I have what is now a many year tradition with Noticing New York, another blog I write (about real estate development in New York and associated politics), of publishing a seasonal reflection about the year on Christmas Eve. (More about the Noticing New York tradition here.) This year I deviated from my pattern of previous years to publish, as Noticing New York's seasonal reflection, a letter I wrote to Reverend Ana Levy-Lyons, our minister at our First Unitarian Universalist Congregation in Brooklyn, requesting that she deliver a sermon about peace. There is a little bit more about my decision at Noticing New York.
Because the letter I wrote concerns topics that have been central to the concerns pursued as national issues here in National Notice, perpetual war, the environment and the climate emergency, wealth and income inequality, censorship and information control, I am also publishing my letter to Reverend Ana requesting a sermon about peace here in National Notice. So, on this Christmas Eve, following a few days after the winter solstice and coming not many days before the day that officially starts our country's new year, may we all move forward to a more blessed future and I hope that I have written something that is worth passing along so that it may have some beneficial effect.
December 19, 2019
Re: An Open Letter Requesting A Sermon About Peace
Dear Reverend Ana,
Last spring my wife Carolyn and I invested heavily in our congregation’s fund raising lottery trying to win the prize of choosing a topic for a sermon you would give. We didn’t win. Had we won, we would have challenged you with what you might not have found an easy subject, speaking about Julian Assange, American war crimes, and the U.S. pursuit of empire. Our choice of subject would not have been be to vex you with its difficulty, but to ask you to speak to what could be such a simple concept: Peace. If, these days, conversations about peace are avoided as difficult, what better than address that difficulty in a sermon?
Giving it some consideration, I think that making a worthy case for a sermon topic is a good a way to gain the prize of having you speak on a topic we care about, as good a way as investing in fund raising lottery tickets. Therefore I will try.
Is peace a spiritual thing? Is talk about our common humanity, our common bonds, and about surmounting the blindness that fractures our relationships a proper thing to address in religious terms? I acknowledge I’m being obvious here. What I just referred to is supposed to be basic and elemental to the great faiths.
I grew up in the Vietnam War era and I remember churches and church people taking the lead in saying that the wars we waged in Indochina were wrong. These days we, as country, are more military extended than ever. My oldest daughter is now about to be twenty-nine years old. We had already started bombing Iraq when she was born in January. The war in Iraq is just one of the perpetual wars that has continued essentially for the entirety of her life. All of our wars are long now. As formally measured by some, the War in Afghanistan, with its later beginning, has surpassed the Vietnam War as our country’s longest war.
These days the United States has been bombing nine countries, ten if you include, as we should, all of the U.S. participation in the bombing of Yemen, the other nine countries being: Mali, Niger, Somalia, Libya, and then, in the Middle East, it’s Pakistan, Afghanistan, Iraq, Syria. We have 800 military bases in other countries. With practically no comment or attention from us, President Obama opened new military bases across Africa.
A peace symbol hangs prominently in our Unitarian Universalist congregation’s sanctuary where our sermons are given. We begin every Sunday service singing the words: “let peace, good will on earth be sung through every land, by every tongue.” Christmas comes every year, and every year we evoke and extol, as is customary in the Christian tradition, the image of Jesus as the “Prince of Peace.” In our congregation’s Weaving Social Justice Committee we have discussed the prospect of rededicating the side chapel within the sanctuary that is known as the “Peace Chapel” to that cause. In our list of candidate films for the social justice film series we are working on we have films about the injustice of war. . .
. . . But, by and large, we hardly ever actually say anything about peace or the need to end the perpetual wars for which our country is now responsible. Has there been any sermon in our sanctuary on the subject of peace? I can’t recall one.
I was not at the Unitarian Universalist General Assembly in June this summer, but I talked with people who went, and I looked over the multi-day program. I was told and I saw that there were no sessions on the subject of peace. Nor was anything said about the antithesis thereof, war, although we are deeply embroiled in wars to the point that they are inescapably always in the background our daily American lives.
Our congregation through its leaders including members of the social justice committee is now reaching out to other congregations in our city and to their social justice actors to coordinate collective activism on the issues important to all of us. The importance of peace activism has not been mentioned in those discussions no matter that it is integrally related to virtually every other issue that is being discussed of common interest. Has the subject of peace somehow been tagged as off-limits? Is peace now too controversial to be discussed by and among religious communities?
Other social issues have attracted the attention of organizing Unitarians and have been the subject of multiple sermons. I understand and support that and among them are issues like the climate change chaos catastrophe emergency. The climate emergency is an existential threat to all of humanity. When the Democratic National Committee ordered that there be no debate focused on the single issue of climate change– the DNC actually forbade Democrats from participating in any such debate organized by anyone else– the case was made that the existential issue of climate is so fundamental that it is intertwines with and underlies virtually every other issue that’s important. There are other issues like that; issues that are inextricably related to society’s other major issues.
