The attack on “fake news” is really an attack on alternative media

As the author of an article labeled “pro-Russia propaganda,” I can testify that unorthodox views are under attack

By Dave Lindorff

Source: Salon.com

These are tough days to be a serious journalist. Report a story now, with your facts all lined up nicely, and you’re still likely to have it labeled “fake news” by anyone whose ox you’ve gored — and even by friends who don’t share your political perspective. For good measure, they’ll say you’ve based it on “alternative facts.”

Historians say the term “fake news” dates from the late 19th-century era of “yellow journalism,” but the term really took off in 2016, a little over a year ago, during Donald Trump’s run for the presidency. It described several different things, from fact-free, pro-Trump online media to sensationalistic and largely untrue stories whose only goal was eyeballs and dollars. During the primary season, Trump himself began labeling all mainstream media stories about him as “fake news.” The idea that there could be different truths, while dating at least back to the administration of President George W. Bush, when his consigliere Karl Rove claimed that the administration “made its own” reality, gained currency when Trump adviser Kellyanne Conway, caught making stuff up in a TV interview, claimed that she was relying on “alternative facts.”

That dodge would be fine, on its own. Most people are primed to believe that politicians lie — whatever party or persuasion they represent — so their attempts to deny it when called a conjurer of falsehoods posing tend to be recognized as such.

The corporate media — The New York Times, The Washington Post, the network news programs and even National Public Radio — have all responded to being called liars and “fake news” fabricators of by promoting themselves as “the reality-based community” (NPR), or claiming they are fighting the good fight against ignorance, as demonstrated by the Post’s new masthead slogan “Democracy dies in darkness.” The Times has stuck with its hoary “All the news that’s fit to print”slogan, but has added a page-three daily feature listing “noteworthy facts from today’s paper” and has taken to calling out Trump administration whoppers as “lies.”

Last December Congress passed a new law, promptly signed by then-President Barack Obama, that enacted an Orwellian amendment to the Defense Authorization Act of 2017. Called the Countering Disinformation and Propaganda Act, this measure tasks the State Department, in consultation with the Department of Defense, the director of national intelligence and an obscure government propaganda organization called the Broadcasting Board of Governors, to establish a “Center for Information Analysis and Response.” The job of this new center, funded by a $160 million, two-year budget allocation, would be to collect information on “foreign propaganda and disinformation efforts” and “proactively advance fact-based narratives that support United States allies and interests.”

What is “fake news”? The target keeps moving

This might all seem laughable, but as a journalist who has worked in this field for 45 years, in both mainstream newspapers and television and in the alternative media, and as a long-time freelancer who has written for publications as widely varied as Business Week, the Nation, the Village Voice and a collectively run news site called ThisCantBeHappening.net, I have watched as this obsession with “fake news” has turned into an attack on alternative news and alternative news organizations.

Last Nov. 24, The Washington Post published a McCarthyite-style front-page article declaring that some 200 news sites on the web were actually witting or unwitting “purveyors of pro-Russian propaganda.” The article, by Post National Security Reporter Craig Timberg, was based on the work of a shady outfit called PropOrNot, whose owner-organizers were kept anonymous by Timberg and whose source of funding was left unexplained. PropOrNot, Timberg wrote, had developed a list of sites which it had determined to be peddling “pro-Russia propaganda.”

For one of the sites on the list, the prominent left-wing journal Counterpunch, founded decades ago by former Village Voice and Nation columnist Alexander Cockburn, PropOrNot offered up two articles as justification for its designation. One of those articles was by me. It was a piece I’d actually written for ThisCantBeHappening, which had been republished with credit by Counterpunch. The reviewer, a retired military intelligence officer named Joel Harding (who I discovered is linked to Fort Belvoir outside Washington, home to the U.S. Army’s Information Operations Command, or INSCOM), labeled my article “absurdly pro-Russian propaganda.”

