New Zealand musician Jordan Reyne interviewed


This is a music video series by Jordan Reyne.

By Len Phelan in Britain:

Jordan Reyne: Strong enough to be different

Tuesday 7th April 2015

In her other life, JORDAN REYNE produces excellent podcasts for the People’s Assembly. But, as she tells Len Phelan, when she isn’t engaged in that vital work she’s busy carving out a career as an innovative musician with a radical, feminist edge to her work

CURRENTLY touring Europe with Slovenian legends Laibach, Jordan Reyne is about to release a new EP entitled Maiden, which follows on from her previous records Mother and Crone.

Described as a goth-folk artist, and with a growing legion of fans in Britain and on the continent, Reyne grew up in an isolated spot on the west coast of New Zealand’s South Island.

Cape Foulwind is a wild place,” she says, “where the nearest city is three hours’ drive and the sea never tires of hurling itself on the jagged roots of mountains. Almost no-one lives there and what little space there is between mountains and waves is often filled with rain.”

It’s a place where you can’t help but fall in love with folklore, the stories of men and women from England, Ireland and Wales who came and lost their lives there, she explains.

As a child, she found “odd ways” to amuse herself: “My habit of hollering back at the sea while banging bits of old iron was not what my parents called musical,” she says. “They made me learn to sing and play, to spare themselves the torment.”

Such early experiences shaped the music she makes today. “It’s a blend of fact and folklore — found tales and found sound from the cast-offs of coal mines and factories to homemade drums and farm implements. It’s a coming together of stories told in Celtic-style melody and hypnotic tribal beats.”

But the trilogy of EPs she’s produced tell stories which are not simply fable. “I wanted to do a project that spoke of the experiences of women at different life stages or the tales of how others see them,” she says. “Growing up in such an unusual environment made me very aware of how people’s expectation of my behaviour seemed to come from somewhere I hadn’t been.”

The EP project began after talking to her mother about her experience of old age.

She told her of what it’s like to feel the same self she’s been for her entire life but, looking incredulously in the mirror, thinks: “Who the hell is this old woman? Is that seriously me?”

How certain “kinds of people” are or should act — assumptions based on age, race, gender or religion — is an issue that exercises Reyne. “Old age invokes certain ideas on how and who one is meant to be,” she stresses. “If we have wrinkles, we are expected to be a different kind of character than if we don’t.

“If we don’t feel old — and my mother is certainly one of the most alive people I know — then our inner ideas of who we are come into conflict with what we are led to believe the facts of our physical age imply. We feel that in being ourselves, people get confused and walk away.”

Alluded to in advertising, film, popular culture and fiction, the images of the maiden, the mother and the crone have been passed down through time with certain character attributes pre-assigned and, says Reyne, “they limit our understanding of a person — we don’t let them just be.”

To counter those assumptions the songs on the EPs, reflecting three life stages, are real stories set into folkoric form, “where women battle with, or conform to, expectation. Or where others comment on how they think those women should behave.”

Her mother’s experience of being deemed invisible has a positive side, she feels. “It gives you a certain amount of leeway. As an inherently shy person, my mother often bottled what she felt, for fear of being told it was not acceptable to disagree.

“Nowadays, she has a new-found confidence to say whatever the hell she thinks. Loudly. Being outside ‘the gaze’ in everyday encounters, she can voice opinions she didn’t dare utter before.

She’ll tell the local politician on the election hustings that he’s failed to address the issues, or the pompous ex-lecturer in her book club group that he should stop imagining he is the only one in the room that knows anything. All things she would never have done before.”

The Crone EP coincides with Reyne’s adoption of “the hag” character on stage, a horned horror backed by pagan rhythms built up live with loop machines.

“The hag not only sings but screams when she feels slighted. She is political, irascible and passionate — because, for once, she gets to say what she thinks. Despite the fact that she may not be listened to.”

The maiden on the final EP of the trilogy is the innocent whose nascent sexuality is as alluring as it is corruptible.

