♪♫ Zwischenwelt - Shadow Being

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How much do you really want an iPad?

As an example of organised hypocrisy, the Communist party of China beats all the world's religions. Article number 1 of the Chinese constitution states that China "is a socialist state under the people's democratic dictatorship led by the working class and based on the alliance of workers and peasants". Every word is a lie and yet in Britain you hardly ever come across criticism of Chinese communism, satires of its pretensions or demonstrations against its rule.

Consider the opportunities. For the right, China is a continuation of a system they have been fighting against since 1917, a communist tyranny with militaristic ambitions. To make matters worse, China is, in terms of the hundreds of millions affected, the most determined opponent of religious liberty on the planet. As conservatives have always been better than leftists at defending the freedom to worship, you might expect them to protest. But the overwhelming majority stay silent.

As for the left, go back to the sick joke of the Chinese constitution. The corrupt party hacks, who run the supposedly socialist state, allow domestic capitalists and foreign corporations to impose on workers the conditions that Engels and Zola railed against in the 19th century, while denying them the rudimentary protections offered by free trade unions, which even the Victorians could not bring themselves to suppress entirely.

The suicides at the vast Foxconn plant in Shenzhen ought to shake outsiders. They ought to make them wonder about the human cost to the 420,000 workers who make those nifty iPhones and iPads which so delight savvy westerners. Workers sleep in corporate dormitories, where an ever-shifting population of migrants makes it hard to form friendships, let alone relationships. The basic pay is $130 a month and overtime is essential. Most work 12 hours a day under the eyes of a fanatical management. One man killed himself after supervisors allegedly tore into him for losing a prototype iPhone.

Liu Zhiyi, who went into the plant undercover for a Chinese newspaper, said the lives of workers were mind-numbingly tedious. "As they make the world's finest gadgets," he said, "it seems that while they are controlling the machines, the machines also dominating them; the parts gradually come together as they move up the assembly line; at the same time, the workers' pure and only youth also disappears."

Liu Zhiyi emphasised, however, that there are worse places to work than Foxconn. So, too, do the activists at the China Labour Bulletin, which keeps the spirit of the Tiananmen Square protests alive from its Hong Kong offices. For millions of young people seeking to escape mass unemployment, a job in Shenzhen is not the worst option.

The employers who feature in the pages of the China Labour Bulletin do a little bit more than turn their workers into assembly line automatons. They set thugs on independent union reps. Since the start of the global recession, there have been ever more cases of employers, including "respected" European companies, cutting rates or just closing factories and running off without paying back wages.

Here we have the workshop of the world, which is also the sweatshop of the world, where even the practices of "good" employers would be unacceptable in the west. And yet the citizens of the world, particularly Europeans, do not care about the use of the one-party state to deliver a rigged market economy in which there is freedom for the rich and authoritarianism for the poor.

It is not as if there is a strong China lobby in the west. If you write anything critical about, say, Castro's Cuba or the increasingly authoritarian conditions in Chávez's Venezuela in a leftwing paper, admirers of dictatorship will try to shout you down. If you criticise Saudi Arabia in a rightwing paper, Arabist diplomats and the friends of arms dealers will say you do not understand the virtues of the "stability" the Saudi royal family brings. The Chinese dictatorship has no ideological lobby behind it beyond a couple of bereft old communists, who transferred their loyalties from the Soviet Union to China after the fall of the Berlin Wall.

For all that, I cannot imagine Stephen Fry stopping his drooling over the iPad – "Just to see this is fantastic!" he burbled as crowds gathered for its launch at the Apple headquarters in London – and showing some common decency by expressing a little concern for Apple's workers. More to the point, I am not sure that anyone would listen to him if he did. China is too big, too powerful, too impervious to criticism for Europeans to think about. The scale of the Shenzhen plant is beyond our imagination. A boycott of Foxconn's products would not just mean boycotting Apple, but Nintendo, Nokia, Sony, HP and Dell too. Boycott China and you boycott the computer age, which, despite the crash, effectively means boycotting the 21st century, as we so far understand it.

