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Sky1-Ben:Diary of a Heroin Addict (2008).WS-PDTV.XviD.Ekolb

Category: Documentary
Description:
Ben: Diary of a Heroin Addict (2008) Sky1 production **“I hope to god you look at these videos and see what a mess I got myself into”. Ben Rogers.** Ben Rogers grew up as an ordinary, happy child in a loving family in Staffordshire, England. But despite his privileged start in life, Ben became a heroin addict. During his last months, Ben kept a video diary of his drug use and desperate attempts to come off heroin. Ravaged by the drug, Ben's body began to break down: he developed DVT and his veins were rendered so useless he had to inject into his groin. Despite his family's best efforts, Ben couldn't stop. He was haunted by, and hooked on, heroin. Director Olly Lambert comments: “It’s incredibly rare to come across such raw and unflinching footage of a man so close to an abyss. I was speechless when I first watched it. I hope the film finishes what Ben had begun: to give people a visceral understanding of the nature of addiction. It has been a privilege to try and unpick who Ben really was using the intimate legacy he’s left behind.” The documentary also contains comments by Ben's family. Format : AVI Length : 349 MiB for 44mn 40s 80ms Codec : XviD Source : PDTV Language : English UK Subtitles : None Genre : Documentary Video #0 : MPEG-4 Visual at 946 Kbps Aspect : 576 x 352 (1.636) at 29.970 fps Audio #0 : MPEG Audio at 134 Kbps Infos : 2 channels, 48.0 KHz Ekolb
Seeders: 28
Leeches: 0

TVO - The Agenda with Steve Paikin - October 20, 2009: Quantum to Cosmos (Q2C) Festival - Wired 24/7?

Category: Talks, Debates, Interviews
Description:
TVO - The Agenda with Steve Paikin - October 20, 2009: Quantum to Cosmos (Q2C) Festival - Wired 24/7? Overwired? Technology and our daily life. Part II of The Agenda at The Quantum 2 Cosmos Festival. The Debate: Wired 24/7 Would you be able to survive one day without your television? Computer? your Blackberry? Our grandparents didn't need them. Some of our parents lived without them. And yet these technologies are now an integral part of our lives, for better or for worse. Where will the wired world lead us next? And will we be happy with what we find at that destination? Guests Neil Gershenfeld is the Director of MIT's Center for Bits and Atoms, and has been named one of Scientific American's 50 leaders in science and technology. He is best known as a pioneer in personal fabrication--small-scale manufacturing enabled by digital technologies, which gives people the tools to build literally anything they can imagine. Raymond Laflamme is the Director of the Institute for Quantum Computing (IQC) at the University of Waterloo, and an Associate Faculty memeber at Perimeter Institute. Amongst his most important theoretical results was inventing, with Emmanuel Knill and Gerard Milburn, a radically new approach to Quantum computing using linear optics. Jaron Lanier is the author of You Are Not A Gadget and was a pioneer in, and popularized the term, 'Virtual Reality'. His monthly column Jaron's World in Discover magazine is devoted to his own wide ranging ideas and research that include computational approaches to the fundamentals of physics. His current appointments include Interdisciplinary Scholar-in-Residence, CET, UC Berkeley. Neal Stephenson is the author of the three-volume epic The Baroque Cycle (Quicksilver, The Confusion, and The System of the World) and the novels Cryptonomicon, The Diamond Age, Snow Crash, and Zodiac. His most recent book is Anathem. Tara Hunt is the author of The Whuffie Factor and has spent the past fifteen years living her life online. From the first wave of online marketing as it emerged in the late 90's while in Canada all the way to being a pioneer of new marketing in Silicon Valley in 2005, leading the wave into Web 2.0: the participatory web. For more information on this episode, including information on the guests and various other resources and links, visit the episode webpage ----- Note: This is an iPod video podcast that is available for free download from the website. Quality is good. Audio podcasts (mp3 format) are also available for free download for the individual segments. Type: mp4 file Size: 102MB Runtime: 00:52:49 Video: MPEG4 Video (H264) 320x240 Audio: AAC 32000Hz mono 48Kbps Download this episode using the attached torrent file or download it directly using this link: http://feeds.tvo.org/~r/tvo/TxZN/~5/LkR4fFfZxVY..._320x240_304k.mp4 You can also watch a flash video of this episode through your web-browser here: http://www.tvo.org/cfmx/tvoorg/theagenda/index....0-20%2020:00:00.0 ----- Quantum to Cosmos: Ideas for the Future (Q2C) FOR 10 EXCITING DAYS THIS OCTOBER, Perimeter Institute's Quantum to Cosmos: Ideas for the Future (Q2C) will take a global audience from the strange world of subatomic particles to the outer frontiers of the universe. All events will occur on-site in Waterloo, Ontario and online at q2cfestival.com and TVO.org. Q2C's extensive program features more than 50 events - including panel discussions, keynote presentations, special screenings, exhibits including the full-scale model of the next Mars Rover (named Curiosity), and recorded sessions with Honorary Festival President Professor Stephen Hawking. Q2C will transcend traditional festivals by streaming events live and on demand, offering virtual interaction with exhibits, and providing special opportunities for students and teachers. THE AGENDA WITH STEVE PAIKIN will be broadcasting live for 5 nights from Perimeter Institute in Waterloo. The themes that The Agenda is planning to explore in these programs include: Monday, October 19 » Plan B: Colonize Space? Stephen Hawking thinks it's a good idea, given the multiple problems facing earth. Can we imagine a human future off earth? Tuesday, October 20 » Does/Does Not Compute So you think technology controls your life now? From nanotechnology to quantum computing, what the future has in store. Wednesday, October 21 » Designer Genetics The legal, social, and medical implications of trying to engineer humans without defects. Thursday, October 22 » Robotics Artificial Intelligence, evolution, and the man/machine interface. Friday, October 23 » The Importance of Science Do we still believe that science is the path to progress and a better life? FOR ADDITIONAL INFORMATION on Q2C festival events, programs, speakers, and tickets, go to their website. Resources and links to related material TVO's Quantum to Cosmos (Q2C) Festival webpage: http://www.tvo.org/TVOsites/WebObjects/TvoMicro...ientific_literacy Watch video on demand of lectures from all Q2C sessions: http://www.tvo.org/cfmx/tvoorg/literacy/index.c...=blog&blog_id=484 ----- TVO - The Agenda with Steve Paikin The Agenda with Steve Paikin is TVO's flagship current affairs program - devoted to exploring the social, political, cultural and economic issues that are changing our world, at home and abroad. The Agenda airs weeknights at 8:00 PM EST on TVO - Canada's largest educational broadcaster. TVO's The Agenda with Steve Paikin website: http://www.tvo.org/agenda/
Seeders: 0
Leeches: 1

Alone In Four Walls (2007)

Category: Documentary
Description:
Alone In Four Walls (2007) Director Alexandra Westmeier's absorbing documentary ALONE IN FOUR WALLS offers a poignant look at what a devastated economic structure can do to impressible youth. This beautifully lensed film about Russian delinquent boys, all under the age of 14, allows its subjects to recount their offenses and share the often-tragic stories of their lives. Many of the boys have had no family or reliable support in life. There is no place for them in the sad world of their parents, who are often alcoholics, unemployed and living in hovels. And their unhappy expressions only brighten when they talk of their passions and their hopes. At this detention center, these adolescent boys no longer have to fight to survive. They do not have to face everyday torture from their families nor go hungry. They have found temporary refuge and solace among their four walls, in a juvenile detention center where they have a strict regiment, educational opportunities, decent meals and medical care. On the other hand, they are living amongst other thieves and even murderers. Can these boys build new lives for themselves? Displaying both great empathy and restraint, Westmeier builds a heartfelt portrait of innocence lost and a chance of redemption.
Seeders: 12
Leeches: 12

HBO - Dope Sick Love (2005)

