18 March 2016

Breaking News: World War II Is Over, Britain Is A European Country

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By Andrew Scott Crines, University of Liverpool

Britain has so far been something of a failure in the European Union. Despite the benefits it has received in terms of investment, social programmes and education, it just doesn’t seem to be part of the club. That’s because the UK has yet to fully appreciate what the EU does.

For decades now, the British right-wing press has presented the UK as a place apart from the EU. It is distant in terms of culture, economy, social beliefs, aspirations and desires. Despite this antagonism, the EU has continued to invest in British infrastructure (look at Liverpool, Manchester, Leeds, Newcastle, Glasgow), in its culture, and, of course, by allowing access to the single market.

The single market is not the sole function of the European Union. Political union has always been on the cards. Opponents to it only failed to notice sooner because they didn’t do their research in the years leading up to 1973, when Britain first joined the EEC. At that point, Britain joined a union of nations that were already sharing sovereignty.

Yet opponents acted surprised when Britain, too, was called upon to share that sovereignity. It is clear from both Labour and Tory leaders at the time that sharing sovereignty was always on the cards.

But we are told continually by those seeking to depart that it is a market place which has grown too big for its boots. This is a failure of imagination from opponents, rather than a failure of the EU to be what it has always sought to be.

The myth that Britain was somehow different from the rest prevented it from getting more involved at that time and has now prevented it from becoming European.

Romantic notions of imperial glory and World War II help embolden that myth in the minds of Brexit supporters. Britain is seen as a unique nation. It is simply better than the other EU member states.

This uniqueness is not only flawed in a historical sense but also in its contemporary value.

We’re just bally different!
Britain romanticises World War II because it stood against Hitler while the rest of Europe fell. As such, it is seen as a moment of supreme victory – something to be proud of.

This is not to suggest that British people shouldn’t be proud of standing up to tyranny, but from Europe’s viewpoint, World War II was a traumatic period. It was a time of occupation, misery, and of course, death.

Get over it, Nigel. PA/Gareth Fuller

This is, of course, a matter of historical record but opponents of the EU seem to be using this period as evidence of Britain’s exceptionalism and defiance. It sends the message that Britain was better than its European neighbours, not only for avoiding occupation, but also for liberating them.

As accurate as some of these points may be, it is important to see how other EU countries view this period and the harmful impact the British attitude will have, not just on European countries but also on its view of itself.

Failing to adapt
While the rest developed a more cohesive sense of European identity, Britain resisted. And to some extent, the introduction of the euro has precipitated a further breaking down of nationalism. Britain, however, remains apart.

Today, the global financial crash and its ongoing consequences have left the eurozone in an economic mess. But the ideas underscoring it were valid. There is nothing inherently wrong with ever closer union. Being closer enables cross country collaborations, freer trade, cultural mixing, and the essential creation of europeanism.

Opponents view this as a betrayal of nationalism. But given nationalism is, by definition, an inward celebration of a nation’s identity, ever closer union can rein in the urge nations have to compete with each other militarily.

British people have forgotten why the European union exists in the first place. I would argue that they never fully understood.

The EU isn’t just a common market of western capitalism. It is an idea. The idea is one of cultural, social, and economic integration to create a better, more prosperous Europe. The alternative is division, competition, and rivalry between former friends.

Since joining in 1973, Britain has enjoyed the benefits of membership while all the time pushing away. It is the sick man of Europe, pushing away the doctor who is trying to cure a worrying case of individualism.

Today, Britain is seeing the fruits of its exceptionalism. It has listened to opponents of the European Union for too long. Now it is time to grow up, move beyond imperialism, stop glorifying a period of massive death and destruction in Europe, and accept membership of a successful union. That union could be even more successful if Britain stopped distancing itself and accepted its place within it.

And, yes, if Britain votes to remain relevant, it should finally take the leap into the light and join the euro. Who knows – that may make it a stronger, more successful currency.
The Conversation

About Today's Contributor
Andrew Scott Crines, British Politics Lecturer, University of Liverpool


This article was originally published on The Conversation.

