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How War Propaganda Keeps the Killing Cycle Alive

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Exclusive: The “fake news” hysteria has become the cover for the U.S. government and mainstream media to crack down on fact-based journalism that challenges Official Washington’s “group thinks,” writes Robert Parry.

By Robert Parry, December 7, 2016

A key reason why American foreign debacles have been particularly destructive mostly to the countries attacked but also to the United States is that these interventions are always accompanied by major U.S. government investments in propaganda. So, even when officials recognize a misjudgment has been made, the propaganda machinery continues to grind on to prevent a timely reversal.

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President George W. Bush announcing the start of his invasion of Iraq on March 19, 2003.

President George W. Bush announcing the start of his invasion of Iraq on March 19, 2003.

After all, once a foreign leader is demonized, it’s hard for a U.S. official to explain that the leader may not be all that bad or is at least better than the likely alternative. So, it’s not just that officials start believing their own propaganda, it’s that the propaganda takes on a life of its own and keeps the failed policy churning forward.

It’s a bit like the old story of the chicken that continues to run around with its head cut off. In the case of the U.S. government, the pro-war or pro-intervention “group think” continues to run amok even after wiser policymakers recognize the imperative to change course.

The reason for that dilemma is that so much money gets spread around to pay for the propaganda and so many careers are tethered to the storyline that it’s easier to let thousands of U.S. soldiers and foreign citizens die than to admit that the policy was built on distortions, propaganda and lies. That would be bad for one’s career.

And, because of the lag time required for contracts to be issued and the money to flow into the propaganda shops, the public case for the policy can outlive the belief that the policy makes sense.

Need for Skeptics

Ideally, in a healthy democracy, skeptics both within the government and in the news media would play a key role in pointing out the flaws and weaknesses in the rationale for a conflict and would be rewarded for helping the leaders veer away from disaster. However, in the current U.S. establishment, such self-corrections don’t occur.

Russian President Vladimir Putin after the military parade on Red Square, May 9, 2016 Moscow. (Photo from: http://en.kremlin.ru)

Russian President Vladimir Putin after the military parade on Red Square, May 9, 2016 Moscow. (Photo from: http://en.kremlin.ru)

A current example of this phenomenon is the promotion of the New Cold War with Russia with almost no thoughtful debate about the reasons for this growing hostility or its possible results, which include potential thermonuclear war that could end life on the planet.

Instead of engaging in a thorough discussion, the U.S. government and mainstream media have simply flooded the policymaking process with propaganda, some of it so crude that it would have embarrassed Joe McCarthy and the Old Cold Warriors.

Everything that Russia does is put in the most negative light with no space allowed for a rational examination of facts and motivations – except at a few independent-minded Internet sites.

Yet, as part of the effort to marginalize dissent about the New Cold War, the U.S. government, some of its related “non-governmental organizations,” mainstream media outlets, and large technology companies are now pushing a censorship project designed to silence the few Internet sites that have refused to march in lockstep.

I suppose that if one considers the trillions of dollars in tax dollars that the Military Industrial Complex stands to get from the New Cold War, the propaganda investment in shutting up a few critics is well worth it.

Today, this extraordinary censorship operation is being carried out under the banner of fighting “fake news.” But many of the targeted Web sites, including Consortiumnews.com, have represented some of the most responsible journalism on the Internet.

At Consortiumnews, our stories are consistently well-reported and well-documented, but we do show skepticism toward propaganda from the U.S. government or anywhere else.

For instance, Consortiumnews not only challenged President George W. Bush’s WMD claims regarding Iraq in 2002-2003 but we have reported on the dispute within the U.S. intelligence community about claims made by President Barack Obama and his senior aides regarding the 2013 sarin gas attack in Syria and the 2014 shoot-down of Malaysia Airlines Flight 17 over Ukraine.

In those two latter cases, Official Washington exploited the incidents as propaganda weapons to justify an escalation of tensions against the Syrian and Russian governments, much as the earlier Iraqi WMD claims were used to rally the American people to invade Iraq.

