van – Radio Free https://www.radiofree.org Independent Media for People, Not Profits. Wed, 25 Jun 2025 13:00:00 +0000 en-US hourly 1 https://www.radiofree.org/wp-content/uploads/2019/12/cropped-Radio-Free-Social-Icon-2-32x32.png van – Radio Free https://www.radiofree.org 32 32 141331581 Writer Raymond Tyler and illustrator Noah Van Sciver on comics as a machine for empathy https://www.radiofree.org/2025/06/25/writer-raymond-tyler-and-illustrator-noah-van-sciver-on-comics-as-a-machine-for-empathy/ https://www.radiofree.org/2025/06/25/writer-raymond-tyler-and-illustrator-noah-van-sciver-on-comics-as-a-machine-for-empathy/#respond Wed, 25 Jun 2025 13:00:00 +0000 https://thecreativeindependent.com/people/writer-raymond-tyler-and-illustrator-noah-van-sciver-on-comics-as-a-machine-for-empathy You’re collaborating on a nonfiction comics project, <i>Democratic Socialists of America: A Graphic History</i>, that explores American history via the Democratic Socialist Group. Why choose a comic to tell the history of this group? Why do you feel that’s the best format?

Noah Van Sciver: Comics are more easily accessible. They’re visual, so they grab people’s attention right away. It’s sort of like a sugary way to get somebody to eat their medicine, to take their pills.

Ryamond Tyler: One of my favorite things about comics is that they really lend themselves to social history. In 1912, there was this piece Eugene V. Debs wrote titled “The Cartoonist and the Social Revolution,” in which he lays out the importance of cartooning and the socialist movement. Funny enough, that was a contributing factor to why in the DSA comic Eugene V. Debs is the narrator. It was a contributing factor because he had such a favorable view of cartoonists.

The thing about radical cartooning is that it’s always been central to the Socialist movement. There were some great IWW cartoons that came out in various forms. You could look at those IWW cartoons and could get a general political sense even more so than maybe sitting down and reading Capital, Volume One.

One thing I’ll say is that, generally speaking, the ruling class gets upset about comics and cartoons throughout history. All the way back in the 18th century, there was this gentleman named William Hogarth who created a series of etchings called “A Rake’s Progress,” and it was ridiculed and widely hated by the ruling class and loved by the peasantry and workers in general. And then you can go all the way to Fredric Wertham writing Seduction of the Innocent, and it kind of speaks the same sort of denigration of the cartoon of being a medium that appeals to everyday people.

I feel like that history can be very inaccessible at times, and then the comic book can make it very accessible.

We’re at a point where comics and cartoons are as popular as they’ve ever been because of the movies and the proliferation of manga. That said, people don’t really seem to have a sense of how historical and prevalent comics have always been and how political they’ve always been, so getting that historical perspective is great. Raymond, you’ve written a number of other comics about historical social justice movements, too. What patterns do you see between all those stories?

Raymond Tyler: One of the things I often say is that there’s a hidden history in the United States, and it’s a history of people being very capable of organizing their own lives.

What you’re going to see if you read any of my other comics is people who are immensely capable of doing a great deal of organization without bureaucratic or hierarchical institutions, at least in the sense that they exist today. To put it simply, as far as a theme in history, people don’t need kings or tyrants to manage their lives… People are perfectly capable of managing their lives, their workplaces, and even the economy. This is the theme of all of my comics.

Noah, what changes to your usual comics process did you make for this project, if any? I know you’ve done some work in this space, you’ve done some autobiographical work as well, so would love to hear more about how you approached this collaboration.

Noah Van Sciver: I tried my best to use my limited skills to be as realistic as possible and not to cartoon and go for humor, which is something that I naturally, automatically have to catch myself doing. I tried to take it more seriously because my big concern doing this was that I knew if I messed up, if I slipped, one of my drawings could be used as a right wing meme. So if I’m drawing AOC, I better make sure that it’s as accurate and serious as I can make it, because I don’t want to see it wind up on X as a meme or something.

Were there any other comics that you referred to as an anchor point of what you wanted this book to feel like or be like?

Noah Van Sciver: Not that I recall. Did you have anything in mind, Ray?

Raymond Tyler: No. I mean, I will say that I actually looked at you and Paul Buhle’s Eugene V. Debs comic, and I love the way that you draw Eugene V. Debs. Some of the panels and some of the writings here were designed for you to bring out that amazing work that you did on the Eugene V. Debs comic. But besides that, I don’t think so.

Noah Van Sciver: It was great to be able to get back in touch with Debs for this comic after doing it for that book and being like, “Oh, yeah, that was a great time.” I had such a great time doing that book, and I can see it when I look at the artwork I did for it that I was having a blast. I was lost in it. And so that was a really delightful surprise when I’m like, “I get to go be with this character again.”

We interviewed Paul for the Between the Lines campaign for Partisans, which Raymond, I know you were an editor on. He has this really interesting wealth of knowledge. He’s been in the space for such a long time. Were there any lessons you learned from him either about the process of making a book or about history in general that you’d like to pass on?

Raymond Tyler: I’ve learned a great deal from Paul Buhle, to say the least, I didn’t even know how to do history comics really before I reached out to Paul Buhle. What’s wonderful about Paul is just how accessible he was. I was working on the comic about the West Virginia Mine Wars, and it was just a dream at this point of me wanting to write a comic book about one of my favorite historical events. I reached out to Paul because of all the work that he’d done before, and he made himself so available, and he ended up editing that book.

There’s such an incredible amount he’s taught me. But one of the things that I love about Paul is he’s a remarkable wealth of knowledge in a very non-pretentious way. You can just talk to him and ask him about anything, and we both share the belief that history is for everybody.

I think that would be the primary things that I learned from Paul… Also, just the people that he’s put me in contact with like Noah. I was in contact with Noah because of Paul Buhle.

Noah, how about you? Any takeaways in working for Paul? It sounds like you’ve had multiple instances.

Noah Van Sciver: Yeah, I became friends with him in probably 2014 or something. We started working together and, same thing…. I mean, he kind of educated me on the secret politics of things or things that are happening behind the scenes in the arts or in literature that I hadn’t thought about or I hadn’t known about. He still does that. If I post a comic about Little Orphan Annie on Facebook or something, he’s there to talk about Harold Gray’s odious politics or something, or especially if somebody happens to be from Wisconsin or something, he’s going to tell you all about that. He’s been a great political teacher.

What was it like working together? What was the working relationship like of building the framework of this history and story together?

Noah Van Sciver: It was great for me. It was super easy. Luckily, Ray already knew my work, so he knew sort of what it was going to turn out to look like, and as I recall, he just kind of let me do my thing, and you didn’t have too many edits or changes or anything.

Raymond Tyler: I love the comics medium, but one of the reasons I love it so much is that I get to work with folks that I just hand the script over to, and I trust them to do their best work. I was so excited to work with Noah. I told him before he hopped on, he did one of my all-time favorite books, which is Joseph Smith and the Mormons. And so when Paul was like, “I’m going to message Noah,” I was so excited. I was like, “I didn’t know that that was ever an option.”

Then, I just got to add really quick, it was such a pleasure working with the DSA Fund and the DSA NPEC.

One of the other beautiful things about comics is finding those collaborators where you’re able say, “Hey, I’ve done my piece. I’m going to hand it to you.” And it is that group effort. Nobody’s struggling or choking a project for control or a high amount of visibility.