Bunker Hill Community College Looks at Racial Inequality with Maria Hinojosa

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News correspondent and journalist Maria Hinojasa meets with students at Bunker Hill Community College. (PRNewsFoto/Bunker Hill Community College)
Maria Hinojosa, anchor and executive producer of NPR's Peabody Award-winning weekly program, Latino USA, spoke about racial inequality in the United Stateson March 3, 2016, as part of BHCC's Women's History Month celebration. 
"Your challenge right now is to own this moment in history and to own your power,she told a packed audience, stressing the challenges faced by immigrants in the United States today. "If you can vote, if you can become a citizen, please do. We need you to be voting and we need you to be engaged. The power of history is on your shoulders."
Before her lecture, Hinojosa sat in on a freshman composition class attended by a group of Chelsea High School Early Start students. Associate Provost of BHCC's Chelsea Campus Alice Murillo also attended the class with Hinojosa. Following the classroom visit, Hinojosa enjoyed a lunch in the College's art gallery.
Hinojosa is founder of the Futuro Media Group, which produces both Latino USA and America by the Numberswith Maria Hinojosa, the first public television series to investigate the impact of America's ongoing population change. Hinojosa is the first Latina to anchor a Frontline report, "Lost in Detention," exploring abuse at immigrant detention facilities. "It was inspiring for Bunker Hill Community College students to hear this powerful advocate for social justice encouraging them to join the fight," said President Pam Y. Eddinger, Ph.D.
Born in Mexico City, Hinojosa was raised in Chicago and received her bachelor's degree from Barnard College. She writes a weekly syndicated newspaper column and is the author of two books, including her 2000 memoir on motherhood, Raising Raul: Adventures Raising Myself and My Son.
Hinojosa's more than 25 years of reporting have earned her four Emmys, the 2012 John Chancellor Award for Excellence in Journalism, the Robert F. Kennedy Award for Reporting on the Disadvantaged, the 2012 Studs Terkel Community Media Award and the 2007 Edward R. Murrow Award from the Overseas Press Club for best documentary for "Child Brides: Stolen Lives."
Through Compelling Conversations, Women's History Month, Black History Month, One Book and other speaker series and celebratory events, Bunker Hill Community College hosts high-profile speakers who discuss their professional experience and provide inspiration for students.

17 March 2016

MEGADETH's New Album 'Dystopia' To Be Issued As A Limited Edition Vinyl Picture Disc

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MEGADETH's New Critically Acclaimed Album 'Dystopia' To Be Issued As A Limited Edition Vinyl Picture Disc on April 8 (PRNewsFoto/Universal Music Enterprises)
On April 8th, 2016, Universal Music / Tradecraft / T-Boy Records will issue MEGADETH's new highly successful and critically acclaimed album Dystopia as a limited edition vinyl picture disc featuring the album's vivid dark and chilling artwork which takes the bands long-time mascot Vic Rattlehead to a whole new level and drops him into a bleak, futuristic dystopian universe.
The Dystopia picture disc can be ordered individually at all participating retail and online outlets or at UMv as part of a specially priced pack with other picture disc titles including Peace Sells…But Who's Buying?So Far, So Good…So What!Rust In PeaceCountdown To Extinction and Youthanasia.
Featuring 11 tracks, Dystopia was released on January 22nd on CDLP, and digitally, as well as a specialDeluxe Virtual Reality CD package.
Dystopia debuted at no. 3 on the Billboard Top 200 chart, no. 1 album on the Hard Music and Top Rock charts. and no. 2 on the Top Album Sales chart. 
Globally, Dystopia also achieved top 10 debuts in Canada (no. 2),Japan (no. 2 international chart), Finland (no. 3), Mexico (no. 4), Czech Republic (no. 5), Australia (no. 6), New Zealand (no. 6), Switzerland (no. 7), Poland (no. 8) and Germany (no. 10), which along with BelgiumIreland and Spain contributed to achieve MEGADETH's highest ever chart positions in their thirty year history in a total of 10 countries around the world. Other countries with significant sales or chart debuts included UK, Norway,SwedenItalyNetherlands, and France. A truly worldwide success, Dystopia outsold the band's previous album Super Collider (2013) in only 4 weeks.
Dystopia weaves together Dave Mustaine's intricate and unique songwriting style, trademark leads and lightning riffs with harmonious precision, paying homage to MEGADETH's influential roots while continuing to break new and heavy ground.  
TRACK LISTING:

1. The Threat Is Real
7. Poisonous Shadows
2. Dystopia
8. Conquer or Die!
3. Fatal Illusion
9. Lying In State
4. Death From Within
10. The Emperor
5. Bullet To The Brain
11. Foreign Policy
6. Post American World