True, since 2008, everyone realises that the reserve army of labour in China pumped up the bubble of globalisation by flooding the world with cheap goods. Although China's entry into the global market kept working-and middle-class wages in the rich world down, it also kept interest rates low.

Although we can now see the disastrous consequences of the asset price inflation in everything from sub-prime mortgages to villas on the Costa del Sol that followed, no one is yet thinking about how to rebalance world trade. We are still dependent on Chinese products and cannot imagine a future where they would matter less to us.

Nor is communist rule quite bad enough to stir the sluggish conscience of the west. Journalists can print exposés, as Liu Zhiyi showed. Strikes and demonstrations are not always repressed. Owen Tudor, head of international relations at the TUC, told me that as the recession took hold the state ordered its tame official trade unions to be a little more robust "and like good communists, when they were told to be independent, they obeyed orders".

Like good consumers, we obey too. Not that we should. It would be heartening if people could shake themselves and say that the iPad is just another computer, which we do not need and will not buy unless Apple persuades its suppliers to improve workers' conditions. Until we do, the hypocrisy of the Chinese communists is our hypocrisy as well.

Nick Cohen @'The Guardian'

Alex Grey

Very interesting...The surprising truth about what motivates us

10 Oldest Trees in the World

HERE

Recognise this?

IT IS THE SOLDIER

It is the Soldier, not the minister

Who has given us freedom of religion.

It is the Soldier, not the reporter

Who has given us freedom of the press.

It is the Soldier, not the poet

Who has given us freedom of speech.

It is the Soldier, not the campus organizer

Who has given us freedom to protest.

It is the Soldier, not the lawyer

Who has given us the right to a fair trial.

It is the Soldier, not the politician

Who has given us the right to vote.

It is the Soldier who salutes the flag,

Who serves beneath the flag,

And whose coffin is draped by the flag,

Who allows the protester to burn the flag.

©Copyright 1970, 2005 by Charles M. Province

Sarah Palin doesn't understand the meaning of stalking either!

Dennis Hopper on Art

A visionary bad boy

In a world of fake bad boys, he was the true article — a natural-born rule breaker, a Hollywood rebel who took midnight rides on the wild side with James Dean, a scraggly-haired hippie too hip (and too dark) to let the sunshine in. Dennis Hopper, who died today at 74, was an actor and a filmmaker who tore through boundaries not just because he didn’t like them; most often, he didn’t even see them. I’ll never forget the one time I got to be in a room with him. It was August 1979, at the Saturday morning press conference after the very first American showing of Apocalypse Now. The screening had taken place the night before, at the Ziegfeld Theatre in Manhattan. I was a bratty college journalist who’d squeezed my way in and was still reeling from the movie: its hallucinatory power and majesty and violent strangeness. (The “Ride of the Valkyries” sequence was so indelible that it kept popping back into your mind’s eye, like your very own searing cinematic Vietnam flashback.) At the press conference, they were mostly all there, the maverick artists who had toiled away on this movie for half a decade: Francis Ford Coppola, who took the opportunity to make his first feverish pronouncements on the brave new world of technology we were all about to enter (he called it “the communications revolution,” and though few knew what he was talking about, 30 years later, it’s clear that he was right); Robert Duvall and Martin Sheen, the latter of whom had priceless tales of working with the elephantine and eccentric Marlon Brando (who, naturally, hadn’t bothered to show up to talk to a bunch of journalists); and Hopper, who instantly took on the role of flaked-out druggie court jester of the press conference. The more stonerish and cosmic, and the less coherent, he was, the more that he ended up dominating the questions and answers, cracking up everyone in the room, though whether we were laughing with him or at him was, by the end, an open question.
To this day, I have no idea if he was actually high, but it almost didn’t matter: His rambling declarations on everything from filmmaking to the state of America made it sound as if he had never quite stopped playing the jittery, blitzed-out-of-his-noggin, war-fragged photographer in Apocalypse Now. Or, just maybe, that his performance in the movie wasn’t really a performance at all. There’s no denying that Dennis Hopper made himself a bit of a joke that day. Listening to him was like looking at the last joint ash of the ’60s, hanging in the air and ready to fall. At the same time, you couldn’t take your eyes off him. He was a court jester and a train wreck, and he was also every inch a star. In his very dissolution, he played his own legend like a bad-trip virtuoso.

