OneBigTorrent.org

Skin (2008) Directed by Anthony Fabian

Category: Misc
Description:
Skin (2008) Anthony Fabian directs this drama based on the true story of Sandra Laing (Sophie Okonedo/Ella Ramangwane), a black girl born to two white Afrikaaner parents (Sam Neill and Alice Krige) in South Africa during the apartheid era. A genetic throwback to the mixed blood of previous generations of her family, Sophie's skin colour causes problems for her bigoted father and her all-white school, which expels her despite her family's attempts to have her classified as white. Later in life, Sandra again causes shockwaves when she decides to marry a black man and have herself reclassified as black.
Seeders: 91
Leeches: 33

Why Do People Hate America (ebook) [cpdl]

Category: eBooks, Magazines, Audio Books
Description:
Copy Paste title: Why Do People Hate America? Digital |> author: Ziauddin Sardar, Merryl Wyn Davies Librarian | `> isbn: 0971394253 _______| `____________ || | | | word count: 68603 ||infor-| |control + a|| pages: 240 ||mation| | || format: .htm ||wants | |control + c|| version: 1 ||to be > | || CPDL ||free `> |control + v|| release no.: 00012 ||__________`|___________|| |___________><____________| _______________________________________________________ The controversial bestseller that caused huge waves in the UK! The Independent calls it "required reading." Noam Chomsky says it "contains valuable information that we should know, over here, for our own good, and the world's." We call it our biggest book so far and will be backing it from day one with guaranteed co-op spending, a national publicity and review blitz, talk radio bookings, various retail sales aids including postcards, and of course the usual full court press on the Web and via email. This is NOT just another 9/11 book: it is the book for those of us trying to understand why America -- and Americans -- are targets for hate. Many people do hate America, in Europe, Asia, South America and Africa, as well as in the Middle East. Ziauddin Sardar and Merryl Wyn Davies explore the global impact of America's foreign policy and its corporate and cultural power, placing this unprecedented dominance in the context of America's own perception of itself. In doing so, they consider TV and the Hollywood machine as a mirror which reflects both the American Dream and the American Nightmare. Their analysis provides an important contribution to a debate which needs to be addressed by people of all nations, cultures, religions and political persuasions -- and especially by Americans. Described by The Times Higher Education Supplement as "packed with tightly argued points," the book is carefully researched and built to withstand the inevitable criticism that will be aimed at it. A book that some reviewers will love to hate and others will praise for its insights, it's guaranteed to cause a stir. Ziauddin Sardar is a prominent and highly respected journalist and author. Prolific and polymath, he is a familiar U.K. television and radio personality. Merryl Wyn Davies, writer and anthropologist, is a former BBC television producer. http://www.worldcat.org/oclc/223755921
Seeders: 4
Leeches: 0

Dissecting the Talking Heads - Bill Moyer's Journal-July 24, 2009

Category: News & Current Affairs
Description:
sdtv xvid 700kbps DEBATING HEALTH CARE REFORM Bill Moyers sits down with Trudy Lieberman, director of the health and medical reporting program at the CUNY Graduate School of Journalism, and Marcia Angell, senior lecturer in social medicine at Harvard Medical School and former editor in chief of the NEW ENGLAND JOURNAL OF MEDICINE. >> MOYERS ON HEALTH CARE Explore highlights on the debate over health care reform and get tools to track industry lobbying and campaign dollars. RAGE ON THE AIRWAVES What happens when America's airwaves fill with hate? BILL MOYERS JOURNAL revisits a tough look at the hostile industry of "Shock Jock" media with a hard-hitting examination of its effects on our nation's political discourse. >> MOYERS ON JOURNALISM AND THE MEDIA Check out the JOURNAL's investigation into the state of the media. Watch the Emmy-award winning "Buying the War," hear THE WIRE'S David Simon on the death of the daily paper and explore the effect of new media on the 2008 election. Plus, online tools to fact-check the media. http://www.shoppbs.org/family/index.jsp?categoryId=2408224
Seeders: 5
Leeches: 3

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: 5
Leeches: 1

Sea Shepherd - Hunters Become Hunted (2006)

Category: Documentary
Description:
http://www.ecoeye.org/ecoeye/Film%20database/565B5FD0-DAC5-487B-B942-1B98F67A65C2.html www.seashepherd.org Sea Shepherd Conservation Society make waves wherever they go. As very pro-active law enforces of the high seas as they call themselves. Bart Smithers of ecoeye learnt of their heroics in Antarctica where they chased the Japanese whaling fleet out of the Whale Sanctuary. They limped back to Cape town in their ship the Farley Mowat, on their last dregs of fuel, and were immediately arrested and detained by ports authorities. (for not having the correct paperwork)
Seeders: 7
Leeches: 1

