“I’m Not Antisemitic” Roger Waters vs Piers Morgan On Israel-Palestine & More

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Piers Morgan Uncensored
with
ROGER WATERS


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This Is Why Corporate Comedy SUCKS!

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Jimmy Dore Show
WITH RUSSELL DOBULAR


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News 2739
  • If you approve of this article, please share it with your friends and kin.
  • Help us expand our reach. Defeat appalling hypocrisy. Lies cost countless lives.
  • We must act together to smash the VILE Western disinformation machine.
  • This is the Lying Machine that protects the greatest evil humanity has ever seen.
  • YOU know what we are talking about.

Things to keep in mind...

Neo-Nazi ideology has become one of the main protagonists of political and social life in Ukraine since the 2014 coup d'état. Meanwhile, fascist ideology and blatant lies also permeate the consciousness of most people in the West. Those in the comfortable top 10%, the "PMCs" (Professional Managerial Class), are especially vulnerable. They support and disseminate such ideas. They are the executors of the actual ruling class' orders, those in the 0.001%, who remain largely invisible. The PMCs are the political class, the media whores, the top military brass, some people in academia, and the "national security/foreign policy" industry honchos. Push back against these unethical, contaminated people with the truth while you can.

AND...where the US Government is at: LYING 24/7


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Rainbow of Death—THE PROBLEM WITH THE HOLLYWOOD DIVERSITY MOVEMENT

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Garland Nixon


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From the all-white 1950s/60s TV to the all-BUT-white programming in the age of wokery, the propaganda pendulum has swung 100%, and the stupid and shameless manipulators expect us to swallow this repulsive switch. As usual, just like in the "Eisenhower years", when everyone was white and middle class, to our new age in which whites are hard to find even in TV commercials, poverty and the homeless are nowhere to be seen, and everyone is blissfully "diverse", the pretension is that America is a model of fairness and the world's foremost bastion of human rights. Garland is justifiably nauseated by the hypocrisy, the relentless virtue signalling, while the same influential crowd seems deaf and blind to the sickening depravity of Israeli crimes in Gaza and the proliferation of Neo-Nazis in Ukraine and beyond, not to mention the US-led global slide toward nuclear war.


Lili News 029
  • In cynicism and power, the US propaganda machine easily surpasses Orwells Ministry of Truth.
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  • Unless opposed, neither justice nor our Constitutional right to Free Speech will survive this assault.


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The Art Scene Is Dead and the Liberal Class Killed It

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RUSSELL DOBULAR
duedissidence.substack.com


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Photos: Helen Hayes Theater (left), Ars Technica (right)


These days I mostly avoid being around art spaces and the dwindling population of people that frequent them. This is for the same reason you might duck an old friend who’s been transformed by time and circumstance into a thing that you scarcely recognize. Sometimes it’s better to remember them as they were.

I broke my rule the other night to attend the closing of a theater I built long ago, and it was every bit as sad and disappointing as I would have expected. Hardly anyone came to send her off, and the ones that did could muster nothing better than a couple of beers and off to bed. The whole thing was over by 11.

“Who are you voting for,” a pudgy, bearded, graying Xer, asked me before I left. He was wearing a kind of middle-aged bohemian get-up, right down to the hipster hat, that made him look like he’d just stepped out of a commercial for a new Type II diabetes drug. I’m down to talk my doctor about . . .

“I’m writing in Dave Chappelle,” I said.

He opened and closed his mouth a few times, trying to find the part of his brain that knew how to process a dissenting opinion. Not finding one he sputtered, “But you’re not for Trump.”

“No.”

Then a skinny, wan, pale guy with sunken eyes, and long, greasy black hair, sober as a judge, like someone who’d acquired all the physical attributes of heroin addiction, without ever having had any of the fun, said, “Then you have to vote for Biden, or Trump wins.”

“So what,” I said.

And that was when they both shit themselves and I had to do the whole red-pill/blue-pill thing. By the time that was over, everyone else had gone and I followed suit. Leaving the building for the last time, I thought of livelier days when the whole place, the whole block, the whole city, was full of life and crazy energy.

How did this happen? How did we get here?