Our American wars together with the rest of our military interventions that stoke conflict in other countries are far too often wars which are very much about the extraction of oil and fossil fuels. Moreover, overall our wars help keep in place the systems that continue to vandalize our planet, exterminating its ecosystems. Further, the US military is one of the largest polluters in history, “the single-largest producer of greenhouse gases (GHG) in the world,” and that the Pentagon is responsible for between “77% and 80% of all US government energy consumption” since 2001. The US military is consuming more liquid fuels and emitting more climate-changing gases than most medium-sized countries, polluting more than 140 countries. Obscuring the reporting on this, the United States, which exempts its military from environmental laws, insisted on exemptions from reporting of the military emissions of all countries from climate agreements. The U.S., has itself escaped such reporting by exiting the Paris Climate Accord.
It is not clear, but these staggering figures about fossil fuel use probably don’t include the fossil fuel consumption related to the initial manufacture of weapons. Consider also that replacement, or nonreplacement, of what is bombed, burned and incinerated also must entail substantial additional environmental costs.
It is not just greenhouse gas emission pollution that the military produces: In 2010, a major story that went largely unreported was that the U.S. Department of Defense, as the largest polluter in the world, was producing more hazardous waste than the five largest US chemical companies combined, and that just some of the pollutants with which it was contaminating the environment were depleted uranium, petroleum, oil, pesticides, defoliant agents such as Agent Orange, and lead, along with vast amounts of radiation. Following our bombings, birth defects reported in Iraq are soaring. A World Health Organization survey tells us that in Fallujah half of all babies were born with a birth defect between 2007 and 2010 with 45 per cent of all pregnancies ending in miscarriage in the two years after 2004.
Another thing we face that has been deadening to the human spirit has been the increasing “othering” of people who we are made to think are different from us. Frequently now that’s immigrants from other countries who are black or brown. Often that “othering,” as with Muslims, is stoked in ways that may cause us to support or tolerate wars in which those others suffer most and towards whom hostilities are often officially directed. We may also forget how our wars and military activity push the flow of populations forcing people to migrate across boarders, as, for instance, with those leaving Honduras after our country helped bring about the military coup that replaced the government there.
Also basic and underlying so many of our problems are racial, income and wealth inequality with concomitant inequality in power and influence. These are things that Reverend Martin Luther King, Jr., who practiced ministry through activism and activism through ministry, labored to eliminate. Not long before he was assassinated, King also began to speak out against the Vietnam war saying the great challenge facing mankind is to get rid of war. Before he did so, he carefully weighed cautions urged on him that as a civil rights leader he shouldn’t do so, that it would undermine support for his civil rights work, split his coalition, and that these issues should not be joined together. But King concluded that the issues were tied together and decided that he would address them on that basis.
When King expressed his opposition to the war in his very famous “Beyond Vietnam -- A Time to Break Silence,” delivered in this city’s Riverside Church, New York City, April 4, 1967, one year to the day before his assassination, he said he was “increasingly compelled to see the war as an enemy of the poor and to attack it as such.” He spoke of the disproportionate toll that waging war exacted on the poor and spoke of the poisoning of America’s soul. . . So it is today.
War is profitable business. It busies packs of lobbyists who know a great deal more about often secret budgets than we, as the public, will ever learn. But that profit drains the resources of our society enfeebling our ability to accomplish so much else. The Pentagon and military budget is about 57% of the nation’s discretionary budget. If all of the unknowable black box spending that goes into the Military-Industrial-Surveillance Complex were included, that percentage could well bump up higher. We spend more on military spending than the next ten countries combined (or seven, depending on the year and who calculates), and we spend much more than all the rest of the countries in the world left over after that. Of course, much of that spending by other countries is on arms we supply making the world dangerous.
We may not fully know about or have a complete accounting of all the dollars we spend in these areas, but, in May of 2011 after the U.S. announced that it had killed Osama Bin Laden, the National Priorities Project calculated that, as of that time, “in all, the U.S. government has spent more than $7.6 trillion on defense and homeland security since the 9/11 attacks.” Point of reference: a “trillion” is one million millions.
Just the increase in the military spending in the last two years since Trump came in is as much as Russia spends on its entire military budget ($66 billion). Similarly just that increase is greater than the entire military budgets of Britain ($55 billion) or France ($51 billion).
Our fixated disposition to keep spending more is entrenched: Even Elizabeth Warren, a senator from Massachusetts who promotes herself as a left wing progressive, voted in 2017 to increase the defense budget by $80 billion, surpassing the $54 billion increase requested by President Trump. 60% Of House Democrats voted for a defense budget far bigger than Trump requested.
Perhaps most disquieting and insidiously corrupting to our morality and our souls are the pretexts we adopt to justify going to war and to abide its horrors, particularly when we leave those pretexts dishonestly unexamined. The public flailed and many among us continue in their confusion, unable to sort out that Iraq did not attack the United States or have weapons of mass destruction before the second war that we unilaterally and "preemptively" launched to invade that country. Before our first Gulf War attack on that country there were no slaughtered `incubator babies’: That was just a brazen, cynically staged public relations scam. Similarly, how few of us know and recognize that Afghanistan did not attack the United States on 9/11– We precipitously invaded that country because the government there was at that time asking that procedures be followed and proof furnished before it would assist in finding and turning Osama Bin Laden over to the United States.
The foreign country that was most involved in 9/11, and from where almost all of the men identified as the alleged 9/11 hijackers came, is Saudi Arabia. Saudi Arabia is the country to which we are selling massive amounts of weapons (making it that world’s third biggest military spender) and it is the country with which we are deeply involved perpetrating war crimes against Yemen.
