Speaking to members of the press on Thursday, Chinese Defense Ministry spokesperson Senior Col. Wu Qian said provocative actions in and near Chinese waters have increased in 2021 and that the US needs to back off.
The Pentagon acts as an autonomous decision-making center that is effectively outside the power ...
The military does not guarantee freedom of speech, freedom of assembly, the right to a fair trial, or any other of the myriad of rights and privileges that have come to define the United States as a collective. In fact, the military, with few exceptions, has no roll in the domestic affairs of the American people.
by Thierry Meyssan via Voltairenet.org. For two decades, the Pentagon has been applying the “Rumsfeld/Cebrowski doctrine” to the “wider Middle East”. Several times, it thought of extending it to the “Caribbean Basin”, but refrained from doing so, concentrating its power on its first target. The Pentagon acts as an autonomous decision-making center ...
The final word on the project was in the “Office of Force Transformation,” created by Donald Rumsfeld at the Pentagon in the days following the 9/11 attacks.
It must be noted that the Pentagon has become an autonomous power. It has a gigantic budget of 740 billion dollars, which is about twice the annual budget of the entire French state. In practice, its power extends far beyond that, since it controls all the member states of the Atlantic Alliance.
Chinese telecom giant Huawei saw a substantial drop in both smartphone shipments and market share in China market in 2020, following a tough year of US government’s strangle on semiconductors supply, allowing US rival Apple to rise to fill up the void.
Dear Friends,#N#This is Theodore Too, being escorted to his berth at the Marine Museum in Kingston in July. You may recall, the popular children’s TV series in the 90s called Theodore Tugboat .
Dear Friends,#N#One of Albrecht Durer’s most enduring images is this 1498 woodcut depicting The Four Horsemen of the Apocalyse. It is based on the Bible’s Book of Revelation and can be interpreted variously.
Dear Friends,#N#It’s ironic. Since the onset of the twin pandemics that plague us, many of you, and the public generally, have sought reassurance that your life savings were not going to be wiped out in some end-of-the-world-as-we-know-it scenario.
This mysterious poster has been appearing on lampposts in downtown Kingston since last fall. It has prompted a rather personal examination of fake news. Read the fine print under the photo and note that the scientist on the right is The West Letter editor’s father, Allen (Al) West. He died at age 86 in 1996.
There were a number of firsts achieved at the April Fools Day speaker luncheon: first speaker beamed in by video chat link from an off site location (Professor Susan Crawford spoke from her office on the Harvard campus); first live streaming of a Community Foundation event (reaching 146 off site attendees); first speaker luncheon proceedings to be recorded and soon to be “archived” and viewable on the CF web site; first speaker luncheon with a dedicated Tweeter (thank you Brenda Slomka!) throughout, resulting in 65,000 Twitter accounts reached and 672,000 Twitter “impressions” registered..
It saddens me deeply to report that The West Letter has lost its canine correspondent and assistant editor, Maximilian West, aka Max. The picture above was taken at the corner of Ave. Melville and Blvd. de Maisonneuve in Montreal, bordering Westmount Park, last June 2nd. He had been visiting friends and clients with his master.
The theme of this edition is vision. Fatherless at age 12, the young A. Y. Jackson apprenticed to a lithographer in Montreal and quickly realized he did not want to spend the rest of his life designing soup can labels. He had a vision, hopped a freighter and studied art in Paris. On his return he knew he wanted to dedicate his life to art.
Size: 4 sound files (2 hrs., 54 min.) Audio, digital, wav; 58 Pages, Transcript
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Funding for this interview was provided by the Lichtenberg Family Foundation.