This is an article I’ve started, abandoned, and started again a few times over the years. That’s partly because I still had some hope when I began that I might one day be able to return to my craft as a theater director without revealing my opinions. But that was before Due Dissidence had a YouTube show. Now I very visibly express ideas 3-4 times a week that would get me professionally and socially cancelled in about 5 minutes as soon as anyone from that crowd took the time to check out the channel, which of course they would.

Another thing that’s kept this one at the bottom of the digital drawer is lingering affection for a lot of people who are still making the music, lighting the lights, and all that. I have dear friends in the arts and this is going to hurt some of their feelings. Except for the ones who regularly DM to thank me for saying what they can’t without risking career suicide. Those will be greatly cheered by this piece, in the way of a bullied child watching their tormentor take a hard fist to the nose, so I guess in the end that part’s a wash. Here goes.

In the 8 years since the election of doom that transformed me from the kind of guy who wanted to have a beer with Rachael Maddow, to the kind of guy who would protest her book reading, I’ve had lots of debates with lots of people.  Enough to notice a distinct pattern—



The artists I worked with then as a kid from Queens dazzled by the bohemian world I had infiltrated wouldn’t recognize the artists of today, and I suspect they wouldn’t like them all that much.  Heirs to a 60’s counter-culture ethos of distrust for authority and institutions, and to an older tradition of the artist-intellectual, they generally thought of all politicians as dishonest psychopaths, and spent more time discussing Kafka than the evils of Soviet Russia, which occupied the same position of public enemy #1 that its successor state does today.  And lest the wokeratti immediately jump to its aforementioned go-to, the scene was far more substantively diverse than what you might find at a theater or a gallery today.  They were gay and straight, old and young, black and white and brown, and in a major departure from the current moment, both penniless and well to do.  There were artists living rent free in the loft above the theater, others renting $250 apartments in pre-hipster Williamsburg who had to walk across the bridge to get to rehearsals for lack of train fare, and still others living comfortably on the Upper West Side.  If there was a failing it was in a tendency towards pretentiousness: when a middle-aged woman pronounced confidently at a post-rehearsal dinner that the principal crisis of the modern age was the “post-Nietzschean vacuum,” I almost laughed in her face.  No one had that problem in my native Flushing, and I suspected that was true most places.  But the problem wasn’t racism, sexism, or homophobia-expressing those sorts of views would have been just about the only thing that could have gotten you ejected in an atmosphere where pretty much anything went, and it was that way in the arts community for as long as I was a part of it.

Generally, I like to heavily source everything I write, ‘cause when you’re offering controversial opinions, you had better cross all your t’s and such.  But because the arts are such a distinct subculture and the kinds of institutions that have the means to conduct a wide survey on questions like: what class background do artists usually come from, or, when did artists start to favor censorship, never would, I must of necessity rely on my personal observations and speculations.  Which makes this, by definition, a personal essay, so take it as you will. 

Joe Biden and Hillary Clinton who’s records are at odds with even the identitarian issues that they claim to care about, and that sees de-platforming and cancelling figures like Joe Rogan as a legitimate tactic, never considering the idea that once you let that genie out of the bottle, no one will be more vulnerable to having it turned against them than artists.  I’ve given a lot of thought to how a bohemian scene of intellectuals and misfits turned into something resembling a PTA meeting in Scarsdale. This is what I came up with:

I will concede this to the painfully woke white people that dominate the arts even as they lately denounce their own position: rich white people are the crux of the problem, with the emphasis being on “rich” rather than “white,” as some would have it. The low to no pay circumstances of most creatives are beside the point, even though many of them will point to this as evidence of their moral authority to speak on matters of poverty and marginalization. If “artist” isn’t a Professional Managerial Class job, what is it? It sure ain’t factory work. The pretense of artists to social disenfranchisement calls to mind John Goodman’s line in Barton Fink, where his serial killing salesman tells John Turturro’s slumming writer, “You’re just a tourist with a typewriter, Barton. I live here.”

Most of these folks are just playing dress up for a while before they pack it in for Grad School and take up residence in the same sedate suburban enclaves from whence they came. Just as in every other sphere of American society, the arts are, and always have been, dominated by these kinds of middle and upper-middle class, mostly white people, whose sensibilities reflect that reality.  The higher up the food chain you go, the more evident that becomes.  The same exact advantages of money and connections that favor people in every other industry, favor those who attempt a career in the arts.  Perhaps even more so because the standards are so nebulous.  If you’re a doctor, or an attorney, you either do your job well, or you don’t.  If you’re an artist, the quality of your work is subjective which leaves a lot of room for just hooking up the people you relate to, which in the arts is going to mean a lot of rich white people, hooking up other rich white people.  The net effect of that is, if a lot of bad ideas are coming out of the suburbs, that’s going to be reflected in the work.

