Immortal Technique - The Fourth Branch

[Talking]
The new age is upon us
And yet the past refuses to rest in its shallow grave
For those who hide behind the false image of the son of man
shall stand before God!!! It has begun
The beginning of the end
Yeah..
Yeah... yeah, yeah

[Verse 1]
The voice of racism preaching the gospel is devilish
A fake church called the prophet Muhammad a terrorist
Forgetting God is not a religion, but a spiritual bond
And Jesus is the most quoted prophet in the Qu'ran
They bombed innocent people, tryin' to murder Saddam
When you gave him those chemical weapons to go to war with Iran
This is the information that they hold back from Peter Jennings
Cause Condoleeza Rice is just a new age Sally Hemmings
I break it down with critical language and spiritual anguish
The Judas I hang with, the guilt of betraying Christ
You murdered and stole his religion, and painting him white
Translated in psychologically tainted philosophy
Conservative political right wing, ideology
Glued together sloppily, the blasphemy of a nation
Got my back to the wall, cause I'm facin' assassination
Guantanamo Bay, federal incarceration
How could this be, the land of the free, home of the brave?
Indigenous holocaust, and the home of the slaves
Corporate America, dancin' offbeat to the rhythm
You really think this country, never sponsored terrorism?
Human rights violations, we continue the saga
El Savador and the contras in Nicaragua
And on top of that, you still wanna take me to prison
Just cause I won't trade humanity for patriotism

[Hook]
It's like MK-ULTRA, controlling your brain
Suggestive thinking, causing your perspective to change
They wanna rearrange the whole point of view of the ghetto
The fourth branch of the government, want us to settle
A bandana full of glittering, generality
Fighting for freedom and fighting terror, but what's reality?
Read about the history of the place that we live in
And stop letting corporate news tell lies to your children

[Verse 2]
Flow like the blood of Abraham through the Jews and the Arabs
Broken apart like a woman's heart, abused in a marriage
The brink of holy war, bottled up, like a miscarriage
Embedded correspondents don't tell the source of the tension
And they refuse to even mention, European intervention
Or the massacres in Jenin, the innocent screams
U.S. manufactured missles, and M-16's
Weapon contracts and corrupted American dreams
Media censorship, blocking out the video screens
A continent of oil kingdoms, bought for a bargain
Democracy is just a word, when the people are starvin'
The average citizen, made to be, blind to the reason
A desert full of genocide, where the bodies are freezin'
And the world doesn't believe that you fightin' for freedom
Cause you fucked the Middle East, and gave birth to a demon
It's open season with the CIA, bugging my crib
Trapped in a ghetto region like a Palestinian kid
Where nobody gives a fuck whether you die or you live
I'm tryin' to give the truth, and I know the price is my life
But when I'm gone they'll sing a song about Immortal Technique
Who beheaded the President, and the princes and sheiks
You don't give a fuck about us, I can see through your facade
Like a fallen angel standing in the presence of God
Bitch niggaz scared of the truth, when it looks at you hard

[Hook]
It's like MK-ULTRA, controlling your brain
Suggestive thinking, causing your perspective to change
They wanna rearrange the whole point of view in the ghetto
The fourth branch of the government, want us to settle
A bandana full of glittering, generality
Fighting for freedom and fighting terror, but what's reality?
Martial law is coming soon to the hood, to kill you
While you hanging your flag out your project window

[Talking]
Yeah..
The fourth branch of the government AKA the media
Seems to now have a retirement plan for ex-military officials
As if their opinion was at all unbiased
A machine shouldn't speak for men
So shut the fuck up you mindless drone!
And you know it's serious
When these same media outfits are spending millions of dollars on a PR campaign
To try to convince you they're fair and balanced
When they're some of the most ignorant, and racist people
Giving that type of mentality a safe haven
We act like we share in the spoils of war that they do
We die in wars, we don't get the contracts to make money off 'em afterwards!
We don't get weapons contracts, nigga!
We don't get cheap labor for our companies, nigga!
We are cheap labor, nigga!
Turn off the news and read, nigga!
Read... read... read...

Alex Jones - The Obama Deception - sneek peek

The Obama Deception is a hard-hitting film that completely destroys the myth that Barack Obama is working for the best interests of the American people.
Covered in this film: who Obama works for, what lies he has told, and his real agenda. If you want to know the facts and cut through all the hype, this is the film for you.