Raymon Tyler: That’s something I talk to other writers about a lot of times because there are some writers who can be really militant about what an artist draws and where they put it, and one of the recommendations I would always make to writers, especially new writers, is work with artists that you trust and know that they know a lot more than you do about art. They’ve worked on this craft for a long time, and you can have preferences, I think, but you never want to work with an artist, and then the artist feels like they’re just drawing a panel over and over again the exact way that you want it. It just kind of ruins the whole process. So that’s always a big recommendation that I have for anyone. Hand it over and trust them to do some great work.

Noah, you alluded to this earlier—there’s a level of letting people have fun with the process, too. I work with a lot of artists on role-playing games that I make, and I’m just like, “Put whatever you want in there,” but if there’s references or specific things, depending on the gist of the game, it is nice to see what people come back with, from a writer’s perspective in terms of little Easter eggs, because art is 50% of the product.

Noah Van Sciver: Earlier you asked about why we decided to use comics tell this kind of story, and I just want to say that I really believe that comics are a machine for empathy in that it’s a very private medium. Somebody has to sit alone and read this thing. It’s a one-on-one communication, and you’re telling a story as a cartoonist or as a writer, you’re having to live in somebody else’s skin and communicate what that living is like, and then the reader is taking that in and they’re becoming the person whose story you’re telling, and it begs you to have empathy.

I think that using comics to tell these kinds of stories, stories about having empathy for others and living in other people’s skin, it’s a powerful natural tool. It’s the best way to do it, I think even better than film, because film is passive and comics are active. You have to take part in being a part of that story. So I think comics are the best way to get people to live in other people’s shoes and see what their lives are like and have empathy for them.

Raymond Tyler Recommends:

Napalm Death (any record) — Fun fact I listen to Napalm Death the most when writing comic scripts.

Left Hand of Darkness by Ursula K Le Guin — When I read this book it changed my life. Le Guin will always be a deep love and a hero of mine.

American Splendor (collection by Harvey Pekar) — By far my favorite comic series ever written.

Sorry to Bother You (film by Boots Riley) — I have watched this movie so many times, it always makes me want to create radical art.

Peterloo (film by Mike Leigh) — This is probably one of my favorite films of all time.


Noah Van Sciver Recommends:

Mark Twain by Ron Chernow — This biography has kept me company recently and is an immersive and wonderful look at a legendary author.

Little Lulu comics by John Stanley — Good stories and timeless comics.

The Fires of Vesuvius by Mary Beard- A fascinating historical read.

Empire Records film soundtrack — I was just listening to this soundtrack as I worked on another autobiographical childhood comic. It brought me right back to where I needed to be. Flung open the door and allowed tamped down memories to flood out. It’s amazing how music can do that for you. It’s a great time travel tool.

Asymmetric As January by Abraham J. Frost — This is a deep collection of poetry by a writer I’m an admirer of.


This content originally appeared on The Creative Independent and was authored by Sam Kusek.

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TV news van vandalized at LA immigration protest https://www.radiofree.org/2025/06/12/tv-news-van-vandalized-at-la-immigration-protest/ https://www.radiofree.org/2025/06/12/tv-news-van-vandalized-at-la-immigration-protest/#respond Thu, 12 Jun 2025 19:29:19 +0000 https://pressfreedomtracker.us/all-incidents/tv-news-van-vandalized-at-la-immigration-protest/

A news van shared by KNBC and KVEA was defaced and vandalized during an immigration enforcement protest on June 9, 2025, in Los Angeles, California, according to videos posted on social media by multiple accounts.

The protests began June 6 in response to federal raids in and around Los Angeles of workplaces and areas where immigrant day laborers gathered, amid the Trump administration’s larger immigration crackdown. After demonstrators clashed with Los Angeles law enforcement officers and federal agents, President Donald Trump called in the California National Guard and later the U.S. Marines over the objections of California Gov. Gavin Newsom and Los Angeles Mayor Karen Bass.

In a video posted to Instagram, a person is seen attempting to smash the van’s passenger-side window with a skateboard as a car alarm beeps in the background. The van, covered in graffiti, has a shattered front windshield.

In a separate video posted to YouTube by FreedomNewsTV on June 10, one of the defaced van’s tires is shown slashed, hissing loudly as it rapidly deflates.

KNBC and KVEA did not immediately respond to requests for comment.


This content originally appeared on U.S. Press Freedom Tracker: Incident Database and was authored by U.S. Press Freedom Tracker: Incident Database.

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Musician and actor Sharon Van Etten on letting people in https://www.radiofree.org/2025/06/03/musician-and-actor-sharon-van-etten-on-letting-people-in/ https://www.radiofree.org/2025/06/03/musician-and-actor-sharon-van-etten-on-letting-people-in/#respond Tue, 03 Jun 2025 04:00:00 +0000 https://thecreativeindependent.com/people/musician-and-actor-sharon-van-etten-on-letting-people-in You were averse to the concept “jamming” until you started working on your new album. What kept you at bay?

Growing up in the ’90s in New Jersey, my relationship with it is complicated. I think not just because of the music, but also the drug culture that seems to surround some of the scenes that perpetuate it. I’m not anti-drug. That’s a whole other conversation. But I saw, at a very young age, pros and cons of it all. I won’t name names. I won’t point fingers. I’m one of five kids. I’m the only one that didn’t really sign on to the parking lot culture that I think you know what I’m talking about.

I came into being a musician later in life. I was a choir kid, I was in theater, I played guitar, but I wasn’t trying to be in a band. I didn’t have the confidence to say, “I’m an artist” or anything like that in my teenage years. But I enjoyed it. I loved Ween and wrote silly songs about what I saw, not knowing anything about the future, of course—who knows that? I loved to sing and I had a couple friends who I would play guitar with, never thinking that it would be a career. I didn’t even really have a band until my 30s; I was solo up until then. My idea of a jam was a never-ending jam and being the last person in the corner with a guitar. But now, having had a deeper relationship with music and other musicians, that feeling has evolved for me.

How did it feel to settle in with the band? Was there an element of letting go?

Letting go is definitely a huge part of it. It was empowering to learn how to not feel like I had to steer the ship and to lean into each other’s ideas. I know this is not a new idea to anyone who has ever had a band; I’m having this connection and realization later in life. There’s a part of it that I’m a little embarrassed about. In my late teens, early 20s, I came out of a pretty traumatic relationship with someone who told me that anyone that would want to play with me just wanted to get into my pants. He was also very abusive, so I’ve carried those co-existingly throughout my life. My writing has stemmed from a place of healing and getting over that period of my life. It’s been a series of different ways of letting other people in, to support me and help me convey my ideas [that come] from a place I was trying to protect for so long. Having a band represents my healing process: trusting people and letting go in this way, and feeling seen by everyone I’m in the room with and letting them see me.

What did you hear in early demos that made you think, “This is working, let’s keep going”?

Everyone had their own space. I’m used to playing guitar or keys, and singing and building the demo up myself before I share it with anyone. Starting from the ground up, it’s a matter of listening and patience and knowing when to lean in and hang back. Before I knew we were writing songs, I loved it as this sonic trust fall… I’m curious what happens without forcing it to be something. There’s a lot of patience and support without the stacking of ideas… I had a lot more freedom to sing because I didn’t have to play the whole time. Everyone got to develop parts and have more movements, in a way.

You also chose to get everyone together in a communal space as opposed to a formal rehearsal studio.

I thought it would be enlightening for everyone to come and reconnect as people after Covid. To meet each other, have discourse, and have a bit of a literal band camp—to have breakfast, lunch, dinner together. The house and studio were separate. This studio, Gatos Trail in Yucca Valley, was amazing, and we were able to get to know each other in this very real way, and then go to a space where we could be in the room together and hash out songs without it feeling like we’re on the clock. After a week of going through all the songs, we had an extra two hours at the end. I was tired of hearing my own voice and was very inspired by the palette we had been honing, and I asked if we could just jam. We wrote two songs right away in that environment.