MEGADETH are currently on the North American leg of their Dystopia World Tour, visiting a total of 12 states and throughout Canada, before performing across Europe in June and July, and in Latin America in August. Current tour dates are included below, with full information available at www.megadeth.com/tour.
Dystopia World Tour North American Dates are as follows:

Mar 17
Terminal 5
New York, NY
Mar 19  
Sands Bethlehem Event Center 
Bethlehem, PA
Mar 20  
Electric Factory
Philadelphia, PA
Mar 21  
House of Blues
Boston, MA
Mar 23  
Cross Insurance Center
Bangor ME
Mar 24  
Videotron Centre
Quebec City, Canada

In addition to the Dystopia World TourMEGADETH will also be making special festival appearances. Go to www.megadeth.com/tour for ticketing info and up-to-date information. 

Festival Dates Include:
Apr 28
Coliseo de Puerto Rico
San Juan, Puerto Rico  
Apr 30
Fort Rock @ JetBlue Park
Ft. Myers, FL  
May 1
Welcome to Rockville @ Metropolitan Park
Jacksonville, FL  
May 7
Carolina Rebellion @Rock City Campgrounds
Concord, NC  
May 20-22
Rock On The Range @ MAPFRE Stadium
Columbus OH  
May 22
Rock'n Derby @ Shaghticoke Fairgrounds
Schaghticoke, NY
May 26
Badlands Pawn
Sioux Falls, SD
May 27-29
Rocklahoma @ Catch The Fever Festival Grds 
Pryor, OK
May 29
River City Rockfest @ AT&T Center
San Antonio, TX

MEGADETH burst onto the scene thirty years ago, virtually inventing a genre with their debut album Killing Is My Business… And Business Is Good! (recently recognized by VH1 as the Greatest Thrash Metal Debut Album of All Time) sold more than 38 million albums worldwide, earning numerous accolades including 11 Grammy® nominations, scoring five consecutive platinum albums—including 1992's two-million-selling Countdown to Extinction.
SOURCE: Universal Music Enterprises
www.megadeth.com | facebook.com/Megadeth | twitter.com/Megadeth | instagram.com/Megadeth

16 March 2016

How Donald Trump Gets Away With Saying Things Other Candidates Can't

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Donald Trump fires up the crowd during a campaign rally in Warren, Michigan. Carlos Barria/Reuters
By Jennifer Mercieca, Texas A&M University

In an interview last month, George Stephanopoulos asked Donald Trump about his retweet of a follower who insisted that both Marco Rubio and Ted Cruz were ineligible for the presidency.


Trump dismissed Stephanopoulos' question with “it was a retweet” – as if to say that retweeting someone else’s claim meant that he wasn’t responsible for the content.

When pressed, Trump continued:
I mean, let people make their own determination. I’ve never looked at it, George. I honestly have never looked at it. As somebody said, he’s not [eligible]. And I retweeted it. I have 14 million people between Twitter and Facebook and Instagram, and I retweet things and we start dialogue and it’s very interesting.
It’s a response that can be reduced to I’m not saying it, I’m just saying it.

As a scholar of American political rhetoric, I’ve previously written about the ways that Donald Trump’s rhetorical style mirrors that of polarizing figures like George Wallace and Joseph McCarthy.

But it’s becoming increasingly clear that what sets Trump’s campaign apart is his reliance upon paralipsis, a device that enables him to publicly say things that he can later disavow – without ever having to take responsibility for his words.

Just saying…
The art of rhetoric – or persuasive communication – can include any number of forms: speeches, essays, tweets, images, films and more.

Paralipsis (para, “side” and leipein, “to leave”) is a Greek term that translates to “leave to the side.” It’s thought to be an ironic way for a speaker to say two things at once.

For example, say you wanted to imply that your coworker takes too many coffee breaks without actually accusing him wasting time at work. You might say something like, “I’m not saying that he drinks more coffee than anyone else in the office, but every time I go to the break room, he’s in there.” You might also shrug and make a “something seems kind of off” facial expression.

Paralipsis is a powerful rhetorical device because it can also allow someone to make a false accusation – or spread a false rumor – while skirting consequences.

And Trump has become a master at wielding this tool.

