Tag Archives: PBS

Facebook Wants You to Know if You’re Getting Your News From the Wrong Government

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By Jim Naureckas

Source: FAIR

There’s a famous polling experiment that asked people in the Cold War-era US:

Do you think the United States should let Communist newspaper reporters from other countries come in here and send back to their papers the news as they see it?

When this question was posed on its own, only 36 percent of respondents said yes. But a separate sample was first asked:

Do you think a Communist country like Russia should let American newspaper reporters come in and send back to America the news as they see it?

When the questions were asked together—reminding people that restrictions on press freedom could be placed on their own country’s journalists, as well as on those of an official enemy—support for allowing access to Communist reporters doubled to 73 percent. (Ninety percent said that US reporters should be allowed to report freely from Russia—suggesting that only a relatively narrow slice of the population openly subscribed to the principle of free speech for me but not for thee.)

I thought of this experiment when Rania Khalek (who’s written for FAIR) told me that the viral video company she works for, In the Now, was taken off Facebook because of its indirect connection to the Russian government. (A majority stake in In the Now’s parent company, Maffick Media, is owned by a subsidiary of RT—a Moscow-based media group that, although organized as a private entity, is funded by the Russian government.)

Facebook suspended the page of In the Now, along with three other pages run by Maffick—the current affairs channel Soapbox, the environment-oriented Waste-Ed and the history-focused BackThen—after the social media giant was asked about the RT-connected pages by CNN. CNN (2/18/19), in turn, reported it was tipped off to the In the Now/RT connection by the Alliance for Securing Democracy, a group based at US government–funded German Marshall Fund.

In the Now is back on Facebook again—after a ten-day suspension—and returned with this rather user-unfriendly description:

In the Now is a brand of Maffick which is owned and operated by Anissa Naouai and Ruptly GmbH, a subsidiary of RT.

That’s not particularly helpful if you want to know what In the Now does, of course, but disclosure is good, right? For the goose but not the gander, apparently: Among the US-funded institutions with Facebook pages are, well, the German Marshall Fund. Its description just reads, “Strengthening Transatlantic Cooperation.” Will that page be taken down until the Fund acknowledges where its money comes from?

How about the PBS NewsHour, also funded by the US government? No mention of that on Facebook: Just, “On air and online, the PBS NewsHour provides in-depth analysis of the issues that matter to you.”

NPR’s Facebook page seems to go out of its way to conceal the fact that it’s US government–supported, calling itself “a privately supported, not-for-profit membership organization.” Maybe the P stands for “Private”?

Even straightforward propaganda outlets of the US government don’t have to identify themselves as such on Facebook. Take Radio Free Europe/Radio Liberty, set up at the height of the Cold War to broadcast the US government’s version of reality behind the Iron Curtain—and still going strong almost 70 years later. Its “About” on Facebook reads:

Uncensored news. Responsible and open debate. Specialized coverage of Russia, Ukraine, Central Asia, Caucasus, Iran, Balkans, South Asia, Eastern Europe.

For those who go the extra mile and click on “See More” under “Who We Are,” you do get this misleading semi-acknowledgement:

RFE/RL is registered with the IRS as a private, nonprofit Sec. 501(c)3 corporation, and is funded by a grant from the US Congress through the United States Agency for Global Media (USAGM) as a private grantee. RFE/RL‘s editorial independence is protected by US law.

Yes, RFE/RL is organized as a private entity—just like RT is. But just as the head of RT is also the head of the Russian state international news agency, the head of RFE/RL is appointed by the head of the USAGM—a government official picked by the president. That’s a funny kind of “independence.”

The Facebook page of Voice of America, the US government’s main broadcast outlet, is even squirrelier. There doesn’t seem to be any acknowledgement at all that VoA is connected to the US government—just the slogan, “The news may be good or bad. We shall tell you the truth”; the claim that it has “the world’s most interesting stories”; and information on how you can “have the best of VoA News delivered directly to your inbox each day.”

If you’re thinking that Facebook—90 percent of whose customers are not in the United States—should treat Russian-backed outlets differently than US-backed outlets because the US supports peace and democracy, or doesn’t use social media to try to manipulate other nations…. Well, this is why it’s important to get your information from a variety of sources.