It’s so important to carve out space for the people that are choosing to be a part of your universe.

They’re giving up their life for you. I know it sounds dramatic, but it’s real. That’s why I called the band The Attachment Theory. You leave friends and your family behind and you become each other’s chosen family. You’re basically saying, “If there’s anything I’d rather do than be home and feel safe, it’s be with you.” We’re artists, and this is part of the deal. Home is everywhere, your community is everywhere, and you’re nurturing this thing. But I still feel like there’s an element of being a traveling shoe salesman. I mean that in a positive way. We believe in this and we’re nurturing a community, but it’s not like it’s getting any easier. I don’t have to tell you that.

You have an extensive backlog of ideas. How do you know when to revisit one of them?

I tend to write in my writing space, where I’m able to record enough. If I’m traveling and I have an instrument or a melodic idea, I try to get it down enough, or I’m like, “Okay, I want to pursue this when I get to a place where I can pursue this.” Most of the time, I’m feeling something deeply and I hit record, and I write a stream of consciousness to get the feeling out. Depending on the situation—if it’s days, weeks, months later—I’ll try to listen back to it with some perspective, to try to analyze what it was I was feeling. I’ll write anywhere from one to ten fragments that can be from 2 to 15 minutes long, just to get an overall feeling out… One thing I want to be better at is having more of a narrative in my writing. It’s rarely where my inspiration comes from. I’ve had writing exercises where I learned how to do that better, but most of my songs are more feelings and unfinished thoughts, ideas.

Do you feel internal or external pressure to stay creative?

I feel lucky that I don’t feel the pressure from my orbit. In my 40s, as a mom pursuing music, my concern has never been my relevance. I was a late bloomer from the get-go. My first album came out in 2009. I was late to everything. So I’ve always been behind the curve, as far as the industry is concerned. I have an understanding of that, but it hasn’t been a concern of mine.

My husband is a manager and he works with younger artists, and I understand the pressures of singles and the streaming platforms, and he helps me try to stay engaged on social media in a way that I probably wouldn’t… I feel grateful that I work with a label that is album-centric and we can focus on the record and focus on a campaign. I’m not pressured. It’s, “You tell us when you’re ready and let’s figure out the best timing for that.” [My label] Jagjaguwar has been supportive whenever I want to do something. I like to write with other people and sharpen a different tool in my belt; I think it’s always a good thing to experiment with other people and try new things. You make things according to who you’re surrounded with. Then I find the right time to put things out. But I don’t like putting too much out or putting too much on my calendar. I have an 8-year-old kid and I’m 44, and it’s just more complicated. I’d rather feel more invested when I’m ready.

Have you found your stride with balancing motherhood and your career?

I definitely haven’t figured it out, and I’m also learning that you can’t separate those things. I do feel like a crazy person going from having this performance on a theater stage and then going and chaperoning a class trip. But I know those things coincide. This is going to sound funny, but my kid is so supportive of me. Every time he’s come to the studio, we have talks about, “You know when I make a record, what happens,” and he’s like, “Oh, well, you go on tour.” “Yeah, but what’s that mean?” He’s like, “That means you’re gone.” And I’m like, “Yeah, but now you’re in real school.” The last two tours I did, it was COVID or just past COVID, where it was easier to take him. With this album, I’m more invested. I want to show the band I’m going to work this one harder for all of us, but that means more touring. My kid was so sweet, he just said, “Mom, you can’t stop singing.”

Oh my god.

Yeah. Talk about making me cry and fall on my knees. We’re going to be touring this year and next year. It’s going to be the most I’ve been gone. He understands time and space in a way where he didn’t before and you just can’t separate those things.

Years ago you got some important advice from Nick Cave about live performance and looking people in the eye. What impact has this had for you on stage?

When I walk out on stage, it takes the first three songs to shake my nerves, and usually my nerves make me teary. So the first one to three songs, I’m mostly closing my eyes and getting past the tears to the point where I can open my eyes. I try to focus on an audience member. If I can find that, great; if not, I can turn to my band and reconnect with my band. That settles me in this other way, and then I can turn back to the audience and have moments where I feel like I’m having conversations directly with them. You can’t control chemistry. You can’t control the energy of a room. You have to perform no matter what. I still believe in that part of it. Some of it can be acting. But some of it is, “How do I wield this energy to all of our benefits, and get through it to be able to do my job?” Sometimes it’s funny, sometimes it’s sad.

Sharon Van Etten recommends:

The Beauty of What Remains by Steve Leder

Lives Outgrown by Beth Gibbons (album and live show!)

Room to Dream, David Lynch memoir from his perspective and his friends’

David Sedaris’ Masterclass on Storytelling (saw this on the plane and laughed out loud)

Weingut Heinrich naked white wine


This content originally appeared on The Creative Independent and was authored by Jeffrey Silverstein.

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Why the Wall of Silence on the Genocide of Gazans is Finally Starting to Crack https://www.radiofree.org/2025/05/17/why-the-wall-of-silence-on-the-genocide-of-gazans-is-finally-starting-to-crack/ https://www.radiofree.org/2025/05/17/why-the-wall-of-silence-on-the-genocide-of-gazans-is-finally-starting-to-crack/#respond Sat, 17 May 2025 12:56:15 +0000 https://dissidentvoice.org/?p=158278 As Israel unveils its final genocide push, and mass death from starvation looms in Gaza, western media and politicians are tentatively starting to speak up. Who could have imagined 19 months ago that it would take more than a year and a half of Israel slaughtering and starving Gaza’s children for the first cracks to […]

The post Why the Wall of Silence on the Genocide of Gazans is Finally Starting to Crack first appeared on Dissident Voice.]]>

As Israel unveils its final genocide push, and mass death from starvation looms in Gaza, western media and politicians are tentatively starting to speak up.

Who could have imagined 19 months ago that it would take more than a year and a half of Israel slaughtering and starving Gaza’s children for the first cracks to appear in what has been a rock-solid wall of support for Israel from western establishments.

Finally, something looks like it may be about to give.

The British establishment’s financial daily, the Financial Times, was first to break ranks last week to condemn “the West’s shameful silence” in the face of Israel’s murderous assault on the tiny enclave.

In an editorial – effectively the paper’s voice – the FT accused the United States and Europe of being increasingly “complicit” as Israel made Gaza “uninhabitable”, an allusion to genocide, and noted that the goal was to “drive Palestinians from their land”, an allusion to ethnic cleansing.

Of course, both of these grave crimes by Israel have been evidently true not only since Hamas’ violent, single-day breakout from Gaza on 7 October 2023, but for decades.

So parlous is the state of western reporting, from a media no less complicit than the governments berated by the FT, that we need to seize on any small signs of progress.

Next, the Economist chimed in, warning that Israeli Prime Minister Benjamin Netanyahu and his ministers were driven by a “dream of emptying Gaza and rebuilding Jewish settlements there”.

At the weekend, the Independent decided the “deafening silence on Gaza” had to end. It was “time for the world to wake up to what is happening and to demand an end to the suffering of the Palestinians trapped in the enclave.”

Actually much of the world woke up many, many months ago. It has been the western press corps and western politicians slumbering through the past 19 months of genocide.

Then on Monday, the supposedly liberal Guardian voiced in its own editorial a fear that Israel is committing “genocide”, though it only dared do so by framing the accusation as a question.

It wrote of Israel: “Now it plans a Gaza without Palestinians. What is this, if not genocidal? When will the US and its allies act to stop the horror, if not now?”

The paper could more properly have asked a different question: Why have Israel’s western allies – as well as media like the Guardian and FT – waited 19 months to speak up against the horror?