When the PMC’s were more rooted in the New Deal, with its focus on class and economics, as was the case when I first entered the scene, so were the arts. Now that they’ve turned to neoliberalism in their economics, and the post-modern turn has unmoored their social activism from observable reality, we have an arts community that has nothing to say about the current moment that strays an inch from what you might hear on MSNBC. This is why, as just one example, in a moment of social strife and economic dislocation, the Artistic Director of Connecticut’s Long Wharf Theater recently seized on the idea of a Black Trans Women at the Center festival as the best use of his platform and resources. The company lost their home of 55 years shortly thereafter.

Whereas in the 30’s a good many artists responded to the Depression by adopting a Marxist-Leninist posture and playwrights like Clifford Odets, (the writer being satirized by the Cohens in Barton Fink), and later Arthur Miller and Rod Serling, began writing plays for the first time that placed working class people “at the center,” this generation of artists greets the moment with only contempt for the struggles of working people, seeing them as reactionary Trumpers who sadly lack the education and sophistication to realize that the economy is great, incremental change is the best we can hope for, and getting all bent out of shape about books full of graphic cocksucking in your child’s middle-school library is totally uncool. Rather than to represent the struggles of average people, these artists offer them nothing but derision and when they do bother to acknowledge them, it is only to portray them as wrong-think culture war enemies.


A blurred image from the graphic novel memoir, Gender Queer. Objections from parents to including it in school libraries have been characterized as “book banning.”

Adding to the problem, poor people who manage to get to college usually don’t decide to major in something that’s going to almost guarantee that they end up poor.  Being an artist is a luxury most people from economically disadvantaged environments just don’t think they can afford.  You’re a lot more likely to choose it if you have a trust fund to fall back on.  So, essentially you end up with a scene dominated by trust fund babies, no matter what identity group they align with.  Their politics proceed from there.  All these artists going on about white privilege is partly a case of, to use a phrase with which any theater aficionado will be familiar, “Methinks thou dost protest too much.” And as with Diversity Equity and Inclusion efforts in other sectors, this results in pretenses at promoting “representation” amounting to nothing more than trying to find more black and brown people from similar backgrounds to the whites that are already there, and who consequently share the same attitudes. Baracks and Michelles are always welcome, but the Hueys and Assatas make these folks deeply uncomfortable. The theater party I walked into last week, was no more racially diverse than the scene I knew in the 80’s (perhaps a bit less), but it was palpably less wide-ranging in class perspectives.

Another reason the censorious Victorian lady in high dudgeon pose that has become the liberal class default setting over the past 10 years or so, has had so much appeal to this group in particular, probably has to do with the psychological afflictions common to artists, combined with the insecurities inherent in the profession.  This is something else I’d love to see a study on: common psychological illnesses in artists, but lacking such a study, I can only tell you what I’ve observed.  Most people don’t choose a career in the arts because they’re very secure, contented and happy sorts.  The level of personal psychological torment that’s driven them to such an irrational career choice varies, but deep neurosis, emotional neediness, and pervasive self-doubt are kind of a base line.  I do not except myself from this analysis: my head is the kind of snake pit that Indiana Jones has nightmares about.  Proceeding from there, you’ll find a fair amount of narcissism, borderline personality disorder, manic-depression, and just plain old depression-depression.  These qualities are not at all ameliorated by constant rejection and criticism, which is kind of the nature of the beast.  In some ways the people who are attracted to the arts are the least capable of enduring its vicissitudes without severe psychological damage.  So, you have a bunch of deeply insecure, neurotic people, trying to make their way in a profession where the rules are vague and the agreed upon standards of successful work are non-existent, and then you hand them a secular religion that gives them not only rules and standards, but a weapon with which to bludgeon their critics as -ists, phobes, and reactionary heathens.  That’s like throwing crackers at a starving man.  Naturally they jumped on it en masse, without ever thinking through the consequences.  Critical Social Justice gave artists something they haven’t had since Duchamp signed a urinal and called it a sculpture: certainty.  And this group is far too ignorant of the past to know why their forbears rejected the kind of formalism that these standards impose, and what the price paid in quality, creativity and individual expression will be in the long run. Insofar as they embrace Duchamp’s lesson, it is only in using the precedent set by his famous prank to avoid being interrogated on the basis of quality, talent and craftsmanship.