In the Vietnam War, our second longest war, it was the Gulf of Tonkin incident that, not being what it seemed nor reported to be, was the pretext for war.
Perhaps hardest and most challenging to our susceptibilities as caring people striving to be spiritual and attentive to justice are the pretextual manipulations to which we are subject in regard to what Noam Chomsky and Edward Herman spotlighted as the selective distinguishing between “worthy” versus “unworthy” victims. “Worthy” victims are those who, whatever their number, deserve our outrage and are a basis for calls for the international community to mobilize toward war. “Unworthy victims” are those who can die en mass without attention or recognition like the tens of thousands of Yemeni children who have died for lack of food, water and medicine because of Saudi Arabia’s blockade assisted by the U.S.. Often, as with Palestinians removed from their homelands, these victims are blamed for their own victimhood.
Additional layers of pretext pile up when we encounter journalists and whistleblowers willing to be the messengers of war crimes. We punish those messengers while, concurrently, there is no consequence for those who perpetrate the war crimes. Often the perpetrators are promoted to higher office. That includes those who illegally torture others to coerce useless, undependable, and likely false “confessions.” Thus we punish and torture Julian Assange and Chelsea Manning for exemplifying what Daniel Ellsberg called “civil courage.” Thus we vindictively send CIA whistleblower John Kiriakou to prison for disclosing his agency’s torture program.
Wikileaks, Julian Assange’s organization has published much that is embarrassing to the United States and those in power, much of it is particularly embarrassing to the U.S. military. Wikileaks has never published anything that was untrue, but the truth of what it has published is disruptive to the official narratives of the war establishment. That establishment has been seeking vengeance against and to neutralize Assange since events in 2010 when in April Wikileaks published documenting gunsight video footage, under the title of “Collateral Murder,” of a US drone strike on civilians in Bagdad provided by Chelsea Manning. The New York Times and Washington Post did not respond to Manning’s attempts to publish that same footage through them or other evidence of U.S. war crime in Iraq and Afghanistan.
Anyone who wants proof of the pretextual nature of the United States’ persecution of Julian Assange and of the ghastly and sometimes illegal, abuse of inordinate power against Assange should watch or listen to Chris Hedges June 8, 1019 “On Contact” interview with UN Special Rapporteur on Torture Nils Melzer (“On Contact: Julian Assange w/UN Special Rapporteur on Torture”- Chris Hedges is an ordained minister in the Presbyterian Church). The attacks against Assange began with a highly orchestrated campaign of character assassination. They have progressed to things far worse. Both Assange and Manning (who was pardoned from a 35-year sentence after seven years of confinement that included the torture of Manning) are now being held in prison, no end in sight, for no crimes of which they have been convicted. I think we have to agree with the criticism of this as psychological torture. The continued torture of Manning is an effort to get at Assange even if that were to involve forcing Manning to lie.
The United States wants Assange extradited to the Unites States to be tried for the crime of practicing journalism that was unflattering to the United States government. Somehow we have the highhandedness to conceptualize this journalism to be treason although Assange is a foreign national. Assange faces no other charges. Under the laws pursuant to which the U.S. would try him, Assange, like the exiled Edward Snowden, would not be permitted to introduce any evidence or argument that disclosing illegal U.S. activity or war crimes benefits the public. It’s said that the United States wants nothing more than a show trial and I think that must be considered obvious.
When Assange sensed in 2012 that trumped up charges in Sweden would be used as a subterfuge to transfer him to United States custody for such a show trial he obtained political asylum in the Ecuadorian Embassy in London. For this, a British judge sentenced Assange and had him serve 50 weeks in a high security prison for “bail jumping”; that’s just fourteen days short of the maximum possible sentence, although the obviously trumped up charges for which Assange had posted bail were withdrawn, negating the original bail terms as a result. A normal, typical sentence for bail jumping would have entailed only a fine, in a grave case, a much shorter prison sentence.
Britain was able to send police officers into enter the Ecuadoran Embassy to arrest Assange for “bail jumping” and then later hold him, without other charge for pending extradition to the United States, because of a change in the Ecuadoran government that was evidently CIA assisted, and as the United States was dangling financial aid for that country. Assange’s eviction from the embassy, along with his being simultaneously stripped of Ecuadoran citizenship, was done without due process.
The persecution of Assange casts a long shadow to intimidate other journalists, whistleblowers and activists as they themselves are being intimidated about disrupting the preferred narrative concerning America’s militarily asserted empire. Other providers of news simply lay low not reporting things. As neither the New York Times nor the Washington Post reported it, you may not have heard about the recent scary SWAT style arrest of journalist Max Blumenthal by Washington D. C. police hours after he reported about the United States government funding of the Venezuela Juan Guaidó coup team. Blumenthal was shackled and held incommunicado for an extended period. Not long after that the D.C. police went out to similarly arrest activist and journalist Medea Benjamin when she publicized the U.S. backing of coups in Venezuela and Bolivia.
With silenced journalists, will we, based on unchallenged pretexts, send our military into to change the government of Venezuela as there is talk of doing? In Bolivia the coup we sponsored has been successful without that. Meanwhile, there is talk of pretexts for military actions against Iran, Russia, North Korea.