For example, after he was widely condemned for retweeting a graphic of homicide data delineated by race, FactCheck.org found that “almost every figure in the graphic is wrong.” His response on the Bill O’Reilly Show was:
Bill, I didn’t tweet, I retweeted somebody that was supposedly an expert, and it was also a radio show…am I gonna check every statistic? …All it was is a retweet. And it wasn’t from me. It came out of a radio show, and other places…This was a retweet. And it comes from sources that are very credible, what can I tell you?
In other words: I’m not saying, I’m just saying.

Meanwhile, Trump has repeatedly used paralipsis to deflect criticism that he’s courting white supremacists.

In January, Trump retweeted a photoshopped image of Jeb Bush from a user with the handle WhiteGenocideTM. In response to the backlash he received for retweeting a white supremacist, Trump simply shrugged: “I don’t know about retweeting. You retweet somebody and they turn out to be white supremacists. I know nothing about these groups that are supporting me.”

Likewise, he blamed a faulty earpiece for his unwillingness to disavow David Duke and the KKK in a CNN interview:
I don’t know anything about what you’re even talking about with white supremacy or white supremacists. So I don’t know. I don’t know – did he endorse me, or what’s going on? Because I know nothing about David Duke; I know nothing about white supremacists.
I’m not saying, I’m just saying.

And when Gawker tricked Trump into retweeting a quote from Benito Mussolini, his response was “What difference does it make whether it’s Mussolini or somebody else? It’s certainly a very interesting quote.”

Accountability and responsibility
Certainly it’s a good thing to “start dialogue.” Trump knows that “interesting” content attracts retweets, followers, audiences, media attention and, it seems, votes.

However, there’s danger in circulating accusations and rumors, even if the purpose is to “start dialogue.” Research shows that once an accusation or a rumor begins to circulate, it’s very difficult to retract. Often, a retraction or clarification doesn’t receive as much attention as the initial accusation. Meanwhile, the mere act of retracting misinformation can reaffirm the deceptive assertions as facts, even after the clarification.

So what does it mean when a presidential candidate gains a devoted following and rises to prominence – yet consistently avoids taking responsibility for the content of his public messages?

Political theorists, rhetoricians and historians have grappled with this exact problem since the rise of the “demagogue” in Athens in 429 B.C., when Pericles' death created a vacuum for “unofficial” leaders of the people to rise to power.

The danger, according to political scientist Ernest Barker, was that “such a leader – having no official executive position – could exercise initiative and determine policy without incurring political responsibility, since it was not his duty to execute the policy which he had induced the assembly to accept.”

In the Greek context, Barker described the danger of demagogues who weren’t tasked with implementing the policies for which they advocated. In our current political context, Trump can argue that he can’t be held accountable because he wasn’t the one who originally posted the tweet. He can shrug and claim that he’s simply giving a voice to an idea.

In both cases, the defining feature of demagogues is their refusal to accept responsibility for their actions.

Yet Donald Trump (the television star) routinely fired people on his show “The Apprentice” for failing to take responsibility for their team’s failures. And he’s often given lectures on “responsibility” to his Twitter followers, like on February 14, 2013 when he invited his followers to “take responsibility for yourself – it’s a very empowering attitude.”

To use the candidate’s brand of paralipsis: I’m not saying that Trump’s a hypocrite and a demagogue. I’m just saying that he doesn’t exactly follow his own advice.

About Today's ContributorThe Conversation
Jennifer Mercieca, Associate Professor of Communication and Director of the Aggie Agora, Texas A&M University


This article was originally published on The Conversation. 


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15 March 2016

'Underground' Premiere Shatters Records As The Most-Watched Program In Nearly 18 Years On WGN America

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Jurnee Smollett-Bell as Rosalee, Alano Miller as Cato and Renwick Scott as Henry (PRNewsFoto/WGN America)
On the heels of rave reviews, the premiere of WGN America's critically acclaimed hit series "Underground" shattered records as the most-watched program in nearly 18 years on the network, since the Cubs vs. Cardinals game on 9/8/1998 where Mark McGwire famously hit his 62nd home run beating Roger Maris's single season record.  

In Live + 3 delivery, "Underground" amassed 3.5 million Total Viewers (+43% vs. 2.5 million) and 1.5 Adults 25-54 (+51% vs. 983,000), last Wednesday night (premiere and three encores) to become the highest rated original scripted program ever in the network's history.  When adding digital platforms and encores, "Underground" continued its winning streak, outpacing all originals on the network with 4.9 million Total Viewers on premiere night and 5.7 million Total Viewers across the week.  