“When I left the place I grew up, living in the city was as exciting as it was scary,” Reyne says.

“There were so many eyes and so many pictures, slogans and broadcasts that seemed to want to help you be these things that fit what was wanted from young women.”

But, she points out, the real seducer is capitalism itself, with its overwhelming messages of polarised gender, narcissism, consumption and trappings of glamour which are often pushed their way. “It is dedicated to the quirky girls — those who are strong enough to be different,” Reyne says.

And that pretty well sums up this intriguing and adventurous artist who dares to challenge the stereotyping of women so persuasively.

The music from all three EPs is being toured throughout Europe, including Britain, until November this year and the Crone EP is released on April 27, details: jordanreyne.com.

Scottish composer Ronald Stevenson, RIP


This music video says about itself:

Ronald StevensonPassacaglia on DSCH“, Mark Gasser: Piano (Live in Australia – 2012)

21 September 2012

The Passacaglia on DSCH is a large-scale composition for solo piano by the British composer Ronald Stevenson. It was composed between 24 December 1960 and 18 May 1962, except for two sections added on the day of the first performance on 10 December 1963. The composer presented a copy of the score to Dmitri Shostakovich, its dedicatee, at the 1962 Edinburgh Festival.

The work takes the principle of the passacaglia or chaconne – namely, strict variations on an unchanging subject, usually a ground bass, and applies it across a very large single-movement structure that divides into a cumulative design of many different musical styles and forms. It is based on a 13-note ‘ground’ derived from the musical motif D, E-flat, C, B: the German transliteration of Dmitri Shostakovich‘s initials (“D. Sch.”). (Shostakovich used these four notes as a musical ‘signature’, for example in his Eighth String Quartet).

Stevenson’s work takes more than an hour and a quarter to perform and may be the longest unbroken single movement composed for piano. It is extraordinary in its scope, the range of its reference to historic events, and the musical influences absorbed. The work includes a Sonata form first section, a suite of dances (incorporating a Sarabande, Jig, Minuet, Gavotte and Polonaise), a transcription of a Scottish bagpipe Pibroch, a section entitled To Emergent Africa involving percussive effects directly on the piano strings, a section resonating to Lenin’s slogan ‘Peace, Bread and the Land‘.

The penultimate section is a huge triple fugue over the ground bass, the first fugue on a 12-note subject derived from the bass, the second combines the DSCH motif with Bach’s monogram BACH (B-flat, A, C, B), and the third, on the Dies Irae chant, is inscribed In memoriam the six million (a reference to the victims of the Holocaust of World War II). The work ends with a series of variations on a theme derived from the ground marked Adagissimo barocco and organized on the principle of Baroque ‘doubles’, with the basic unit of metre halving with each variation.

Plan of Work

Pars Prima Sonata Allegro
Pars Prima Waltz In Rondo-Form
Pars Prima Episode 1. Presto
Pars Prima Suite. Prelude.
Pars Prima Suite. Sarabande.
Pars Prima Suite. Jig.
Pars Prima Suite. Sarabande.
Pars Prima Suite. Minuet.
Pars Prima Suite. Jig.
Pars Prima Suite. Gavotte.
Pars Prima Suite. Polonaise.
Pars Prima Pibroch (Lament For Children).
Pars Prima Episode 2. Abaresque Variations.
Pars Prima Nocturne.
Pars Altera Reverie-Fantasy.
Pars Altera Fanfare.
Pars Altera Forebodings. Alarm.
Pars Altera Glimpse Of A War Vision.
Pars Altera Variations On ‘Peace, Bread And The Land’ (1917).
Pars Altera Symphonic March.
Pars Altera Episode 3. Volante Scherzoso.
Pars Altera Fandango.
Pars Altera Pedal Point. ‘To Emergant Africa‘.
Pars Altera Central Episode. Etudes.
Pars Altera Variations In C Minor
Pars Tertia Adagio. Tribute To Bach
Pars Tertia Triple Fugue Over Ground Bass: Subject 1. Andamento
Pars Tertia Triple Fugue Over Ground Bass. Subject 2. Bach.
Pars Tertia Triple Fugue Over Ground Bass. Subject 3. Dies Irae
Pars Tertia Final Variations On A Theme Derived From Ground (Adagissimo Barocco).

