriment of one individual or group or another. In a police-state, the citizens are “free” only so long as their actions remain within the confines of the law as dictated by the state. If the individual’s claims of rights or freedoms conflict with the state, or if the individual acts in ways deemed detrimental to the state, then the state will repress the citizenry, by force if necessary. (And in the end, it’s always necessary.) What’s key to the definition of a police-state is the lack of redress: If there is no justice system which can compel the state to cede to the citizenry, then there is a police-state. If there exists apro forma justice system, but which in practice is unavailable to the ordinary citizen because of systemic obstacles (for instance, cost or bureaucratic hindrance), or which against all logic or reason consistently finds in favor of the state—even in the most egregious and obviously contradictory cases—then that pro forma judiciary system is nothing but a sham: A tool of the state’s repression against its citizens. Consider the Soviet court system the classic example. A police-state is not necessarily a dictatorship. On the contrary, it can even take the form of a representative democracy. A police-state is not defined by its leadership structure, but rather, by its self-protection against the individual. A definition of “fascism” is tougher to come by—it’s almost as tough to come up with as a definition of “pornography”. The sloppy definition is simply totalitarianism of the Right, “communism” being the sloppy definition of totalitarianism of the Left. But that doesn’t help much. For our purposes, I think we should use the syndicalist-corporatist definition as practiced by Mussolini: Society as a collection of corporate and union interests, where the state is one more competing interest among many, albeit the most powerful of them all, and thus as a virtue of its size and power, taking precedence over all other factions. In other words, society is a “street-gang” model that I discussed before. The individual has power only as derived from his belonging to a particular faction or group—individuals do not have inherent worth, value or standing. Now then! Having gotten that out of the way, where were we?… Continued at: http://www.prisonplanet.com/is-the-u-s-a-fascist-police-state.html added by: Dagum

BP’s Next Disaster

Rolling Stone's Tim Dickinson reports that BP plans to start drilling in the Arctic this fall — and what the Obama administration is doing to stop it. On June 15th, as BP's catastrophic spill in the Gulf neared its third month, President Obama addressed the nation from the Oval Office. His administration, he assured the American people, would not let such a disaster happen again. He had put an indefinite hold on plans to open up new coastal areas, including Florida and Virginia, to offshore exploration. And he had frozen all new permits to drill in deep waters for six months, to give a blue-ribbon commission time to study the disaster. “We need better regulations, better safety standards and better enforcement,” the president insisted. But Obama's tough-guy act offers no guarantee that oil giants like BP won't be permitted to repeat the same mistakes that led to the nightmare in the Gulf. Indeed, top environmentalists warn, the suspension of drilling appears to be little more than a stalling tactic designed to let public anger over BP's spill subside before giving Big Oil the go-ahead to drill in an area that has long been off-limits: the Arctic Ocean. The administration has approved plans by both BP and Shell Oil to drill a total of 11 exploratory wells in the Chukchi and Beaufort Seas above Alaska — waters far more remote and hostile than the Gulf. Shell's operations could proceed as soon as the president's suspension expires in January. And thanks to an odd twist in its rig design, BP's drilling in the Arctic is on track to get the green light as soon as this fall. “The administration seems to want to avoid just shutting down these leases, even though they have every legal right to,” says Charles Clusen, who leads the Alaska project for the Natural Resources Defense Council. “My fear is that people will start to forget about the Gulf spill, and the government will give Shell permits next year. We'll have had a pause, but not enough to assess the resources at risk or to develop technology that would be truly safe.” Ken Salazar, the Interior secretary whose staff allowed BP to drill in the Gulf based on pro-industry rules cooked up during the Bush years, has made no secret of his determination to push the “frontier” of oil drilling into the Arctic. The region's untapped waters are believed to hold as much as 27 billion barrels of oil — an amount that would rival some of the largest oil fields in the Middle East. “Everything I've heard internally, from sources within both the administration and industry, tells me that the administration is all over wanting these guys out in the Arctic Ocean,” says Rick Steiner, a top marine scientist in Alaska who helped guide the response to the Exxon Valdez spill. “They're trying to solve this political problem with this Gulf spill in time to get these guys out in the Arctic next summer.” The White House dismisses any accusation of stalling as “not accurate,” noting that Shell's permits are “on hold” until the president's commission finishes its work. But an administration spokesman admits that BP's plan — which uses an unproven approach to extracting undersea oil — is not covered by the six-month moratorium on offshore drilling. This fall, the company plans to begin drilling for oil near Prudhoe Bay via an oil rig it created by building an island — a glorified mound of gravel — three miles out in state waters. Because the island rig is connected to the mainland by a causeway, BP and Interior agree that the “onshore” facility is not subject to restrictions on “offshore” drilling. It's the same kind of legal fiction that states like Indiana use to permit gambling on “riverboat” casinos that are permanently docked on dry land. Here's what BP has in store for the Arctic: First, the company will drill two miles beneath its tiny island, which it has christened “Liberty.” Then, in an ingenious twist, it will drill sideways for another six to eight miles, until it reaches an offshore reservoir estimated to hold 105 million barrels of oil. This would be the longest “extended reach” well ever attempted, and the effort has required BP to push drilling technology beyond its proven limits. As the most powerful “land-based” oil rig ever built, Liberty requires special pipe to withstand the 105,000 foot-pounds of torque — the equivalent of 50 Mack truck engines — needed to turn the drill. “This is about as sexy as it gets,” a top BP official boasted to reporters in 2008. BP, a repeat felon subject to record fines for its willful safety violations, calls the project “one of its biggest challenges to date” — an engineering task made even more dangerous by plans to operate year-round in what the company itself admits is “some of the harshest weather on Earth.” MORE at the link: http://www.rollingstone.com/politics/news/17390/120130?RS_show_page=0 added by: Incredulous