Category: Documentary
Description:
HBO - Dope Sick Love (2005) The America Undercover documentary exclusively on HBO Tracey getting her needle ready to shoot up Where are the characters now? They say love conquers all, but can love survive on the streets of New York City? For drug-addicted couples like Matt and Tracy, and Sebastian and Michelle, the dream of romance must endure the reality of a desperate unending cycle of fixes, withdrawals, brawls and hustles. The America Undercover documentary DOPE SICK LOVE tells the stories of these two couples. Cinematographers, Brent and Craig Renaud spent 18 months on the streets to capture the raw reality in a frightening and compelling you-are-there style. The special is executive produced by 11-time Emmy® winner Jon Alpert (HBO’s “High on Crack Street: Lost Lives of Lowell”). Michelle and Sebastian after an intense fight on the subway “Dope Sick“ is the street term for the excruciating illness and pain that occur when an addict can’t get a fix. According to the government website, there are one million heroin addicts and eight million people who have used crack in the U.S. Presented without music, effects, or narration, DOPE SICK LOVE is pure cinema verité, shot on the streets of lower Manhattan over a period of 18 months. It is stark and unrelenting. The camera follows the two couples into the corridors of apartment buildings where they shoot up; into the homes of the johns who pay for their services; and back out onto the streets as they chase their next fix. “We didn’t want to make just another drug film,” says Craig Renaud. “Most films about drug addicts don’t adequately portray the horrors of addiction. Drug addiction controls every aspect of a user’s life. It reduces family, work, hobbies and friendships to distant memories. In order to capture this dark reality, we had to ‘embed’ ourselves into this life. When you watch DOPE SICK LOVE you won’t just see what its like to live this kind of life, you will feel it.” Matt kisses a client goodbye The documentary takes place in Greenwich Village, a neighborhood of beautiful, historic brownstone houses and tree-lined streets. It’s also the place where Matt and Tracy score their drugs, and break into buildings to shoot heroin and smoke crack. Tracey was a 17-year-old in private school when she started experimenting with drugs. Matt, who has been on the streets since he was 14, prostitutes himself to gay men to support his habit. His mother would like to help him fight his drug addiction, but has lost hope, observing, “Matt was a good kid and then he grew up. I can’t deal with his lifestyle any longer.” Tracey’s long-suffering father won’t give up on his daughter. The weekly checks he sends her go entirely to support the couples’ drug habits. To get them off the streets, Tracey’s father finally decides that he has no choice but to rent an apartment for them in Brooklyn. This is a happy ending of sorts, but one that feels fragile, because Tracy and Matt continue to do drugs. Without the financial support of family, Sebastian and Michelle have a tougher time. Sebastian engages in gay prostitution when the couple is desperate for money, but he doesn’t want his girl Michelle engaging in sex for money. Michelle is a master of the scam, luring prospective sex clients into compromising situations. Then, posing as a cop, she pulls out a fake badge and extorts cash from the johns in exchange for their “freedom.” Sebastian and Michelle’s hand-to-mouth existence strains their relationship. As the high wears off they get into violent street fights. Eventually, the desire for drugs is stronger than their love for each other. They part ways and end up on the streets -- alone. “Let this film be a warning to anyone who thinks that drugs will bring anything but degradation and desperation,” says Brent Renaud. “Even though DOPE SICK LOVE deals with two romances, nothing is romanticized in this documentary. There is nothing constructive about crack. There is nothing heroic about heroin. We wanted to bring the viewer close enough to the life of a drug addict to show the inevitable result.” CREDITS Directed by Felice Conte, and Brent and Craig Renaud; Cinematographers/Editors, Brent and Craig Renaud; Supervising Editor, John Custodio; Executive Producer, Jon Alpert; Co-Executive Producers Felice Conte and Jonathan Stack. For HBO: Senior Producer, Lisa Heller; Executive Producer, Sheila Nevins. Festivals & Awards: WINNER: Hugo Award, 2005 WINNER: Cine Golden Eagle Award, 2005 WINNER: Telly Award, 2005 WINNER: Best Documentary- Big MiniDV Festival, 2005 WINNER: Best Feature Documentary, Syracuse International Film and Video Festival, 2006 NOMINATED: Emmy Award for Best Documentary, 2006
Seeders: 0
Leeches: 0

Money, Banking and the Federal Reserve (1996)

Category: Documentary
Description:
Money, Banking and the Federal Reserve (1996) (By.Ludwig.von.Mises.Institute) Thomas Jefferson and Andrew Jackson understood "The Monster". But to most Americans today, Federal Reserve is just a name on the dollar bill. They have no idea of what the central bank does to the economy, or to their own economic lives; of how and why it was founded and operates; or of the sound money and banking that could end the statism, inflation, and business cycles that the Fed generates. Dedicated to Murray N. Rothbard, steeped in American history and Austrian economics, and featuring Ron Paul, Joseph Salerno, Hans Hoppe, and Lew Rockwell, this extraordinary new film is the clearest, most compelling explanation ever offered of the Fed, and why curbing it must be our first priority. Alan Greenspan is not, we're told, happy about this 42-minute blockbuster. Watch it, and you'll understand why. This is economics and history as they are meant to be: fascinating, informative, and motivating. This movie could change America.
Seeders: 17
Leeches: 2

Skinny Bastard

Category: eBooks, Magazines, Audio Books
Description:
[IMG]http://i34.tinypic.com/256ydzt.png[/IMG] What’s good for the bitch is good for the bastard. Hundreds of thousands of women have been inspired to “use their head” and get real about the food they eat after reading the best-selling manifesto Skinny Bitch. But it turns out some men have been reading over their girlfriends’ shoulders. Professional athletes such as Milwaukee Brewers’ Prince Fielder and the Dallas Mavericks’ Jerry Stackhouse have adopted a whole new eating plan because of the book. Now authors Rory Freedman and Kim Barnouin think it’s time for the guys to have a book of their own. In Skinny Bastard, they’ll explain why the macho “meat and potatoes” diet is total crap, why having a gut is un-cool (and a turn-off), and how to get buff on the right foods. Eating well shouldn’t be a “girlie” thing—and the Bitches will whip any man into shape with their straight-talk, sound guidance, and locker room language. Apparently fearing their market's reaching the saturation point, the latest iteration of Freedman and Barnouin's bestselling Skinny Bitch series goes after another demographic entirely-men-but without altering the strident, withering approach they've perfected in Skinny Bitch and its follow-ups. That may be a mistake-the kind of cutting humor that comes off as challenging when aimed at fellow women seems (rightly or wrongly) more chilling when aimed across the gender aisle, with the real possibility of turning men off. Still, those happy to take the scorn with the solution are invited to "strap on a pair...and get ripped." Much of the strict Skinny Girl regimen is translated directly: sugar, simple carbs, meat and dairy are out; fruits, vegetables, legumes, grains and whole wheat are in. The authors also discuss evidence for and against soy, the male epidemic of hypertension and heart disease, and the failings of government health-monitoring departments (like the USDA and FDA). Helpful grace notes include a chapter of support for the big changes (titled "Don't Be a Pussy") and shopping lists of approved brands and foods.
Seeders: 1
Leeches: 0