Which brings us to my final observation.

So, based on my admittedly subjective observations, only about 30% of the people who call themselves “artists” have any business pursuing it.  And only 2% of those are really gifted.  So, the scene is, and always has been, mostly populated by hangers-on who are only one 30th Birthday away from packing it in and getting a Masters in Social Work.  The appeal of a set of standards that remove the basis of evaluating work from its quality to its adherence to a set of clearly defined political beliefs is obvious.  If you can’t out-talent people, you can at least out-woke them.

In the end, the arts scene as it exists today and the institutions that support it may have simply become too sclerotic, out of touch, and irrelevant for saving. The future is with activist-artists grown naturally from their communities, using new technologies and platforms to draw attention to concerns and realities that no gatekeeping clique of PMC’s will ever understand or think to explore. As our self-appointed creators of culture have abandoned us, it may be time that we abandon them in turn, leaving their venues to close as they should, leaving their 501c’s to go bankrupt, as they are doing, and taking the space their collapse opens up to create something new of our own.


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Lili News 029
  • In cynicism and power, the US propaganda machine easily surpasses Orwells Ministry of Truth.
  • Now the fight against anti-semitism is being weaponised as a new sanctimonious McCarthyism.
  • Unless opposed, neither justice nor our Constitutional right to Free Speech will survive this assault.

Things to keep in mind...

Neo-Nazi ideology has become one of the main protagonists of political and social life in Ukraine since the 2014 coup d'état. Meanwhile, fascist ideology and blatant lies also permeate the consciousness of most people in the West. Those in the comfortable top 10%, the "PMCs" (Professional Managerial Class), are especially vulnerable. They support and disseminate such ideas. They are the executors of the actual ruling class' orders, those in the 0.001%, who remain largely invisible. The PMCs are the political class, the media whores, the top military brass, some people in academia, and the "national security/foreign policy" industry honchos. Push back against these unethical, contaminated people with the truth while you can.

AND...where the US Government is at: LYING 24/7


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MUST SEE—Trump against empire: is that why they hate him? (Video & Text)

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Christian Parenti • Aaron Maté

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Biden and Trump (Donkey Hotey)

 
Trump was ideologically incoherent and crassly transactional. But the threat he posed to American empire and thus the gargantuan security state helps establish a motive for why US intelligence intervened in both the 2016 and 2020 elections.


As president, Donald Trump lavished the rich with tax cuts and deregulation. Yet, contradictorily, he also threatened the structure of American global hegemony that does so much to keep the American one percent tremendously wealthy. In fact, Trump undertook the most momentous rollback of American military and diplomatic power since the current architecture of American informal empire first took form at the end of World War II.

Trump campaigned on an end to “nation building” and then, amazingly, set about actually winding down America’s “forever wars” by simply packing up and leaving. Nor did he start any new wars. Trump cut the number of US troops in Iraq by almost half. In Afghanistan, he cut the US occupation force by half and negotiated a framework for total withdrawal. He tried to end US combat deployments in both Somalia and Syria, and in both cases, despite Pentagon opposition and slow-walking noncompliance, Trump did manage to withdraw the majority of US personnel. In Syria, bases abruptly abandoned by US special forces were taken over by Russians – a development that prompted the New Yorker to accuse Trump of the “abandonment of Syria.”

Worse yet in the eyes of the national security state, Trump went after US operations in Germany and South Korea, threatening highly strategic lynchpins in the global system of US military power. He also made great strides towards normalizing relations with North Korea and producing a peace treaty on the Korean peninsula. In Libya, he declined to escalate and worked with Russia towards a peace settlement. In Venezuela, he first allowed John Bolton and the CIA to attempt a color revolution-style coup fronted by pretty-boy Juan Guaidó. But when that effort faced resistance Trump grew bored, started making flattering remarks about “tough” Venezuelan leader Nicolas Maduro and his “good looking generals,” while complaining that his National Security Council director John Bolton wanted to get him “in a war.”