In fact, the article was a pretty straightforward report on the Sept. 29, 2016 findings by the joint Dutch-Australian investigation into the July 2014 shoot-down of a Malaysian jumbo passenger jet over Ukraine, which concluded that Russia was the culprit. I noted in the article that this investigation was not legitimate, because two nations — Russia and Ukraine — were known to possess the Buk missiles and launchers that had brought down the plane, but only one of them, Ukraine, was permitted to offer evidence. Russian offers of evidence in the case were repeatedly rebuffed. The report also failed to mention that the Ukrainian government had received veto power over any conclusions reached by the investigators.

Was my report “fake news” or propaganda? Not at all.

The fake news in this case has been what has been written and aired by virtually all of the U.S. media, including the Times, the Post and all the major networks, about that horrific tragedy. They all continue to state as fact that a Russian Buk missile downed that plane, though no honest investigation has been conducted. (Technically it is true that the Buk missiles are all “Russian,” in that they were all manufactured in Russia. Left unsaid is that Ukraine’s military had Buk launchers since their nation was part of the Soviet Union and continued to purchase them after independence.)

 Laziest form of media criticism

“Labeling news reports that you don’t like as ’fake news’ is the laziest form of media criticism,” says Jim Naureckas, editor of Fairness and Accuracy In Reporting, a New York-based journalism review. “It’s like putting your fingers in your ears and going ‘la la la’ really loudly. Both the government and the corporate media have reasons for not wanting the public to hear points of view that are threats to their power.”

While Kellyanne Conway claimed her right to offer “alternative facts” as a way to justify getting caught in a lie, there are also alternative facts which are real but don’t get reported in the corporate media. A classic example was in the run-up to the U.S. invasion of Iraq, when the entire corporate media reported as fact that Saddam Hussein had weapons of mass destruction and was attempting to develop a nuclear bomb.

There were plenty of alternative news organizations who quoted UN inspectors saying that none of that was true and there were no WMDs or WMD programs in Iraq, but they were simply blacked out by the corporate media like the Times, the Post and the major news networks.

These days another dubious story is that the Russians “hacked” the server of the Democratic National Committee. It may have happened that way, but in fact, the vast intelligence system the U.S. has constructed to monitor all domestic and foreign telecommunications has offered up no hard evidence of such a hack. National Security Agency whistleblower William Binney and retired CIA analyst Ray McGovern have suggested that some evidence indicates a DNC insider must have been involved.

There is certainly fake news all over the internet, and baseless conspiracies run rampant on both the left and the right. But all too often, articles like mine cited by PropOrNot (a genuine purveyor of fake news!) are being labeled as propaganda in what Naureckas says is simply “the use of irony as a defense mechanism” by news organizations that themselves are actually guilty of publishing really fake news, as the Post did with its PropOrNot blacklist “scoop.”

“What the government and the corporate media are trying to do, with the help of the big internet corporations,” argues Mickey Huff, director of the Project Censored organization in California, “is basically to shut down alternative news sites that question the media consensus position on issues.”

A wide threat to online media

That’s a threat to any online news organization, including this one, that depend upon equal access to the internet and to fast download speeds. Already, Huff charges, there are reports that Facebook is slowing down certain sites that have links on its platform, in a misguided response to charges that it sold ad space to Russian government-linked organizations accused of trying to influence last November’s presidential election.

An end to internet neutrality, the equal access to high-speed internet for surfing and downloading that has been guaranteed to all users — but that is now under attack by the Trump administration, its Federal Communications Commission and a Republican-led Congress — would make it that much easier for such a shutdown of alternative media to happen.

The real answer, of course, is for readers and viewers of all media, mainstream or alternative, to become critical consumers of news. This means not just looking at articles critically, including this one, but going to multiple sources for information on important issues. Relying on just the Times or the Post, or on Fox News or NPR, will leave you informationally malnourished — not just uninformed but misinformed. Even if you were to read both those papers and watch both those networks, you’d often be left with an incomplete version of the truth.

