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Saturday, July 29, 2017





Anonymous said...

Ah, the Newseum. Some time ago, it screened a film called "The Magnitsky Act - Behind the Scenes". It was produced by Andrei Nekrasov, a Putin critic and one-time supporter of Bill Browder, the man behind the Magnitsy Act. During his research for the film, Nekrasov came to the conclusion that the 'official' story was totally wrong and the basis for the Magnitsky Act was totally flawed. Browder tried to prevent the Newseum and other theaters showing the film. He was successful in most cases. To its credit, the Newseum did not cave.

Linh Dinh said...

"the Newseum did not cave."

Wow, a very surprising victory for a truthteller.

CLOUD#9 said...

Propaganda pulpit non the less. Intriguing masses luring and hence ushering humankind along the quickining coagulation route terminating at extinction.
Look at the skies..Our air column is constantly renewed with heavy metal !
Where's the New Shroom ? And on and so

Ian Keenan said...

“In 2007, the Newseum was about to move into its $450-million home near the Capitol. A few blocks away in the J. Edgar Hoover Building, the FBI was seeking new life for its once popular display on G-man history, off-limits to the public since 9/11.

This meet-cute by the Mall soon became an odd-couple marriage. A standard loan agreement was drawn up for items such as Patty Hearst’s gun and the Unabomber’s Montana cabin, with an additional clause: “The FBI will be provided the opportunity to review and comment on the exhibit script.”

And comment the FBI did. For the next five years, more than 600 pages of documents and e-mails were exchanged. The bureau offered word changes—“standoff” instead of “siege,” for example, to describe the Branch Davidian raid in Waco—and broader criticisms, at one point protesting the portrayal of Hoover. Shortly before the 2008 opening, the FBI requested a meeting to address a lack of “discernible balance.”

“Instead, the FBI exhibit ends with a whiteboard that poses a question: “What would you give up to feel safer?” I watched as visitors wrote a variety of answers, including “my hair” and “my home.” “Really?” I asked a college freshman who had just written “my phone.” on the board. “You’d give up your phone for a sense of security?” “If I had to,” she replied. “What about the freedom of the press?” I asked, sassily. “Sure,” her friend answered before taking the marker and adding “press” to the already lengthy list.”

Was just reading last week (you could fill up a whole museum with this stuff).. Not in the African-American museum either:

“During the years that followed, Rowe continued to attack African-Americans and civil rights workers without fear, knowing that the FBI would protect him from prosecution.”


About Me

Born in Vietnam in 1963, I came to the US in 1975, and have also lived in Italy, England and Germany. I'm the author of a non-fiction book, Postcards from the End of America (2017), two books of stories, Fake House (2000) and Blood and Soap (2004), six of poems, All Around What Empties Out (2003), American Tatts (2005), Borderless Bodies (2006), Jam Alerts (2007), Some Kind of Cheese Orgy (2009) and A Mere Rica (2017), and a novel, Love Like Hate (2010). I've been anthologized in Best American Poetry 2000, 2004, 2007, Great American Prose Poems from Poe to the Present, Postmodern American Poetry: a Norton Anthology (vol. 2) and Flash Fiction International: Very Short Stories From Around the World, etc. I'm also editor of Night, Again: Contemporary Fiction from Vietnam (1996) and The Deluge: New Vietnamese Poetry (2013). My writing has been translated into Italian, Spanish, French, Dutch, German, Portuguese, Japanese, Korean, Arabic, Icelandic and Finnish, and I've been invited to read in London, Cambridge, Brighton, Paris, Berlin, Leipzig, Halle, Reykjavik, Toronto, Singapore and all over the US. I've also published widely in Vietnamese.