sleeping in comfort: gracious living

Such a disconnect between the bright, optimistic and shiny marketing image of Ikea and the reality of slave labor production; all those earnest and evolved Swedes, post-Bergman’s, meticulously laying the framework for a do-it-yourself assembly post modern aesthetic of cheap chic. There is no bottom to this evil sense of right wing corporatism, passive globalization that at heart is power and ideologically driven and their ostensibly “green” pedigree eerily rubs shoulders with the philosophy of Heidegger and his “deep ecology.” But the latest episode is simply part of a long chain of activity….

To the far left, the East German base of Ikea completely confirms the Brecht thesis of avoiding dramatic illusion and the necessity to remove risk through the theology of Marxism. The sardonic humor of Brecht is most contemporary in this drama of Ikea; the “alienation effect” of Brecht and its unorthodox dramatic theory can still provoke post-modern sensibilities in the face of corporate hegemony, and the kind of bourgeois imperialism that has been at the heart of this narrative unfolding over income inequality and the uneasy alliance or connection at times with Brecht’s own absence of romance in his work and brutal coldness of Communism in a parallel trajectory to fascism as the dour and saturnine Left meets the emotionally frozen Right.

—Brecht wrote the play during the early years of World War II. As a German, he was closely acquainted with the impact of war. It might not be a stretch that he saw the prospect of global war recurring and considered it an endless war, exactly what several of the characters in the play hope for.—Read More:

Brecht’s Mother Courage gives rise to very contemporary questions such as the thin line between the authentic, the real and the fraud, who and what exactly profits from war, and the choices we make of free will to connect with humanity in either a meaningful and unqualified manner or, as in the case of Brecht, nibbled, and carved to its grisly remnants through political aspirations that ultimately leave the moral questions as ambiguous, soft tissue to be massaged into the most appealing an edible form in an act of spiritual cannibalism at the heart of all systems where the individual cedes power, leading to at best a secular cynicism, the humor of the gallows.

(see link at end)…BERLIN, Nov 16 (Reuters) – IKEA apologised on Friday for using the forced labour of political prisoners in communist East Germany to make some of its furniture during the 1980s.

Victims of the German Democratic Republic’s (GDR) Stasi secret police watched as a senior executive of the Swedish giant acknowledged for the first time that it had failed to act when rumours of prison labour emerged.

“Despite IKEA’s attempts in the 1980s to prevent the use of political prisoners in making its products in the GDR, political prisoners were used. As the representative of IKEA in Germany, I offer my deepest regrets to the victims,” said Peter Betzel, the company’s country manager.

Embarrassed by media reports IKEA, the world’s largest furniture retailer, launched an internal investigation a year ago into whether it had used forced labour in the GDR until the fall of the Berlin Wall in 1989.

It handed the investigation to auditors Ernst & Young in May to ensure greater objectivity….

—Among the giants of theatre, I have always considered Bertolt Brecht to be at the top of the heap. A gifted poet, Brecht created a new theatre for a new, more threatening time, one that refused to allow audiences to melt into a naturalistic setting and identify sympathetically with the lives and morals of the play’s immoral characters. In the Germany that would soon succumb to blind devotion to the myth of the Übermensch peddled by a genocidal dictator, Brecht’s unreal realism and his and music collaborator Kurt Weill’s most successful drama, the cabaret-style musical The Threepenny Opera, would be banned.
Before that happened, director G. W. Pabst and producer Seymour Nebenzal attempted to capitalize on the phenomenal success of the musical by contracting with Brecht to film it. Brecht, moving even more radically to the left than he had been as a bohemian artist of the intelligensia, turned in a treatment oozing with communist ideology.—Read More:

The presentation of the report took place a few metres from Checkpoint Charlie, one of the landmarks of the division of Berlin during the Cold War,

e former Stasi prisoners said they hoped the study would lead to financial compensation.

“It’s not about getting compensation just from IKEA but from all the companies who played a role in this,” said 62-year-old Rainer Wagner. IKEA did not touch on the issue of compensation although it said it would consider funding further research into the whole issue of forced labour.

Wagner was jailed after attempting to flee the GDR in 1966 and was forced to work in a factory producing gas meters. Some of the firms involved were privatised after reunification, he said.

…Other former prisoners told of being thrown into isolation cells and fed on punishment rations for failing to reach productivity targets at factories working for Western companies, including IKEA and other household names.

Thousands of firms from then-West Germany and other Western countries subcontracted production to state-controlled firms behind the Iron Curtain, attracted by the low labour costs….

—Hangmen Also Die
1943 – Etats-Unis – Drame/Guerre – 2h20

Réalisation : Fritz Lang
Auteurs & scénaristes : Bertolt Brecht (histoire & scénario), Fritz Lang (histoire & scénario) et John Wexley
avec : Brian Donlevy (Docteur Franticek Svoboda), Anna Lee (Nasha Novotny), Walter Brennan (Stephan Novotny), Gene Lockhart (Emil Czaka), Billy Roy (Beda Novotny) —Read More:

IKEA’s investigation was prompted by Swedish and German news media reports that included interviews with former Stasi prison inmates. Some reports said there was evidence of the use of forced labour as early as 1984.

The auditors deployed forensic investigators, compliance experts, historians and journalists to study tens of thousands of documents from Stasi and IKEA company archives, and interviewed hundreds of IKEA staff and former GDR prisoners….The head of the present-day German federal authority charged with curating the Stasi’s archives and investigating its crimes, Roland Jahn, said it was yet to be seen whether IKEA’s probe went far enough.

IKEA has 338 stores in 40 countries. Founder Ingvar Kamprad, an 86-year-old billionaire who lives in Switzerland, still controls the group with his family and is no stranger to controversy, having been involved with a Swedish fascist group in the 1940s.

IKEA got into hot water this year for spying on employees in France and air-brushing women out of catalogues meant for Saudi Arabia. (Reporting by Stephen Brown, editing by Gareth Jones and Robert Woodward) Read More:

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