One Last post as this old article sums up what we're dealing with
Raised by Communists
all pb
>>19948141, >>19948160, >>19948168, >>19948170, >>19948173, >>19948183, >>19948266, >>19948332 (You) >>19948334, >>19948443, >>19948453 Naomi vs Naomi/Disney and Communists
Outside Agitator
Naomi Klein and the new new left.
By Larissa MacFarquhar
November 30, 2008
The marquee outside the Bloor Cinema, in Toronto, advertised “The Last Mistress” at four, “Naomi Klein—the Shock Doctrine” at seven, and “Little Shop of Horrors” at nine-thirty. It was a warmish night. The falafel shop next door was doing a brisk business. A line of people holding tickets to the Naomi Klein event stretched to the end of the block and around the corner. Outside the entrance to the cinema, a middle-aged man and an elderly woman paced up and downselling copies of Socialist Action for a dollar. (The September issue included articles about capitalism’s contradictions, class war in Bolivia, and a commentary by Mumia Abu-Jamal—a regular feature.)
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The economic crisis had looked at first like a textbook enactment of her “shock doctrine” theory, and everyone wanted her to go on TV and explain it.
The central thesis of the book is that capitalism and democracy, free markets and free people, do not, as we’ve been told, go hand in hand. On the contrary, capitalism—at least fundamentalist capitalism, of the type promoted by the late economist Milton Friedman and his “Chicago School” acolytes—is so unpopular, and so obviously harmful to everyone except the richest of the rich, that its establishment requires, at best, trickery and, at worst, terror and torture.
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Klein was born in 1970, but the political stories in which she places herself all begin in the thirties. The thirties and forties were the last time in America, she feels, that social movements were strong enough to force radical economic change in a progressive direction. They were also the last time that a certain kind of grand, bold political hope existed in her family—the last time before events combined to extinguish all thoughts, among Kleins, of utopia.
Herpaternal grandparents, Anne and Philip, met at the Jack London Club—a leftist artists’ club—in Newark, New Jersey, sometime in the thirties. (Philip’s older brother, Sol, was more committed—__he moved to the Soviet Union __after the revolution and never came back.)Philip wanted to be a painter, and in 1936 he got a job as an animator for Disney. He worked on “Fantasia” and “Snow White” and “Pinocchio.” Disney animators had been trying to organize themselves in secret since the early thirties, but they didn’t pull it off until after the bonuses they were promised for “Snow White” failed to materialize. In the late spring of 1941, they went on strike. Philip and Anne, ardent believers in the union, lived in a tent across the street from the studio, cooking over open fires and manning the picket line. Their first son, Michael, Naomi’s father, was then three, and lived with them in the tent part of the time. The strike was settled in September, but a few months after that Philip was fired for being an agitator. In 1942, he and Anne moved back to New Jersey, and he went to work in a shipyard.