Carla Stea has written a great piece on the DPRK (North Korea) and UN Security Council Resolution 2270. It is called ‘The Crucifixion of North Korea, The Demonisation of the DPRK’ and is published in the Australian Marxist Review.

Some photographs, taken by me and Aina Skoland (who was in our group). As you can see, people like to dress well and go about their daily lives as one might expect.

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Yes, indeed. This is from the train that took me last year from Pyongyang to Beijing. A preparation for a series of photographs on the DPRK (North Korea) – which I have at last finished processing:

2015 June 267 (640x480)

It reads: xian ren zhibu, which would be better translated as ‘no loitering’.

Two stray thoughts that have no obvious connections.

First, I cannot for the life of me understand how anyone can see David Bowie as in some sense ‘radical’. I do not mean the famous ‘theatrical’ comments about fascism in the 1970s. I mean the supposed radicality of his gender bending. Apart from the fact that this was a pop artist unusually adept at exploiting commercial mediums to be noticed, it is a sad reflection of what radical means in some parts of the world when it primarily refers to sexuality.

Second, since I have been to the DPRK (North Korea), I tend to notice occasional news items when they turn up – the latest being the recent nuclear test and predictable reactions to it. Whenever a picture is shown of South Korea, it carefully depicts South Korean soldiers. Strange how the many US forces never seem to feature, especially in light of their ubiquitous presence (on which I have written in ‘Brazen American Imperialist Aggressors‘). And when items refer to any exchange of warning shots, they strangely fail to mention that it would be US forces firing at the north.

Among the many intriguing delights of Pyongyang is the Juche friendship wall:

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Plaques from nearly every country in the world represent the various Juche study groups and DPRK friendship groups. I even managed to find one from Australia:

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Many of the plaques date from the 1970s and 1980s, but a few from more recent times. However, since the Australian one comes from 1976, I thought it was time to update the representation. I gathered the Australians in our group for a photograph:

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Since Pete and I like this type of artwork, which is still very strong in the Democratic People’s Republic of Korea, a few more samples from my visit earlier this year:

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I am finally making my way through the many photographs from my visit earlier this year to the Democratic Peoples Republic of Korea (North Korea). A sample:

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