Christopher Nolan Finds Meaning In ‘Superman’ Adaptation

‘Whether you’re doing a ‘Batman’ or ‘Superman’ film, it’s all about story first,’ ‘Inception’ director says. By Josh Wigler, with reporting by Josh Horowitz Christopher Nolan Photo: MTV News Of the many accomplishments that director Christopher Nolan achieved with “Batman Begins” in 2005, one of the greatest involved his ability to craft a compelling comic book adaptation while maintaining a surprising level of realism. Nolan’s down-to-earth, non-superhero approach to the Batman mythos owed much thanks to the character’s lack of superpowers — but when he puts his stamp on Warner Bros. and DC Entertainment’s forthcoming “Superman” reboot, he’ll likely have to try a different approach with the invulnerable Man of Steel. As the producer of the upcoming “Superman” film, Nolan is already hard at work on the story alongside his “Dark Knight” collaborators Jonah Nolan and David S. Goyer, but the project remains so early in development that casting hasn’t even been considered yet. “I haven’t even thought about it, to be honest,” Nolan told MTV News during a recent press junket for “Inception,” his forthcoming thriller starring Leonardo DiCaprio. “All of these things, whether you’re doing a ‘Batman’ or ‘Superman’ film, it’s all about story first. It’s all about figuring out exactly the tone and the meaning of the story and how you’re going to approach it. Casting comes later. All of those considerations come later.” Even if casting isn’t an immediate concern, Nolan already has plenty of history to look toward as he and his collaborators find the story for “Superman.” For Nolan himself, the filmmaker considers director Richard Donner’s first adaptation in 1978 as something to aspire to. “I was hugely struck by the Donner films in the ’70s when I was a kid,” he said. “In 1978, I saw [“Superman”] and it had such epic scope to it. It took on this incredible, iconic figure and gave that iconic figure an appropriate framing. It made quite an impression on me. It’s definitely one of my childhood touchstones of what epic cinema can be.” Check out everything we’ve got on “Inception.” For breaking news and previews of the latest comic book movies — updated around the clock — visit SplashPage.MTV.com . Related Videos MTV Rough Cut: ‘Inception’

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Christopher Nolan Finds Meaning In ‘Superman’ Adaptation