However, if you question the Official Story about who was responsible for the sarin gas attack outside Damascus on Aug. 21, 2013, after President Obama, Secretary of State John Kerry and the mainstream media pronounced the Syrian government guilty, you are guilty of “fake news.”

Facts Don’t Matter

It doesn’t seem to matter that it’s been confirmed in a mainstream report by The Atlantic that Director of National Intelligence James Clapper advised President Obama that there was no “slam-dunk” evidence proving that the Syrian government was responsible. Nor does it matter that legendary investigative journalist Seymour Hersh has reported that his intelligence sources say the more likely culprit was Al Qaeda’s Nusra Front with help from Turkish intelligence.

Investigative reporter Seymour Hersh

Investigative reporter Seymour Hersh

By straying from the mainstream “group think” that accuses Syrian President Bashar al-Assad of crossing Obama’s “red line” on chemical weapons, you are opening yourself to retaliation as a “fake news” site.

Similarly, if you point out that the MH-17 investigation was put under the control of Ukraine’s unsavory SBU intelligence service, which not only has been accused by United Nations investigators of concealing torture but also has a mandate to protect Ukrainian government secrets, you also stand accused of disseminating “fake news.”

Apparently one of the factors that got Consortiumnews included on a new “black list” of some 200 Web sites was that I skeptically analyzed a report by the Joint Investigation Team (JIT) that while supposedly “Dutch-led” was really run by the SBU. I also noted that the JIT’s conclusion blaming Russia was marred by a selective reading of the SBU-supplied evidenceand by an illogical narrative. But the mainstream U.S. media uncritically hailed the JIT report, so to point out its glaring flaws made us guilty of committing “fake news” or disseminating “Russian propaganda.”

The Iraq-WMD Case

Presumably, if the hysteria about “fake news” had been raging in 2002-2003, then those of us who expressed skepticism about Iraq hiding WMD would have been forced to carry a special marking declaring us to be “Saddam apologists.”

Washington Post's editorial page editor Fred Hiatt.

Washington Post’s editorial page editor Fred Hiatt.

Back then, everyone who was “important” in Washington had no doubt about Iraq’s WMD. Washington Post editorial page editor Fred Hiatt repeatedly stated the “fact” of Iraq’s hidden WMD as flat fact and mocked anyone who doubted the “group think.”

Yet, even after the U.S. government acknowledged that the WMD allegations were a myth – a classic and bloody case of “fake news” – almost no one who had pushed the fabrication was punished.

So, the “fake news” stigma didn’t apply to Hiatt and other mainstream journalists who actually did produce “fake news,” even though it led to the deaths of 4,500 U.S. soldiers and hundreds of thousands of Iraqis. To this day, Hiatt remains the Post’s editorial-page editor continuing to enforce “conventional wisdoms” and to disparage those who deviate.

Another painful example of letting propaganda – rather than facts and reason – guide U.S. foreign policy was the Vietnam War, which claimed the lives of some 58,000 U.S. soldiers and millions of Vietnamese.

The Vietnam War raged on for years after Defense Secretary Robert McNamara and even President Lyndon Johnson recognized the need to end it. Part of that was Richard Nixon’s treachery in going behind Johnson’s back to sabotage peace talks in 1968, but the smearing of anti-war dissidents as pro-communist traitors locked many officials into support for the war well after its futility became obvious. The propaganda developed its own momentum that resulted in many unnecessary deaths.

A Special Marking

In the Internet era, there will now be new-age forms of censorship. Your Web site will be excluded from major search engines or electronically stamped with a warning about your unreliability.

Journalist Robert Parry

Journalist Robert Parry

Your guilt will be judged by a panel of mainstream media outlets, including some partially funded by the U.S. government, or maybe by some anonymous group of alleged experts.

With the tens of millions of dollars now sloshing around Official Washington to pay for propaganda, lots of entrepreneurs will be lining up at the trough to do their part. Congress just approved another $160 million to combat “Russian propaganda,” which will apparently include U.S. news sites that question the case for the New Cold War.

Along with that money, the House voted 390-30 for the Intelligence Authorization Act with a Section 501 to create an Executive Branch “interagency committee to counter active measures by the Russian Federation to exert covert influence,” an invitation to expand the  McCarthyistic witch hunt already underway to intimidate independent Internet news sites and independent-minded Americans who question the latest round of U.S. government propaganda.