But it’s not just US outlets that get to conceal their government funding on Facebook. The BBC doesn’t mention that it’s controlled and funded by the British government—only that its “mission is to enrich your life. To inform, educate and entertain.”

At Al Jazeera English’s Facebook page, you learn, “We are the voice of the voiceless”—not that they are owned by the monarchy of Qatar.

Facebook needs to have one rule for whether government-funded outlets need to disclose their connections. And it needs to apply that rule consistently.

 

Saturday Matinee: The Lathe of Heaven

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“The Lathe of Heaven” (1980)  PBS television adaptation of the 1971 science fiction novel The Lathe of Heaven by Ursula K. Le Guin. It’s directed by David Loxton and Fred Barzyk (Between Time and Timbuktu)  and stars Bruce Davison as protagonist George Orr, Kevin Conway as Dr. William Haber, and Margaret Avery as lawyer Heather LeLache. In Portland sometime in the near future, George Orr is charged as a drug offender for taking medications which he needs to prevent dreaming since he fears that his dreams affect reality. Under the care of William Haber, it’s discovered that Orr is not delusional and attempts to make use of the dreams to solve an array of social problems with results that are provocatively pessimistic.

Saturday Matinee: The Andy Kaufman Show

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SAVE PBS! AFTER ALL, IT RAN ANDY KAUFMAN’S BRILLIANT, DEMENTED ‘TALK SHOW’ IN 1983

By Martin Schneider

Source: Dangerous Minds

Holy moly! In 1983, just a year before his death of lung cancer—an event some people dispute ever happened—Andy Kaufman was given the bountiful gift of an hour of PBS programming time in the form of a segment of the music series Soundstage.

It’s a revelation.

Kaufman used his hour to create a mind-boggling critique of talk shows and the entertainment complex writ large. The show is presented out of phase: we see the inexplicable final, hysterical moments of the program, perhaps holding out the promise that we’ll find out what the fuck was going on at the very end. Kaufman sings an inane farewell song and credits roll—then the program starts up again.

One of the first things Kaufman does is ask the home viewer to go get a piece of cellophane from the kitchen—and then sits on the lip of the audience bleachers and waits 30 seconds in ballsy silence while that task is accomplished. (Just in case there are any stragglers, he then briefly jacks the volume and shouts at the home viewers to hurry up.)

You don’t need me to tell you all the gags in advance, but boy, they are beautiful. What’s sometimes forgotten about Kaufman is that for all of his daring experimentation, he was almost always very funny. Nobody had better mastery over the mirth that could be extracted from an awkward turn of phrase or an uncomfortable pause.

In Lost in the Funhouse: The Life and Mind of Andy Kaufman, Bill Zehme writes:

They gave him an installment of the PBS concert series Soundstage, for which he was invited to fill an hour as he saw fit and, since this was public television and no serious money was involved, he saw fit to contrive the most elliptical and surreal refraction of existential realities that he had ever attempted. He spent the better part of June working at the WTTW production facilities in Chicago, where the series was produced and where he plotted strategem as he went along, with George and Lynne Margulies and Elayne Boosler as his sounding board. He would begin the show at the end and start again near the middle and utilize ideas learned as a child from watching Winky-Dink and You, wherein viewers were instructed to put cellophane on the television screen and draw on it to help him out of jams. He would have himself arrested and thrown into television court (all with cartoon backdrop) and defend whatever broadcast transgressions he had so far commited on the program. He would have an interviewing desk that was now seven feet high (calling no attention to this) from which he would imperiously interview Elayne, wherein they (candidly, no, really) traversed what had gone wrong with their relationship—“Sometimes I would wake in the morning,” he told her, “and I’d think I’d like to tell you that we’re gonna break up. I’d say, Well, I gotta tell her tonight—we’re gonna break up!” The Clifton puppet would meanwhile stalk the desktop and serve as sidekick.

If you have any yen at all for the outer reaches of experimental comedy, this is a must-see.

Oh—since it’s Kaufman we’re talking about here, don’t take anything for granted. Make sure you watch the program to the very end.