By David Betteridge in Britain:

RONALD STEVENSON, composer, pianist and writer March 6 1928-March 28 2015

Wednesday 8th April 2015

FOR many reasons, the name of Ronald Stevenson, who died on March 28 at the age of 87, should be more widely known.

He composed the epic Passacaglia on DSCH, one of the longest works in the piano repertoire, which is a comprehensive survey of a whole world of music and includes homages to Dmitri Shostakovich, Johann Sebastian Bach and an anonymous drummer whom Ronald once heard practising on a home-made percussion set in a South African township.

That 80-minute single movement work, once heard, is never forgotten — as is the case with many other works forged in Stevenson’s creative furnace.

These range from a violin concerto commissioned by Yehudi Menuhin through choral works — including a group of peace motets and his more recent Praise of Ben Dorain, performed at a Celtic Connections concert in Glasgow — to a rich body of piano works, where the long tradition associated with such giants as Franz Liszt and Ferruccio Busoni is furthered in a novel way.

There was too a cornucopia of songs, settings of Scottish folk songs and works by Hugh MacDiarmid, William Soutar, William Blake and other favourite poets, among them the pure gold of A’e Gowden Lyric to words by MacDiarmid, a friend and collaborator.

This miniature, in the words of one critic, constitutes a sort of gift from Scotland to itself.

Ronald leaves a huge gap in the lives of an international network of “comrades in arts,” as he called them, with whom he corresponded over many decades, as well as in the lives of his family and close friends.

Any comrades-in-arts who made their way to the door of his house in West Linton, on the flanks of the Pentland Hills south of Edinburgh, were certain of a kind welcome both from Ronald and from his lifelong partner, his wife and archivist Marjorie Spedding.

As in John Bunyan’s Pilgrim’s Progress, this was a latter-day “house of the interpreter,” where the visitor is shown “excellent things, such as would be an help to me in my journey.”

One such fellow traveller was Percy Grainger, the Australian-American folklorist, composer, and pianist. The letters that they exchanged, recently published by Toccata Press, take the reader on an intricacy of fascinating journeys, notably the life and work of Walt Whitman, whose embrace of the world in all its contradictions was a big influence on both men. Like Whitman, Ronald could have said: “I am large, I contain multitudes.”

Born into a working-class home in Lancashire in England, settled in Peeblesshire in Scotland and a wandering scholar and sometimes professor on several continents — he worked in Cape Town, Shanghai, New York and Melbourne — Ronald was an advocate and precursor of world music, along the lines of Goethe’s world literature.

Here, east and west meet, folk traditions and classical traditions inform one another and all barriers of genre and style and class and ethnicity are removed in an open conversation.

In a book that he wrote half way through his career, Western Music: an Introduction, Ronald nailed his colours to this democratic and peace-loving mast.

In his closing chapter, he envisaged a kind of music “which is created by a musician aware of the unity and conflict of the different musics of different nations,” and which, while conscious that “conflict is the law of divided society,” is aware also that “unity is equally a law of that great harmony which is music and which one day will reflect the reality of society united.”

Unsurprisingly, this mountain of a musician was for a while vice-president of the Workers’ Music Association where, along with his friend Alan Bush, he pursued through music the causes of peace, social justice and internationalism.

He is survived by his wife Marjorie and by his daughters Gerda, a playwright, poet, singer, actor and theatre director, Savourna, a clarsach player and composer and by his son Gordon, an instrument maker and repairer.

His funeral will be held at the Warriston Crematorium in Edinburgh on Tuesday April 14 at 1pm.