60 Minutes Special Don Hewitt August 23 2009

Category: News & Current Affairs
Description:
60 Minutes Special Don Hewitt August 23 2009 (CBS) This has not been a happy summer for those of us who work at CBS News: last month Walter Cronkite died, and this past week we lost Don Hewitt, the man who created 60 Minutes 41 years ago. Don was 86, but in his head and in his heart he was a kid. Words like "passion" and "enthusiasm" are too weak to describe this human dynamo. As correspondent Morley Safer explains, Don was his boss for most of the 45 years he has worked at the network and he was not an easy man to please. But when you did please him, you were on top of the world. And so was he. He was also a thorn in the side of his corporate bosses, though he liked to describe himself as a pain in the ass. And he was madly in love with broadcast journalism. We take a look at Don Hewitt - this founder, producer and above all, ringmaster of what he regarded as the greatest show on earth. "I once said to CBS, 'In my next contract I want a gun, and a whip and a chair,' because it's like being in a cage full of tigers. And there are temperaments. Not the least of which is mine," Don Hewitt once said. Ringmaster and lion tamer - Don became a show unto himself. Since the very beginning of television news more than six decades ago, he lived by a deceptively simple motto: "It's four little words. Tell me a story. And that's all we do. Tell 'em a story," he explained. Years before 60 Minutes, he was at Edward R. Murrow's side as television expanded its reach to broadcast live, from coast to coast. He produced the very first televised presidential debate, Kennedy vs. Nixon, in 1960. He was with Walter Cronkite the day John F. Kennedy was shot. And with 60 Minutes, he revolutionized broadcast news, dispatching what he called his "team of tigers" to the four corners of the globe to carry out that four-word mandate: Tell me a story. "There is no place on Earth that you haven’t been," Hewitt said when the broadcast turned 25. "And there's nobody on Earth that you haven't met. …And that is the great value of what we do, I think." He was, in fact, the boy wonder of CBS News, and remained the awestruck kid well past retirement age. He was opinionated, outrageous, with a quick wit and a short fuse. "The only problem is that when you've been around as long as I have, you get to be kind of a pain in the ass," Hewitt once said. And as his friends and colleagues will tell you, on balance, the pleasure of Don's company was mostly worth the pain. "I mean, he put on a show in the control room. And it was just wonderful. It was hypnotic," Phil Scheffler remembered, who worked at Don's side for over half a century. 60 Minutes Executive Producer Jeff Fager remembers his first meeting with Hewitt. "I remember it well. He said, 'Listen kid. All you need to do is bring us good stories.'" Fager succeeded Don in 2004 as executive producer, and he remembers all too well being the new kid on the block, 20 years ago: screening one of his first 60 Minutes stories for the ringmaster. It was a somewhat dry report on the Polish economy. "The first thing he said was, 'Where do you want it kid, right between the eyes?' He hated it. And what really was amazing is a couple of hours later he called and he said, 'I have some ideas for how we can make this story better.' And he did," Fager remembered. "He was like P.T. Barnum in the sense that he would bring the circus truck to town every time he got to talk to you," actor Alan Alda said. Don called Alda his best friend; Alda says that even after hours, Don talked constantly about work. "Because it excited him so much that he was, I think he was still a boy who was amazed at his success." The boy grew up in New Rochelle, N.Y., 45 minutes from Broadway. Fifteen cents would buy him a Saturday afternoon of cartoons, newsreels and melodramas. The movies got under his skin and stayed there. "He once said to me that when he goes to a Western movie, he comes out walking bowlegged," Safer remembered, laughing. "He told us many times how when he was in the war, he had seen so many war movies that when he was finally standing on the ship, and the enemy planes were coming at him, he thought 'Where's the music?'" Alda added. The movies gave him his role models: rascals who had the moxie to beat the system during the Great Depression. "I never knew whether I wanted to be Julian Marsh, the Broadway producer on 42nd Street, or Hildy Johnson, the reporter in Front Page," Hewitt said. Johnson came from the newspaper world, just as Don's father did. It was a whiskey soaked jungle of snappy talk and scooping the competition. And impresario Julian Marsh in 42nd Street was surrounded by bright lights and Broadway babes - Don's kind of world. "We always thought if Don Hewitt went into Broadway, he would have been just as big and just as successful," Fager said. "I mean, he had that way, he had that showmanship." In 1948, CBS put on its first TV newscast; Don was 25, with some wartime reporting experience under his belt. Somebody suggested he check out the CBS News studio, upstairs at Grand Central Station. "And I walked in. I couldn't believe it. You know, there are lights and cameras and makeup people and it looked like a Hollywood set. And I fell in love," Hewitt remembered. And the best thing was: no longer did he have to choose between being ace reporter Hildy Johnson or Broadway star maker Julian Marsh. "I thought, 'Oh my God, in television you can be both of them.' And I got hired," Hewitt remembered. Soon, he was producing Douglas Edwards' newscast, the forerunner of the CBS Evening News. There were no satellites, no computers - nothing much except huge, bulky cameras and Don's manic enthusiasm. "It wasn't very good, but it was respectable. I always thought it was the infancy of television. Like we were making those shows out of Play-Doh," Hewitt said when the Evening News turned 50. "Don has described those early days as playing with Play-Doh. Kind of making it up as you go along," Safer remarked. "No question about that. There were no signposts. No rules," Scheffler agreed. "Nobody had any experience in this before. And so he really was the inventor of the kind of television news that we do now." In the summer of 1956, the ocean liner Andrea Doria collided with a ship off Nantucket. Don, Doug Edwards and a cameraman flew off to have a look. The other networks had already come and gone, beating them to the first pictures of the crippled ship, dead in the water. "I said, 'Well, what the hell. We're here. Let's go anyway,'" Hewitt remembered. "We're flying over the Andrea Doria, it turns over, and like a big dead elephant, it sank right beneath us." "Dumb luck. By being late, we got the story," he added. Hewitt would do just about anything to get the story and shaft the competition. When Soviet Premier Nikita Khrushchev visited a farm in Coon Rapids, Iowa in 1959, Don put one over on NBC. "He stole their truck, their video truck," Alda explained. "And drove it into the middle of a corn field, where no one could find it. Now that's not Mr. Nice Guy, you know. He did return it, eventually." But Hewitt clashed often with CBS News President Fred Friendly, who found him too brash and too unpredictable. In 1965, Friendly figured out a way to get Don off the Evening News; Don thought it was a promotion. "His wife told me later that he came home and said, told her the story about how Friendly had come to see him and said, 'You know, Don, this Evening News is not big enough for you. We're gonna find really great projects for you to do.' And his wife said to him: 'Idiot. You just got fired,'" Scheffler said. "It was devastating at the time. You know, I had my legs cut off," Hewitt remembered. He remained at CBS, but sought solace out on his beloved beach. Next to television, he worshiped the sun and his kids. He produced a few earnest documentaries, but hungered after something with a little more punch. "He got bored easily, is the problem," Scheffler said. And out of that boredom came Don's greatest idea: 60 Minutes. In a sense, it should have been called "15 minutes." Don couldn't sit still for anything longer than that. "It's really a reflection, I think, of his attention span," Scheffler said. "His attention span was 15 minutes. And so he said 'We'll do a program that has three 15-minute stories on it." It began in the fall of 1968, without, at first, Phil Scheffler. "I turned him down. I said, 'You know, Don, I don't think your show's gonna be serious enough.' And I said, 'Besides, you know, it's not gonna last very long,'" Scheffler remembered. That was more than 40 years ago. Scheffler eventually came on board, as did any number of oddballs. "Don managed to attract the best people in the business. And he kept this ensemble full of crazy egos all working towards the same end," Fager said. Asked what he means by crazy egos, Fager said, "More like tigers in a cage, and every once in a while they'd jump out of their cages and Don would have to figure out a way to coax them back in." With Don cracking the whip, it was not a place for the fainthearted. "I saw him fire the same producer three times in the halls," Fager recalled. "He fired Mike [Wallace] at least 50 times," Safer added. "Well, Mike probably deserved it," Fager joked. Alan Alda wondered if all that high drama achieved any purpose. "Was it successful in getting you to think on another level?" Alda asked. "Oh, absolutely," Safer replied. "I think it made the pieces, the stories, in the final analysis, much leaner and much more direct." "And would he turn out to be right?" Alda asked. "Mainly he was right," Safer said, laughing. But there were some rough moments in an otherwise brilliant career. In 1995, the then CBS management suppressed a 60 Minutes expose of the tobacco industry. The story eventually was broadcast, after it was reported in The Wall Street Journal. Though the tobacco story haunted him for years, Don continued masterminding the broadcast for another decade. "His job was his life. And that's what made it so hard for him to give it up. In fact, he said quite publicly 'I wanna die at my desk,'" Fager said. Don left the broadcast - reluctantly - in 2004, at age 81, and slowly made peace with the idea of having more time for the grandchildren. And of watching 60 Minutes not in the screening room, but in his own living room. Asked what he thinks Hewitt's legacy is, Phil Scheffler said, "His legacy is 60 Minutes. There's no question. I mean, this was his shining, his crowning success." Fager said, "It's a great legacy, this broadcast, and it hasn't strayed much from what he envisioned in the first place more than 40 years ago." "He gave the country nourishment but in the form of, to a great extent in the form of entertainment. It wasn't like eating your broccoli. What he gave us was a good old-fashioned hot dog, but somehow it nourished us like broccoli," Alda added. "There is some kind of genius in that. He was able to fuse those two things."
Seeders: 0
Leeches: 0

Fuck Industrialism (green anarchy, anti-civilization, anarcho-primitivism, zerzan, jensen)

