United Kingdom

An investigation from BBC’s Panorama uncovers how British power company Drax is linked to forests being logged in British Columbia, Canada. Drax switched from burning coal to burning wood pellets, which gave the company millions of taxpayers’ money from “green” subsidies.

This report from the organization “War on Want” reveals the degree to which British companies control Africa’s key mineral resources, notably gold, platinum, diamonds, copper, oil, gas and coal. It documents how 101 companies listed on the London Stock Exchange (LSE) — most of them British — control mining operations in 37 sub-Saharan African countries. They collectively control over US 1 trillion dollars worth of the most valuable resources on the African continent.

Members of African and UK civil society and communities sent a letter to the “Mining on Top Africa: London Summit” – a decisive conference on African mining for Europe that took place on June 24 and 25 - accentuating how the introduction of large-scale mining in Africa has made many communities to face displacement, poverty, illness, massive pollution, loss of fertile agricultural and ancestral land, destruction of livelihoods and culture.

Tuesday, 29th October 2013 at 7pm.

 WRM information sheets on GE tree research First posted: 1 August 2008 Updated: 14 August 2008, based on information from (1) Last update: 2014 Tree species being manipulated: (1)

Over the past two years I have made an uncomfortable discovery. Like most environmentalists, I have been as blind to the constraints affecting our energy supply as my opponents have been to climate change. I now realise that I have entertained a belief in magic.

GM trees are not a result of evolution. They are the result of decisions taken at institutional and corporate levels for their development and deployment. Companies, research institutions and universities work together closely on this. Companies fund university research departments, and influence what type of research is carried out.

It is surely one of the most brazen evasions of reality ever painted. John Constable's “The Cornfield”, completed in 1826, and now hanging in the National Gallery's new exhibition Paradise, evokes, at the very height of the enclosure movement, a flawless rural harmony. Just as the commoners were being dragged from their land, their crops destroyed, their houses razed, the dissenters transported or hanged, Constable conjures the definitive English Arcadia. A dog walks a herd of sheep into the deep shade of an August day.