Big K.R.I.T. Hopes Fans Will ‘Relate To And Respect’ His Music

‘People can see the growth from when I first did my first project until now,’ he tells Mixtape Daily. By Jayson Rodriguez Big K.R.I.T. Photo: Def Jam Fire Starter: Big K.R.I.T. He’s Def Jam’s latest recruit, hailing from below the Mason-Dixon Line, via Meridian, Mississippi. The new homie’s name is Big K.R.I.T., a rapper and producer, who was personally inked to the legendary label by none other than Sha Money XL, the former G-Unit president who recently joined the House that Russell Built. His breakout mixtape, K.R.I.T. Wuz Here, hit the Internet a few months ago and slowly picked up steam, earning praise from music critics and bloggers alike. According to the Creative Control/ DD172 affiliate, the project — an earnest collection of soul-inflected Southern hip-hop — was five years in the making. “People can see the growth from when I first did my first project until now,” K.R.I.T. told Mixtape Daily. “And they can see the growth and me really finding myself as an artist. And really not compromising my creative mind frame for what’s going on in the industry and just being myself and putting the music out. The first record is ‘Return of 4eva.’ It was really just telling the game we here on some Southern hip-hop and this is us. And this is the type of music that I’m gonna put out. And I just hope that people can relate to it and respect it.” “Return of 4eva” is among the standouts on K.R.I.T. Wuz Here, along with “Children of the World”; both feature Creative Control-directed clips. The Mississippi artist became aligned with the burgeoning downtown Manhattan movement after joining forces with music-industry mover Jonny Shipes last year. He then found himself spending time in Dame Dash’s 24 Hour Karate School dojo and collaborating with Curren$y and the loose collection of creative types at the hip-hop mogul’s studio. Now that he has signed on the dotted line with Def Jam and joined a roster that includes Rick Ross, Nas and Young Jeezy, the newcomer is honing his Pimp C-like vocals and beats in hopes of making the next Southern masterpiece. “I’m UGK-influenced, ” K.R.I.T. said. “They had their own vibe, how they did their music. They did whatever they felt like they wanted to on record. They the next-door neighbor where I’m from, in Texas. So we were greatly influenced by their music. By Outkast. By 8Ball & MJG. That was the golden era to us.” For other artists featured in Mixtape Daily, check out Mixtape Daily Headlines or follow the Mixtape Daily team on Twitter: @shaheemreid and @mongosladenyc .

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Big K.R.I.T. Hopes Fans Will ‘Relate To And Respect’ His Music