The Fourth World War (Full DVD RIP)

Category: Documentary
Description:
Brought to you by Big Noise Films From the front-lines of conflicts in Mexico, Argentina, South Africa, Palestine, Korea, 'the North' from Seattle to Genova, and the 'War on Terror' in New York, Afghanistan, and Iraq. It is the story of men and women around the world who resist being annihilated in this war. While our airwaves are crowded with talk of a new world war, narrated by generals and filmed from the noses of bombs, the human story of this global conflict remains untold. "The Fourth World War" brings together the images and voices of the war on the ground. It is a story of a war without end and of those who resist. The product of over two years of filming on the inside of movements on five continents, "The Fourth World War" is a film that would have been unimaginable at any other moment in history. Directed by the makers of "This Is What Democracy Looks Like" and "Zapatista", produced through a global network of independent media and activist groups, it is a truly global film from our global movement. The Fourth World War is now touring North America. Check our calendar for updates and screening times. Contact us at: 4ww@bignoisetactical.org to help organize screenings. Featuring Music from Manu Chao, Asian Dub Foundation, Mm, Moosaka, Cypher AD,
Seeders: 6
Leeches: 15

Shock Wave-2009 03 05 CBC Doc Zone~Ekolb

Category: Documentary
Description:
Shock Wave-2009 03 05 CBC Doc Zone~Ekolb 700 MiB / 1h 29mn 4s Earthquakes, like the one that caused the Indian Ocean disaster of December 26, 2004, tend to repeat themselves. The waves they generate can circle the globe with devastating consequences. Recently, scientists discovered that the Cascadia Subduction Zone off the west coast of North America has ruptured at least 37 times in the past 10,000 years and it will rupture again...but when? The crack in the ocean floor from Cape Mendocino, California to central Vancouver Island is nearly identical to the subduction zone that ruptured off Sumatra, which led to the tsunami that killed approximately 230,000 people. The Pacific Northwest can expect a nearly identical earthquake. Five major cities (Vancouver, Victoria, Seattle, Portland and Sacramento) plus hundreds of small towns along a thousand kilometres of coastline will be heavily damaged. The first tsunami waves will hit the beach twenty minutes later. But Shock Wave is not just another "doomsday flick." It's the story of people on the front lines of science, engineering and emergency planning who, along with thousands of volunteers, are finding ways to help our communities survive the next rupture. Inundation zones and tsunami evacuation routes have been posted in Seaside, Oregon for several years, but they were based on an earlier generation of computer modelling. Given what scientists learned from Sumatra, are the numerical codes still valid? The people of Ucluelet, British Columbia are coming to grips with news that their town will be one of the first points of contact when Cascadia's wave hits Canada. The good news is that because of Sumatra, oceanographers, geologists and computer modellers have gained an enormous amount of new information about how tsunamis work. They're crunching data at a feverish pace trying to re-calibrate the math so that computers can issue real-time forecasts of when and where a tsunami will hit - and how high the water will reach. Join emergency planners from Seaside and Ucluelet at public "outreach" meetings as they try to spread the word - without causing panic. What is the best way to warn people of a tsunami? How do people process and respond to "natural" and "official" warnings? How do thousands of tourists who don't know the lay of the local landscape figure out where to go and what to do? How do you notify people in the middle of the night when television sets and radios are turned off and beach sirens are too far away to hear? Yes, the earthquake is inevitable. Yes, it will be horrible. But most of us will survive. When will Cascadia's fault rupture again? Gamblers can only speculate as scientists prepare us for the inevitable. Shock Wave takes you behind the scenes as scientists apply what they've learned from Sumatra to create new disaster survival plans for western North America. Directed by Jerry Thompson for Omni Films in association with CBC-TV. Quote: Format : AVI Codec : XviD Source : HDTV Video #0 : MPEG-4 Visual at 977 Kbps Aspect : 608 x 352 (1.727) at 23.976 fps Audio #0 : MPEG Audio at 110 Kbps Infos : 2 channels, 48.0 KHz Enjoy! Ekolb
Seeders: 19
Leeches: 13