The thing is, even his drugged-out fall from grace only served, in the end, to set up one of the greatest acting comeback/triumphs in the history of Hollywood. Seven years later, in what would be — in my view, at least — the single greatest film of the 1980s, David Lynch’s Blue Velvet, Hopper gave a performance that was more than “dark” and “scary” and “creepy” and all the other words that you could appropriately hurl at it. He gave a performance that shocked audiences with its down-to-the-bone knowledge of evil. Hopper’s Frank Booth still showed the actor’s 1950s roots. He was a greaser out of your nightmares, a delinquent all grown up into a dirty old daddy-uncle. But when he pulled out that drug canister, snapped on the gas mask, and began to inhale, we saw what he had curdled into — a man out of period, a true modern monster, not just an addict but the ultimate addict, a guy who got high on things we had no idea of, because somewhere along the way, he had gone that far past being able to get pleasure out of normal pleasure. Frank Booth was a ’50s nightmare meets ’60s nightmare turned very ’80s nightmare: a gothic pervert sadist hooligan whose spirit whispered to the hero, “You’re just like me!” And so, on some level, that’s what Hopper (and Lynch) were whispering to the audience, too.
Those are frightening thoughts, to be sure, but when Dennis Hopper talks in Blue Velvet, with that melodious snarl, he’s not just a walking menace, a guy who’s going to get in your dreams and stay there. He’s a villain with his own bad dreams, a terrifyingly grown-up greaser-psychotic who has become enslaved to his demons — his drug canister — and adores them all the more for that reason. Hopper didn’t just make himself into a small-town underworld boogie man. He laid himself bare on screen, fusing his own dark side with that of the character, the way Brando did it in Last Tango in Paris. Hopper’s performance is an electric bolt of malevolence shot straight from the soul. It was the catharsis his whole career had been building toward.
Of course, Dennis Hopper really had two careers. He was an actor who became a filmmaker, and what you see when you look at the movies he directed is extraordinary promise, embodied in one fresh blast of organic brilliance, and then a great deal of colorful fallout. Easy Rider, the two-hippies-on-a-ride-to-find-the-real-America chopper odyssey he directed in 1969, is not only, along with Bonnie and Clyde, the formative film of the New Hollywood. It’s a movie that stands the test of time in exactly the way that a drama about two rambling longhairs out to find freedom on the highway should not.
Watch Easy Rider today, and you’ll see that every glinting panoramic shot, every toked-up dialogue rhythm, every situation and jagged dramatic back-alley dovetails as only the work of a born filmmaker can. Hopper, who was in his late teens when he made his screen debut in Rebel Without a Cause (1955), came of age in the outwardly strait-laced, buttoned-down Hollywood of the 1950s, but as a compatriot of the moody, emotionally voluptuous (and bisexual) James Dean, he was already writing the first chapter of the revolution that was to come. When he got the chance to make Easy Rider, he poured a decade’s worth of desire, liberation, nihilism, despair, and hunger into it, and the freedom of the movie is there in every image. It’s there in the air of discovery that the characters breathe. As an artist, Hopper showed the instinctive sophistication to portray himself and Peter Fonda, the two scruffed-out hippie-biker antiheroes, not just as crusaders but as tragicomic fools. I first saw Easy Rider when I was 11 (it was the first adult movie I ever snuck into), and the end of the movie — that falling-away roadside-crash helicopter’s-eye death shot that you realize has already been glimpsed in an acid hallucination — spooked and possessed me like nothing I had ever seen. This wasn’t just a trendy youth-drug-culture movie. It was filmmaking on drugs.
At that point, having kicked the door of the New Hollywood wide open, Dennis Hopper could have written his own ticket. And he did — by quickly flaming out and writing a ticket to oblivion. Hopper had a singular knack for mythologizing himself, and two years after Easy Rider, when he entitled his followup effort The Last Movie (1971), it was an invitation to the counterculture audience to see it as the product of a system that was already breaking down. A hodgepodge of native-chic message mongering, psychodramatic dithering, and apocalypse…wow! indulgence, all shot in Peru, The Last Movie was Hopper, in effect, trashing the Hollywood-meets-the-new-youth-generation alliance that he had helped to bring about.
There’s a whole cachet surrounding The Last Movie — that it’s a flawed “visionary” work, too pure and daring for the system that had allowed it to be (so the system, therefore, couldn’t allow it to be). But I had a rare chance to watch it on the big screen in the late ’80s, and the movie I saw was, frankly, a borderline unwatchable mess: images strung together with haphazard abandon, and Hopper treating himself as an icon who no longer wanted to bother being an actor. The Last Movie is a real messianic-complex disaster, like the films Alex Cox made right after Sid & Nancy. The movie’s “lastness” signifies nothing — except, perhaps, Dennis Hopper’s withdrawal from the world of moviemaking. There’s one moment of oddball fascination, though: Making love under a waterfall (or, at least, that’s my memory of it), Hopper spills forth some of the same queasy noises of horny torment that he does in the sadomasochistic sex scenes of Blue Velvet. Which makes you wonder how much of Frank Booth he really did pull out of himself.
Ultimately rejoining the world, and the system, Hopper directed a couple of pretty good films: the end-of-the-’70s curio Out of the Blue (1980) and, of course, Colors (1988), the L.A. cop drama to which he brought a real grit and flash and tumultuous atmosphere, guiding Sean Penn and Robert Duvall through some of their most likable Method-lite fireworks. He played some pretty cool wily and bug-eyed villains, too, notably in Speed (1994). Overall, though, it’s safe to say that he almost couldn’t help but drift back to playing the role he knew best: that of Dennis Hopper, visionary-turned-casualty-turned-survivor-of -the-’60s. Right to the end, in those Ameriprise boomer-retirement commercials (which are truly ingenious, with a subtext that says: If goddamn Dennis Hopper can plan for his future, than so can you!), he never lost his craggy-ghostly, fine-planed handsomeness, or the playful glee that so often animated his flights of stoner fancy. In Apocalypse Now, he’s actually quite brilliant, using his crackpot jabberiness as knowing, burnout comedy. As in all his best movies, whether behind or in front of the camera, he puts his demons right out there, as if to conquer them by exposing them, and for that, he’ll always be an artist on the side of the angels.