Irish music, war and history


This music video from Ireland says about itself:

30 November 2010

Wolfe TonesCome Out Ye Black And Tans

Words by Dominic Behan, music traditional

I was born on a Dublin street where the Royal drums do beat
And the loving English feet they trampled all over us,
And each and every night when me father’d come home tight
He’d invite the neighbours outside with this chorus:

Oh, come out you black and tans,
Come out and fight me like a man
Show your wives how you won medals down in Flanders
Tell them how the IRA made you run like hell away,
From the green and lovely lanes in Killashandra.

Come let me hear you tell
How you slammed the great Parnell,
When you fought them well and truly persecuted,
Where are the smears and jeers
That you bravely let us hear
When our heroes of sixteen were executed.

Come tell us how you slew
Those brave Arabs
two by two
Like the Zulus they had spears and bows and arrows,
How you bravely slew each one
With your sixteen pounder gun
And you frightened them poor natives to their marrow.

The day is coming fast
And the time is here at last,
When each yeoman will be cast aside before us,
And if there be a need
Sure my kids wil sing, “Godspeed!”
With a verse or two of Stephen Beehan‘s chorus.

By Peter Frost in Britain:

Bloodied at the hands of the Black and Tans

Thursday 26th March 2015

PETER FROST remembers an Irish republican ballad that echoes events that happened 95 years ago this week

OH, come out you black and tans/ Come out and fight us like a man/ Show your wives how you won medals down in Flanders/ Tell them how the IRA made you run like hell away/ From the green and lovely lanes in Killeshandra.

I first learnt Dominic Behan’s fine song from the man himself in the pubs of what many locals in the mid-1960s called County Kilburn.

Kilburn in north-west London had a huge and proud Irish community and the traditional music nights were said to be as good as anything you might hear in Dublin, Belfast or Derry.

The song was always a favourite with me and my wife Ann. We both have some Irish blood in our respective families. Much later we would discover that the subject matter had direct relevance to Ann’s own family history.

We would also, later in life, on some of our many visits to Northern Ireland, explore those lovely lanes in Killeshandra. The town was once an important centre of the linen industry. Today its setting in beautiful lake country has made it is a popular centre for fishing, walking, wildlife and eco-tourism.

Dominic Behan’s song, written as a tribute to his father Stephen — and ironically set to the Orange march Rosc Catha na Mumhan, or Battlecry of Munster — brings alive the hatred of the brutal British troops who arrived in Ireland 95 years ago this week.

After the Easter Rising in Dublin in 1916 the execution of Irish leaders including Patrick Pearse and the dying James Connolly led to huge public outrage. This soon turned to support for the revolutionary Sinn Fein movement.

In the 1918 general election Sinn Fein won 73 out of 105 seats. In January 1919 the First Dail — the Irish parliament — declared an independent Irish Republic.

In the same month, the republican Irish Volunteers, fast becoming known as the Irish republican Army, began the guerilla campaign that would become the Irish War of Independence. The main thrust was to attack the hated Royal Irish Constabulary (RIC) posts, police stations and barracks.

By 1919 the British administration, horrified by the low morale in the RIC, closed down and outlawed the Dail.

Westminster clearly needed new initiatives and the British government knew just what to do. In January 1920, the government started advertising in British cities for men willing to “face a rough and dangerous task in Ireland”.

Post-WWI unemployment and austerity meant there was no shortage of recruits, many of them veterans home from the trenches of Flanders.

By November 1921 about 9,500 ex-soldiers had joined. This sudden influx of men presented a real problem. There were not enough proper RIC uniforms to go round. Instead the new recruits were issued with war surplus khaki army trousers and dark green RIC or old blue British police tunics.

This sartorial odd mixture gave rise to their nickname, the Black and Tans. The name came from a famous pack of foxhounds from Limerick who wore similar colours. The title would stick even after the men eventually received proper green RIC uniforms.

