Thursday, May 27, 2010
Wednesday, May 26, 2010
Tuesday, May 25, 2010
BUY IT - SUPPORT DERRICK:
(en) This is Derrick Jensen's third CD release, and features a compilation of chapters drawn from his many talks across the country. Derrick Jensen is a militant radical environmentalist and anti-civilization philosopher.
(cz) Toto je tretie CD vydanie od Derricka Jensena. Obsahuje kompiláciu vybraných kapitol z jeho mnohých prednášok. Derrick Jensen je militantný radikálny environmentalista a proticivilizačný filozof.
Sunday, May 23, 2010
by Guest Contributor Janani Balasubramanian
When asked to name the heroes of food reform and sustainable agriculture, who comes to mind? Michael Pollan, Joel Salatin, Eric Schlosser, Peter Singer, Alice Waters maybe? Notice any patterns? The food reform movement is predicated on rather shaky foundations with regards to how it deals with race and other issues of identity, with its focus on a largely white and privileged American dream.
Still, what could be better than a return to family farms and home-cooking, which many of these gurus champion? The images are powerfully nostalgic and idyllic: cows grazing on sweet alfalfa, kids’ mouths stained red with fresh heirloom tomato juice, and mom in the kitchen rolling out dough for homegrown-apple pie. But this is not an equal-access trip down memory lane. While we would like to think the American dream of social communion around food is a universal one, this assumption glosses over the very real differentials in gender, class, race, ethnicity, and nationality that were enabled and exacerbated by specific communities (white plantation owners, for example) through the use of food.
This is not to say that activists in the sustainable food movement are unconcerned with issues of identity, but that their rhetoric tends to disallow discussions on race, history, and food in a number of ways. First, Pollan and others situate the current state of American consumption in a patriarchal paradigm. These writers speak about a disappearance of food culture that for the most part accompanies male privilege. For example, Pollan, in an article for the New York Times on cooking and entertainment aptly titled “Out of the Kitchens, Onto the Couch,” explores the relationship between second-wave feminism and the gender politics of cooking. He argues that Betty Friedan’s The Feminine Mystique convinced women to regard their housework, specifically cooking, as drudgery. Friedan did not, in fact, construct this sentiment herself; she merely observed the existent trends in white women’s attitudes about food and housewifery. Pollan goes on to describe how Julia Child inspired his mother and other women like her, empowering them to channel their creativity into the kitchen. This is apt praise for the lively and engaging cook, but can Pollan not drive home the point that Americans need to cook more often without guilting American feminists?
Second, the emphasis on the local food economy, though admirable, has certain anti-global and overly nationalist undertones. Let us take the example of Joel Salatin, owner of Polyface Farms, featured in many of Pollan’s books, as well as the movies Food Inc. and Fresh!. Salatin is an ex-lawyer, of considerable means, who moves to the countryside, establishes a dynamic, organic, solar-powered farm, and sells top-quality animal products at top-quality dollar. If the nation is truly to scale up sustainable foods, we cannot fixate on the early image of the American farmer as white, male, and conservative. Instead, we must acknowledge (as USDA statistics tell us) that the face of farming is changing, and women and people of color will continue to grow in number as stewards of sustainable agriculture. Furthermore, we need to consider the real impact of foods we purchase, rather than mindlessly buying produce labeled “local” and “organic.” The United States supports a lot of global agriculture through its food purchases, and this is a relationship we should not break off entirely. True, we can do more to support efficient, environmentally friendly purchasing, but we should also not be too hasty to reject globalization.
Finally, the major voices in food are not talking about race and class as often as they should. Food justice is fundamentally a race and class issue. Schlosser’s Fast Food Nation elucidates labor practices that disproportionately affect people of color, but does not engage the issue of race specifically. Partly, this stagnancy is a matter of perception: after all, activists of color like Bryant Terry and Winona La Duke do brilliant work in their communities with regards to food justice. For some reason, however, their work goes largely underappreciated.
All social movements need a variety of voices, but I argue that food reform requires this diversity even more urgently because it is so universal in its reach. And if we can reach all those voices, then think of all the activists we will have as allies—feminists, anti-racists, interfaith leaders, and so on—interested and involved because food justice speaks to the needs of their communities and their call for action (activists: this is on you too—get on board!). As consumers of this kind of liberal rhetoric, we need to demand that the powers and big hitters in the food world diversify their representations. The food movement can only grow more powerful for it.
Friday, May 21, 2010
Wednesday, May 19, 2010
Renee Thompson is trying to make it as a top fashion model in New York. She's got the looks, the walk and the drive. But she’s a black model in a world where white women represent the standard of beauty. Agencies rarely hire black models. And when they do, they want them to look “like white girls dipped in chocolate.”
The Colour of Beauty is a shocking short documentary that examines racism in the fashion industry. Is a black model less attractive to designers, casting directors and consumers? What is the colour of beauty?
This film is part of the Work For All series, produced by the National Film Board of Canada, with the participation of Human Resources and Skills Development Canada.
This documentary presents two Canadian women of Asian descent who are contemplating eyelid surgery. Maria and Sharon, of Philippino and Korean heritage respectively, believe their looks--specifically their eyes--get in the way of how people see them. Layering their stories with pop culture references to beauty icons and supermodels, filmmaker Ann Shin looks at the pain that lies deep behind the desire for plastic surgery.
Sunday, May 16, 2010
Saturday, May 15, 2010
Tuesday, May 11, 2010
Sunday, May 9, 2010
Wednesday, May 5, 2010
Tuesday, May 4, 2010
AIDS, Inc. is a film about the multi-billion dollar AIDS industry, and how it profits from continuing fears and misconceptions about the disease. While AIDS grabs the headlines and raises billions of dollars with celebrity endorsements and billionaire endowments, we are no closer to finding a cure than when the scourge first appeared 30 years ago. Could it be that after so many years of research, and so much money being spent, that the entire orthodox medical establishment has been wrong about AIDS, or even worse, has sought to profit on a system that it knew was flawed from the beginning? Doctor Robert Gallo who discovered the HIV virus said that there is no legitimate dissent when it comes to AIDS. But there are more than 5,000 physicians, microbiologists, journalists and activists who disagree and say that we have been misled about the real causes of AIDS and the nature of its treatment. The mainstream media has chosen not to provide an outlet for their opinions. In this important film, documentary filmmaker and health expert Gary Null, traveled to more than 30 countries over an eight year period to seek them out and get their interviews. This is the first film on AIDS that brings the most compelling of their arguments together in one place. Dr. Null blows the lid off the wealthy AIDS industry and shows how greed and corruption have prevented any real progress in fighting the epidemic or its underlying causes. The film challenges the entrenched notion that AIDS or HIV is an African monkey virus that is spread sexually and can be "treated" with harmful drugs. Instead, the film considers the common underlying conditions of the epidemic, such as malnutrition, unclean water, poverty, illness, and poor lifestyle choices. The evidence is damning, and a clarion call to the public that the AIDS Industrial Complex is on the wrong track and has become a spending juggernaut completely out of control. For more information visit www.garynull.com DVD copies are available at www.garynull.com
Monday, May 3, 2010
Sunday, May 2, 2010
Saturday, May 1, 2010
1.Better Than My Last (Dirty) 04:09
3.Open For Business 05:03
5.Stuff (with Abe Lincoln) 04:17
6.Baking Soda (feat. Fluffy) 03:58
7.It's Worth It 03:09
8.Quickfire Challenge 01:34
10.My Bucket Song 02:58