Owen Gleiberman @'E.W.'

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According to the LAPD, this man is armed and dangerous. And apparently has man boobs so appalling that they're not fit for public viewing. It's a deadly combination, not to mention a recipe for the perfect mug shot.
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Dennis Hopper by Terry Richardson

Dennis Hopper: A Career In Clips

Dennis Hopper in 2007. Photograph: David Levene

"Sometimes he goes too far. He's the first one to admit it." That's Dennis Hopper's ranting photojournalist character in Apocalypse Now (1979), talking about Colonel Kurtz (Marlon Brando), the homicidal megalomaniac to whom he is in thrall. In his half-century acting career, Hopper himself acquired a reputation for going over the top, both on screen and off – a notoriety with plenty of justification but one, he once told me, that limited his performing options and overshadowed his moving ability to play straight when the role demanded. "I don't have a problem playing bad guys," he said, "but it would be more interesting if I had a variety of roles to play."

After studying with the Actors Studio and appearing on television, Hopper got roles in two of James Dean's three features. In this clip from Rebel Without a Cause (1955), the 20-year-old Hopper is recognisable as the gang member leaning on top of Jimmy's car wearing a familiar-looking red jacket, though he has little to do in the movie.

The story is that Nicholas Ray slashed Hopper's part after discovering that, like Ray, he was sleeping with Natalie Wood.

He had more to do in Giant (1956), as Jordy, the son of Rock Hudson and Elizabeth Taylor's Bick and Leslie Benedict. Not that he needed dialogue: in this music-dominated scene, the naively excited Jordy shocks his parents by turning up a party with the Mexican-American wife they didn't know he had.