To get to the truth, we need to also check out alternative news sources, whether of the left, right or center — and we need to maintain the critical distinction between unpopular or unorthodox points of view and blatant lies or propaganda. Without such a distinction, and the freedom to make such decisions for ourselves, maintaining democracy will be impossible.

Wonder Woman Is a Hero Only The Military-Industrial Complex Could Create

By Jonathan Cooke

Source: TruePublica

For a while I have been pondering whether to write a review of the newly released Wonder Woman, to peel back the layers of comic-book fun to reveal below the film’s disturbing and not-so-covert political and militaristic messages.

There is usually a noisy crowd who deride any such review with shouts of “Lighten up, it’s only a movie!” – as though popular culture is neither popular nor culture, the soundtrack to our lives that slowly shapes our assumptions and our values, and does so at a level we rarely examine critically.

My argument is that this much-praised Gal Gadot vehicle – seemingly about a peace-loving superhero, Wonder Woman, from the DC Comics stable – is actually carefully purposed propaganda, designed to force-feed aggressive western military intervention, dressed up as humanitarianism, to unsuspecting audiences.

In short, this is straight-up propaganda for the military-industrial complex. It would have looked and sounded identical had it been scripted by a joint team from the Pentagon and the Israel Defense Forces.

My reticence to review the film has lifted after reading the latest investigations of Tom Secker and Matthew Alford into the manifold ways the U.S. military and security services interfere in Hollywood, based on a release of 4,000 pages of documents under Freedom of Information requests.

In their new book National Security Cinema, the pair argue that the Pentagon, CIA and National Security Agency have meddled in the production of at least 800 major Hollywood movies and 1,000 TV titles. That is likely to be only the tip of the iceberg, as they concede:

“It is impossible to know exactly how widespread this military censorship of entertainment is because many files are still being withheld.”

They write that their book “details how U.S. government involvement also includes script rewrites on some of the biggest and most popular films, including James Bond, the Transformers franchise, and movies from the Marvel and DC cinematic universes.”

The need for Pentagon toys

This isn’t just about minor adjustments, but wholesale collusion between film-makers and the military: “If there are characters, action or dialogue that the DoD [Department of Defense] don’t approve of then the film-maker has to make changes to accommodate the military’s demands. If they refuse then the Pentagon packs up its toys and goes home. To obtain full cooperation the producers have to sign contracts — Production Assistance Agreements — which lock them into using a military-approved version of the script.”

The fact that script-writers, producers and directors on these mega-budget pictures know their film may never make it into production if it does not get a thumbs-up from the Pentagon inevitably influences the choice of subjects, the political and military premises of selected films, and the story lines.

One movie, Countermeasures, was ditched after the military objected to a script that “included references to the Iran-Contra scandal … Similarly Fields of Fire and Top Gun 2 were never made because they couldn’t obtain military support, again due to politically controversial aspects of the scripts.”

One can imagine just how stringent the conditions imposed by the Pentagon must be, if it felt compelled to reject a movie like Top Gun 2, the sequel to the “flyboys with toys” killing fest that starred a young Tom Cruise.

The two authors add: “The documents also record the pro-active nature of the military’s operations in Hollywood and that they are finding ways to get involved during the earliest stages of development, ‘when characters and storylines are most easily shaped to the Army’s benefit’.”

Bad apples, not bad institutions

In addition, film-makers are pressured into changing scripts that suggest institutional or systemic problems in the U.S. security agencies.

The two authors observe that producer Jerry Bruckheimer has admitted that the script of the film Enemy of the State was changed under pressure from the NSA so that the wrongdoings at the heart of the film would be the responsibility of a single individual, not the agency itself.

“This idea of using cinema to pin the blame for problems on isolated rogue agents or bad apples, thus avoiding any notion of systemic, institutional or criminal responsibility, is right out of the CIA/DOD’s playbook,” they observe.