Journalists who still show courage, are subject to exile, sometimes self exile, from their journalistic homes, to alternative media outlets, where, like Assange, they are likely to be less heard and will be more vulnerable. Journalist Tareq Haddad just announced that he resigned from Newsweek because that publication has been suppressing a story of his. His story was about the whistleblower revelations of buried evidence that the supposed 2018 Duoma chemical attacks by Syrian president Assad on his own people was fairly obviously a concocted fabrication when it was used as a justification for the U.S. to bomb Syria. Remember our bombings of Syria? The was another in 2017. It was for such bombings of Syria the press declared that Trump was finally `presidential,' and, as the cruise Tomahawk missiles launched, MSNBC’s Brian Williams spoke of being “guided by the beauty of our weapons” using the word “beautiful” three times in 30 seconds.
The strenuous suppression of these voices like Assange's that would disrupt official narratives shows how the conduct of war has a tight moral link to the choices we make to speak out against war and against the suppression of the voices that oppose war. In his sermon against war at Riverside Church that day one year to the day before he was killed, Reverend Martin Luther Kings Jr. said that, “men do not easily assume the task of opposing their government's policy, especially in time of war.”
King also said that, when assuming the task of such opposition, it was difficult to break free of the “conformist thought” of the surrounding world. Indeed, with the complicity of a much more conglomerately owned corporate media than in King’s time, it seems as if there is a secularly consecrated catechism of what we know we as Americans are not supposed to say, what we must veer away from and avoid. We subscribe with almost religious ferocity to the belief that American exceptionalism justifies all our actions in the world. It feels, as if in our bones, that we know that to violate this proposition and say something else would create a rumbling disturbance in the force (you know, “Star Wars”). Or is our silence, merely something less profound than that, just the equivalent of what we think would be an exceptionally super-rude topic to bring up at a family Thanksgiving or holiday diner?
Dr. King correctly foresaw that there would be significant prices he would have to pay for speaking out against our country’s war. He concluded that he had to do so, that he had to `break the silence,’ despite the prices he knew he would have to pay. He felt that doing so was the only thing he could do and remain true to himself and his causes.
Ana, I have no doubt that there would be prices you would have to pay if you spoke out for peace; if you spoke out against war. I also acknowledge that there are prices our congregation could face. Relatively recently the FBI has raided the homes of public nonviolent peace activists who have long, distinguished careers in public service. (And the FBI has also been investigating nonviolent climate activists and Black Lives Matters activists.) But I urge you to deliver a sermon about peace because it would be the right thing to do. Perhaps it could go along with a rededication of our sanctuary’s Peace Chapel. And, perhaps, if you would give a sermon like Dr. King gave against our wars, it might do more than just be a good thing in its own right: It might serve as a model for the ministers of other congregations who would follow suit.
Maybe, as in Martin Luther King Jr.’s day, there can again be a time when people see the call for peace as a spiritual issue and our church’s, temples and congregations again take a lead role in calling for peace and an end to our wars.
Have I made the subject of peace sound as if it is complicated? If so, I am sorry. That can be a problem in itself. At bottom, shouldn’t this all be so simple? Peace, supporting peace, speaking out for peace. . Something very simple.
Last night I had the strangest dream
I never dreamed before.
I dreamed the world had all agreed
To put an end to war.*
* From “Last Night I Had the Strangest Dream,” by Ed McCurdy- 1950,
a precursor of sorts to “Imagine” by John Lennon and Yoko Ono- 1971
Sincerely,
Michael D. D. White
Showing posts with label Iraq War. Show all posts
Showing posts with label Iraq War. Show all posts
Tuesday, December 24, 2019
An Open Letter To Reverend Ana Levy-Lyons of The First Unitarian Universalist Congregation of Brooklyn Requesting A Sermon About Peace
Labels:
Censorship,
Christmas,
climate change,
fake news,
Income Inequality,
Iraq War,
Military-Industrial-Surveillance Complex,
perpetual war,
Press Freedom,
Vietnam War
Tuesday, July 17, 2018
Out In Theaters Now: “Shock and Awe” A Film About Suppression of Anti-War News Journalism That Itself Seems Like It Is Being Suppressed– So You’ll Have to Hurry To See It
Two film reviews that came out last week are poles apart: One is the New York Times review of Rob Reiner’s new film “Shock and Awe,” a true story about investigative beltway reporting. It’s about the run-up to Iraq war. The other was the review of the same film that appears in the Village Voice.
The New York Times review of the film is disgraceful: It reviews the film dishonestly treating it as essentially a non-movie. It short-shrifts it with a few mostly dismissive paragraphs. Likely to be overlooked by most readers, the message was clearly: `nothing to see here, move along.'
Conversely, the review in the Village Voice was way beyond respectful. It was an engaging one that would likely encourage most readers to see the film. Oddly, the Village Voice review, initially very easy to discover in an internet search just hours after it was posted, was soon almost impossible to find by Googling. That is one indicator of a question that needs to be discussed: Whether the film is being suppressed. The New York Times review, on the other hand, continues to be easy to find.