Understanding how Donald Trump threatened American empire and thus the gargantuan security state and its associated industrial complex of contractors and think tanks helps establish a motive for why the FBI and over 50 former intelligence officialsactively attempted to suppress the Hunter Biden laptop story, thereby putting their thumbs on the scale during the 2020 election.

It also helps us understand why, in 2016, the CIA, FBI, NSA, and the Director of National Intelligence all signed off on the Russiagate narrative despite the lack of credible evidence. And it helps us understand why, as Matt Taibbi has reported, over 150 private philanthropic foundations came together to create and fund the intelligence-adjacent Alliance for Securing Democracy, which in turn funded the spooky outfit Hamilton 68 which pushed the Russiagate hoax. In short, it helps explain why they hate him.

Trump described his foreign policy as “America First,” thus tapping into a more-than-century-long strain of American isolationism, or conservative anti-war sentiment. But his attacks on American empire were not ideologically coherent. He hated NATO but he loved Israel. He increased pressure in Cuba, but did the opposite with North Korea. He increased the military budget even as he attempted to withdraw troops all over the planet. His reasoning, when given, was crassly transactional.



For example, six months into his administration, Trump met with the increasingly worried Joint Chiefs of Staff at the Pentagon in a super-secure meeting room called “the Tank.” The meeting was an attempt to talk sense into the new president. As the Washington Post described it, the Joint Chiefs tried to “explain why U.S. troops were deployed in so many regions and why America’s safety hinged on a complex web of trade deals, alliances, and bases across the globe.” The presentation involved maps and graphics intended to make the issue clear and simple.

oil?”

Accusing Russia of cheating, Trump terminated the 1987 Intermediate-Range Nuclear Forces (INF) Treaty. But he also held a cordial face-to-face summit with Putin in Helsinki that took his opposition’s Russiagate paranoia to unprecedented heights. Trump withdrew from the Treaty on Open Skies, an almost 20-year-old mechanism for preventing weapons proliferation. He started to scrap the hard-won nonproliferation treaty with Iran and revised America’s Nuclear Posture Review to, insanely, allow an atomic response in case of cyber-attack!

Most shocking of all, Trump repeatedly expressed his wish to remove the US from NATO, which would have destroyed NATO if it had been done. If NATO fell apart, the entire US-centered global system – that is, the largest, most effective, complex, and expensive imperial project in world history – would undergo a seismic destabilization. American empire is not inevitable, it is not natural, and it is widely resented. It only continues to exist because of constant, diligent, sophisticated leadership. Trump, like a toddler wielding a hammer, spent four years almost randomly smashing holes in that delicate structure.

 

What is American power?

Since 1945, American global hegemony has rested on a vast system of infrastructure: embassies, listening posts, 800-plus military bases, naval assets, satellite networks, undersea cables, etc. It also rests on an array of long-standing, multi-national relationships involving state institutions, politicians, diplomats, military officers, contractors, intelligence networks, corporations, business executives, humanitarian professionals, academic specialists, and journalists.

Central in all this, yet often overlooked, is the role of building consent for American power among allies. This consent allows Washington to use allies against adversaries. But it is also a form of control over those same allies. Thus, NATO is about keeping the Russians out of Western Europe, but it is also about controlling Europe, one of the most powerful centers of global capitalism.

bookThe Making of Global Capitalism:

“The American state, in the very process of supporting the export of capital and the expansion of multinational corporations, increasingly took responsibility for creating the political and juridical conditions for the general extension and reproduction of capitalism internationally….As with the informal regional empire that the US established in its own hemisphere at the beginning of the twentieth century, a proper understanding of the informal global empire it established at mid-century requires… [identifying] the international role of the American state in setting the conditions for capital accumulation.”

Trump, it seems, never understood this big picture stuff. Instead, he saw the raft of relationships, alliances, institutions, and programs that comprise the post-1945 American-led global order as little more than a poorly run security business. Consider his view of NATO:

“I met them last year. Stoltenberg, Secretary General, great guy, of NATO. Big fan. No one was paying their bills. Last year I went, a year ago. We picked up $44 billion. Nobody reports it. I just left recently and we’re going to pick up at least another, close to a $1 billion extra. I said to him, ‘you got to pay your bills.’”