And, predictably bringing up the rear, was the BBC. On Wednesday, the BBC Radio’s PM programme chose to give top billing to testimony from Tom Fletcher, the United Nation’s humanitarian affairs chief, to the Security Council. Presenter Evan Davis said the BBC had decided to “do something a little unusual”.

Unusual indeed. It played Fletcher’s speech in full – all 12 and a half minutes of it. That included Fletcher’s comment: “For those killed and those whose voices are silenced: what more evidence do you need now? Will you act – decisively – to prevent genocide and to ensure respect for international humanitarian law?”

We had gone in less than a week from the word “genocide” being taboo in relation to Gaza to it becoming almost mainstream.

Growing cracks

Cracks are evident in the British parliament too. Mark Pritchard, a Conservative MP and life-long Israel supporter, stood up from the back benches to admit he had been wrong about Israel, and condemned it “for what it is doing to the Palestinian people”.

He was one of more than a dozen Tory MPs and peers in the House of Lords, all formerly staunch defenders of Israel, who urged British Prime Minister Keir Starmer to immediately recognise a Palestinian state.

Their move followed an open letter published by 36 members of the Board of Deputies, a 300-member body that claims to represent British Jews, dissenting from its continuing support for the slaughter. The letter warned: “Israel’s soul is being ripped out.”

Pritchard told fellow MPs it was time to “stand up for humanity, for us being on the right side of history, for having the moral courage to lead.”

Sadly, there is no sign of that yet. Research published last week, based on Israeli tax authority data, showed Starmer’s government has been lying even about the highly limited restrictions on arms sales to Israel it claimed to have imposed last year.

Despite an ostensible ban on shipments of weapons that could be used in Gaza, Britain has covertly exported more than 8,500 separate munitions to Israel since the ban.

This week more details emerged. According to figures published by The National, the current government exported more weapons to Israel in the final three months of last year, after the ban came into effect, than the previous Conservative government did through the whole of 2020 to 2023.

So shameful is the UK’s support for Israel in the midst of what the International Court of Justice – the World Court – has described as a “plausible genocide” that Starmer’s government needs to pretend it is doing something, even as it actually continues to arm that genocide.

More than 40 MPs wrote to Foreign Secretary David Lammy last week calling for him to respond to allegations that he had misled the public and parliament. “The public deserves to know the full scale of the UK’s complicity in crimes against humanity,” they wrote.

There are growing rumblings elsewhere. This week France’s President Emmanuel Macron called Israel’s complete blockade on aid into Gaza “shameful and unacceptable”. He added: “My job is to do everything I can to make it stop.”

“Everything” seemed to amount to nothing more than mooting possible economic sanctions.

Still, the rhetorical shift was striking. Italy’s prime minister, Giorgia Meloni, similarly denounced the blockade, calling it “unjustifiable”. She added: “I have always recalled the urgency of finding a way to end the hostilities and respect international law and international humanitarian law.”

“International law”? Where has that been for the past 19 months?

There was a similar change of priorities across the Atlantic. Democratic Senator Chris van Hollen, for example, recently dared to call Israel’s actions in Gaza “ethnic cleansing”.

CNN’s Christiane Amanpour, a bellwether of the Beltway consensus, gave Israel’s deputy foreign minister, Sharren Haskel, an unusually tough grilling. Amanpour all but accused her of lying about Israel starving children.

Meanwhile, Josep Borrell, the recently departed head of European Union foreign policy, broke another taboo last week by directly accusing Israel of preparing a genocide in Gaza.

“Seldom have I heard the leader of a state so clearly outline a plan that fits the legal definition of genocide,” he said, adding: “We’re facing the largest ethnic cleansing operation since the end of the Second World War.”

Borrell, of course, has no influence over EU policy at this point.

A death camp

This is all painfully slow progress, but it does suggest that a tipping point may be near.

If so, there are several reasons. One – the most evident in the mix – is US President Donald Trump.

It was easier for the Guardian, the FT and old-school Tory MPs to watch the extermination of Gaza’s Palestinians in silence when it was kindly Uncle Joe Biden and the US military industrial complex behind it.

Unlike his predecessor, Trump too often forgets the bit where he is supposed to put a gloss on Israeli crimes, or distance the US from them, even as Washington ships the weapons to carry out those crimes.

But also, there are plenty of indications that Trump – with his constant craving to be seen as the top dog – is increasingly annoyed at being publicly outfoxed by Netanyahu.

This week, as Trump headed to the Middle East, his administration secured the release of Israeli soldier Edan Alexander, the last living US citizen in captivity in Gaza, by bypassing Israel and negotiating directly with Hamas.

In his comments on the release, Trump insisted it was time to “put an end to this very brutal war” – a remark he had very obviously not coordinated with Netanyahu.

Notably, Israel is not on Trump’s Middle East schedule.

Right now seems a relatively safe moment to adopt a more critical stance towards Israel, as presumably the FT and Guardian appreciate.

Then there is the fact that Israel’s genocide is reaching its endpoint. No food, water or medicines have entered Gaza for more than two months. Everyone is malnourished. It is unclear, given Israel’s destruction of Gaza’s health system, how many have already died from hunger.

But the pictures of skin-and-bones children emerging from Gaza are uncomfortably reminiscent of 80-year-old images of skeletal Jewish children imprisoned in Nazi camps.

It is a reminder that Gaza – strictly blockaded by Israel for 16 years before Hamas’ 7 October 2023 breakout – has been transformed over the past 19 months from a concentration camp into a death camp.

Parts of the media and political class know mass death in Gaza cannot be obscured for much longer, not even after Israel has barred foreign journalists from the enclave and murdered most of the Palestinian journalists trying to record the genocide.

Cynical political and media actors are trying to get in their excuses before it is too late to show remorse.

The ‘Gaza war’ myth

And finally there is the fact that Israel has declared its readiness to take hands-on responsibility for the extermination in Gaza by, in its words, “capturing” the tiny territory.

The long-anticipated “day after” looks like it is about to arrive.

For 20 years, Israel and western capitals have conspired in the lie that Gaza’s occupation ended in 2005, when Israel’s then prime minister, Ariel Sharon, pulled out a few thousand Jewish settlers and withdrew Israeli soldiers to a highly fortified perimeter encaging the enclave.

In a ruling last year, the World Court gave this claim short shrift, emphasising that Gaza, as well as the Palestinian territories of the West Bank and East Jerusalem, had never stopped being under Israeli occupation, and that the occupation must end immediately.

The truth is that, even before the 2023 Hamas attacks, Israel had been besieging Gaza by land, sea and air for many, many years. Nothing – people or trade – went in or out without the Israeli military’s say-so.

Israeli officials instituted a secret policy of putting the population there on a strict “diet” – a war crime then as now – one that ensured most of Gaza’s young became progressively more malnourished.

Drones whined constantly overhead, as they do now, watching the population from the skies 24 hours a day and occasionally raining down death. Fishermen were shot and their boats sunk for trying to fish their own waters. Farmers’ crops were destroyed by herbicides sprayed from Israeli planes.

And when the mood took it, Israel sent in fighter jets to bomb the enclave or sent soldiers in on military operations, killing hundreds of civilians at a time.

When Palestinians in Gaza went out week after week to stage protests close to the perimeter fence of their concentration camp, Israeli snipers shot them, killing some 200 and crippling many thousands more.

Yet, despite all this, Israel and western capitals insisted on the story that Hamas “ruled” Gaza, and that it alone was responsible for what went on there.

That fiction was very important to the western powers. It allowed Israel to evade accountability for the crimes against humanity committed in Gaza over the past two decades – and it allowed the West to avoid complicity charges for arming the criminals.