Over the next decade or so, Hopper worked solidly on crime, cowboy and drama shows on TV, including The Twilight Zone, and took supporting roles in movies, including Cool Hand Luke (1967) and the westerns Gunfight at the OK Corral (1957), Hang 'Em High (1968) and True Grit (1969). He took up art collecting and photography in the 1950s, providing landscape shots for the cover of Ike and Tina Turner's River Deep – Mountain High in 1966.

There was perhaps more in his art and photography careers than in his early acting work to anticipate Easy Rider (1969), the counterculture classic he created with notorious passion and which will certainly stand as his most singular film-making achievement. It's worth noting that he seems less manically driven on camera than we know he was behind it – his Billy is in many ways the film's straight man. This clip, set to Steppenwolf's Born to Be Wild, shows the loving attention Hopper paid to the American landscape, as well as the formal experimentation and combination of fatalism and joie de vivre that made the film so compelling.

Following the failure of his even more radical followup as director, The Last Movie (1971), Hopper established the line in charismatic loons that would increasingly define him as a performer. There was significant ambiguity in such roles as Patricia Highsmith's Tom Ripley, in Wim Wenders's The American Friend (1977), and that photojournalist in Apocalypse Now (1979).

Initially welcoming to the squad led by Martin Sheen's Willard – "I'm an American!" – he turns out to be an evangelical apologist for slaughter, barking animatedly at Willard trapped in a cage. Audiences would increasingly know how Willard felt.

Hopper's industry-friendly direction of Out of the Blue (1980) brought a degree of Hollywood rehabilitation, followed up with memorable appearances in Rumble Fish and The Osterman Weekend (both 1983) and River's Edge. Only with David Lynch's Blue Velvet (1986) did he deliver a performance to eclipse Apocalypse Now.

It's hard to say what's more terrifying – his mesmerically psychopathic, eye-popping, gas-huffing, gut-punching, mommy-pleading performance as Frank Booth or his insistence to Lynch that "I am Frank Booth". Whether telling Isabella Rossellini "Baby wants to fuck" or reminding Kyle MacLachlan that if "you receive a love letter form me, you're fucked forever", this portrait of sexual and violent mania would remain Hopper's outstanding achievement as an actor.

He went on to direct Colors (1988), and then directed and appeared in Catchfire (1990), from which he dissociated himself. There were also strong turns in Paris Trout (1991), Red Rock West (1993) and True Romance (1993), in which he played the sympathetic straight guy during a bravura face-off with Christopher Walken.

More common were rabid villain roles in the likes of Super Mario Bros (1993), Speed (1994) and Waterworld (1995).

In 2000, when I spoke to Hopper by phone at his California home about his role as the bad guy in a TV version of Jason and the Argonauts, he was philosophical about typecasting, animated about art and preoccupied with keeping his German shepherd, Otto, from stealing his lunch. "I've been in a lot of really bad movies that I think I gave some of my best performances in," he maintained. "And there were some movies that I've really been bad in … It's shaky material a lot of the time but I try to do the best job that I can under the circumstances."

He continued to take villainous roles, including Victor Drazen in the first season of 24 (2002) and as a smug plutocrat ("Zombies, man. They creep me out") in George A Romero's Land of the Dead (2005).

His most recent performances included a continuing character in the TV adaptation of Crash (2008-9) and as the voice of reason in Elegy (2008), in which he played George, the best friend of Ben Kingsley's priapic professor David Kepesh ("You gotta stop worrying about growing old and worry about growing up"). The character's death left Kepesh blindsided and bewildered.

Of his onscreen work, Hopper will undoubtedly be best remembered for his most antic turns – the extraordinary energy and menace he brought to Apocalypse Now and, especially, Blue Velvet remain standout elements of cinematic masterworks. But it would be a shame if those accomplishments shouted out his quieter performances, not to mention his work as a director and visual artist. "People," as he insisted to me, "can do a lot of different crafts and a lot of different arts and still be one person."

@'The Guardian'

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Germany's 'Dr. Death' sells body parts

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