Trump treated powerful allies as poorly as he treated subcontractors during his real estate days. Recall the G-7 summit of 2018: Trump arrived late, left early, and refused to sign a joint communiqué reaffirming the G-7’s commitment to a “rules based international order.” When then-German Prime Minister Angela Merkel pressured him to sign, Trump took two Starburst candies from his pocket, tossed them across the conference table and sneered, “Here, Angela, don’t say I never give you anything.”

In 2020, the US Senate’s Committee on Foreign Relations described Trump’s foreign policy as “marked by chaos, neglect, and diplomatic failures.” The President’s “impulsive, erratic approach has tarnished the reputation of the United States as a reliable partner and led to disarray in dealing with foreign governments…. Critical neglect of global challenges has endangered Americans, weakened the U.S. role in the world, and squandered the respect it built up over decades. Sudden pronouncements, such as the withdrawal of U.S. troops from Syria, have angered close allies and caught U.S. officials off-guard.”

Mark Esper, who spent a year and half as Trump’s second Secretary of Defense, made an art of blocking implementation of Trump’s empire-wrecking directives. When Trump demanded that one third of the American military personnel in Germany come home, Esper drew up a plan to instead “redeploy” 11,500 troops with more than half of these remaining in the European theater. Indeed, Esper even managed to spin the redeployment as advancing America’s traditional agenda of threatening Russia.

If, like the majority of DC elites, you see American global leadership as fundamentally moral, even vital and indispensable, then Trump’s brazen attacks upon it are extremely dangerous. From such a vantage point, the truly responsible thing to do would be to sabotage Trump’s policy, his legitimacy, his base, and the possibility of his reelection.

Trump’s foreign policy team worked to actively thwart him. Gary Cohn, Trump’s top economic advisor, went so far as twice stealing from the president’s desk important documents awaiting presidential signature. One would have withdrawn the United States from a trade agreement with South Korea. The other would have unilaterally pulled the US out of the North American Free Trade Agreement (NAFTA). Later, Trump did renegotiate NAFTA, transforming it into the United States-Mexico-Canada Agreement (USMCA), which did, in fact, include higher wages for Mexican autoworkers.

Trump regularly demeaned and insulted his foreign policy team. In a conversation that included the Irish Prime Minister, Trump called across the room to his National Security Adviser, the dementedly bellicose John Bolton, “John, is Ireland one of those countries you want to invade?” In 2019, Trump unceremoniously fired Bolton by tweet.

Trump’s first Defense Secretary, Jim “Mad Dog” Mathis, openly opposed most of the administration’s foreign policy moves. Displeased, Trump started calling Mathis“Moderate Dog.” In January 2019, when Trump ordered US troops withdrawn from Syria, Moderate Dog resigned.

A “shaken” Nancy Pelosi declared the turn of events “very serious for our country.” Republican Senator Ben Sasse called it “a sad day for America” while a “particularly distressed” Mitch McConnell worried openly about “key aspects of America’s global leadership.”

Vandalizing NATO

Most alarming to the national security establishment was Trump’s 2020 attempt to cut by one-third the US military presence in Germany. Considered the “bedrock” of NATO, Germany hosts 35,000 American military personnel stationed across 40 different installations. The air components for both U.S. European Command and U.S. Africa Command are headquartered at Germany’s Ramstein Air. These German-based assets — bombers, fighters, drones, helicopters, AWAC surveillance planes, as well as associated radar, air traffic control, and signals intelligence infrastructure — cover 104 countries ready to provide “expeditionary base support, force protection, construction, and resupply operations” even in “austere conditions.” Germany also hosts an estimated 150 US nuclear armed missiles.

Surprisingly far-flung US military operations depend on German bases. When American soldiers were wounded by roadside bombs in Iraq, their first stop was a local Combat Support Hospital, but once stabilized the wounded were immediately flown to the Landstuhl Regional Medical Center at the U.S. Army post in Landstuhl, Germany, near Ramstein Air Base. Yet, in the summer of 2020 Trump ordered the Germany deployment cut by 12,000, or one-third.

fees.”