PBS: Frontline - Inside the Meltdown 2009 02 17- MKV esojmc

Category: Documentary
Description:
PBS: Frontline - Inside the Meltdown 2009 02 17- MKV esojmc Size: 404.74 MB 57 mins Media Classic Player On Thursday, Sept. 18, 2008, the astonished leadership of the U.S. Congress was told in a private session by the chairman of the Federal Reserve that the American economy was in grave danger of a complete meltdown within a matter of days. "There was literally a pause in that room where the oxygen left," says Sen. Christopher Dodd (D-Conn.). As the housing bubble burst and trillions of dollars' worth of toxic mortgages began to go bad in 2007, fear spread through the massive firms that form the heart of Wall Street. By the spring of 2008, burdened by billions of dollars of bad mortgages, the investment bank Bear Stearns was the subject of rumors that it would soon fail. "Rumors are such that they can just plain put you out of business," Bear Stearns' former CEO Alan Greenberg tells FRONTLINE. The company's stock had dropped from $171 to $57 a share, and it was hours from declaring bankruptcy. Federal Reserve Chairman Ben Bernanke acted. "It was clear that this had to be contained. There was no doubt in his mind," says Bernanke's colleague, economist Mark Gertler. Bernanke, a former economics professor from Princeton, specialized in studying the Great Depression. "He more than anybody else appreciated what would happen if it got out of control," Gertler explains. To stabilize the markets, Bernanke engineered a shotgun marriage between Bear Sterns and the commercial bank JPMorgan, with a promise that the federal government would use $30 billion to cover Bear Stearns' questionable assets tied to toxic mortgages. It was an unprecedented effort to stop the contagion of fear that seemed to be threatening the rest of Wall Street. While publicly supportive of the deal, Treasury Secretary Henry Paulson, a former Wall Street executive with Goldman Sachs, was uncomfortable with government interference in the markets. That summer, he issued a warning to his former colleagues not to expect future government bailouts, saying he was concerned about a legal concept known as moral hazard. Within months, however, Paulson would witness the virtual collapse of the giant mortgage companies Fannie Mae and Freddie Mac and preside over their takeover by the federal government. The episode sent shockwaves through the economy as confidence in Wall Street began to evaporate. Within days, in September 2008, another investment bank, Lehman Brothers, was on the brink of collapse. Once again, there were calls for Bernanke and Paulson to bail out the Wall Street giant. But Paulson was under intense political pressure from conservative Republicans in Washington to invoke moral hazard and let the company fail.... Paulson pushed Lehman's CEO Dick Fuld to find a buyer for his ailing company. But no company would buy Lehman unless the government offered a deal similar to the one Bear Stearns had received. Paulson refused, and Lehman Brothers declared bankruptcy. FRONTLINE then chronicles the disaster that followed. Within 24 hours, the stock market crashed, and credit markets around the world froze. "We're no longer talking about mortgages," says economist Gertler. "We're talking about car loans, loans to small businesses, commercial paper borrowing by large banks. This is like a disease spreading." .... http://www.pbs.org/wgbh/pages/frontline/meltdown/etc/synopsis.html Support your local PBS Station by making a contribution or by purchasing their DVDs. shunster ex: http://www.demonoid.com/files/details/1804362/2835290/ Other active torrents/uploads at: http://www.bt-chat.com/browse.php?category=11 Cap:esojmc
Seeders: 34
Leeches: 51

BBC Natural World 2007 - Hawaii - Message in the Waves - No More Plastic Bags

Category: Documentary
Description:
"Hawai‘i -Message in the Waves" is a film from the BBC Natural History Unit looking at some of the environmental challenges facing the people and wildlife of the Hawaiian Islands. Although the documentary is from a Hawaiian perspective it is really a global film. Because of their size, location and social history, the Hawaiian Islands represent a microcosm of the planet and are in a unique position to tell all of us where we are going wrong and what we can do to help put things right. There are many messages in the waves but the one we learned in Hawai‘i that we feel requires immediate attention is that of global plastic pollution. We have put this website together to provide some more information about the problem and how you as an individual can directly help!!! Please look at our action and links page for helpful tips. Take inspiration from towns in the UK that are now going plastic bag free due to watching this documentary. You see you can make a direct difference.!! " Kuleana"- privilege AND responsibility. Although we made the film, this is an unofficial web companion and does not reflect the views of the BBC. http://www.messageinthewaves.com/
Seeders: 1
Leeches: 5

Men Against the State - The Expositors of Individualist Anarchism 1827-1908

Category: eBooks, Magazines, Audio Books
Description:
MEN AGAINST THE STATE is a classic text, decades out of print, that traces the development of individualist anarchism in America from the early experiments in mutualism of Josiah Warren, to the development of philosophical egoism particularly emphasizing early advocates of money and land reform, to the writings of Lysander Spooner and other abolitionist anarchists, to the writings of Benjamin Tucker in his journal Liberty. Considered by many THE definitive summary of the homegrown American Anarchist tradition, James J. Martin's book made waves when it was released and helped root the resurgent anarchist and libertarian tendencies.
Seeders: 4
Leeches: 0