So not only are movies critical of U.S. and western politics and militarism almost certain to be off-limits for a big-budget production, but that void is certain to be filled by film proposals the studio is confident will win approval from the Pentagon, CIA and NSA.

And this is, of course, on top of the fact that the Hollywood money-men are themselves part of a larger globalized financial elite that depends on the proceeds of the homeland security industry, arms manufacturers and war profiteers. These financiers are certain to prefer funding films that support a neoliberal worldview at home and a neoconservative policy of warmongering abroad.

As Secker and Alford conclude: “In societies already eager to use our hard power overseas, the shaping of our popular culture to promote a pro-war mindset must be taken seriously.

Gal Gadot and the IDF

All of this is the context for deciphering the egregious propaganda in favor of western military violence, and the portrayal of peace-seeking as “appeasement”, that is Wonder Woman.

There has been plenty of guffawing at Middle East countries, including Lebanon, for seeking to ban Wonder Woman because it stars Gal Gadot, an Israeli beauty queen turned actress.

In fact, it is understandable that the Lebanese might object to a film heavily promoting Gadot as the world’s savior, given that she served in the Israeli army, one that brutally occupied parts of their country for two decades, until 2000, and continues to maintain a belligerent occupation of the Palestinians.

But there is also an undeniable irony to Gadot playing an Amazonian goddess who opposes the militarism of men, and cannot bear to see the suffering of children in war, when in real life she publicly cheered on the Israeli army’s massive bombardment in 2014 of the imprisoned population of Gaza, which led to the killing of some 500 Palestinian children there.

But more importantly, it is not just that Gadot, a former IDF soldier, is now the face of Wonder Woman; it is that the film’s superhero character too almost perfectly embodies the shared militaristic values of the IDF and the Pentagon. If there is one film whose script suggests it was jointly engineered by the Pentagon and Israeli army, it is Wonder Woman.

Hillary Clinton as Wonder Woman?

The film is set near the end of the First World War, a cataclysmic confrontation between two colonial powers, Britain and Germany, each trying to assert its dominance in Europe. The film-makers blur their focus sufficiently to gloss over the problem that there were no good guys in that “war to end all wars”. Instead in true Hollywood fashion, the First World War is presented simply as a prelude (or prequel) to the Second World War and the rise of the Nazis.

The Germans are murderous villains, while the British are the flawed – until Gadot shows them the error of their ways – defenders of humanity. In fact, the film prefers to cast the anti-German side as “Allies”, the humane members of the world community, represented by the U.S. – Chris Pine is the male lead and Gadot’s love interest – and a ragtag support group that includes a Scot, a native American, and a generic Arab, presumably symbolizing “moderate” Arab states like Saudi Arabia, Egypt and Jordan.

The British leadership is trying to find ways to make peace and bring the war to an end, but is stymied by an evil presence. A German super-general, Erich Ludendorff (Danny Huston), believes he can win the war decisively by developing a horrifying gas that will wipe out men, women and children, forcing the British to surrender on his terms. To demonstrate his power, he tests the gas on innocent villagers on the front lines in Belgium.

All of this might sound disconcertingly familiar to anyone who has been following the western media-scripted coverage that has for several years now been trying to promote more aggressive “humanitarian intervention” in Syria – and before that, in Libya and Iraq.

Is Ludendorff supposed to be Bashar Assad, the evil Syrian president who – as long as we discount the dissenting voices of some experts – has twice used the chemical weapon sarin against innocent civilians?

Are the British leaders, seeking a peace deal with the Germans, supposed to be those “appeasers” in the West who have stood in the way of “intervention” in Syria, blocking no-fly zones and bombing runs that could bring down the Syrian government?

And in an even more disturbing, if now outdated, parallel, given the film’s insistent identity politics, is Wonder Woman – the Amazonian who brings peace through overpowering military violence – a stand-in for Hillary Clinton? When the movie was in production, the filmmakers must have assumed it would be released as Clinton was enjoying her early months in office as the first female U.S. president.