Ben Kenigsberg, who wrote the Times mini-review, probably telegraphed what he was up to when he wrote in the first paragraph that the film insults the abysmal quality of news coverage that the New York Times offered during the run up to the Iraq war. And truly, part of the fun of the film (as the Village Voice review recognized: Rob Reiner’s “Shock and Awe” Takes on Bush’s War and the “New York Times” — and Wins) is how thoroughly the film lambasts the New York Times as an unconscionable conduit of propaganda for the powerful who doled out access in return for the publication of the false stories they want the public to swallow. The inspiring part of the film is how diligent reporters working at the Knight Ridder newspaper chain were, without high-level access, able to see through the deceptions and get the story right. Its main characters, journalists working for the Knight Ridder newspaper chain, are Jonathan Landay and Warren Strobel, and later Joe Galloway working under their Washington bureau chief John Walcott.
In the film, that propaganda is the fake news that the George W. Bush administration manufactured and deceitfully handed out in 2003 as an excuse to go to war in Iraq. As such, the film is ever so relevant to today, particularly from a potentially anti-war standpoint, as we presently listen to the drumbeats urging the U.S. to start up new wars around the world on multiple fronts, Korea, Iran, Syria, Russia, Yemen, Venezuela. . . Two of those countries, not yet attacked by us, Korea, and Iran, were, alongside Iraq, included in G. W. Bush’s original 2002 rhetoric about a tripartite “Axis of Evil.”— Venezuela is the country that Trump very recently questioned whether we could invade. . . Thus, it is perhaps not surprising if the film is being suppressed in various ways, as appears may very likely be the case.
In his New York Times review, Kenigsberg ignores those ways that the film is most likely relevant and manages to invert the way he concludes that the film “feels more timely than it might have,” by instead linking its potential relevance to a “current president” who “routinely dismisses the accuracy of reporting.” In other words, Trump is the enemy again and if you have the notion that the New York Times publishes fake or unreliable news then that puts you in the Trump camp?
Kenigsberg concludes his review by saying of the film:
The film is a significant addition to the expanding canon of films about real journalists reporting about real events and issues. Some of them are documentaries and others, like this and “All The Presidents’ Men” are dramatized versions of what happened. To include its release, National Notice has just updated a list of such films ordered according to the chronology of the real events concerned: Time To Update Our Timeline Presenting Movies About Real Journalists Covering Real Public Issues and Events (To Include “Shock and Awe” and “Risk”), Sunday, July 15, 2018.-
One important subject of “Shock and Awe” is about the working of mainstream media and how the reporting of the Knight Ridder team of journalists which, essentially anti-war because of its rightful skepticism, was suppressed. The on-target and in retrospect very valuable stories published by the Knight Ridder chain were not treated as news or picked up by New York Times, Washington Post and other mainstream media. As the films puts it, those media outlets, as in the wake of 9/11, acted as “stenographers” for the Bush administration’s propaganda. One of the things the film sadly depicts is how the Philadelphia Inquirer, one newspaper in the Knight Ridder chain, defected, refusing to publish the accurately skeptical Knight Ridder stories and replaced them with the stories by Judith Miller for which the New York Times ultimately had to apologize because of they were so abjectly false.
The film was discussed in a segment of this week’s On The Media. On The Media introed its coverage of the film (at 11:46) with: “What if great investigative journalism falls in the forest and doesn’t make a noise: Fifteen years later it becomes a movie.” Unfortunately, we could now add to that bleak epigram: “A movie that nobody sees.”. . .
. . . People are tweeting about how the film only made an absolutely paltry $41,000 its opening weekend, calculating that this must work out to about five tickets being sold per showing of the film.
This astoundingly poor showing doesn’t seem exactly like an accident. I was eager to see the film as soon as it came out, but finding out where it was playing and how to get tickets was next to impossible when I tried. The incomplete information Fandango offered was inaccurate. There was only one theater in New York City where I could see the film at unless I wanted to travel to Coney Island late at night.
The apparent suppression of the film now, and thus, once again, the underlying story that is so very relevant to right now, is very meta.
The film also addresses concerns beyond mere journalism that are less vanilla and increasingly relevant to today. I could offer a “spoiler alert” concerning what I am about to describe, but the film is so subtle in one respect that I think the way it pitches one point is likely to go over the heads of almost everyone. “All The President’s Men” has its scene where reporters Woodward and Bernstein realize that their lives may be in danger and that they may also be the subject of surveillance. “Shock and Awe,” has a very comparable scene that takes place between Woody Harrelson playing reporter Jonathan Landay and Milla Jovovich playing his wife. Based on her experiences when her country of Yugoslavia disintegrated, she warns Landay that he needs to be concerned for their lives and about surveillance. She does so when he tells her that he is working on a story about how the Bush administration is stove-piping intelligence up to a newly created senior unit at the top of the U.S. intelligence agencies for cherry-picking and manipulation purposes.
Immediately after this concern is expressed, another scene follows where the New York Times scoops the Knight Ridder team on that same story, but does so in a way that neutralizes and defangs the point of what Knight Ridder would have reported, inoculating the intelligence agencies against any future disclosure of information the new special unit formed to skew the intelligence. The implied question that is likely to go by too many viewers is whether the Bush administration fed the scoop to a cooperative New York Times to protect itself. Essentially the question is whether the Times acted yet again, in yet another way, as an extension of the Bush administration’s push toward war.