Even if a President Trump decides that these tensions with Russia are absurd and that the two countries can work together in the fight against terrorism and other international concerns, the financing of the New Cold War propaganda — and the pressure to conform to Official Washington’s  “group think” — will continue.

The well-funded drumbeat of anti-Russian propaganda will seek to limit Trump’s decision-making. After all, this New Cold War cash cow can be milked for years to come and nothing – not even the survival of the human species – is more important than that.

Investigative reporter Robert Parry broke many of the Iran-Contra stories for The Associated Press and Newsweek in the 1980s. You can buy his latest book, America’s Stolen Narrative, either in print here or as an e-book (from Amazon and barnesandnoble.com).

Source: Consortium News

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Editorials

As the Golden Globes lose their luster, can we create a better version of Hollywood?

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Something interesting is happening in Hollywood. People are walking away from the Golden Globe Awards.

And for good reason.

Anyone who has ever worked in the filthy abyss of Hollywood, New York, or any major entertainment city will know first hand how these systems work. Sycophants, parasites and moguls and talent agents willing to step all over each other just for the sake of another prize. Some will even kill for a shot at the brass ring.  And industry divided cannot succeed.

The only good thing I found in the Golden Globes was watching Ricky Gervais lampoon the stars and their handlers from the stage. Bravo to Gervais, it doesn’t make a difference what you think of him, afterall, he had something that most of Hollywood doesn’t have. Balls. Guts. And a way of delivering amusing reality dosed insults to their face only to find he’s been re-instated as the show host for the next years showing.

 

The annual Golden Globes ceremony has been unable to find a broadcasting partner or any celebrities willing to present or collect its awards after a Hollywood boycott over its diversity and ethics scandal, resulting in a pared-down event with the emphasis on philanthropy.

According to Variety, the Globes’ talent bookers have failed to persuade any big Hollywood figures to attend the 2022 edition of the awards ceremony, a hitherto glittering annual event that traditionally kicked off the lucrative awards season. In March 2021 more than 100 public relations firms announced they would withdraw cooperation with the Globes, a series of high-profile Hollywood figures, including Tom Cruise and Scarlett Johansson, made stinging public criticisms, and TV network NBC cancelled its broadcast of the 2022 edition. (-The Guardian)

 
eguardian.com/film/2022/jan/09/golden-globes-lose-their-shine-as-a-listers-shun-unethical-ceremony

But this years showing not only lacked the luster of Hollywood today, but doesn’t even have a Network or Livestream to cover it.  I guess we’ll have to rely on celeb Twitter Feeds.

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How The Pentagon and CIA Have Shaped Thousands of Hollywood Movies into Super Effective Propaganda

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By David Swanson, World BEYOND War, January 5, 2022

Propaganda is most impactful when people don’t think it’s propaganda, and most decisive when it’s censorship you never knew happened.

 

When we imagine that the U.S. military only occasionally and slightly influences U.S. movies, we are extremely badly deceived. The actual impact is on thousands of movies made, and thousands of others never made. And television shows of every variety.

The military guests and celebrations of the U.S. military on game shows and cooking shows are no more spontaneous or civilian in origin than the ceremonies glorifying members of the U.S. military at professional sports games — ceremonies that have been paid for and choreographed by U.S. tax dollars and the U.S. military. The “entertainment” content carefully shaped by the “entertainment” offices of the Pentagon and the CIA doesn’t just insidiously prepare people to react differently to news about war and peace in the world. To a huge extent it substitutes a different reality for people who learn very little actual news about the world at all.

The U.S. military knows that few people watch boring and non-credible news programs, much less read boring and non-credible newspapers, but that great masses will eagerly watch long movies and TV shows without too much worrying about whether anything makes sense. We know that the Pentagon knows this, and what military officials scheme and plot as a result of knowing this, because of the work of relentless researchers making use of the Freedom of Information Act. These researchers have obtained many thousands of pages of memos, notes, and script re-writes. I don’t know whether they’ve put all of these documents online — I certainly hope they do and that they make the link widely available. I wish such a link were in giant font at the end of a fantastic new film. The film is called Theaters of War: How the Pentagon and CIA Took Hollywood. The Director, Editor, and Narrator is Roger Stahl. The Co-Producers are Matthew Alford, Tom Secker, Sebastian Kaempf. They’ve provided an important public service.