The use of Wonder Woman to justify Clinton’s well-documented blood lust–the woman who laughed as “our rebels” murderously sodomized Libya’s Col Gaddafi, saying: “We came, we saw, he died” – would have proved timely had the U.S. election turned out differently.

War is Peace, Ignorance is Strength

Those who have not seen the film, and take it seriously as entertainment, may wish to skip this section, which includes a significant spoiler.

The source of man’s evil in Wonder Woman is the only surviving Greek god, Ares, who is hiding somewhere in the human world. Wonder Woman believes she can end all war and human suffering only if she can locate Ares and kill him – before he kills her.

No one in the human world, of course, believes Wonder Woman, and foolishly they dismiss her ideas as lunacy. And for a while Wonder Woman makes a terrible mistake in thinking the German Ludendorff (Saddam / Gaddafi / Assad) is Ares. It is late in the film that she discovers she has been on the wrong scent.

Humankind’s ultimate enemy is not Ludendorff, but the kindly Sir Patrick Morgan (David Thewlis), the British leader who has spent the entire film counseling for negotiations and peace with the Germans.

The ultimate evil, the wolves in sheep’s clothing, Wonder Woman finds, are  those among us who preach fraternity, compassion and turning the other cheek. They make possible the killing of the innocents.

Those who appear to care, those who seem to offer a route out of bloodshed and war – those who defeat the aims and threaten the profits of the military-industrial complex – are in truth nothing more than appeasers. Their efforts are certain, even intended, to lead to greater suffering.

Militarism, superior firepower, and an absolute belief in the justness of one’s cause, as Wonder Woman is reminded by her Amazonian tutors during her childhood Krav Maga training (Gadot was herself an Israeli army combat trainer) are the way to save mankind from the evildoers.

There is no time to delay, to stand back, to question or to negotiate. Wonder Woman is outraged by the dithering of the men around her. She wants to be at the front line as soon as possible, to kick ass.

“War is peace, freedom is slavery, ignorance is strength” – and all of it is good for business, the film Wonder Woman concludes in truly Orwellian fashion.

A veneer of identity politics

Of course, this story – like all effective propaganda – is supposed to work its magic at a subconscious level, where it cannot be interrogated by our reason and our critical faculties. But even so, a few critics – themselves enthusiastic liberal interventionists – seem to have intuited the movie’s message.

Perhaps not surprisingly, a reviewer with the clearest sense of how the film panders to the pro-war sentiments and identity politics of many liberals is the film critic of the conservative Washington Free Beacon.

Sonny Bunch applauds the way the film “highlights the need for the strong to intervene on behalf of the weak and the oppressed, and treats as villains quislings who sue for a peace that will bring only more destruction.

But he also understands how the film has been crafted to make its war-mongering more palatable to liberals. Wonder Woman, he writes, proves “you could slap an identity politics veneer on just about any neoconservative policy and progressives would lap it up. … Liberal interventionism is back, baby!”

Drooling from liberals

And sure enough, the community of largely liberal film reviewers has mostly drooled over Wonder Woman. Despite dire acting from Gadot, preposterous dialogue and a risible screenplay, the film has racked up an astounding 92 percent approval rating from critics on the review aggregator website Rotten Tomatoes.

Here is a brief selection of their assessments:

Dana Stevens, of Slate: “This is a movie about battling evil that pauses to ask what evil is and whether it’s necessary to understand its nature in order to defeat it.”

Mick LaSalle, of the San Francisco Chronicle: “What lingers … is the feeling of hope that the movie brings, that it someday might be possible for female rationality to defeat male brutality.”

Richard Brody, of the New Yorker: Wonder Woman is “an entry in the genre of wisdom literature that shares hard-won insights and long-pondered paradoxes of the past with a sincere intimacy.”

A. O. Scott, of the New York Times: “Her sacred duty is to bring peace to the world. Accomplishing it requires a lot of killing, but that’s always the superhero paradox. … Unlike most of her male counterparts, its heroine is not trying to exorcise inner demons or work out messiah issues. She wants to function freely in the world, to help out when needed and to be respected for her abilities. No wonder she encounters so much resistance.”