Instead, the political and media class perpetuated the myth that Israel was engaged in a “conflict” with Hamas – as well as intermittent “wars” in Gaza – even as Israel’s own military termed its operations to destroy whole neighbourhoods and kill their residents “mowing the lawn”.

Israel, of course, viewed Gaza as its lawn to mow. And that is precisely because it never stopped occupying the enclave.

Even today western media outlets collude in the fiction that Gaza is free from Israeli occupation by casting the slaughter there – and the starvation of the population – as a “war”.

Loss of cover story

But the “day after” – signalled by Israel’s promised “capture” and “reoccupation” of Gaza – brings a conundrum for Israel and its western sponsors.

Till now Israel’s every atrocity has been justified by Hamas’ violent breakout on 7 October 2023.

Israel and its supporters have insisted that Hamas must return the Israelis it took captive before there can be some undefined “peace”. At the same time, Israel has also maintained that Gaza must be destroyed at all costs to root out Hamas and eliminate it.

These two goals never looked consistent – not least because the more Palestinian civilians Israel killed “rooting out” Hamas, the more young men Hamas recruited seeking vengeance.

The constant stream of genocidal rhetoric from Israeli leaders made clear that they believed there were no civilians in Gaza – no “uninvolved” – and that the enclave should be levelled and the population treated like “human animals”, punished with “no food, water or fuel”.

Finance Minister Bezalel Smotrich reiterated that approach last week, vowing that “Gaza will be entirely destroyed” and that its people would be ethnically cleansed – or, as he put it, forced to “leave in great numbers to third countries”.

Israeli officials have echoed him, threatening to “flatten” Gaza if the hostages are not released. But in truth, the captives held by Hamas are just a convenient pretext.

Smotrich was more honest in observing that the hostages’ release was “not the most important thing”. His view is apparently shared by the Israeli military, which has reportedly put that aim last in a list of six “war” objectives.

More important to the military are “operational control” of Gaza, “demilitarization of the territory” and “concentration and movement of the population”.

With Israel about to be indisputably, visibly in direct charge of Gaza again – with the cover stories stripped away of a “war”, of the need to eliminate of Hamas, of civilian casualties as “collateral damage” – Israel’s responsibility for the genocide will be incontestable too, as will the West’s active collusion.

That was why more than 250 former officials with Mossad, Israel’s spy agency – including three of its former heads – signed a letter this week decrying Israel’s breaking of the ceasefire in early March and its return to “war”.

The letter called Israel’s official objectives “unattainable”.

Similarly, the Israeli media reports large numbers of Israel’s military reservists are no longer showing up when called for a return to duty in Gaza.

Ethnic cleansing

Israel’s western patrons must now grapple with Israel’s “plan” for the ruined territory. Its outline has been coming more sharply into focus in recent days.

In January Israel formally outlawed the United Nations refugee agency UNRWA that feeds and cares for the large proportion of the Palestinian population driven off their historic lands by Israel in earlier phases of its decades-long colonisation of historic Palestine.

Gaza is packed with such refugees – the outcome of Israel’s biggest ethnic cleansing programme in 1948, at its creation as a “Jewish state”.

Removing UNRWA had been a long-held ambition, a move by Israel designed to help rid it of the yoke of aid agencies that have been caring for Palestinians – and thereby helping them to resist Israel’s efforts at ethnic cleansing – as well as monitoring Israel’s adherence, or rather lack of it, to international law.

For the ethnic cleansing and genocide programmes in Gaza to be completed, Israel has needed to produce an alternative system to UNRWA’s.

Last week, it approved a scheme in which it intends to use private contractors, not the UN, to deliver small quantities of food and water to Palestinians. Israel will allow in 60 trucks a day – barely a tenth of the absolute minimum required, according to the UN.

There are several catches. To stand any hope of qualifying for this very limited aid, Palestinians will need to collect it from military distribution points located in a small area at the southern tip of the Gaza strip.

In other words, some two million Palestinians will have to crowd into a location that has no chance of accommodating them all, and even then will have only a tenth of the aid they need.

They will have to relocate too without any guarantee from Israel that it won’t continue bombing the “humanitarian zones” they have been herded into.

These military distribution zones just so happen to be right next to Gaza’s sole, short border with Egypt – exactly where Israel has been seeking to drive the Palestinians over the past 19 months in the hope of forcing Egypt to open the border so the people of Gaza can be ethnically cleansed into Sinai.

Under Israel’s scheme, Palestinians will be screened in these military hubs using biometric data before they stand any hope of receiving minimum calorie-controlled handouts of food.

Once inside the hubs, they can be arrested and shipped off to one of Israel’s torture camps.

Just last week Israel’s Haaretz newspaper published testimony from an Israeli soldier turned whistleblower – confirming accounts from doctors and other guards – that torture and abuse are rife against Palestinians, including civilians, at Sde Teiman, the most notorious of the camps.

War on aid

Last Friday, shortly after Israel announced its “aid” plan, it fired a missile into an UNRWA centre in Jabaliya camp, destroying its food distribution centre and warehouse.

Then on Saturday, Israel bombed tents used for preparing food in Khan Younis and Gaza City. It has been targeting charity kitchens and bakeries to close them down, in an echo of its campaign of destruction against Gaza’s hospitals and health system.

In recent days, a third of UN-supported community kitchens – the population’s last life line – have closed because their stores of food are depleted, as is their access to fuel.

According to the UN agency OCHA, that number is rising “by the day”, leading to “widespread” hunger.

The UN reported this week that nearly half a million people in Gaza – a fifth of the population – faced “catastrophic hunger”.

Predictably, Israel and its ghoulish apologists are making light of this sea of immense suffering. Jonathan Turner, chief executive of UK Lawyers for Israel, argued that critics were unfairly condemning Israel for starving Gaza’s population, and ignoring the health benefits of reducing “obesity” among Palestinians.

In a joint statement last week, 15 UN agencies and more than 200 charities and humanitarian groups denounced Israel’s “aid” plan. The UN children’s fund UNICEF warned that Israel was forcing Palestinians to choose between “displacement and death”.

But worse, Israel is setting up its stall once again to turn reality on its head.

Those Palestinians who refuse to cooperate with its “aid” plan will be blamed for their own starvation. And international agencies who refuse to go along with Israeli criminality will be smeared both as “antisemitic” and as responsible for the mounting toll of starvation on Gaza’s population.

There is a way to stop these crimes degenerating further. But it will require western politicians and journalists to find far more courage than they have dared muster so far. It will need more than rhetorical flourishes. It will need more than public handwringing.

Are they capable of more? Don’t hold your breath.

  • Middle East Eye
  • The post Why the Wall of Silence on the Genocide of Gazans is Finally Starting to Crack first appeared on Dissident Voice.


    This content originally appeared on Dissident Voice and was authored by Jonathan Cook.

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    Sen. Van Hollen on Meeting Kilmar Abrego Garcia in El Salvador & Escalating Constitutional Crisis https://www.radiofree.org/2025/04/21/sen-van-hollen-on-meeting-kilmar-abrego-garcia-in-el-salvador-escalating-constitutional-crisis-3/ https://www.radiofree.org/2025/04/21/sen-van-hollen-on-meeting-kilmar-abrego-garcia-in-el-salvador-escalating-constitutional-crisis-3/#respond Mon, 21 Apr 2025 22:00:36 +0000 http://www.radiofree.org/?guid=40477e47f7c639467bdb05b1e081143f
    This content originally appeared on Democracy Now! and was authored by Democracy Now!.

