As the “humanitarian aid” narrative promoted by Elliot Abrams and Marco Rubio combusts, the true motives for US efforts to overthrow the Maduro government become clearer. See https://www.bloomberg.com/news/articles/2019-03-12/venezuela-s-opposition-to-allow-independent-foreign-oil-drilling for an article that uncritically accepts the prospect of neocolonialism in Venezuela as a positive step.
Note the way Trump’s speechwriters cram together standard-issue anti-socialism, imperial arrogance, and a full-throated “Israel first” pronouncement.
Two weeks ago, the United States officially recognized the legitimate government of Venezuela and its new President, Juan Guaido. We stand with the Venezuelan people and their noble quest for freedom and we condemn the brutality of their regime whose socialist policies have turned that nation from being the wealthiest in South America into a state of abject poverty and despair.
Here in the United States, we are alarmed by the new calls to adopt socialism in our country. America was founded on liberty and independence and not government coercion, domination and control. We are born free and we will stay free.
Tonight, we renew our resolve that America will never be a socialist country. One of the most complex set of challenges we face and have for many years is in the Middle East. Our approach is based on principle, realism, not discredited theories that have failed for decades to yield progress. For this reason, my administration recognized the true capital of Israel and proudly opened the American embassy in Jerusalem.
This is what a modern coup looks like. After decades of relentless demonization, subversion, and economic warfare, the US is trying to force the issue via hostile diplomacy. Look for almost every single Democrat and Republican congressperson to fully support this attack on Venezuela’s sovereignty and the principle of national self-determination. Among US political elites Empire is a bipartisan reflex.
This Spring’s Torturer’s Collection features a feminine look such as Gina’s black and red, belted floral print dress. This relaxed style also includes a practical touch: the quick-drying material allows the wearer to seamlessly transition from an interrupted drowning (water-boarding) session to a working lunch.
There are a number of British Pathé newsreels about the Mau Mau uprising available online and they’re worth screening in part because they evince clear parallels with our own moment.
It’s strange to see Dirk Bogarde– generally more well-known for the films he did with Harold Pinter and Joseph Losey or even The Night Porter— in this late imperial romance. Though there’s room here for a soft liberal critique of British colonialism in Africa– Bogarde’s Alan Howard is poisoned by his hatred of all black Kenyans in the aftermath of his brother’s murder by the Mau-Mau– the film argues for a kind of enlightened paternalism. There were a whole string of films devoted to this version of the Empire as an ultimately beneficent if sporadically violent enterprise (Zulu, Something of Value, etc.) during the era of decolonization.