The paradoxes of power

Wonder Woman grapples with the paradoxes of military power every American interventionist and Israeli patriot understands. To save the “beautiful children”, she must sometimes rush to intervene and kill with extreme prejudice, even if the other side’s children are among those who are sacrificed.

Wonder Woman wants to “function freely”: she must enjoy the right to go wherever her interests take her. She cannot be shackled by borders in her quest for justice. She is there to “help out” others in trouble, even if she alone gets to decide who needs help and what counts as trouble. And she needs “respect”, and is prepared to force others to accord it to her, through her superior strength if need be.

She will face “much resistance” because others are jealous of her power and her freedoms. They are the evildoers, and they must and will be defeated.

Is it any surprise that in the Hollywood-Pentagon-IDF world of Wonder Woman, the values of a female superhero sound exactly like those of the military men who run the West’s wars?

Now roll on “Wonder Woman 2: Time to Intervene (Humanely)”.

Commerical Militarism is Pricey: Uncle Sam Paying Millions to NFL to Promote Warfare State

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“I’ll Pay You To Salute Me”: Government Takes Hard Line On NFL

By Josie Wales

Source: The Free Thought Project

For those unaware, the National Football League operates as a type of legal monopoly thanks to a political situation so cozy it makes the cable companies and Big Pharma look like rogue enemies of the state.

The NFL pays no taxes. Billionaires own all but one of these teams (the Green Bay Packers are owned by shareholders), and unlike with other sports, every NFL team makes a profit. The NFL itself is classified as a 501(c)6, much like your local Chamber of Commerce. Therefore, they don’t have to give the Capitol Hill mafia a cut of their income.

You may expect, given the preferential treatment the NFL receives from Congress and their very close relationship with legislators, that a typical NFL game would include multiple appeals to emotion designed to make citizens love Big Brother.

And you’d be right.

The national anthem is a long, drawn-out, pregame event. There’ll be a flyover by the Blue Angels at the perfect, climactic moment. During a break in the action, some soldier returning from Afghanistan or any other foreign war-zone will be reunited with his family while the stadium erupts in deafening applause and heart wrenching sobs.

Well, hold off on purchasing those tickets just yet, because the Washington Post found something interesting this week. All this patriotic propaganda- the troop-salutes, the banner ads, even the community service events where troops and NFL teams “build or re-build” a playground together, come with a price tag.

Fourteen NFL teams were paid a total of $5.4 million by the Department of Defense to cover the nationalistic propaganda filling downtime during the games.

No word yet on whether the Patriots were one of the fourteen teams.

The Post reports:

U.S. Sen. Jeff Flake (R-Ariz.) called the spending wasteful and disingenuous, Baxter and Salant report:

“Those of us go to sporting events and see them honoring the heroes,” Flake said in an interview. “You get a good feeling in your heart. Then to find out they’re doing it because they’re compensated for it, it leaves you underwhelmed. It seems a little unseemly.” …

“They realize the public believes they’re doing it as a public service or a sense of patriotism,” Flake said. “It leaves a bad taste in your mouth.”

According to the Post, this is what the National Guard (who coughed up all but $100,000 of the millions) receives in return for its spending:

A Hometown Heroes Salute segment, online advertising and meeting space for a meeting or events, digital advertising on stadium screens, and advertising and marketing services including a kickoff video message from the Guard. Furthermore, according to the Post,

“…soldiers attended the annual kickoff lunch in New York City to meet and take pictures with the players for promotional use, and the Jets allowed soldiers to participate in a charity event in which coaches and players build or rebuild a playground or park. The Jets also provided game access passes.”

Just remember, the next time you purchase a ticket to a football game, you may very well be funding the promotion of armed forces invading foreign countries with no regard for collateral murder.

Go Jets. Literally.