The Kenigsberg review suggests that this is not a film that intelligent or informed people will want to see saying that “the writing . . . has more interest in reaching the least-informed viewers than in realism.” In other words, saying that the film is pedestrian and didactic: But there is a lot in the film that most viewers will not know.
It is fair to say that the film, is aspirational about edifying and educating and therefore sticks fairly close to facts. The On The Media segment noted that it therefore must deal with a story that is a bit of "a downer." It also therefore necessarily falls short of checking the standard formulaic boxes for success as mindless entertainment or even infotainment. There are bad guys, but no car chases or super-heroes throwing enormous objects as they fly through the air. The bad guys also get away with their scheme in the end. It is nonetheless a good and inspiring film, very worth seeing, that could critically educate a large segment of our population.
This is not to say that the film doesn’t necessarily engage in some streamlining when it comes to the facts, something it perforce almost has to do. The film starts by establishing the events of 9/11 as backdrop to the story that partly explains the lack of criticism of the government by the media at the time. To emphasize how off track it was to blame Iraq for 9/11 it keeps its focus on Osama bin Laden as the 9/11 perpetrator who is, as a result, getting off the hook. The film does not detour into the unpursued involvement of the Saudis.
Although the film’s courageous protagonists don’t get to follow the standard arc of today’s mythically-presented and godlike movie superheroes (some are actually Gods of ancient myth– and the Times in its movie reviews takes them more seriously), it sent me scurrying to research one of the great enduring myths of all time, the Greek Myth of Cassandra. In their ancient story telling, the Greeks (e.g. Sisyphus) have a penchant for exquisite frustration: Cassandra was granted the gift of accurate prophecy sequestered in the curse that whatever she predicted would not be believed. The plight of the film’s reporting team is much the same.
The reporters in the film are able to see and accurately report that the Bush administration was lying and cherry picking intelligence, and they are able to foresee the many ways that going to war in Iraq would ultimately be exactly as extremely costly and counterproductive as it was. They do so, not through prophecy, but by digging to come up with well-founded documentation. Part of their strategy is to cultivate, as sources, lower level government officials rather than rely on access to top officials looking for media conduits to prostitute themselves. (The reason that Cassandra was cursed by the god Apollo to have her prophecies never believed was that she would not go to bed with him.)
Another difference between the true story the film offers and the Cassandra story is the centrality of how the Knight Ridder reporters were not merely predicting the future, but trying to unmask liars crafting a concocted story. But, in similar fashion, Cassandra was also predicting wars that would be disastrous to the civilizations involved, and at one point she too is dealing with and seeing through deception: When the Greeks deliver their Trojan Horse to the city of Troy, Cassanda knows it is a trick. When she tries to destroy the horse herself, she is stopped by the people of Troy who degrade her for not appreciating the Greek gift. The Greeks inside the horse were amazed at her perception.
Is there a lack of helpful attention and coverage that is suppressing this film? Are reviews like the Times review intended to help bury it quickly? Admittedly, the film makes almost all the newspapers and news magazines in the country look bad, and now it is up to those same news media outlets to publicize, praise or excoriate the film and help it find its audience. It is not surprising that the film is getting little help from these quarters. There are also serious questions about what does and does not get elevated in importance, or conversely what gets suppressed, by Google and Facebook algorithms. (This article about the film may not Google well.)
If the film is being suppressed, I think that the best antidote is to build legs for it by noticing the suppression. The film is reasonably good by any standard, and the only things that make it less than a perfect entertainment or work of art are the things that also make it a more important film in other respects. Certainly, at the very least, anti-war sites should publicize the film and its apparent suppression.
We will have to conclude with some ironies. The false information promulgated by almost every mainstream media outlet in the United States during the George Bush administration’s bellicose run up to the war is being cited by people like Aaron Maté for reason to be skeptical about all the Russiagate charges that Russia is an enemy of the Unites States interfering with our elections, especially since special prosecutor Robert Mueller heading the FBI in February 2003 was one of those Bush administration officials giving congress misleading information about Iraq (at 9:11 in video). Mueller, who started in office as head of the FBI a week before 9/11, is also one of the people in our government who inexplicably did not pursue the evidence linking top Saudis to 9/11.
But, on the other hand, yesterday in my email I got a request from Rob Reiner, the director of “Shock and Awe,” asking me to sign his petition demanding that President Donald Trump:
The New York Times review of the film is disgraceful: It reviews the film dishonestly treating it as essentially a non-movie. It short-shrifts it with a few mostly dismissive paragraphs. Likely to be overlooked by most readers, the message was clearly: `nothing to see here, move along.'
Conversely, the review in the Village Voice was way beyond respectful. It was an engaging one that would likely encourage most readers to see the film. Oddly, the Village Voice review, initially very easy to discover in an internet search just hours after it was posted, was soon almost impossible to find by Googling. That is one indicator of a question that needs to be discussed: Whether the film is being suppressed. The New York Times review, on the other hand, continues to be easy to find.