Category: eBooks, Magazines, Audio Books
Description:
Files: Alan Watts / The Joker / (01) alan watts - the joker [1of6].mp3 13.9 MB Alan Watts / The Joker / (02) alan watts - the joker [2of6].mp3 13.9 MB Alan Watts / The Joker / (03) alan watts - the joker [3of6].mp3 12.4 MB Alan Watts / The Joker / (04) alan watts - the joker [4of6].mp3 14 MB Alan Watts / The Joker / (05) alan watts - the joker [5of6].mp3 13.9 MB Alan Watts / The Joker / (06) alan watts - the joker [6of6].mp3 13.7 MB Alan Watts / Ecology & Religion.mp3 6.4 MB Alan Watts / The Book on the Taboo Against Knowing Who You Are.pdf 376.3 KB Derrick Jensen / [2001] Standup Tragedy / CD 1 of 2 / 01 Apocalypse.mp3 1.8 MB Derrick Jensen / [2001] Standup Tragedy / CD 1 of 2 / 02 Kidnapping Scientists.mp3 13.1 MB Derrick Jensen / [2001] Standup Tragedy / CD 1 of 2 / 03 Three Rules.mp3 4.2 MB Derrick Jensen / [2001] Standup Tragedy / CD 1 of 2 / 04 Electrodes on the Eyeballs.mp3 1.6 MB Derrick Jensen / [2001] Standup Tragedy / CD 1 of 2 / 05 Amnesia.mp3 10.2 MB Derrick Jensen / [2001] Standup Tragedy / CD 1 of 2 / 06 Killing Time.mp3 6.4 MB Derrick Jensen / [2001] Standup Tragedy / CD 1 of 2 / 07 Selling Fingers.mp3 9.9 MB Derrick Jensen / [2001] Standup Tragedy / CD 1 of 2 / 08 Nihilism.mp3 2.6 MB Derrick Jensen / [2001] Standup Tragedy / CD 1 of 2 / 09 The Point of Life.mp3 7.5 MB Derrick Jensen / [2001] Standup Tragedy / CD 1 of 2 / 10 The Secret Beekeepers Don't Want You to Know.mp3 20.7 MB Derrick Jensen / [2001] Standup Tragedy / CD 1 of 2 / 11 Godspeed.mp3 2.6 MB Derrick Jensen / [2001] Standup Tragedy / CD 1 of 2 / tragedy.jpg 8.3 KB Derrick Jensen / [2001] Standup Tragedy / CD 2 of 2 / 01 Science Bashing.mp3 7.1 MB Derrick Jensen / [2001] Standup Tragedy / CD 2 of 2 / 02 See What I Mean-.mp3 9.4 MB Derrick Jensen / [2001] Standup Tragedy / CD 2 of 2 / 03 Corporations Are Beautiful People.mp3 19.5 MB Derrick Jensen / [2001] Standup Tragedy / CD 2 of 2 / 04 Locked in a Room With Psychopaths.mp3 3.9 MB Derrick Jensen / [2001] Standup Tragedy / CD 2 of 2 / 05 We're All Refugees.mp3 22.1 MB Derrick Jensen / [2001] Standup Tragedy / CD 2 of 2 / 06 Will the Culture Change-.mp3 2.9 MB Derrick Jensen / [2001] Standup Tragedy / CD 2 of 2 / 07 Where Do I Find Hope-.mp3 4.9 MB Derrick Jensen / [2001] Standup Tragedy / CD 2 of 2 / 08 We're Screwed.mp3 7.9 MB Derrick Jensen / [2001] Standup Tragedy / CD 2 of 2 / 09 Premises.mp3 2.6 MB Derrick Jensen / [2001] Standup Tragedy / CD 2 of 2 / 10 Dumpster Diving.mp3 3.7 MB Derrick Jensen / [2001] Standup Tragedy / CD 2 of 2 / 11 Finger Exercise.mp3 7 MB Derrick Jensen / [2001] Standup Tragedy / CD 2 of 2 / tragedy.jpg 8.3 KB Derrick Jensen / [2003] The Other Side of Darkness / CD 1 of 3 / 01 Wired for Sound.mp3 6.9 MB Derrick Jensen / [2003] The Other Side of Darkness / CD 1 of 3 / 02 Dumpster Diving.mp3 5.9 MB Derrick Jensen / [2003] The Other Side of Darkness / CD 1 of 3 / 04 The Land Demands Love Be Made.mp3 3.3 MB Derrick Jensen / [2003] The Other Side of Darkness / CD 1 of 3 / 06 Silencing.mp3 6.7 MB Derrick Jensen / [2003] The Other Side of Darkness / CD 1 of 3 / 07 Science Bashing.mp3 738 KB Derrick Jensen / [2003] The Other Side of Darkness / CD 1 of 3 / 08 Plastic Explosives.mp3 8.6 MB Derrick Jensen / [2003] The Other Side of Darkness / CD 1 of 3 / 09 Selling Fingers.mp3 8.3 MB Derrick Jensen / [2003] The Other Side of Darkness / CD 2 of 3 / 01 Apocalypse.mp3 1.6 MB Derrick Jensen / [2003] The Other Side of Darkness / CD 2 of 3 / 02 What Is a Hate Group-.mp3 1.8 MB Derrick Jensen / [2003] The Other Side of Darkness / CD 2 of 3 / 03 Government of Occupation.mp3 6.2 MB Derrick Jensen / [2003] The Other Side of Darkness / CD 2 of 3 / 04 Calling the FBI.mp3 3.5 MB Derrick Jensen / [2003] The Other Side of Darkness / CD 2 of 3 / 05 Four Reasons for Slavery.mp3 3.7 MB Derrick Jensen / [2003] The Other Side of Darkness / CD 2 of 3 / 06 Ham and Noah.mp3 3.9 MB Derrick Jensen / [2003] The Other Side of Darkness / CD 2 of 3 / 07 Angelina Jolie Moments.mp3 6.6 MB Derrick Jensen / [2003] The Other Side of Darkness / CD 2 of 3 / 08 Wall of Intolerance.mp3 897.6 KB Derrick Jensen / [2003] The Other Side of Darkness / CD 2 of 3 / 09 Personal Hate.mp3 1.2 MB Derrick Jensen / [2003] The Other Side of Darkness / CD 2 of 3 / 10 Criminals and Killers.mp3 959.9 KB Derrick Jensen / [2003] The Other Side of Darkness / CD 2 of 3 / 11 Porn.mp3 9.1 MB Derrick Jensen / [2003] The Other Side of Darkness / CD 2 of 3 / 12 Happy Birthday.mp3 1.1 MB Derrick Jensen / [2003] The Other Side of Darkness / CD 2 of 3 / 13 Objectification.mp3 2.4 MB Derrick Jensen / [2003] The Other Side of Darkness / CD 2 of 3 / 14 Patriarchy in Four Letters.mp3 3.4 MB Derrick Jensen / [2003] The Other Side of Darkness / CD 2 of 3 / 15 The Other Side of Darkness.mp3 8.5 MB Derrick Jensen / [2003] The Other Side of Darkness / CD 3 of 3 / 01 E-Bombs.mp3 1.7 MB Derrick Jensen / [2003] The Other Side of Darkness / CD 3 of 3 / 02 Holocausts.mp3 11.6 MB Derrick Jensen / [2003] The Other Side of Darkness / CD 3 of 3 / 03 A Match to Light a Fuse.mp3 524 KB Derrick Jensen / [2003] The Other Side of Darkness / CD 3 of 3 / 04 This Is How Human Beings Lived.mp3 1.9 MB Derrick Jensen / [2003] The Other Side of Darkness / CD 3 of 3 / 05 China's Landfill.mp3 1.8 MB Derrick Jensen / [2003] The Other Side of Darkness / CD 3 of 3 / 06 Death Squads in the U.S.mp3 1.6 MB Derrick Jensen / [2003] The Other Side of Darkness / CD 3 of 3 / 07 Civilization.mp3 2.2 MB Derrick Jensen / [2003] The Other Side of Darkness / CD 3 of 3 / 08 Effectiveness.mp3 1.6 MB Derrick Jensen / [2003] The Other Side of Darkness / CD 3 of 3 / 09 Existentialism, Responsibility, and Toilet Paper.mp3 9.3 MB Derrick Jensen / [2003] The Other Side of Darkness / CD 3 of 3 / 10 Sustainable Technology.mp3 1.9 MB Derrick Jensen / [2003] The Other Side of Darkness / CD 3 of 3 / 11 Cannibal Sickness.mp3 7.1 MB Derrick Jensen / [2004] Denver, Co; Oct 28th, 2004; feat Ward Churchill / Ward Churchill & Derrick Jensen in discussion, Denver, Co, 28oct04, p1of2.mp3 26 MB Derrick Jensen / [2004] Denver, Co; Oct 28th, 2004; feat Ward Churchill / Ward Churchill & Derrick Jensen in discussion, Denver, Co, 28oct04, p2of2.mp3 27.1 MB Derrick Jensen / [2006] WERU 89.9 FM - Camdem, Maine ~ September 9th 2006 / Derrick Jensen 09-09-2006 in Camden, Maine; WERU 89.9 FM - part 1.mp3 31.3 MB Derrick Jensen / [2006] WERU 89.9 FM - Camdem, Maine ~ September 9th 2006 / Derrick Jensen 09-09-2006 in Camden, Maine; WERU 89.9 FM - part 2.mp3 25.8 MB Derrick Jensen / [2007] Vancouver, BC; Oct 19th, 2007; Q&A / 2007 - Derrick Jensen ~ Q&A in Vancouver, BC ~ Ukrainian Orthodox Hall ~ October 19th, 2007 [mono][low fidelity].mp3 185.1 MB Derrick Jensen / [2007] Vancouver, BC; Oct 19th, 2007; Q&A / index_01.jpg 63.7 KB Derrick Jensen / 2006 - Derrick Jensen at NYC Peak Oil conference -April 29th-.mp3 66.7 MB Derrick Jensen / 2006 - Radio Ecoshock - Derrick Jensen - Kick It Over.mp3 24.2 MB Derrick Jensen / 2007 - Activism Beyond Hope - Derrick Jensen on Wild Earth radio.mp3 26.1 MB Derrick Jensen / 2007 - Derrick Jensen in Vancouver - April 20th 2007.mp3 158.5 MB Derrick Jensen / Derrick Jensen - dozens of articles on primitivism, technology.rar 1.5 MB Derrick Jensen / It's the End of the World as We Know It (and I Feel Fine) - Episode 10.mp4 54.2 MB Derrick Jensen / jensen_poster_web.pdf 4 MB Derrick Jensen / Unwelcome Guests 201 - Derrick Jensen, Grace Ritter, Jeff Schmidt - Assailing the Hierarchy As If Your Life Depended On It - It Does!