Watch the Obama Deception and learn how:

- Obama is continuing the process of transforming America into something that resembles Nazi Germany, with forced National Service, domestic civilian spies, warrantless wiretaps, the destruction of the Second Amendment, FEMA camps and Martial Law.

- Obama's handlers are openly announcing the creation of a new Bank of the World that will dominate every nation on earth through carbon taxes and military force.

- International bankers purposefully engineered the worldwide financial meltdown to bankrupt the nations of the planet and bring in World Government.

- Obama plans to loot the middle class, destroy pensions and federalize the states so that the population is completely dependent on the Central Government.

- The Elite are using Obama to pacify the public so they can usher in the North American Union by stealth, launch a new Cold War and continue the occupation of Iraq and Afghanistan.
Film released 15th March 2009
GET THE DVD
OR DOWNLOAD IT IN HIGH QUALITY AT PRISONPLANET.TV

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Michael Hudson -v- Gordon Brown...who do you believe?

Gordon Brown wants to infect the leaders of the G20 countries with his Walter Mitty fantasies.* If he succeeds in luring them into his make-believe world the collective denial about the roots of the global economic crisis will mean the depression may well exceed the worst excesses of the ’30s.

The Prime Minister is scheming hard to transmit his tragic syndrome for when they arrive in London on April 2.Brown will cajole them into focusing on a narrow set of strategies. He wants them to think that the cause of the crisis is international – and entirely due to America’s sub-prime mortgage scandal. It isn’t.

If he succeeds, he will have conned these nations into misdiagnosing the problem. And that automatically means their “remedies” will be so far off the mark, that they are bound to fail.

“Don’t blame me, Guv”

During his visit to Washington, to bask in the reflected glory of Barrack Obama, Brown refused to apologise for his due diligence failures whilst he was steering the UK economy. Why should he? After all, there was nothing wrong with the British economy! Or so the Prime Minister would have us believe.

In the briefing for the G20 summit, Brown authorised an account that will for years to come be studied as a key document in the black art of state propaganda. This is how the UK is portrayed in Road to the London Summit:

“The global economy was growing strongly when the sub-prime crisis hit. In the UK, the economy was close to trend, inflation was close to target, public sector debt was relatively low and unemployment remained low. The US economy was the first to slow, but the crisis quickly spread to other advanced economies.”



* Walter Mitty is a James Thurber character who lived a life of fantasy. The name is now used to refer to an ineffectual dreamer.

Thanks to;
The Renegade Economist

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John Pilger - The war on Democracy - wins best documentary at 2008 one world awards

Pilgers 55 th documentary but the first for cinema

In the 21st century, people power remains a huge and exciting and largely untapped force for change, but it is nothing without truth. “In the time of universal deceit,” wrote George Orwell, “telling the truth is a revolutionary act.”

John Pilger - the tireless activist for freedom

The rising of Latin America - the genesis of 'The War On Democracy'

In the 1960s, when I first went to Latin America, I travelled up the cone of the continent from Chile across the Altiplano to Peru, mostly in rickety buses and single-carriage trains. It was an experience my memory stored for life, especially the spectacle of the movement of people.

They moved through the dust of a snow-capped wilderness, along roads that were ribbons of red mud, and they lived in shanties that defied gravity. "We are invisible," said one man; another used the term abandonados; an indigenous woman in Bolivia unforgettably described her poverty as a commodity for the rich.

When I later saw Sebastiao Salgado's photographs of Latin America's working people, I recognised the people at the roadside, the gold miners and the coffee workers and the silhouettes framed in crosses in the cemeteries. Perhaps the idea for a cinema film began then, or when I reported Ronald Reagan's murderous assault on Central America; or when I first read the words of Victor Jara's ballads and heard Sam Cooke's anthem A Change Is Gonna Come.

The War On Democracy is my first film for cinema. It follows more than 55 documentary films for television, which began with The Quiet Mutiny, set in Vietnam. Most of my films have told stories of people's struggles against rapacious power and of attempts to subvert and control our historical memory. It is this control, this organised forgetting, that has always intrigued me both as a film-maker and a journalist. Described by Harold Pinter as a great silence unbroken by the incessant din of the media age, it assures the powerful in the west that the struggle of whole societies against their crimes is merely "superficially recorded, let alone documented, let alone acknowledged... It never happened. Even while it was happening it never happened. It didn't matter. It was of no interest".