Ben Kenigsberg, who wrote the Times mini-review, probably telegraphed what he was up to when he wrote in the first paragraph that the film insults the abysmal quality of news coverage that the New York Times offered during the run up to the Iraq war. And truly, part of the fun of the film (as the Village Voice review recognized: Rob Reiner’s “Shock and Awe” Takes on Bush’s War and the “New York Times” — and Wins) is how thoroughly the film lambasts the New York Times as an unconscionable conduit of propaganda for the powerful who doled out access in return for the publication of the false stories they want the public to swallow. The inspiring part of the film is how diligent reporters working at the Knight Ridder newspaper chain were, without high-level access, able to see through the deceptions and get the story right. Its main characters, journalists working for the Knight Ridder newspaper chain, are Jonathan Landay and Warren Strobel, and later Joe Galloway working under their Washington bureau chief John Walcott.
In the film, that propaganda is the fake news that the George W. Bush administration manufactured and deceitfully handed out in 2003 as an excuse to go to war in Iraq. As such, the film is ever so relevant to today, particularly from a potentially anti-war standpoint, as we presently listen to the drumbeats urging the U.S. to start up new wars around the world on multiple fronts, Korea, Iran, Syria, Russia, Yemen, Venezuela. . . Two of those countries, not yet attacked by us, Korea, and Iran, were, alongside Iraq, included in G. W. Bush’s original 2002 rhetoric about a tripartite “Axis of Evil.”— Venezuela is the country that Trump very recently questioned whether we could invade. . . Thus, it is perhaps not surprising if the film is being suppressed in various ways, as appears may very likely be the case.
In his New York Times review, Kenigsberg ignores those ways that the film is most likely relevant and manages to invert the way he concludes that the film “feels more timely than it might have,” by instead linking its potential relevance to a “current president” who “routinely dismisses the accuracy of reporting.” In other words, Trump is the enemy again and if you have the notion that the New York Times publishes fake or unreliable news then that puts you in the Trump camp?
Kenigsberg concludes his review by saying of the film:
It also captures an aspect of journalism not often portrayed: the fear of being wrong when the conclusions of your reporting break from those of your competitors.That almost sounds like a humorously offered defense of the New York Times for getting it 100% wrong in the run up to the Iraq war, as if instead of incredible sloppiness on the part of the Times, there was just a difference of opinion between competing journalists about what the news actually was with the Times and Judith Miller having the commendable courage to get it wrong.
The film is a significant addition to the expanding canon of films about real journalists reporting about real events and issues. Some of them are documentaries and others, like this and “All The Presidents’ Men” are dramatized versions of what happened. To include its release, National Notice has just updated a list of such films ordered according to the chronology of the real events concerned: Time To Update Our Timeline Presenting Movies About Real Journalists Covering Real Public Issues and Events (To Include “Shock and Awe” and “Risk”), Sunday, July 15, 2018.-
One important subject of “Shock and Awe” is about the working of mainstream media and how the reporting of the Knight Ridder team of journalists which, essentially anti-war because of its rightful skepticism, was suppressed. The on-target and in retrospect very valuable stories published by the Knight Ridder chain were not treated as news or picked up by New York Times, Washington Post and other mainstream media. As the films puts it, those media outlets, as in the wake of 9/11, acted as “stenographers” for the Bush administration’s propaganda. One of the things the film sadly depicts is how the Philadelphia Inquirer, one newspaper in the Knight Ridder chain, defected, refusing to publish the accurately skeptical Knight Ridder stories and replaced them with the stories by Judith Miller for which the New York Times ultimately had to apologize because of they were so abjectly false.
The film was discussed in a segment of this week’s On The Media. On The Media introed its coverage of the film (at 11:46) with: “What if great investigative journalism falls in the forest and doesn’t make a noise: Fifteen years later it becomes a movie.” Unfortunately, we could now add to that bleak epigram: “A movie that nobody sees.”. . .
. . . People are tweeting about how the film only made an absolutely paltry $41,000 its opening weekend, calculating that this must work out to about five tickets being sold per showing of the film.
This astoundingly poor showing doesn’t seem exactly like an accident. I was eager to see the film as soon as it came out, but finding out where it was playing and how to get tickets was next to impossible when I tried. The incomplete information Fandango offered was inaccurate. There was only one theater in New York City where I could see the film at unless I wanted to travel to Coney Island late at night.
The apparent suppression of the film now, and thus, once again, the underlying story that is so very relevant to right now, is very meta.
The film also addresses concerns beyond mere journalism that are less vanilla and increasingly relevant to today. I could offer a “spoiler alert” concerning what I am about to describe, but the film is so subtle in one respect that I think the way it pitches one point is likely to go over the heads of almost everyone. “All The President’s Men” has its scene where reporters Woodward and Bernstein realize that their lives may be in danger and that they may also be the subject of surveillance. “Shock and Awe,” has a very comparable scene that takes place between Woody Harrelson playing reporter Jonathan Landay and Milla Jovovich playing his wife. Based on her experiences when her country of Yugoslavia disintegrated, she warns Landay that he needs to be concerned for their lives and about surveillance. She does so when he tells her that he is working on a story about how the Bush administration is stove-piping intelligence up to a newly created senior unit at the top of the U.S. intelligence agencies for cherry-picking and manipulation purposes.