_ALBW.mp3 54.5 MB Emma Goldman / Anarchism & Other Essays / 01-anarchism.mp3 9 MB Emma Goldman / Anarchism & Other Essays / 02-anarchismcont.mp3 7.3 MB Emma Goldman / Anarchism & Other Essays / 03-prisons.mp3 14.1 MB Emma Goldman / Anarchism & Other Essays / 04-emancipation.mp3 12.2 MB Emma Goldman / Anarchism & Other Essays / 05-suffrage.mp3 15 MB Emma Goldman / Anarchism & Other Essays / 06-marriage.mp3 11.2 MB Emma Goldman / Compilation / 01-Biographic Sketch.txt 60.1 KB Emma Goldman / Compilation / 02-Preface.txt 6.2 KB Emma Goldman / Compilation / 03-Anarchism_ What It Really Stands For.txt 31.2 KB Emma Goldman / Compilation / 04-Minorities Versus Majorities.txt 15.1 KB Emma Goldman / Compilation / 05-The Psychology of Political Violence.txt 44.5 KB Emma Goldman / Compilation / 06-Prisons_ A Social Cime and Failure.txt 26.1 KB Emma Goldman / Compilation / 07-Patriotism_ A Menace To Liberty.txt 28.2 KB Emma Goldman / Compilation / 08-Francisco Ferrer And The Modern School.txt 31.9 KB Emma Goldman / Compilation / 09-The Hypocrisy of Puritanism.txt 14.8 KB Emma Goldman / Compilation / 10-The Traffic In Women.txt 27.2 KB Emma Goldman / Compilation / 11-Woman Suffrage.txt 24.8 KB Emma Goldman / Compilation / 12-The Tragedy of Woman's Emancipation.txt 18.9 KB Emma Goldman / Compilation / 13-Marriage and Love.txt 19 KB Emma Goldman / Compilation / 14-The Drama.txt 47.3 KB Emma Goldman / [DOC - ITA] Emma Goldman.zip 89.4 KB Emma Goldman / Anarchism and Other Essays.txt 415.4 KB Emma Goldman / Anarchism What It Really Stands For.doc 40.5 KB Emma Goldman / Failure of Christianity.htm 17.6 KB Emma Goldman / Francisco Ferrer and The Modern School.doc 41.5 KB Emma Goldman / If Voting Changed Anything, They'd Make it Illegal - Emma Goldman Quote.jpg 13.9 KB Emma Goldman / Marriage and Love.doc 26 KB Emma Goldman / Minorities and Majorities.pdf 14.7 KB Emma Goldman / Minorities versus Majorities.doc 21.5 KB Emma Goldman / Minoroties versus Majorities.pdf 14.7 KB Emma Goldman / Patriotism A Menace To Liberty.doc 36 KB Emma Goldman / Prisons A Social Crime And Failure.doc 35 KB Emma Goldman / The Hypocrisy Of Puritanism.doc 20.5 KB Emma Goldman / The Individual, Society And The State.htm 30.2 KB Emma Goldman / The Modern Drama ~ A Powerful Disseminator Of Radical Thought.doc 59 KB Emma Goldman / The Philosophy of Atheism.htm 15 KB Emma Goldman / The Philosophy of Atheism.pdf 11 KB Emma Goldman / The Place Of The Individual In Society.doc 38 KB Emma Goldman / The Psychology Of Political Violence.doc 56 KB Emma Goldman / The Traffic In Women.doc 35.5 KB Emma Goldman / The Tragedy Of Woman's Emancipation.doc 25 KB Emma Goldman / Trotsky Protests Too Much.rar 96.8 KB Emma Goldman / Woman Suffrage.doc 32 KB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 1) - 01 - machiavelli and teaching.mp3 2.4 MB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 1) - 02 - professionalism and morality.mp3 2.4 MB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 1) - 03 - mumia abu-jamal.mp3 2.2 MB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 1) - 04 - the history profession.mp3 3.5 MB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 1) - 05 - objectivity.mp3 2.6 MB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 1) - 06 - making choices.mp3 3.2 MB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 1) - 07 - history standards.mp3 1.1 MB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 1) - 08 - the best and the brightest.mp3 1.8 MB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 1) - 09 - the mexican war.mp3 2 MB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 1) - 10 - the conquest of the philippines.mp3 2.5 MB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 1) - 11 - having a point of view.mp3 1.2 MB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 1) - 12 - the same old story.mp3 2.5 MB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 1) - 13 - un-american activities.mp3 2 MB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 1) - 14 - class consciousness.mp3 5.6 MB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 1) - 15 - emile zola's _germinal_.mp3 2.7 MB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 1) - 16 - class struggle.mp3 3.1 MB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 1) - 17 - the american revolution.mp3 1.7 MB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 1) - 18 - the founding fathers.mp3 3.6 MB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 2) - 01 - corporate welfare.mp3 3.8 MB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 2) - 02 - class legislation.mp3 2 MB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 2) - 03 - labor history.mp3 2.7 MB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 2) - 04 - the ludlow massacre.mp3 1.6 MB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 2) - 05 - world war 2_ _the good war_.mp3 3.7 MB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 2) - 06 - the civil rights movement.mp3 5.1 MB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 2) - 07 - the power of the people.mp3 5.4 MB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 2) - 08 - how social change happens.mp3 3.8 MB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 2) - 09 - why solidarity matters.mp3 7.9 MB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 2) - 11 - creating new possibilities.mp3 2.3 MB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 2) - 12 - strikes, unions and civil disobedience.mp3 3.5 MB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 2) - 13 - the unreported resistance.mp3 2.2 MB Howard Zinn / [1999] A People's Hstory of the United States / ZuneAlbumArt.jpg 15 KB Howard Zinn / [2000] Heroes and Martyrs / 01 Emma Goldman - A Dangerous Woman / 01 howard zinn - emma goldman - a dangerous woman - historical ed (lecture) 01 of 14.mp3 5.4 MB Howard Zinn / [2000] Heroes and Martyrs / 01 Emma Goldman - A Dangerous Woman / 02 howard zinn - emma goldman - a dangerous woman - finding anarc (lecture) 02 of 14.mp3 4.9 MB Howard Zinn / [2000] Heroes and Martyrs / 01 Emma Goldman - A Dangerous Woman / 03 howard zinn - emma goldman - a dangerous woman - make some con (lecture) 03 of 14.mp3 3.8 MB Howard Zinn / [2000] Heroes and Martyrs / 01 Emma Goldman - A Dangerous Woman / 04 howard zinn - emma goldman - a dangerous woman - cigar strikes (lecture) 04 of 14.mp3 6.8 MB 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The Case of Sacco and Vanzetti / 2-02 justice is always alive.mp3 7.2 MB Howard Zinn / [2000] Heroes and Martyrs / 02 The Case of Sacco and Vanzetti / 2-03 sedition.mp3 5.1 MB Howard Zinn / [2000] Heroes and Martyrs / 02 The Case of Sacco and Vanzetti / 2-04 a bomb & the palmer raids.mp3 3.8 MB Howard Zinn / [2000] Heroes and Martyrs / 02 The Case of Sacco and Vanzetti / 2-05 are you an anarchist-.mp3 5.3 MB Howard Zinn / [2000] Heroes and Martyrs / 02 The Case of Sacco and Vanzetti / 2-06 they're italians.mp3 5 MB Howard Zinn / [2000] Heroes and Martyrs / 02 The Case of Sacco and Vanzetti / 2-07 they ran like foreigners.mp3 5.1 MB Howard Zinn / [2000] Heroes and Martyrs / 02 The Case of Sacco and Vanzetti / 2-08 three important citizens.mp3 4.4 MB Howard Zinn / [2000] Heroes and Martyrs / 02 The Case of Sacco and Vanzetti / 2-09 execution.mp3 4.4 MB Howard Zinn / [2000] Heroes and Martyrs / 02 The Case of Sacco and Vanzetti / ZuneAlbumArt.jpg 33.7 KB Howard Zinn / [2001] howard zinn-live / 01- stripping deceit.mp3 