The new recruits were given only three months’ hurried basic training, and were rapidly posted to RIC barracks, mostly in Dublin, Munster and Connacht.

The first Black and Tans arrived on March 25 1920 and immediately generated hatred and further resistance.

The government also raised a further unit, the Auxiliary Division of the constabulary. This group was made up of ex-army officers. The Black and Tans acted with the Auxiliaries and both were ordered to break the IRA by any means possible.

One of Ann’s relatives was murdered by members of the Auxiliary around this time. One of republican leader Michael Collins’s group, he was arrested and taken to Dublin Castle for questioning.

Just before nine o’clock in the evening he and a friend were released only to be immediately re-arrested for being on the street after the nine o’clock curfew. It was an old Auxiliary trick.

Dumped in the back of one of the Black and Tans’s notorious Crossley Tenders, they were driven to Phoenix Park and each had a bucket put on their head before they were shot at point-blank range.

The Auxiliary executioners were court-martialed but instead of any punishment their commanding officer offered his congratulations.

Black and Tans were paid 10 shillings a day, a substantial wage in those days — and they also got full board and lodging in special barracks.

With minimal police training, their main role was to strengthen the guarding of RIC posts. They worked as sentries, guards, escorts for government agents and as reinforcement to the regular police.

It took no time for them to gain a reputation for awesome brutality.

Black and Tans had little discipline. Deaths of Black and Tans at the hands of the IRA were often repaid with arbitrary reprisals against the civilian population.

In the summer of 1920, the Black and Tans burned and sacked many small towns and villages throughout Ireland.

One of the worst atrocities was the massacre of 13 civilians at Croke Park on Bloody Sunday November 21 1920.

Black and Tans and Auxiliaries opened fire with armoured-car-mounted machine guns on the crowd.

The Black and Tans justified the attack as revenge for Michael Collins’s assassination of an undercover RIC murder squad earlier that day.

In November 1920, they besieged Tralee, also in revenge for the IRA abduction and killing of two local RIC men. They shut the businesses in the town and let no food in for a week.

On the night of December 11 1920, they sacked and burned Cork city.

In January 1921, a commission set up by the Labour Party produced a report on the situation in Ireland. It was highly critical of the government’s security policy.

“Forming the Black and Tans,” it said “had liberated forces which it is not at present able to dominate”.

Since December 1920, the British government had sanctioned official reprisals in Ireland. The Black and Tans burnt property of IRA men and any suspected sympathisers.

Altogether 7,000 of them served in Ireland in 1920-22. More than one-third of them died or left the service before they were disbanded, along with the rest of the RIC, in 1922.

Today, nearly a century after the Black and Tans’ war crimes, these British bully boys are still remembered and still hated in Ireland.

“Tan” is still a term of abuse in Ireland. And in a delicious irony there is a medal, awarded by the Irish government to IRA veterans of the War of Independence. It bears a ribbon with two vertical stripes. The colours? What else but black and tan — just a tiny reminder of the colours of the still-hated enemy.

English university militarised, protesting students threatened


This music video from the USA is called Bob DylanMasters of War – with lyrics.

By Peter Lazenby in Britain:

Navy calls in the big guns to stop peaceful uni protests

Thursday 19th March 2014

STUDENTS who staged a spontaneous peace protest at an armed forces recruitment stand at their university were threatened with arrest yesterday.

The students say they were intimidated by military recruiters, university staff and security guards who called the police.

One protester was told: “Go back to Greece.”

The Royal Navy, navy reserves and Royal Air Force were running a recruitment stand at the University of Bradford’s annual spring careers fair.

Protester and biomedical science student Beth Davies said: “This was just a group of students. We saw what was going on and decided something should be done about it.

“The military called security and security threatened to call the police.

“Nobody was arrested because we left before the police arrived.”

The protesters said one foreign student’s identification card was confiscated by security guards, leaving him unable to attend lectures and facing possible exclusion from exams.

