Tag Archives: New Cold War

If We Fight a New Cold War, Who Are We Fighting It With? By Ted Snider

The US would have a tough time winning a Cold War against China. How does it fight against China and all its Eurasian friends, like Russia and Iran? From Ted Snider at antiwar.com:

President Biden’s words were hollow. The content had been cored because the words were empty of any real world content. On September 21, 2021, he told the UN General Assembly that the US is “not seeking a new Cold War or a world divided into rigid blocks.” UN Secretary-General Antonio Gueterres disagreed, warning against the new Cold War and referring to the US and China as “superpowers.”

With whom would a new Cold War be fought? Biden hinted at who the Cold War would be fought with right after saying that the Cold War wouldn’t be fought: “the United States turns our focus to the priorities and the regions of the world, like the Indo-Pacific, that are most consequential today and tomorrow.”

Biden denied that the war with China is a war of aggression. White House press secretary Jen Psaki clarified that “Our relationship with China is one not of conflict but of competition.” Biden referred to “a new era of relentless diplomacy.” Again, words cored of content. The diplomacy is a diplomacy of provocation in Taiwan punctuated by military provocation. And diplomacy is not characterized by the US enticing Australia to cancel its order of conventional submarines that, according to Frank von Hippel, senior research physicist at Princeton University and a specialist in nuclear power, nuclear energy and nuclear arms control and proliferation, are completely adequate if your purpose is defending your maritime property against invading navies, for nuclear-powered submarines that are only preferable if your purpose is offensive attack. That’s sending a message to China, but it’s not diplomacy.

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The China Cold War Will Unstick America’s Glue, by Alastair Crooke

America doesn’t have what it would take to wage a new cold war against China. From Alastair Crooke at strategic-culture.org:

Can an America that off-shored much of its manufacturing capacity to China, for short-term profit, afford the de-coupling?

Washington isn’t quite sure what to do after the chaotic end to America’s ‘forever’ war. Some in Washington bitterly regret exiting from Afghanistan at all, and advocate for an immediate return; some just want to move on – to the China ‘Cold War’, that is. The cries from the initial Establishment ‘melt down’ and its articulation of pain over the Kabul withdrawal débacle, however, indicates the extent to which the almost obsessive focus on ‘Hobbling China’ nevertheless seems like an humiliating retreat to U.S. hawks, habituated to more global, and unlimited interventions.

It is a retreat. ‘Rome’ is relegating its ‘distant provinces’ to their own devices, and even its abutting loyalist inner circle is being downgraded to ‘benign’ indifference. It is a drawing-in towards the ‘hub’, a ‘circling of wagons’ – the better to muster energies for a lunge out at China.

There are the acquiescent regions that Americans occupied after WW II (the psychologically-seared Japan and Germany), and then there is the American world empire, which exists chimerically wherever U.S. commercial and cultural power reaches, and more practically in its patchwork of client states and military installations. This third empire is regarded by many Americans as its most remarkable achievement – a triumph of the ‘City of Light’.

The post 9/11 era’s final ‘Mad Hatter’s Tea Party’ dénouement scene at Kabul Airport did however, clearly convey a strong end-of-the-Roman Empire feel. Yes, failure in Afghanistan may have taken place far from Rome itself, yet something more profound today hangs in the air: a Change of Era.

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Demythologizing the Roots of the New Cold War, by Ted Snider

Russia has been more sinned against than sinning in the new cold war. From Ted Snider at antiwar.com:

When Soviet president Mikhail Gorbachev received his peace prize in 1990, the Nobel Prize committee declared that “the two mighty power blocs, have managed to abandon their life-threatening confrontation” and confidently expressed that “It is our hope that we are now celebrating the end of the Cold War.” Recently, U.N. General Secretary António Guterres funereally closed the celebrations with the realization that “The Cold War is back.”

In a very short span of history, the window that had finally opened for Russia and the United States to build a new international system in which they work cooperatively to address areas of common interest had slammed back closed. How was that historic opportunity wasted? Why was the road from the Nobel committee’s hope to the UN’s eulogy such a short one?

The doctrinal narrative that is told in the U.S. is the narrative of a very short road whose every turn was signposted by Russian lies, betrayal, deception and aggression. The American telling of history is a tale in which every blow to the new peace was a Russian blow. The fact checked version offers a demythologized history that is unrecognizably different. The demythologized version is also a history of lies, betrayal, deception and aggression, but the liar, the aggressor, is not primarily Russia, but America. It is the history of a promise so historically broken that it laid the foundation of a new cold war.

But it was not the first promise the United States broke: it was not even the first promise they broke in the new cold war.

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Hollywood reboots Russophobia for the New Cold War, by Max Parry

Washington and Hollywood have been in bed together for a long time. From Max  Parry at off-guardian.org:

​It is an age-old question as to the extent art reflects the world we live in. Bertolt Brecht allegedly said to the contrary that art was “not a mirror held up to reality but a hammer with which to shape it.”

The Marxist German playwright devised theatrical methods designed to distance the audience from the staged drama while drawing self-reflexive attention to the contrived nature of the spectacle itself.

The idea was that by estranging the spectator and encouraging critical examination, they would come to view society’s manmade injustices as similarly unnatural and be given agency to transform them in the real world. One of the implications of Brecht’s notion was that art in its more conventional forms often functions as a tool of mass persuasion for those in power to reinforce those inequities.

Marx and Engels themselves professed to have learned more about the contradictions of French society from the novels of Honoré de Balzac, which upheld the monarchy and the Church, than any historians or philosophers of their day. At its very worst, artistic mediums can be used by governments to manipulate a nation’s attitude towards other countries in order to justify war.

Brecht’s life and work coincided with the development of the film industry. However, most productions influenced by his ‘epic theatre’ were art-house and foreign films while commercial, mass-market Hollywood movies placed greater emphasis on appealing to the emotions over intellect.

However, there were some exceptions such as Charlie Chaplin who not coincidentally was persecuted for his politics by the House of Un-American Activities Committee (HUAC) during the Red Scare.

In the Cold War, Tinseltown played an important role in the cultural battlefield against the USSR and anti-Soviet paranoia was an ever-present theme in American cinema for decades, from the McCarthy era until the Berlin Wall fell.

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