11.4 MB Howard Zinn / [2001] howard zinn-live / 02- accidents will happen.mp3 7.2 MB Howard Zinn / [2001] howard zinn-live / 03- revolution in the revolution.mp3 8.5 MB Howard Zinn / [2001] howard zinn-live / 04- why war.mp3 3.6 MB Howard Zinn / [2001] howard zinn-live / 05- san patrico battalion.mp3 5 MB Howard Zinn / [2001] howard zinn-live / 06- changing mt rushmore.mp3 6.1 MB Howard Zinn / [2001] howard zinn-live / 07- saying no to war.mp3 4.2 MB Howard Zinn / [2001] howard zinn-live / 08- textile girls.mp3 4.5 MB Howard Zinn / [2001] howard zinn-live / 09- mother jones on strike.mp3 5.4 MB Howard Zinn / [2001] howard zinn-live / 10- ethnic cleansing in america.mp3 6 MB Howard Zinn / [2001] howard zinn-live / 11- is there a time for a populist rebellion.mp3 5.2 MB Howard Zinn / [2001] howard zinn-live / ZuneAlbumArt.jpg 45.8 KB Howard Zinn / [2001] Stories Hollywood Never Tells / 01 - stripping deceit (introduction by david barsamian of alternative radio).mp3 9.3 MB Howard Zinn / [2001] Stories Hollywood Never Tells / 02 - accidents will happen.mp3 6 MB Howard Zinn / [2001] Stories Hollywood Never Tells / 03 - revolution in the revolution.mp3 6.9 MB Howard Zinn / [2001] Stories Hollywood Never Tells / 04 - why war.mp3 2.9 MB Howard Zinn / [2001] Stories Hollywood Never Tells / 05 - san patricio battalion.mp3 4.1 MB Howard Zinn / [2001] Stories Hollywood Never Tells / 06 - changing mt. rushmore.mp3 4.9 MB Howard Zinn / [2001] Stories Hollywood Never Tells / 07 - saying no to war.mp3 3.4 MB Howard Zinn / [2001] Stories Hollywood Never Tells / 08 - textile girls.mp3 3.7 MB Howard Zinn / [2001] Stories Hollywood Never Tells / 09 - mother jones on strike.mp3 4.3 MB Howard Zinn / [2001] Stories Hollywood Never Tells / 10 - ethnic cleansing in america.mp3 4.9 MB Howard Zinn / [2001] Stories Hollywood Never Tells / 11 - is there time for a populist rebellion.mp3 4.2 MB Howard Zinn / [2001] Stories Hollywood Never Tells / ZuneAlbumArt.jpg 45.8 KB Howard Zinn / [2002] Artists in a Time of War / 00 - Artists in a Time of War.cue 0 Bytes Howard Zinn / [2002] Artists in a Time of War / 00 - Artists in a Time of War.jpg 25 KB Howard Zinn / [2002] Artists in a Time of War / 00 - Artists in a Time of War.log 0 Bytes Howard Zinn / [2002] Artists in a Time of War / 00 - Artists in a Time of War.m3g 0 Bytes Howard Zinn / [2002] Artists in a Time of War / 00 - Artists in a Time of War.m3u 436 Bytes Howard Zinn / [2002] Artists in a Time of War / 00 - Artists in a Time of War.md5 2.6 KB Howard Zinn / [2002] Artists in a Time of War / 00 - Artists in a Time of War.nfo 7.5 KB Howard Zinn / [2002] Artists in a Time of War / 01 The Artist and Society.mp3 2.8 MB Howard Zinn / [2002] Artists in a Time of War / 02 The Historian and Society.mp3 3.7 MB Howard Zinn / [2002] Artists in a Time of War / 03 Artists and Experts.mp3 3.3 MB Howard Zinn / [2002] Artists in a Time of War / 04 Standing in Line.mp3 4.2 MB Howard Zinn / [2002] Artists in a Time of War / 05 Mark Twain on War.mp3 2.4 MB Howard Zinn / [2002] Artists in a Time of War / 06 Patriotism and Loyalty.mp3 4.8 MB Howard Zinn / [2002] Artists in a Time of War / 07 Artists and the Great War.mp3 3.2 MB Howard Zinn / [2002] Artists in a Time of War / 08 Eugene O'Neill and the Good.mp3 1.8 MB Howard Zinn / [2002] Artists in a Time of War / 09 Langston Hughes, the US, and Imperialism.mp3 2.7 MB Howard Zinn / [2002] Artists in a Time of War / 10 Catch 22.mp3 6.1 MB Howard Zinn / [2002] Artists in a Time of War / 11 Speaking Out.mp3 3.7 MB Howard Zinn / [2002] Artists in a Time of War / 12 Opposing War, Transcending.mp3 6.2 MB Howard Zinn / [2002] Artists in a Time of War / 13 The Patriotic Thing to Do.mp3 2.6 MB Howard Zinn / [2004] Alternative History / a bomb & the palmer raids.mp3 1.3 MB Howard Zinn / [2004] Alternative History / alternative history.mp3 894.9 KB Howard Zinn / [2004] Alternative History / are you an anarchist.mp3 1.7 MB Howard Zinn / [2004] Alternative History / execution.mp3 1.4 MB Howard Zinn / [2004] Alternative History / justice is always alive.mp3 2.3 MB Howard Zinn / [2004] Alternative History / sedition.mp3 1.6 MB Howard Zinn / [2004] Alternative History / the struggle for existence.mp3 1.1 MB Howard Zinn / [2004] Alternative History / they ran like foreigners.mp3 1.7 MB Howard Zinn / [2004] Alternative History / they're italians.mp3 1.6 MB Howard Zinn / [2004] Alternative History / three important citizens.mp3 1.4 MB Howard Zinn / [2004] Alternative History / ZuneAlbumArt.jpg 15 KB John Zerzan / 1 before civilization / arnold devries_ primitive man and his food (1952).rtf 7.2 KB John Zerzan / 1 before civilization / fredy perlman_ against his-story, against leviathan! (1983).rtf 8.8 KB John Zerzan / 1 before civilization / henry david thoreau_excursions (1863).rtf 3.2 KB John Zerzan / 1 before civilization / hoxie neale fairchild_ the noble savage_ a study in romantic naturalism (1928).rtf 9.1 KB John Zerzan / 1 before civilization / jean-jacques rousseau_ discourse on the origins of inequality (1754).rtf 13.4 KB John Zerzan / 1 before civilization / john landau_ _wildflowers_ a bouquet of theses_ (1998).rtf 6.8 KB John Zerzan / 1 before civilization / lynn clive_ _birds combat civilization_ (1985).rtf 4.3 KB John Zerzan / 1 before civilization / marshall sahlins_ _the original affluent society_ (1968).rtf 12.1 KB John Zerzan / 1 before civilization / one.htm 77.5 KB John Zerzan / 1 before civilization / roy walker the golden feast (1952).rtf 9 KB John Zerzan / 1 before civilization / section one_before civilization.rtf 3.7 KB John Zerzan / 1 before civilization / theodor adorno_ minima moralia_ reflections from damaged life (1947).rtf 4 KB John Zerzan / 2 the coming of civilization / chellis glendinning_ my name is chellis and i'm in recovery from western civilization (1994).rtf 9.9 KB John Zerzan / 2 the coming of civilization / frederick turner_ beyond geography_ the western spirit against the wilderness (1980).rtf 17.2 KB John Zerzan / 2 the coming of civilization / george p. marsh_ the earth as modified by human action (1907).rtf 12.2 KB John Zerzan / 2 the coming of civilization / james axtell_ the invasion within_ the contest of cultures in colonial north america (1985).rtf 6.3 KB John Zerzan / 2 the coming of civilization / john zerzan_ elements of refusal (1988).rtf 15.7 KB John Zerzan / 2 the coming of civilization / mark nathan cohen_ health and the rise of civilization (1989).rtf 22.9 KB John Zerzan / 2 the coming of civilization / paul shepard_ nature and madness (1982).rtf 17 KB John Zerzan / 2 the coming of civilization / robin fox_ the search for society (1989).rtf 2 KB John Zerzan / 2 the coming of civilization / section two_ the coming of civilization.rtf 2.8 KB John Zerzan / 2 the coming of civilization / two.htm 102.5 KB John Zerzan / 3 the nature of civilization / ivan illich_ toward a history of needs (1978).rtf 5.4 KB John Zerzan / 3 the nature of civilization / john landau_ _civilization and the primitive_ (1995).rtf 3.4 KB John Zerzan / 3 the nature of civilization / max horkheimer_ dawn and decline (1961).rtf 1.8 KB John Zerzan / 3 the nature of civilization / max horkheimer_ eclipse of reason (1947).rtf 6.6 KB John Zerzan / 3 the nature of civilization / richard heinberg_ _was civilization a mistake_ (1997).rtf 18.8 KB John Zerzan / 3 the nature of civilization / section three_ the nature of civilizat
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Network (Lumet, 1976)[+Extras]-aNaRCHo