First-year integrated sciences student Mohammed Akhtar, 25, said: “I no longer feel safe and I have completely lost my sense of security in the university due to being lied to and intimidated. I feel threatened.”

The protesters said in a statement: “The University of Bradford’s actions against dissent and peaceful student demonstrations raise questions regarding its commitment to promoting social engagement, debate, and democratic participation.

“In a university with an internationally acclaimed peace studies department, which it heavily depends on for recruiting students, this is particularly alarming.”

Bradford University was unable to make an immediate comment.

Scottish nature time lapse video


This video from The National Trust for Scotland about nature in Scotland (including a golden plover in summer plumage) says about itself:

The Trust’s rangers at Kintail and West Affric show off the incredible beauty of this area of the Highland‘s with this series of timelapse clips.

Assistance in video editing was provided by Rob Birdsey, a volunteer with the National Trust for Scotland.

Donate today: TEXT KWAF93 and your gift amount to 70070 (You can give £1, £2, £3, £4, £5 and £10 e.g. ‘KWAF93 £10 to 70070). All donations go towards the Trust’s work at KintailWest Affric and the Falls of Glomach.

The music for several of the Kintail and West Affric videos has been provided by Sgoil Chiùil na Gàidhealtachd (The National Centre of Excellence in Traditional Music) located at Plockton High School. The music school is for secondary school aged students, and provides a centre for talented young traditional musicians from across Scotland to develop their skills to the full.  You can help support the school and the young musicians helping to keep Scotland’s rich heritage of traditional music alive: visit www.musicplockton.org/ for more information.

9/11 atrocities and Saudi Arabia


This video says about itself:

David Rovics, The Dying Firefighter

A few days after the attacks on the World Trade Towers in New York, singer songwriter David Rovics came into the studios of WERU Community Radio, in East Orland Maine, where I recorded his performance of this live version, perhaps the first time the song was performed in public, certainly the first time it was recorded. Meanwhile the world watched and waited to see what the United States would do- take the high road toward peace or follow the drumbeat to war.

By Patrick Martin in the USA:

Saudi Arabia, 9/11 and the “war on terror

6 February 2015

More than 13 years after the 9/11 terrorist attacks, evidence in a federal lawsuit brought by relatives of the victims is a devastating exposure of events and relations long covered up and obscured by the media and political establishment: that Al Qaeda and the 9/11 hijackers were financed by the Saudi monarchy, a top US ally with extensive ties to US intelligence agencies.

Affidavits filed with Federal District Judge George P. Daniels substantiate claims that leading figures in the Saudi monarchy, including its longtime ambassador to Washington, Prince Bandar bin Sultan, a nephew of the current Saudi monarch, King Salman, financially supported Al Qaeda.

The documents include a deposition from Zacarias Moussaoui, the only individual convicted of direct participation in the plot to hijack airplanes and fly them into the World Trade Center and other US targets on September 11, 2001.

Moussaoui testified that while working for Al Qaeda in Afghanistan in the 1990s he prepared a digital database of the group’s financial backers that included Prince Bandar and two other high-ranking Saudi princes: Prince Turki al-Faisal, the longtime head of Saudi intelligence, and Prince Alwaleed bin Talal, chairman of the Kingdom Holding Company and the wealthiest member of the royal family.

He also described working as a courier for bin Laden, bringing messages to members of the Saudi royal family, including Prince Salman, then the governor of Riyadh, who today is King Salman after succeeding to the throne last month.

The New York Times published lead articles Wednesday and Thursday highlighting the new allegations of Saudi backing for the 9/11 attacks. These had less the character of an exposé, however, than of a semi-official attempt to contain the impact of the material being released as a consequence of the 9/11 families’ lawsuit.