Immediately after this concern is expressed, another scene follows where the New York Times scoops the Knight Ridder team on that same story, but does so in a way that neutralizes and defangs the point of what Knight Ridder would have reported, inoculating the intelligence agencies against any future disclosure of information the new special unit formed to skew the intelligence. The implied question that is likely to go by too many viewers is whether the Bush administration fed the scoop to a cooperative New York Times to protect itself. Essentially the question is whether the Times acted yet again, in yet another way, as an extension of the Bush administration’s push toward war.
The Kenigsberg review suggests that this is not a film that intelligent or informed people will want to see saying that “the writing . . . has more interest in reaching the least-informed viewers than in realism.” In other words, saying that the film is pedestrian and didactic: But there is a lot in the film that most viewers will not know.
It is fair to say that the film, is aspirational about edifying and educating and therefore sticks fairly close to facts. The On The Media segment noted that it therefore must deal with a story that is a bit of "a downer." It also therefore necessarily falls short of checking the standard formulaic boxes for success as mindless entertainment or even infotainment. There are bad guys, but no car chases or super-heroes throwing enormous objects as they fly through the air. The bad guys also get away with their scheme in the end. It is nonetheless a good and inspiring film, very worth seeing, that could critically educate a large segment of our population.
This is not to say that the film doesn’t necessarily engage in some streamlining when it comes to the facts, something it perforce almost has to do. The film starts by establishing the events of 9/11 as backdrop to the story that partly explains the lack of criticism of the government by the media at the time. To emphasize how off track it was to blame Iraq for 9/11 it keeps its focus on Osama bin Laden as the 9/11 perpetrator who is, as a result, getting off the hook. The film does not detour into the unpursued involvement of the Saudis.
Although the film’s courageous protagonists don’t get to follow the standard arc of today’s mythically-presented and godlike movie superheroes (some are actually Gods of ancient myth– and the Times in its movie reviews takes them more seriously), it sent me scurrying to research one of the great enduring myths of all time, the Greek Myth of Cassandra. In their ancient story telling, the Greeks (e.g. Sisyphus) have a penchant for exquisite frustration: Cassandra was granted the gift of accurate prophecy sequestered in the curse that whatever she predicted would not be believed. The plight of the film’s reporting team is much the same.
The reporters in the film are able to see and accurately report that the Bush administration was lying and cherry picking intelligence, and they are able to foresee the many ways that going to war in Iraq would ultimately be exactly as extremely costly and counterproductive as it was. They do so, not through prophecy, but by digging to come up with well-founded documentation. Part of their strategy is to cultivate, as sources, lower level government officials rather than rely on access to top officials looking for media conduits to prostitute themselves. (The reason that Cassandra was cursed by the god Apollo to have her prophecies never believed was that she would not go to bed with him.)
Another difference between the true story the film offers and the Cassandra story is the centrality of how the Knight Ridder reporters were not merely predicting the future, but trying to unmask liars crafting a concocted story. But, in similar fashion, Cassandra was also predicting wars that would be disastrous to the civilizations involved, and at one point she too is dealing with and seeing through deception: When the Greeks deliver their Trojan Horse to the city of Troy, Cassanda knows it is a trick. When she tries to destroy the horse herself, she is stopped by the people of Troy who degrade her for not appreciating the Greek gift. The Greeks inside the horse were amazed at her perception.
Is there a lack of helpful attention and coverage that is suppressing this film? Are reviews like the Times review intended to help bury it quickly? Admittedly, the film makes almost all the newspapers and news magazines in the country look bad, and now it is up to those same news media outlets to publicize, praise or excoriate the film and help it find its audience. It is not surprising that the film is getting little help from these quarters. There are also serious questions about what does and does not get elevated in importance, or conversely what gets suppressed, by Google and Facebook algorithms. (This article about the film may not Google well.)
If the film is being suppressed, I think that the best antidote is to build legs for it by noticing the suppression. The film is reasonably good by any standard, and the only things that make it less than a perfect entertainment or work of art are the things that also make it a more important film in other respects. Certainly, at the very least, anti-war sites should publicize the film and its apparent suppression.
We will have to conclude with some ironies. The false information promulgated by almost every mainstream media outlet in the United States during the George Bush administration’s bellicose run up to the war is being cited by people like Aaron Maté for reason to be skeptical about all the Russiagate charges that Russia is an enemy of the Unites States interfering with our elections, especially since special prosecutor Robert Mueller heading the FBI in February 2003 was one of those Bush administration officials giving congress misleading information about Iraq (at 9:11 in video). Mueller, who started in office as head of the FBI a week before 9/11, is also one of the people in our government who inexplicably did not pursue the evidence linking top Saudis to 9/11.
But, on the other hand, yesterday in my email I got a request from Rob Reiner, the director of “Shock and Awe,” asking me to sign his petition demanding that President Donald Trump:
meet with special counsel Robert Mueller and answer his questions about possible conspiracy with the Russian government to influence the 2016 presidential election and obstruction of justice to cover it up. It’s imperative that federal investigators have all the information they need to get to the truth.Frankly, the timing of the petition email from Reiner is just too weird. And, if I were someone like Aaron Maté, I’d say that it hardly squares with the rigorous skepticism and caution about people in government that Reiner’s new film really ought to encourage.
Labels:
9/11,
Aaron Maté,
Censorship,
films about journalism,
George W. Bush,
Iraq War,
Journalism,
New York Times,
Rob Reiner
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