Category: Misc
Description:
THIS IS MY PERSONAL FAVOURITE FILM, AND IN MY OPINION THE BEST FILM EVER MADE! SIDNEY LUMET'S MASTERPIECE...FROM THE 2-DISC SPECIAL EDITION... Network (Lumet, 1976)[+Extras]-aNaRCHo (FILM IS IN ENGLISH, ENGLISH AND FRENCH SUBTITLES INCLUDED) Essay by Greg Ng from Senses of Cinema The 1970s in Hollywood were a fertile time. The emergence of the director, as a legitimate artist in his or her own right, shifted focus from the studios, which by the '60s had grown formulaic and unadventurous in their output, to a new generation of writers and directors, whose concerns and experience were markedly different from the conservative voice of the movie industry at that point. Due in part to falling profits and the rise of television, a vacuum arose in the industry that opened the door for fresh ideas. Hollywood was redirected and, as a result, American cinema entered a new age – an age when box-office success did not necessarily preclude sophisticated content in a movie, an age when political discourse was not relegated to non-existence or tokenism, or a niche-market. The period between 1969 and the beginning of the 1980s saw American cinema, inspired as it was by international filmmaking (such as the French New Wave), offering critical, ambiguous and highly artful movies. At its most ambitious, the New Hollywood was a movement intended to cut film free of its evil twin, commerce, by enabling it to fly high through the thin air of art. The filmmakers of the '70s hoped to overthrow the studio system, or at least render it irrelevant, by democratising filmmaking, putting it in the hands of anyone with talent and determination. However, as the decade passed, the promise of real change receded; the status quo prevailed. As Peter Biskind puts it, in his book Easy Riders and Raging Bulls: How the Sex 'N' Drugs 'N' Rock 'N' Roll Generation Saved Hollywood, although the decade of the 70s contains shining monuments to its great directors, the cultural revolution of that decade, like the political revolution of the 60s, ultimately failed. Robin Wood, in Hollywood: from Vietnam to Reagan, argues that the Vietnam War, among other things, focussed Western society's dissenting voices, simultaneously discrediting 'the system' and emboldening the dissenters. However, like Biskind, Wood acknowledges “this generalized crisis in ideological confidence never issued in revolution. No coherent social/economic program emerged.” Commercial imperatives once more came to play their part in shaping the output of the industry, as previously fêted directors suffered box office losses and investment money turned to more secure propositions. Thus, a central tenet of political economy – i.e., the inherent censorship of the mass market – prevailed. Ironically, one of the films that stands as a testament to '70s Hollywood's freedom and ambition, Sidney Lumet's Network (1976), depicts precisely this phenomenon. Network is an example of a hugely successful and critically acclaimed feature film that offers a critique of television, ideology, radical chic and the consequences of American-led post-war capitalism, whilst being funny – no mean feat, and something only barely achieved in the current day by the likes of Michael Moore, et al. Lumet's direction and Paddy Chayefsky's script lambaste the ills of the modern world (couched within the fast-paced soliloquies delivered by the stellar cast of Peter Finch, Faye Dunaway, Robert Duvall and William Holden) and are oft times prescient, predicting the rise of 'reality television', and the subsequent decline of both production and social values. One of the central themes of Network – the decay of society and of love, concurrent with a plunge in standards and morality of the audience, which represents the world (in keeping with the mindset of both the film and its characters) – proves salutary in explaining what happened to Hollywood after the '70s. Just as the collapse of the old studio system in the '60s was precipitated by a change in demography and values, so too has a drift toward social conservatism and the continuing project of marketising everything affected our age. When Howard Beale (Peter Finch), the ageing news anchor for Union Broadcasting System, is fired due to poor ratings, he announces to his friend and network executive Max Schumacher (William Holden) that he intends to “blow my brains out, right on the air, right in the middle of the 7 o'clock news”. Schumacher replies, “You'll get a hell of a rating. I'll guarantee you that. 50 share, easy.” He facetiously begins to run with the idea: “We could make a series out of it. 'Suicide of the Week.' Oh, hell, why limit ourselves: 'Execution of the week.'” Beale joins in, “Terrorist of the Week”, and Max's eyes get distant; he temporarily becomes the visionary commercial television producer: I love it. Suicides. Assassinations. Mad bombers. Mafia hit men. Automobile smash ups. The death hour. Great Sunday night show for the whole family to see. It'd knock fucking Disney right off the air. The joke, these days, has poignancy. Chayefsky's blistering script seems aimed fairly and squarely at commercial television, and its producers. Network is presented as a voracious predator that consumes everything in sight for the sake of audience share. Nothing is sacred – not least of all love, as is demonstrated amply by the soulless programming executive, Diana Christensen (Faye Dunaway). “The only reality she knows comes at her over the television.” Network portrays a dark vision of an industry that has largely come to be. The dumbing-down of the news, from informative to entertaining (“television is showbiz”, says Christensen to Schumacher) is prescient of the rise, in the late 20th century and early 21st, of infotainment. The UBS news is transformed into a near-variety show, with a soothsayer, a psychic detective and the star, the “Mad prophet of the airwaves”, Howard Beale. The disturbing thing about this, for Chayefsky, runs along the lines of neo-Marxist criticism of the day. To quote Stuart Hall: the cultural industries do have the power constantly to rework and reshape what they represent; and, by repetition and selection, impose and implant such definitions of ourselves as fit more easily the descriptions of the dominant or preferred culture. That is what the concentration of cultural power – the means of culture-making in the heads of the few – actually means. Television's ruthlessness and its lack of discernment in its search for ratings, as joked about by Schumacher and his 'death hour' idea, has fulfilled his prophecy. 'Reality television' abounds, with its low production costs and supposed interactivity – its invitation for audiences to spectate at someone's demise, and even play a part in it. Network satirises 'the revolutionary underground', and the script dextrously portrays the ease with which the likes of Christensen incorporate such movements into a commercial framework, in order to make them a marketable commodity. Says Diana, to her staff, as she pitches the idea of what we would now call a reality television show, Look, you've got a bunch of hob-goblin radicals, calling themselves the Ecumenical Liberation Army who go around taking home movies of themselves robbing banks! Maybe they'll take movies of themselves kidnapping heiresses, um, hijacking 747s, bombing bridges, assassinating ambassadors! She goes on to tell them, “I want angry shows. I don't want conventional programming on this network. I want counter-culture. I want anti-establishment.” Christensen, television incarnate, has, as such, the mind of the market. She slots, programmes and categorises everything, reducing totalities to glib, trite, preclusive stereotypes (or soundbites). At her meeting in Los Angeles, with the aforementioned hob-goblin radicals, she introduces herself: “Hi. I'm Diana Christensen – a racist lackey of the imperialist ruling circles.” “And I'm Lorraine Hobbs – a bad-ass Commie nigger”, comes the reply. Her idea is staggering and speaks of the sheer hubris of unfettered, market capitalism – as immanent in television itself. Without a moral concern in her body, Christensen pitches: “Each week, we open, with an authentic act of political terrorism.” The concept, in 1976, may have been preposterous. But in 2005 it is quite literally inconceivable. There's a war going on – let's not forget – a war on terrorism. And in wartime, as they say, the first casualty is the truth. The adage here is admittedly stretched, but the degree of self-censorship that began, and has prevailed, across the world's media since 2001 is evident. Hollywood seems nowhere near touching subjects like this, much less laughing at it. It's not just the subject matter; it's the way it is delivered. Lorraine Hobbs answers back to Diana's pitch with uncertainty: The Ecumenical Liberation Army is an ultra-left sect, creating political confusion with wildcat violence and pseudo-insurrectionary acts, which the Communist Party does not endorse. The American people are not yet ready for open revolt. We