Rick Ross Talks ‘Blowin’ Money Fast (B.M.F.)’ Video

The Bawse says Diddy, Bun B turn up in clip for Albert Anastasia EP track; hints Spike Lee may direct ‘Live Fast, Die Young.’ By Shaheem Reid Rick Ross Photo: MTV News Rick Ross has been busy building visuals. At the top of this week, the Bawse and director Parris completed production in New York City on his video for street banger “Blowin’ Money Fast (B.M.F.)” with the likes of the Lox, Bun B and Diddy showing up to set. Ross plans to shoot two more clips soon: one for “MC Hammer,” and the other for “Live Fast, Die Young,” off the upcoming Teflon Don. “Shout out to Spiff TV,” Ross said this past Saturday at Atlanta’s Philips Arena. He’d just come offstage, after performing at Hot 107.9’s Birthday Bash 15 concert . “Spiff [is directing] ‘MC Hammer’. We haven’t shot it yet, but shout out to MC Hammer. We talked a couple of times. We just putting everything together,” Ross said. “I think it’s gonna be real cool to make sure he’s in it. I think it’s mandatory that Hammer bless the screen man. Look out for Parris — we shot the first half of ‘B.M.F.’ in Carol City [and] Little Haiti,” the Miami MC said of the Florida backdrops. “Everybody, they just gonna come [show] respect for the streets, the movement is feeling good.” As for the video for the Kanye West-produced “Live Fast, Die Young,” Ross is thinking bigger budgets and an A-list director. He recently took to his Twitter and posted a photograph of himself and Spike Lee, hinting that he and one of Brooklyn’s finest may be teaming up soon. “What I actually tweeted — and you should actually follow me @rickyrozay — when I was in Hawaii, me and Kanye did a different kind of record and it may take a different kind of director. It was me, up in the middle of the night reflecting. It was an actual picture [from when] Spike came out to my birthday. I had a private get-together in Miami. Spike came out, we discussed a few things. It’s one of those things [that] I call speaking it into existence. I feel once I put something in my mind, I can accomplish it. Shout out to the big homie F. Gary Gray. I can’t commend him enough. We pulled that off with ‘Super High’,” Ross said of landing the Hollywood director for the visual. “Whoever would have thought? It’s something that’s most definitely possible.” While the bearded MC is looking forward to the “Live Fast” video, with whoever may sign on to direct, he said it was important to keep his priorities straight. “First and foremost, we gotta release the record,” he smiled, referring to “Live Fast, Die Young.” “It’s real close. I’mma tell you that. Thanks to everybody for the support on ‘Super High.’ We about to crack top 10 on that. I told myself, once I crack top 10 with the first record, I was gonna come with that next big one. It’s feeling like in the next week or two, we could be coming with it. It’s something I’m most definitely anticipating, all the pieces to the project fell into place. July 20, Teflon Don in stores.” After seeing Ross’ Hollywood-style “Super High” video, are you eagerly anticipating more clips? Let us know in the comments! Related Artists Rick Ross (Hip-Hop)

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Rick Ross Talks ‘Blowin’ Money Fast (B.M.F.)’ Video

Jason Reitman Goes Back to School for His Next Project

If you can put the rampant nepotism of this project aside — even Cody Gifford is shaking his head in disbelief — here’s a movie that sounds immediately intriguing. Academy Award nominee Jason Reitman has optioned Elliot Allagash , the debut novel from Simon Rich — Frank Rich’s Harvard educated, Saturday Night Live -writer, 1984-born son — for his production company and might even wind up directing. Which he really should since Rich’s novel — about a high school nerd who gets help from the high school bad boy to become cool — sounds like Mean Girls with boys or Fight Club set in Rushmore Academy. Early guesses on stars: Jaden Smith, Eva Amurri, Emma Roberts, Mamie Gummer. [ THR ]

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Jason Reitman Goes Back to School for His Next Project