This is the apparent reason for the articles’ near-exclusive focus on Moussaoui, a witness whose testimony can be more easily dismissed by the political establishment. The legal papers filed with the federal district court included Moussaoui’s deposition, but much more, including allegations of Saudi complicity in 9/11 from such pillars of the Washington establishment as former senator Robert Graham of Florida. He wrote, “I am convinced that there was a direct line between at least some of the terrorists who carried out the Sept. 11 attacks and the government of Saudi Arabia.”

Graham is in a position to know. He chaired the Senate Intelligence Committee in 2002 when it produced a lengthy report on the 9/11 attacks. This included a 28-page section on Saudi support to the 9/11 hijackers that was classified and suppressed by the Bush administration, an act of censorship that was endorsed and continued by the Obama administration. Senator Graham, who favors the release of this material, wrote, “The 28 pages primarily relate to who financed 9/11, and they point a very strong finger at Saudi Arabia as being the principal financier.”

The evidence of Saudi complicity in the 9/11 attacks is a devastating exposure of the fraudulent nature of the “war on terror,” the axis of US national security policy for more than 13 years.

The Bush administration used the 9/11 attacks as the pretext for wars against Afghanistan, whose government had provided shelter to Osama bin Laden, but had no involvement in 9/11, and against Iraq, which had no connection to either 9/11 or Al Qaeda. Meanwhile Saudi Arabia, the country that supplied Al Qaeda’s funds, its principal leader, and 15 of the 19 hijackers, was deemed a key US ally.

Every official investigation into the 9/11 attacks had to whitewash the Saudi connection—or be censored, like the Senate Intelligence Committee report. The issue was not just the reactionary role of the Saudi monarchy in financing and supporting Al Qaeda, but the close ties between US intelligence agencies and the supposedly anti-American terrorist group—connections on which the latest Times articles are completely silent. …

The crimes committed on 9/11 took nearly 3,000 lives. The crimes committed using 9/11 as a justification have taken hundreds of thousands if not millions of lives, in Iraq, Afghanistan, Yemen, Syria, Libya and a dozen other countries. And 9/11 has served as the all-purpose justification for the wholesale destruction of democratic rights in the United States and other imperialist countries, which have created the framework for police states in the name of preventing “another 9/11.”

… This was signaled last month in Obama’s trip to Riyadh to pay homage to the new king, Salman—one of those named as a financial supporter of Osama bin Laden.

The Saudi connection has been critical to the continuing relations of American imperialism with Al Qaeda and other Islamic fundamentalist groups. These forces were first mobilized in the 1980s as part of the campaign by the Carter and Reagan administrations to subvert the Soviet-backed regime in Afghanistan and foster the disintegration of the USSR. The mujahedddin —including Osama bin Laden—were armed and trained by the CIA and financed by Saudi Arabia. They have more recently been used to overthrow the Libyan regime of Muammar Gaddafi and to undermine the Syrian government of President Bashar al-Assad.

ISIS itself is a product of this insidious relationship. It originates in the Sunni fundamentalist backlash to the US invasion of Iraq in 2003—prior to the US invasion, there was no Al Qaeda presence in Iraq. Al Qaeda in Iraq reemerged as the Islamic State of Iraq and Syria, one of the strongest Islamist groups fighting against the Assad government in Syria, with the aid and training of the US, Saudi Arabia and Qatar. It was only when ISIS fighters crossed back over into Iraq and began attacking the US-backed puppet regime in Baghdad that the group became the target of US bombs and propaganda.

Yet at the center of the entire “war on terror” is a monumental and brazen lie, the claim that 19 hijackers plotted and carried out a major attack on New York City and Washington, D.C., without anyone in the vast US military-intelligence apparatus being aware of what they were preparing. The latest revelations about the Saudi role in 9/11 are another blow against this web of fabrication and cover-up.

The White House may declassify still-secret sections of an official inquiry into the 9/11 terrorist attacks which refer to possible Saudi Arabian support: here.

How the legal punishments handed out in Saudi Arabia compare to those of Isis: here.

US and Saudi Arabia: Dysfunctional partners depend on each other for survival: here.