would not want to produce a television show that celebrates historically deviational terrorism. Chayefsky's script is simply much more ambitious, and verbose, than anything Hollywood offers up for contention these days. Network's assumption that audiences could respond positively to what is essentially a dense, wordy screenplay, set amongst current events and asking uncomfortable questions, was vindicated. It won three Academy Awards, including Best Screenplay. Hollywood's 'best and brightest' have rarely offered much in the way of criticism since the terrorist attacks of September 2001. One cannot help but think of Christensen's pitch here; might we assume that '911' would have gotten the Network nod, as entertainment? In fact, the years that followed saw Hollywood directors, such as Ridley Scott, supplicate themselves to the Pentagon message, with films that glorified American actions around the world and supported the US government's view of history. With the release of 1969's Easy Rider (Dennis Hopper), American cinema came of age. The late 60s had seen a crisis in the studio-dominated film industry: attendances were down and the old men who ran [the studios] were increasingly out of touch with the vast baby boom audience that was coming of age in the '60s, an audience that was rapidly becoming radicalised and disaffected from its elders. The influence of the French New Wave, among others, provided inspiration for aspiring auteurs like Martin Scorsese, Robert Altman, Sidney Lumet and Terrence Malick, to name but a few. The late 1960s saw a break from the old, studio-dominated conventions of film making, and for the first time placed the director in lights, over and above the studio, and producer. By the time of the late 70s, after the critical (and sometimes commercial) successes of films like Taxi Driver (Scorsese, 1976), et al, the 'voice' of the new directors was sounding more confidently. Network is nothing if not a collection of polemics. As New Yorker film critic Pauline Kael said, “Chayefsky isn't writing a farce: he's telling us a thing or two.” Howard Beale's “latter day prophet, denouncing the hypocrisies of our time” takes to the air with paternalistic sermons: Because less than three percent of you read books. Because less than fifteen percent of you read newspapers. Because the only truth you know is what you get from over this tube. Right now there is a whole, an entire generation that never knew anything that didn't come out of this tube. Kael savages Chayefsky's preachiness here and decries the tendency of the time towards “vindictive, moralizing condescension”, citing “Beale's denunciations of the illiterate public (Chayefsky apparently thinks that not reading is proof of soullessness).” She continues to assert that television has not rendered people soulless, just as cinema did not, or the theatre. The film treats us to the high farce of the nominally 'revolutionary' Ecumenical Liberation Army in contractual negotiations with their lawyers and UBS's – an extremely comical (if dark) satire of the fickle nature of the expedient marriage of the political and the commercial. When Beale uses his nightly tirade to denounce the fact that “the Arabs control 60 billion dollars of this country”, and rants an extensive list of Arab interests in US capital, including “com[ing] back at us with our own dollars to buy General Motors, IBM”, et al, he blows the deal for Frank Hackett, the corporate head of UBS (played perfectly by Robert Duvall), the show and his own career. Michael Moore's Palme d'Or winning 'documentary', Fahrenheit 911, essentially spoke to the same phenomenon – that is, the coincidence of US and Saudi corporate interests, and its enmeshment with foreign policy, and the challenge to the notion of national sovereignty this presents . However, Moore's treatment is characteristically shallow, and not given any sense of historical context. Without an acknowledgement of the history of the US-Saudi relationship or of the role America has played in promoting the very system that allows for the situation he bemoans, Moore himself turns into the populist evangelical that Peter Finch portrays with finesse in Network. Network's ultimate concern – the negative impact of corporate culture and the mass market on society, and the processes by which it affects this – is essentially a mirror for what happened in Hollywood after the 1970s. By the end of what was a dazzling period of innovation and artfulness – delivering films such as Easy Rider, M*A*S*H* (Altman, 1970), Badlands (Malick, 1973), The Conversation (Coppola, 1974), Mean Streets (Scorsese, 1973) and Network, Hollywood succumbed to commercial pressures – eschewing unhappy endings and highly political content and commentary in its films for 'the blockbuster' – usually dated to the release of Steven Spielberg's Jaws, in 1980. Film narratives switched back to happy endings, resolution and dominant societal paradigms reasserted themselves. One only need look at the young George Lucas' spectacular rise to fame with Star Wars (1977), an overly simplified fairy tale of 'good vs. evil'. (11) Gone was the subtlety and sophistication of Taxi Driver or Badlands, with their confused and often violent protagonists, and their near-nihilistic challenges to bourgeois morality, and back were the classical 'heroes' of the big screen, whose essential goodness was never in doubt and who always triumphed over the 'bad guys'. As Biskind suggests, the flowering of American cinema, only too brief, had ended – and Spielberg had 'won'. Because the fact of the matter is that although individual revolutionaries succeeded, the revolution failed. [...] As Coppola later recognized, the market selected and shaped these directors, snuffing out the careers of those whose films were not commercial, and boosting and molding the careers of those that were. It seems only right to close with one of Chayefsky's more incisive soliloquies, delivered by the owner of UBS, Arthur Jensen (Ned Beatty): You have meddled with the primal forces of nature, Mr. Beale, and I won't have it. Is that clear? You think you merely stopped a business deal. That is not the case. The Arabs have taken millions of dollars out of this country, and now they must put it back. It is ebb and flow, tidal gravity. It is ecological balance. You are an old man, who thinks in terms of nations, and peoples. There are no nations, there are no peoples, there are no Russians, there are no Arabs, there are no Third Worlds; there is no West. There is only one holistic system of systems. One vast and interwoven, interacting, multi-variant, multi-national dominion of dollars. Petro-dollars, electro-dollars, multi-dollars, Reichmarks, Rubles, Pounds and Sheckles. It is the international system of currency which determines the totality of life on this planet. That is the natural order of things today. That is the atomic, and sub-atomic, and galactic structure of things today. And you have meddled with the primal forces of nature. And you will atone. You get up on your little 21 inch screen, and howl about “America”, and “democracy.” There is no America, there is no democracy. There is only IBM and ITT and AT&T. And Dupont, Dow, Union Carbide, and Exxon. Those are the nations of the world today. We no longer live in a world of nations and ideologies, Mr. Beale. The world is a college of corporations, inexorably determined by the immutable by-laws of business. The world is a business, Mr. Beale. EXTRAS INCLUDE: - Director's Commentary as second audio track - The Making of Network (L. Bouzereau, 2006) 1hr 25min documentary - Vintage Paddy Chayefsky Interview On Dinah! - Private Screenings With Sidney Lumet - TCM Host Robert Osborne Interviews Director Lumet - Original Theatrical Trailer PLEASE SEED AND ENJOY!!!
Seeders: 6
Leeches: 0

Canada's Next Great Prime Minister

Category: Documentary
Description:
About the Show What started as a written essay contest in 1995 by Magna International Inc. has become a nationally televised program on CBC Television and the largest online political debate in Canada. Canada's Next Great Prime Minister is the competition of a lifetime. Young Canadians have the ears and eyes of the nation listening to their thoughts about what would make our country even better. The competition begins online. Young Canadians aged 18-25 are invited to apply for the show and campaign to be a finalist. Through debate and challenges, the candidates are narrowed down to four who appear on CBC Television, where they engage in a heated debate on the issues facing Canada today. The audience votes and the winner receives $50,000 and a paid internship at Magna International, The Dominion Institute and the Canada-US Fulbright program. Second, third and fourth place winners also receive cash and internship prizes. The show airs once a year on CBC Television. We hope you enjoyed tonight's show! CBC is happy to present Canada's Next Great Prime Minister to you as a DRM-free bittorrent file which you can download, share & enjoy.
Seeders: 7
Leeches: 1