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    Sen. Van Hollen on Meeting Kilmar Abrego Garcia in El Salvador & Escalating Constitutional Crisis https://www.radiofree.org/2025/04/21/sen-van-hollen-on-meeting-kilmar-abrego-garcia-in-el-salvador-escalating-constitutional-crisis/ https://www.radiofree.org/2025/04/21/sen-van-hollen-on-meeting-kilmar-abrego-garcia-in-el-salvador-escalating-constitutional-crisis/#respond Mon, 21 Apr 2025 15:03:32 +0000 http://www.radiofree.org/?guid=c29d02bb9ea8b089c42e0b74447e3619
    This content originally appeared on Democracy Now! and was authored by Democracy Now!.

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    Sen. Van Hollen on Meeting Kilmar Abrego Garcia in El Salvador & Escalating Constitutional Crisis https://www.radiofree.org/2025/04/21/sen-van-hollen-on-meeting-kilmar-abrego-garcia-in-el-salvador-escalating-constitutional-crisis-2/ https://www.radiofree.org/2025/04/21/sen-van-hollen-on-meeting-kilmar-abrego-garcia-in-el-salvador-escalating-constitutional-crisis-2/#respond Mon, 21 Apr 2025 12:11:18 +0000 http://www.radiofree.org/?guid=eee58caf3dcbdb220978e514c8a0efc2 Seg1 vanhollen kilmar

    We speak with Maryland Senator Chris Van Hollen, just back from El Salvador, where he met Kilmar Abrego Garcia, the Maryland father whom the Trump administration says they forcibly transferred to an El Salvador mega-prison last month by “administrative error.” “We will keep fighting for his constitutional rights, because if we deny the constitutional rights for one person, we threaten them for everybody,” says Van Hollen. Four more Democratic lawmakers, including Congressmembers Maxwell Alejandro Frost of Florida and Yassamin Ansari of Arizona, have since traveled to El Salvador to continue pressuring for Abrego Garcia’s release.


    This content originally appeared on Democracy Now! and was authored by Democracy Now!.

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    Empathy in Authoritarianism’s Valley of Dry Bones https://www.radiofree.org/2025/03/13/empathy-in-authoritarianisms-valley-of-dry-bones/ https://www.radiofree.org/2025/03/13/empathy-in-authoritarianisms-valley-of-dry-bones/#respond Thu, 13 Mar 2025 14:23:28 +0000 https://dissidentvoice.org/?p=156577 The Good Samaritan, 1890 by Vincent van Gogh Empathy is weakness, asserts a man, who views the world through ego-inflated grandiosity not the grandeur that is spread before him in the form of the living earth. “The fundamental weakness of Western civilization is empathy.” — Elon Musk When the dismal, life-defying ways of humankind (embodied […]

    The post Empathy in Authoritarianism’s Valley of Dry Bones first appeared on Dissident Voice.]]>
    The Good Samaritan, 1890 by Vincent van Gogh
    The Good Samaritan, 1890 by Vincent van Gogh

    Empathy is weakness, asserts a man, who views the world through ego-inflated grandiosity not the grandeur that is spread before him in the form of the living earth.

    “The fundamental weakness of Western civilization is empathy.” — Elon Musk

    When the dismal, life-defying ways of humankind (embodied by the aforementioned tech billionaire grifter) cause life to seem unbearable to my sight, I’m compelled to turn my grief-darkened vision inward; therein, I am, in moments of grace, greeted by a type of internal dawn. The first light of inner day touches my mind. The warmth of its touch stays with me as night winds howl, the ignorant gibber and rage, and foul men ascend to power.

    “I can’t go on. I’ll go on.” ― Samuel Beckett, The Unnamable

    There are moments, despair-pummeling hours during long, rest-deprived nights that I, pressed down by the crush of events, feel as though I simply can’t go on. Held in the thrall of grief, I cannot manage to write another word. Yet I continue to, word by word, sentence by sentence. Somehow I bear up. It remains a mystery as to how. I suspect, if I had to speculate as to the reason, the mystery in itself is exhilarating.

    The rude rifting delivered by an insult comic, ridiculing vanity and human folly, is, most likely, less offensive to God (or even human sensibility) than religious fundamentalists praying for the end of the world or tech bros insisting they will deliver us to a “posthuman” paradise, wherein the serpent is empathy. .

    The world does not need a savior to die — or become transhuman — for our sins. At every sunrise, inner or extant, rebirth is possible.

    Before we can access our humanity, we must first genuflect before the grandeur of earthworm and galaxy. From my empathy-ridden perspective sin is committed by refusing to notice the terrible beauty of it all and allow the worst among us to do all the talking and claim the world as their entitlement. A voice resounds within me: defy the lie; resist soullessness. Because we are mortal human beings, defeat will come — but choose to be wounded by beauty.


    Rubens, Saint Sebastian Tended By Two Angels, circa 1650

    Only when I admit life is incomprehensible can I discern the cretinous lies passed off as truths by those who seek to gain power. Under the perpetual and pummeling uncertainty of a capitalist system, the contrived confidence of grifters will hold those who crave certainty in the thrall of tales promising false hope. Removal of dangerous outsiders is a time-tested go to of the ruthless. Thus the mark has been provided with provisional relief from anxiety, as, all the while, relieved of his money; and from the realm of political grifters, eventually, freedom of choice.

    How does authoritarian rule come to be? First and foremost, because the mark has been swindled out of the ability to endure the incomprehensible — thus to endure the anxiety inherent to freedom. Hence, the calling of writers is to ask uncomfortable questions. Demagogues and grifters claim they have solutions. They have cures for all ills at hand, they lie. They will bring deliverance from troubles. Don’t question them; just fall in and be swept along in the parade of true believers.

    Gabriel Pomerand
    Gabriel Pomerande, from Saint Ghetto of the Loans, 1950

    Enveloped, as we are, within the present media simulacrum and building AI panopticon, a landscape of lies extends to the ends of the mind. Events, terrible in nature, unfold with the illusion of weightlessness as everything seems to be giving way and flying apart. A center made of nothing cannot hold.

    Empathy is crucial as a centering principle. Set yourself in the direction of liberation by defending the dignity of the unfairly shunned. Freedom can be gained by resistance to falling into authoritarianisms’ manic, joyless parade of mass conformity; many join authoritarian movements to relieve the anxiety inherent to uncertainty and the elation – albeit illusionary – experienced by (shallow in nature) acceptance within the mass.

    In a just world, those deserving of shunning are the power-seeking types of shitheels who attempt to gain authority by retailing in hatred and fear. Demagogues, inherently devoid of empathy, inflict division. In soul-making contrast, resisting their lies can serve to unite those possessed of viable hearts and dreaming souls..

    Where words leave off, music begins. Poetry, the closest a verbal form can come to music insofar as revealing visions not perceptible to the temporal-locked mind. See if you recognize this Bronze Age classic:

    I will search for my lost ones who strayed away, and I will bring them safely home again. I will bandage the injured and strengthen the weak. But I will destroy those who are fat and powerful. I will feed them, yes—feed them justice! — Ezekiel 34:16

    First, the ineffable vision; then stranded in a valley of dry, rattling bones; then a rain from Heaven came, and the army known as flesh was restored. Then came a trickle of a stream rising from the heart of a hidden, desert temple…that makes fecund the arid land and restores life to a salt-poisoned sea.

    Ezekiel is not promulgating prophecy about real estate — he was referring to the heart of humanity.

    We will be lost in a valley of bones until repentance enters and brings to restoration the dry hearts of a worldview that permits genocide and ethnic cleansing and regards empathy as a weakness of character.


    “The Vision of The Valley of The Dry Bones” by Gustave Doré

    Ezekiel’s vision unfolds as poetry. Hence it is true…in the lexicon of the heart.