The 10 p.m. airing drew 2.3 million Total Viewers (+60% vs. 1,421,000) and 985,000 Adults 25-54 (+68% vs. 585,000), outperforming the network's prime average season-to-date by +948% in the demo. 

The Full-Length Trailer
"We couldn't be happier with the outstanding performance of 'Underground,' but the overwhelmingly positive response of the audience to this story about the unsung American heroes of the Underground Railroad is even more gratifying," said Matt Cherniss, president and general manager, WGN America and Tribune Studios.  "The talented creators Misha Green and Joe Pokaski, along with the producers and an amazing cast and crew, have created something truly special."
The commercial-free premiere of "Underground" aired Wednesday, March 9 at 10 p.m., and ranks an impressive #6 in Total Viewers among all scripted cable series premieres this broadcast season and #8 among Adults 25-54.
Lauded for its vivid and thrilling portrayal of the revolutionaries of the Underground Railroad, "Underground's" 3.5 million Total Viewers on the night improved on the premiere nights of the network's popular originals "Outsiders" by +25% (vs. 2.8 million) and "Salem" by +9% (vs. 3.2 million).
From creators and executive producers Misha Green and Joe Pokaski, and executive producer and Academy Award®-winner John Legend, the 10-episode, hour-long program tells the unflinching story of a group of courageous men and women who band together for the fight of their lives – for their families, their future and their freedom.  In all-new episode of "Underground," "War Chest," airing WEDNESDAY, March 16 (10:00 p.m. ET/PT), a plantation dance becomes the perfect distraction for a heist while John and Elizabeth step into a strange new world.
"Underground" has fast amassed a passionate fan base, and trended on Twitter in its premiere night as the second highest trending topic of the night, only after the Democratic debate.  The series was recently honored at the White House with a screening and panel discussion as part of the Office of Public Engagement's Black History Month program.  Additionally, "Underground" has been screened at a number of revered institutions, universities and events, including National Civil Rights Museum, 2016 Sundance Film Festival, NAACP, Schomburg Center, DuSable Museum of African American History, Howard University, New York Comic-Con, and more.


Cast of WGN America's "Underground" and Executive Producer John Legend (PRNewsFoto/WGN America)
The celebrated cast of "Underground" includes: 
  • Jurnee Smollett-Bell ("True Blood," "Friday Night Lights") 
  • Aldis Hodge ("Straight Outta Compton") 
  • Christopher Meloni ("Sin City: A Dame to Kill For")
  • Alano Miller ("Jane The Virgin") ‎
  • Jessica de Gouw ("Arrow," "Dracula") 
  • Marc Blucas ("Buffy the Vampire Slayer") ‎
  • Adina Porter ("The 100") 
  • Mykelti Williamson ("Justified," "24") 
  • Amirah Vann ("Girls," "And So It Goes") 
  • Johnny Ray Gill ("Rectify")
  • Chris Chalk ("Gotham") 
  • Reed Diamond ("Agents of S.H.I.E.L.D.")
  • Theodus Crane ("The Walking Dead") 
  • James Lafferty ("One Tree Hill")
  • Renwick Scott ("Treme")
  • Jussie Smollett ("Empire")

WGN America Logo (PRNewsFoto/WGN America)
Hailing from Sony Pictures Television and Tribune Studios, "Underground" is created by Misha Green ("Sons Of Anarchy," "Heroes") and Joe Pokaski ("Daredevil," "Heroes,") who executive produce alongside Academy Award-winner Akiva Goldsman ("A Beautiful Mind," "I Am Legend") of Weed Road Pictures; and Joby Harold ("King Arthur," "Edge of Tomorrow") and Tory Tunnell ("King Arthur," "Holy Rollers") of Safehouse Pictures.  Visionary artist and producer John Legend, an Academy Award, Golden Globe® and multi-Grammy Award winner, and his Get Lifted partners Mike Jackson and Ty Stiklorius executive produce.  Additionally, Get Lifted oversees all elements of the show's music.  Anthony Hemingway ("The Wire," "Treme") directs and serves as executive producer for the first four episodes. 

SOURCE: WGN America

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