In the film we see copies of and hear quotations from and analysis of much of what has been uncovered, and learn that thousands of pages exist that nobody has yet seen because the military has refused to produce them. Film producers sign contracts with the U.S. military or CIA. They agree to “weave in key talking points.” While unknown quantities of this sort of thing remain unknown, we do know that nearly 3,000 films and many thousands of TV episodes have been given the Pentagon treatment, and many others have been handled by the CIA. In many film productions, the military effectively becomes a co-producer with veto power, in exchange for allowing the use of military bases, weapons, experts, and troops. The alternative is the denial of those things.

But the military is not as passive as this might suggest. It actively pitches new story ideas to movie and TV producers. It seeks out new ideas and new collaborators who might bring them to a theater or laptop near you. Act of Valor actually began life as a recruitment advertisement.

Of course, many movies are made without military assistance. Many of the best never wanted it. Many that wanted it and were denied, managed to get made anyway, sometimes at much greater expense without the U.S. tax dollars paying for the props. But a huge number of movies are made with the military. Sometimes the initial movie in a series is made with the military, and the remaining episodes voluntarily follow the military’s line. Practices are normalized. The military sees huge value in this work, including for recruitment purposes.

The alliance between the military and Hollywood is the main reason that we have lots of big blockbuster movies on certain topics and few if any on others. Studios have written scripts and hired top actors for movies on things like Iran-Contra that have never seen the light of day because of a Pentagon rejection. So, nobody watches Iran-Contra movies for fun the way they might watch a Watergate movie for fun. So, very few people have any notions about Iran-Contra.

But with the reality of what the U.S. military does being so awful, what, you might wonder, are the good topics that do get lots of movies made about them? A lot are fantasy or distortion. Black Hawk Down turned reality (and a book it was “based on”) on its head, as did Clear and Present Danger. Some, like Argo, hunt for small stories within large ones. Scripts explicitly tell audiences that it doesn’t matter who started a war for what, that the only thing that matters is the heroism of troops trying to survive or to rescue a soldier.

Yet, actual U.S. military veterans are often shut out and not consulted They often find movies rejected by the Pentagon as “unrealistic” to be very realistic, and those created with Pentagon collaboration to be highly unrealistic. Of course, a huge number of military-influenced films are made about the U.S. military fighting space aliens and magical creatures — not, clearly, because it’s believable but because it avoids reality. On the other hand, other military-influenced films shape people’s views of targeted nations and dehumanize the humans living in certain places.

Don’t Look Up is not mentioned in Theaters of War, and presumably had no military involvement (who knows?, certainly not the movie-watching public), yet it uses a standard military-culture idea (the need to blow up something coming from outerspace, which in reality the U.S. government would simply love to do and you could hardly stop them) as an analogy for the need to stop destroying the planet’s climate (which you cannot easily get the U.S. government to remotely consider) and not one reviewer notices that the film is an equally good or bad analogy for the need to stop building nuclear weapons — because U.S. culture has had that need effectively excised.

The military has written policies on what it approves and disapproves. It disapproves depictions of failures and crimes, which eliminates much of reality. It rejects films about veteran suicide, racism in the military, sexual harassment and assault in the military. But it pretends to refuse to collaborate on films because they’re not “realistic.”

Yet, if you watch enough of what is produced with military involvement you’ll imagine that using and surviving nuclear war is perfectly plausible. This goes back to the original Pentagon-Hollywood invention of myths about Hiroshima and Nagasaki, and runs right up through military influence on The Day After, not to mention the transformation — paid for by people who throw a fit if their tax dollars help prevent someone freezing on the street — of Godzilla from a nuclear warning to the reverse. In the original script for the first Iron Man movie, the hero went up against the evil weapons dealers. The U.S. military rewrote it so that he was a heroic weapons dealer who explicitly argued for more military funding. Sequels stuck with that theme. The U.S. military advertised its weapons of choice in Hulk, Superman, Fast and Furious, and Transformers, the U.S. public effectively paying to push itself to support paying thousands of times more — for weapons it would otherwise have no interest in.