This was true of Nicaragua in the early 1980s, when a popular revolution began to turn back poverty and bring literacy and hope to a country long dismissed as a banana republic. In the United States, the Sandinista government was successfully portrayed as communist and a threat, and crushed. After all, Richard Nixon had said of all of Latin America: "No one gives a shit about the place." The War On Democracy is meant as an antidote to this.

Modern fictional cinema rarely seems to break political silences. The very fine Motorcycle Diaries was a generation too late. In this country, where Hollywood sets the liberal boundaries, the work of Ken Loach and a few others is an honourable exception. However, the cinema is changing as if by default. The documentary has returned to the big screen and is being embraced by the public, in the US and all over. They were still clapping Michael Moore's Fahrenheit 9/11 two months after it opened in this country. Why? The answer is uncomplicated. It was a powerful film that helped people make sense of news that no longer made sense. It did not present the usual phoney "balance" as a pretence for presenting an establishment consensus. It was not riddled with the cliches, platitudes and power assumptions that permeate "current affairs". It was realist cinema, as important as The Grapes of Wrath was in the 1930s, and people devoured it.



The War On Democracy is not the same. It comes out of a British commercial television tradition that is too often passed over: the pioneering of bold factual journalism that treated other societies not as post-imperial curios, as useful or expendable to "us", but extraordinary and important in their own terms. Granada's World in Action, where I began, was a prime example. It would report and film in ways that the BBC would not dare. These days, with misnamed "reality" programmes consuming much of television like a plague of cane toads, cinema has been handed a timely opportunity. Such are the dangers imposed on us all today by a rampant, neo-fascist superpower, and so urgent is our need for uncontaminated information that people are prepared to buy a cinema ticket to get it.

The War On Democracy examines the false democracy that comes with western corporations and financial institutions and a war waged, materially and as propaganda, against popular democracy. It is the story of the people I first saw 40 years ago; but they are no longer invisible; they are a mighty political movement, reclaiming noble concepts distorted by corporatism and they are defending the most basic human rights in a war being waged against all of us.



Cinema and television production are closely related, of course, but the differences, I have learned, are critical. Cinema allows a panorama to unfold, giving a sense of place that only the big screen captures. In The War On Democracy, the camera sweeps across the Andes in Bolivia to the highest and poorest city on earth, El Alto, then follows Juan Delfin, a priest and a taxi driver, into a cemetery where children are buried. That Bolivia has been asset-stripped by multinational companies, aided by a corrupt elite, is an epic story described by this one man and this spectacle. That the people of Bolivia have stood up, expelled the foreign consortium that took their water resources, even the water that fell from the sky, is understood as the camera pans across a giant mural that Juan Delfin painted. This is cinema, a moving mural of ordinary lives and triumphs.

Chris Martin and I (we made the film as a partnership) used two crews and two very different cinematographers, Preston Clothier and Rupert Binsley. They shot in high-definition stock, which then had to be converted to 35mm film - one of cinema's wonderful anachronisms.

The film was backed by the impresario Michael Watt, a supporter of anti-poverty projects all over the world, who had told producer Wayne Young that he wanted to put my TV work in the cinema. Granada provided additional support, and ITV will broadcast the film later in the year. The extra funding also allowed me to persuade the late Sam Cooke's New York agents to license A Change Is Gonna Come, one of the finest, most lyrical pieces of black music ever written and performed. I was in the southern United States when it was released. It was the time of the civil-rights movement, and Cooke's song spoke to and for all people struggling to be free. The same is true of the ballads of the Chilean Victor Jara, whose songs celebrated the popular democracy of Salvador Allende before Pinochet and the CIA extinguished it.

We filmed in the National Stadium in Santiago, Chile, where Jara was taken along with thousands of other political prisoners. By all accounts, he was a source of strength for his comrades, singing for them until soldiers beat him to the ground and smashed his hands. He wrote his last song there and it was smuggled out on scraps of paper. These are the words:

Get it - watch it - wake up to whats happening in your world!

What horror the face of fascism creates

They carry out their plans with knife-like precision ...

For them, blood equals medals ...

How hard it is to sing

When I must sing of horror ...

In which silence and screams

Are the end of my song.


After two days of torture, they killed him. The War On Democracy is about such courage and a warning to us all that "for them" nothing has changed, that "blood equals medals".

Further reading:
Visit John Pilger's web site
Democracy Now
Hands off Venezuela
War in Context
Venezuelan President Hugo Chávez to the United Nations Assembly

Other great films:
The End of America - Naomi Wolf
What the bleep
The Obama Deception - Alex Jones