    A devotee of literalism would sneer at the assertion, “So, you’re saying, an acrid valley strewn with sun-bleached skeletal remains, upon hearing the voice of God, was restored then rose as an army of flesh? Have you over-indulged in edibles? How can you pretend that is even possible?”

    No, the edibles remain untouched, and yes, from the numinous perspective of poetic vision, it is possible. A transformation of vision has come to be. Poems are reflections of the human psyche, our hub of Anima Mundi i.e., The Soul Of The World. Remember, a poet does not create a poem; the poem creates the poet. In this way, poetry begets the flesh of essential being.

    Therefore from the perspective of the psyche it is not only possible but a vital aspect of human existence. Deliverance from dry despair can be remedied by a flowing stream of hope. The heart, revitalized, will soldier forth as the army of your living flesh.

    Yet, a culture dominated by crackpot realists insist you are the sum total of your bank account, that your persona is defined by your car and place of dwelling. Is it not a mystery as to why people are depressed and desperate. Why, in a consumer culture, the citizenry become hapless marks of grifters retailing in sleight-of-hand corporatism and bait-and-switch politics. And empathy is scorned as an enemy of the state and a threat to the common good.

    Antithetical to the storylines of the grift, from the poetic imagination, enigmatic visions glide into the minds as wheels within wheels of fire; the thoughts of the heart flow forth and restore to living abundance the Dead Sea within you.

    Crazy talk, huh? From the vantage point of my internal Ezekiel, my ragged, defrocked, enslaved-by-empire seer within, the anguish of the times is being inflicted by capitalist con men — not by poets chanting of the anguish felt in the heart witnessing the hideous mess created by crackpot realism. To wit, transitioning from prose to verse, a dispatch from the landscape of visions and renewal:

    A ravine in my heart;
    nocturnal creatures slink and prowl.
    Moonlight issues forth from my mouth;
    reflected on cold city steel — I tremble.
    The sky is the dark blood of the redeemers’ wounds;
    the rain-renewed creek wails out the birth cries of newborns.
    March winds buffet my thoughts — night spirit, what are you demanding?
    With every year, sustained eye contact is made with the inscrutable gaze of my dead.

    (Postscript: A poem, a comedy routine, a parcel of prose achieves to be a prayer of communion dispatched toward the greater world from inner terrains of loneliness. Yet, once sent, the missive has forgotten the name of its author. Living force that it is, it seeks connection and merges with the living force that is the reader. At that point, its creator might not recognize it in passing while amid the clamor within the agora of the imaginal. This kind of loneliness is inconsolable. It is lonely as the Moon; the Sun’s caress will never reach her dark side. Yet her borrowed luminosity bestows night here on earth with the ache inflicted by beauty.)

    Living day by day, hour by hour, minute by minute can unfold in meaning, with purpose, even beauty. Convinced otherwise, one is diminished; one’s essences become fragmented to shards. Yes, the times are ugly — yet there exists a possibility of surrendering to the beauty that is bestowed, odd as it seems, by lamentation and/or the humor of knowing what has been lost to folly. Existence is laughing near you – not at you. Thus a crack opens in persona where ensoulment can enter and take up long term residence.

    Enchantment beckons; blunder towards its scintillation and caress; insist reluctant types come along for the ride. Yes, all concerned can be brought to ruin — but, as is the case with a fine piece of clothing, what good is persona that is never worn outside of the house?

    After your inevitable downfall make the soul your bed of recovery.

    Moments of fulfillment and wisdom do not give themselves over into companionship with those who, by reflex, reject life out of fear of losing a type of vanity revealing itself as a forced innocence, evinced far too long into life. Moreover, the compulsive pursuit of happiness is the stuff of vacationing on one of those crass cruise ships sloshing between hyper-commodified port cities.

    “You lose your grip, and then you slip into the masterpiece.” — A Thousand Kisses Deep, Leonard Cohen

    There is a force within driving you to be used by life. Ignore it and you will bore yourself and others blind.

    The woundings incurred by living life on life’s terms are a crucial aspect of it all.

    The scars inflicted will heal into a braille by which you will tell your life’s tale.

    The Broken Column, zoomed in
    Frida Kahlo, The broken column

    The post Empathy in Authoritarianism’s Valley of Dry Bones first appeared on Dissident Voice.


    This content originally appeared on Dissident Voice and was authored by Phil Rockstroh.

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    Who Is Duong Van Thai? Blogger Exposing Corruption Jailed | Radio Free Asia (RFA) https://www.radiofree.org/2024/12/12/who-is-duong-van-thai-blogger-exposing-corruption-jailed-radio-free-asia-rfa/ https://www.radiofree.org/2024/12/12/who-is-duong-van-thai-blogger-exposing-corruption-jailed-radio-free-asia-rfa/#respond Thu, 12 Dec 2024 20:32:57 +0000 http://www.radiofree.org/?guid=7f61ba10d5141cd4f19b484ce1aa8c1c
    This content originally appeared on Radio Free Asia and was authored by Radio Free Asia.

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    Vietnamese blogger handed 12-year prison sentence for anti-state propaganda https://www.radiofree.org/2024/10/31/vietnamese-blogger-handed-12-year-prison-sentence-for-anti-state-propaganda/ https://www.radiofree.org/2024/10/31/vietnamese-blogger-handed-12-year-prison-sentence-for-anti-state-propaganda/#respond Thu, 31 Oct 2024 18:47:17 +0000 https://cpj.org/?p=432586 Bangkok, October 31–A court in Hanoi sentenced Duong Van Thai, an independent Vietnamese blogger who went missing in Thailand and was later in Vietnamese custody in April 2023, to 12 years in prison and three years’ probation on Wednesday on charges of anti-state propaganda.

    “Vietnam’s harsh sentencing of blogger Duong Van Thai is grotesque and an outrage, particularly amid allegations he was kidnapped in Thailand and forcibly sent back to Vietnam for wrongful prosecution,” said Shawn Crispin, CPJ’s senior Southeast Asia representative. “The real criminal in this instance is the Vietnamese state. Thai should be released immediately and allowed to leave Vietnam.” 

    Thai was convicted October 30 in a one-day, closed-door trial at the Hanoi People’s Court, of “making, storing, disseminating or propagating information, documents, and items aimed at opposing the Socialist Republic of Vietnam” under Article 117 of Vietnam’s penal code, according to multiple reports.

    In 2019, Thai fled to Thailand, fearing persecution for his journalism, and was given refugee status by the United Nations refugee agency’s office in Bangkok. He was interviewing for third-country resettlement at the time of his apparent abduction and deportation to Vietnam, according to multiple reports.

    Thai posts political commentary, critical of government policies and leaders, to his around 119,000 followers on his Tin Tuc 24H YouTube channel, which has been disabled. He previously ran the Servant’s Tent online news platform, which reported critically on the ruling Communist Party and its top members, and is a member of the banned Independent Journalists Association of Vietnam.

    CPJ’s email to Vietnam’s Ministry of Public Security about Thai’s conviction did not immediately receive a response. Vietnam was the world’s fifth-worst jailer of journalists, with at least 19 reporters behind bars on December 1, 2023, at the time of CPJ’s latest prison census


    This content originally appeared on Committee to Protect Journalists and was authored by CPJ Staff.

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    Ganesha idol in Bengaluru police van: Viral claims misleading; PM Modi leads Right Wing’s misinformation campaign https://www.radiofree.org/2024/09/18/ganesha-idol-in-bengaluru-police-van-viral-claims-misleading-pm-modi-leads-right-wings-misinformation-campaign/ https://www.radiofree.org/2024/09/18/ganesha-idol-in-bengaluru-police-van-viral-claims-misleading-pm-modi-leads-right-wings-misinformation-campaign/#respond Wed, 18 Sep 2024 06:24:48 +0000 https://www.altnews.in/?p=290568 Addressing a public meeting at Kurukshetra in poll-bound Haryana, Prime Minister Narendra Modi said on September 14, 2024, “In Congress-ruled Karnataka, even Ganpati is being put in jail. They have...