“Documentaries” on the Discovery, History, and National Geographic channels are military-made commercials for weapons. “Inside Combat Rescue” on National Geographic is recruitment propaganda. Captain Marvel exists to sell the Air Force to women. Actress Jennifer Garner has made recruitment ads to accompany movies she’s made that are themselves more effective recruitment ads. A movie called The Recruit was largely written by the head of the CIA’s entertainment office. Shows like NCIS push out the military’s line. But so do shows you wouldn’t expect: “reality” TV shows, game shows, talk shows (with endless reunifications of family members), cooking shows, competition shows, etc.

I’ve written before about how Eye in the Sky was openly and proudly both completely unrealistic nonsense and influenced by the U.S. military to shape people’s ideas about drone murders. A lot of people have some small idea of what goes on. But Theaters of War: How the Pentagon and CIA Took Hollywood helps us to grasp the scale of it. And once we’ve done that, we may gain some possible insights into why polling finds much of the world fearing the U.S. military as a threat to peace, but much of the U.S. public believing that U.S. wars benefit people who are grateful for them. We may begin to form some guesses as to how it is that people in the United States tolerate and even glorify endless mass-killing and destruction, support threatening to use or even using nuclear weapons, and suppose the U.S. to have major enemies out there threatening its “freedoms.” Viewers of Theaters of War may not all immediately react with “Holy shit! The world must think we’re lunatics!” But a few may ask themselves whether it’s possible that wars don’t look like they do in movies — and that would be a great start.

Theaters of War ends with a recommendation, that movies be required to disclose at the start any military or CIA collaboration. The film also notes that the United States has laws against propagandizing the U.S. public, which might make such a disclosure a confession of a crime. I would add that since 1976, the International Covenant on Civil and Political Rights has required that “Any propaganda for war shall be prohibited by law.”

To learn more about this film, view it, or host a screening of it, go here.

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The Grinch That Stole Christmas

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Back in the mid 70’s as my wife and I were starting our photography business Wally Miller, a successful local businessman, invited us to his office to offer help in the form of business advice. He asked only that we bring a financial statement and of course we complied.  The business startup process was new to us and after two years we were still losing money, and there it was in plain sight on the financial statement.  Wally welcomed us warmly and after a few minutes of careful study of our financials offered this observation, “You have no bad debts.”

Naturally I took this as a compliment.  I was proud that we had no bad debts, but that is not what Wally meant.  He elaborated, “If you have no bad debts that means that your credit is too tight and that translates into lost business.” His meaning was clear.  To be successful, really successful, you have to accept reasonable losses.  It’s the very nature of business.  If you want 100% certainty there can be no risk and without risk there can be no profits.

There’s a lesson in this thinking for Joe “McFuqwad” Manchin, the tight-ass, penny-pinching Grinch ruining Christmas for every American under the cover of “fiscal responsibility.”  His staffers gave us a look into his rationale, revealing two of the real reasons behind Joe’s decision to be the big NO.

Apparently Manchin believes that giving money to the poor in the form of a child tax credit is unwise because in his view, many will spend the extra dollars on drugs.  Likewise he is opposed to paid leave, stating that people will just call in sick and then go off deer hunting.

Now let’s all agree that in a free society, there are good and bad actors.  No law can legislate what is in the hearts of men.  No law can dictate integrity or honor.  If that were the case, there would be no GOP, no Jim Jordan, no Ted Cruz, no Matt Gaetz, No Marjorie Taylor Green, no Lauren Boebert. You get my drift, but I digress.

Once you agree to recognize that the actions of individuals are beyond your control, you must the adjust your decisions and subsequent actions to affect the greatest good for the majority.  Charity benefits the worthy and unworthy alike, without discrimination.  To withhold benefits from the worthy because there will always be unworthy recipients is to succumb to the devil’s play, a game of reduction that punishes all for the few.

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