The redeployment reportedly “blindsided” both German officials and some American military leaders because neither group was properly consulted in the process, nor was there much planning of any sort associated with the momentous move. As already mentioned, Esper did all he could to distort and block Trump’s order.

More important than the quantity of troops Trump sought to withdraw is the qualitatively greater damage of those withdrawals from one of the most critical, high-tech logistics hubs in the entire imperial apparatus. The Council on Foreign Relations worried aloud about the “message to allies and adversaries alike that the United States is no longer committed to European defense.”

Final Assault

By November 2019, as Trump’s friendship with the North Korean leader Kim Jong-un was in full blossom, the American president started musing about withdrawing troops from South Korea and demanded that South Korea – and all other allies hosting US military personnel – pay “cost plus 50%” for American protection.

As with Germany, the US presence in South Korea is the high-tech fulcrum of a region-wide system of bases, air wings, and naval fleets. American Navy assets in South Korea support the Japan-headquartered US Seventh Fleet which contains 50 to 70 ships, 150 aircraft, and 27,000 Sailors and Marines.

In 2020, Trump announced that he wanted all US troops out of Iraq and Afghanistan. The latter half of Trump’s term also saw the beginning of the end of the Afghan war. Even though it was Biden who presided over the final US withdrawal from Afghanistan, the conditions for that withdraw were negotiated by the Trump administration. American agreement with the Taliban stipulated that US troops would be out of Afghanistan in 18 months, provided that the Taliban fought to contain terrorist groups such as the Islamic State.

Those who dismiss Trump’s treaty with the Taliban do not understand how the US withdrawal from Afghanistan unfolded. While thirteen American soldiers were killed in an Islamic State suicide bombing at the gates of the Kabul airport and the United States left vast amounts of hardware such as Humvees and helicopters – in large part because the Pentagon refused to cooperate until it was too late – had the Trump Administration not reached an agreement with the Taliban, the US withdrawal would have been a desperate fight to escape.

In 2019, Trump momentarily took an interest in the Libya debacle. In typical fashion he started courting Khalifa Haftar, a US-groomed warlord who came to oppose the US and United Nations-backed Libyan “government.” But then, despite considerable pressure from American allies like Turkey, Egypt, and others to commit more resources, Trump backed off and, once again surprising allies, called for a cease fire.

The United States mission in Somalia, which began in 2007, has been described as “a cornerstone of the Pentagon’s global efforts to combat al Qaeda.” Anyone looking at a map can see the country’s strategic importance: at the tip of the Horn of Africa, jutting into the Arabian Sea, not far from the mouth of the Persian Gulf, with a shoreline along one side of the Gulf of Aden which leads north to the Suez Canal. But in early December 2020, Trump (who in a crude display had referred to Haiti and African states as “shithole countries”) pulled the plug, ordering a near total withdrawal of the 700 US special forces, military advisors, and CIA operatives in Somalia.

The view from inside

Put yourself for a moment in the position of people like FBI director Christopher Wray, or his predecessor, James Comey. Looking out upon Trump’s foreign policy vandalism, you would feel deep concern. If, like the majority of DC elites, you see American global leadership as fundamentally moral, even vital and indispensable, then Trump’s brazen attacks upon it are extremely dangerous. From such a vantage point, the truly responsible thing to do would be to sabotage Trump’s policy, his legitimacy, his base, and the possibility of his reelection.

The FBI and the CIA have illegally intervened in domestic politics, historically by targeting left-wing social movements. We know they infiltrated Trump’s 2016 campaign, then worked to paint him as a Russian puppet throughout his presidency. Are we to believe that the intelligence agencies would not and could not have intervened to prevent the reelection of Donald Trump? Or that they would not have attempted to entrap, then hound and severely punish the MAGA that that rioted for several hours at the US Capitol on January 6th 2021? Such a proposition strikes me as ridiculous. Yet, many of my left-wing friends refuse to explore the mounting evidence suggesting that such agencies moved against Trump and his base because they cannot see why the intelligence agencies might have pressing reasons to do so.

But look abroad. Trump threatened the entire system of US global hegemony. He threatened it for different reasons and in different ways than might grassroots, socialist, anti-imperialists, but he threatened US empire nonetheless.


 

Neo-Nazi ideology has become one of the main protagonists of political and social life in Ukraine since the 2014 coup d'état. And that's a fact. 

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