Eminem’s Recovery Vs. Relapse: Experts Weigh In

Em seemed ‘afraid to rap sincerely about what he went through’ on last year’s Relapse, one expert says. By Jayson Rodriguez Eminem in “Not Afraid” music video Photo: Interscope With the release of Recovery earlier this week, Eminem is back in the spotlight after delivering his second album in just more than a year. The projects, Recovery and 2009’s Relapse, bookend the rapper’s return from a five-year, drug-addled hiatus . The two albums, however, couldn’t be more different. Although both chronicle his dependency, each does so in different ways. Relapse was made as Em was flushing the drugs out of his system, while the new offering was made during his focus on sobriety. Also, Relapse ‘s satirical first single, “We Made You,” was rife with stale pop-culture references and no introspection. “My expectations for Relapse were very low, ’cause this is a man coming back, basically, from hell,” Keith Murphy, Vibe senior editor, told MTV News. “If you really wanna go into it, drugs have always been a part of rock-and-roll folklore. It’s always been a part of that from Marvin Gaye to Jimi Hendrix to David Bowie. But those guys kind of seemed to always be able to rebound from their excesses and put out incredible work and work that seemed like their head was on their shoulders. Relapse, you got the sense that he had no business recording that album, and not because it was a bad album — there was some good songs on there — but you could just see that struggle of someone trying to figure it out and someone that was actually afraid to rap sincerely about what he went through.” Dr. Dre helmed the majority of the project, and on standouts like “Beautiful” and “Deja Vu,” Eminem vividly articulates his dark descent. The project, though, was made in the aftermath of Eminem’s divorce, the murder of his close friend Proof and the rapper nearly overdosing. The emotional turmoil Eminem was facing, perhaps, made it difficult for him to focus. In particular, the rapper didn’t appear to pay tribute to Proof on any of the songs. That may be why the rapper himself called his last album “ehh” on Recovery ‘s lead single, “Not Afraid.” Looking for inspiration, Eminem reached out to a slew of new collaborators for Recovery, only using Dr. Dre’s production on a handful of tracks. “He was not as forthcoming with his unhappiness with Relapse at that moment,” Noah Callahan-Bever, Complex editor in chief, said about Eminem, who graced the magazine’s December/January cover . “I think he was still forming his own opinion and sitting with it and dissecting it in hindsight himself. But it was clear he understood that he had more to say and he hadn’t articulated it all. So, for me, my personal expectation was that he would create this thing that would be to Relapse what ‘The Dark Knight’ was to ‘Batman Begins.’ That was the beginning and a loose thought, and then he’s gonna fully polish it. “To me, that’s so indicative of where his head was at that he hadn’t sorted out how he felt about all this stuff that transpired during his downtime,” Callahan-Bever added of the differences between the two sets and the lack of a Proof tribute on the former. The Complex editor even suggested that Recovery rivals the best of Eminem’s work, putting the collection nearly on par with The Eminem Show. Murphy said, lyrically, the new album is what fans were expecting from Relapse, although, musically, the project falls short of the Dre-produced set. Freelance writer and frequent Village Voice contributor Chris Weingarten said the rapper is simply back to doing what he does best: delivering rhymes on a superior technical level. And despite appearances by Pink and Rihanna, Weingarten said the album feels hushed and minimalist. “He’s rapping again,” Weingarten said. “He’s a beast again. It may not be the hottest album. The choruses are still a little corny, but he’s rapping like he was in the ’90s, when he was doing ridiculous punch-line rap on Rawkus [Records] stuff. He’s back to being a crazy wordsmith. He’s being very clear and focused, and it shows.” What album do you like better: Relapse or Recovery ? Let us know in the comments below! It’s Eminem Week at MTV News, so stick with us as we celebrate the release of Recovery and take you inside the making of Em’s latest album. Related Photos The Evolution Of: Eminem Related Artists Eminem

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Eminem’s Recovery Vs. Relapse: Experts Weigh In

Heroes Movie Sounds Iffy

In today’s superhero-saturated world, do we really need a return engagement with a whole bunch of putative crusaders who almost never use their powers? That was NBC’ s thinking when the network snuffed the low-rated Heroes , and though creator Tim Kring has been trying to muster up support for a wrap-up movie, he admits to EW that he network has yet to pull the trigger. “Movies sometimes need a little distance from the television show,” he rationalized. Sorry, Tim. We’ve already moved on to Ant-Man . [ EW ]

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Heroes Movie Sounds Iffy

Meet Kenny Wormald, Your New Footloose Lead

Back when the Footloose remake had Zac Efron set to star for his High School Musical director Kenny Ortega, it seemed like a no-brainer proposition, but as Efron, Ortega, and then fill-in lead Chace Crawford left the project, Footloose had less and less reason for being. Still, Paramount pressed on, and new director Craig Brewer has now cast a virtual unknown to fill the dance slippers of Efron and Crawford. Let’s meet him!

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Meet Kenny Wormald, Your New Footloose Lead

Movieline Has the Final Word on Conangate — and the First Interview with the Author

Back in February, Viking confirmed that Bill Carter, the bestselling author of the Late Shift had flown to Los Angeles to begin research on a new book chronicling the latest late night shakedown at NBC. Proof of the project arrived earlier this week online via cover art for The War For Late Night: When Leno Went Early and Television Went Crazy (pictured right) and a September release date. Anxious to hear more about the surefire bestseller, Movieline phoned Carter earlier this week to discuss the impending release date and whether Jay Leno is really as cold and calculating as Conan fans make him out to be.

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Movieline Has the Final Word on Conangate — and the First Interview with the Author