    The post Ganesha idol in Bengaluru police van: Viral claims misleading; PM Modi leads Right Wing’s misinformation campaign appeared first on Alt News.

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    Addressing a public meeting at Kurukshetra in poll-bound Haryana, Prime Minister Narendra Modi said on September 14, 2024, “In Congress-ruled Karnataka, even Ganpati is being put in jail. They have placed and locked Ganpatiji in a police van. While the entire nation is celebrating the Ganesh Utsav, Congress is creating obstacles in worshipping Lord Ganesha, the destroyer of obstacles.” He added that Congress could go to any length for appeasement.

    He repeated the claim while making an address in Bhubaneswar on September 17. He said, “…in Karnataka, where their (Congress) government is in power, they committed an even greater offence by placing an idol of Lord Ganesha behind bars…”

    A picture of an idol of Hindu deity Ganesha in a police van had already gone viral on social media when PM Modi mentioned it in Haryana.

    Bengaluru South MP Tejasvi Surya shared the image on X on September 13, 2024, and claimed that Congress was “hell-bent on insulting our dieties, & belittling the belief and faith of millions of Hindus(?)” (sic) (archive)

    The image was also shared by X user Girish Bharadwaj (@Girishvhp), who identifies himself as a ‘Swayamsevak’ on his X bio and is associated with the Vishwa Hindu Parishad. He claimed that “Bhagavan Ganesha… was detained by the Karnataka police.” He also wrote that “the arrest followed a protest condemning the incident of stone-pelting by Muslims on a Ganesh procession in Nagamangala, Mandya.” (archive)

    At the time of this article being written, the tweet was viewed over 2.6 Lakh times and reshared close to 5,000 times.

    Several X users, including top BJP leaders, amplified the claim. They include BJP national general secretary B L Santosh (@blsantosh), Karnataka state BJP president Vijayendra Yediyurappa (@BYVijayendra), national spokesperson Shehzad Poonawala (@Shehzad_Ind), the party’s Bengaluru Central MP P C Mohan (@PCMohanMP), Varun Kumar Rana (@VarunKrRana), Manish Kashyap son of Bihar (@ManishKasyapsob), Shalendra Sharma (@Shalendervoice), Jitendra Pratap Singh (@jpsin1) and several others.

    Media outlets, too, reported on the incident. News agency ANI (@ANI) reached out to Maharashtra chief minister Eknath Shinde for a byte on the viral claim and amplified the claim that “an idol of Ganapati had been seized.” (archive)

    Republic reported the PM speech and mentioned that the incident had taken place in Nagamangala taluk. The headline said, “Even Ganpati Being Put Behind Bars in Congress-Ruled Karnataka: PM Modi”. The subhead mentioned, “Today the situation has become such that even Ganpati is being put behind bars in the Congress-ruled Karnataka”, said PM Modi.”

    Fact Check

    A relevant keyword search led us to a report by The News Minute. Headlined “Controversy erupts in Bengaluru over Ganesha idol in police van: What really happened?”, the report narrates the sequence of events which resulted in the idol of Ganesha in a police van.

    The report says, “The incident unfolded during a protest at Bengaluru’s Town Hall on September 13, where protesters had gathered to demand a probe by the National Investigation Agency (NIA) into the communal clash that erupted in Mandya district during Ganesh Chaturthi celebrations. Around 11:30 am, a group of protesters gathered at the Town Hall, with one of them carrying a Ganesha idol on a pedestal. The protest was organised by the Bengaluru Metropolitan Ganesh Utsava Committee.

    The problem started as city regulations allow protests only at Freedom Park. Protests at all other locations are clamped down by the police, following a Karnataka High Court order.

    “In an effort to manage the situation, a police officer placed the idol in an empty police van intended for the protesters. The move was to protect the deity. But it created confusion and resulted in accusations after the photos went viral,” a police official told TNM.

    The police detained around 40 protesters, and the Ganesha idol was later immersed in Ulsoor lake by the authorities.”

    A report in The Times of India corroborates this. It says, “… around 25 people had gathered, with one protester boldly holding up a 1ft-tall Ganesha idol on a pedestal. As per city rules, protests are only allowed at Freedom Park, so police arrived swiftly, ready to detain the crowd.”

    The official X handle of DCP central division of Bengaluru Police (@DCPCentralBCP) issued a statement in this regard.

    The first of their tweets said, “Clarification regarding viral social media posts stating that authorities snatched Ganesh idol from devotees going for immersion near Town Hall in Bengaluru…”

    A subsequent tweet mentioned that on September 13, 2024, Hindu groups defied High Court orders and protested at Bengaluru’s Town Hall over the Nagamangala incident. To this, the Karnataka police detained the demonstrators, and the Ganpati idol was later immersed by the authorities following rituals. They also shared pictures of the idol immersion.

    The readers should also note that within a short span of time, the idol was taken out of the van and shifted to a police jeep. The TOI report mentioned above states, “…the sight of the lonely Ganesha in the van caught the eye of photographers, and police soon realised how the scene might escalate. In a flurry of action, a police officer rushed back to the van, carefully retrieved the idol, and moved it to a police jeep.”

    There is video evidence to corroborate this:

    What Happened in Nagamangala?

    Several news reports documented an incident at Nagamangala, Mandya, on September 11, 2024, against which the demonstrators were agitating in Bengaluru. Clashes reportedly broke out between two groups during a Ganesh idol immersion procession. As many as 52 people had been arrested. The Economic Times writes, “According to police, an argument broke out between two groups, when the Ganesh idol procession by devotees from Badarikoppalu village reached a place of worship on Wednesday, and some miscreants hurled stones, which escalated the situation. Following the clashes between the two groups, a few shops were vandalised and goods torched and vehicles set on fire on Wednesday night, they added.”

    To sum up, that the viral social media claims that police ‘detained’ or ‘arrested’ Hindu deity Ganesha are false. The photo of the Ganesha idol in a police van was clicked after policemen had retrieved the idol from the protesters in Bengaluru. The claim by PM Modi, too, is hence misleading.

    The Times of India report mentioned in this story got the headline wrong as it claimed that the entire ruckus took place in Mandya.

    Ankita Mahalanobish is an intern at Alt News.

    The post Ganesha idol in Bengaluru police van: Viral claims misleading; PM Modi leads Right Wing’s misinformation campaign appeared first on Alt News.


    This content originally appeared on Alt News and was authored by Ankita Mahalanobish.

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    Vietnam defense minister Phan Van Giang visits US to boost ties https://www.rfa.org/english/news/vietnam/us-vietnam-austin-giang-defense-meeting-09102024034100.html https://www.rfa.org/english/news/vietnam/us-vietnam-austin-giang-defense-meeting-09102024034100.html#respond Tue, 10 Sep 2024 07:43:00 +0000 https://www.rfa.org/english/news/vietnam/us-vietnam-austin-giang-defense-meeting-09102024034100.html Vietnam’s minister of national defense Phan Van Giang is in the U.S. on a five-day trip to bolster bilateral security cooperation amid rising tensions in the South China Sea.

    Vietnam is among the states that claim at least part of the waterway and it has been seeking to strengthen its maritime capabilities, including with purchases of defense technologies and equipment.

    Giang’s trip, to Sept. 16, is his first official visit to the U.S. since he took office in April 2021.

    Hanoi and Washington upgraded their relations to the top tier of comprehensive strategic partnership in September 2023, during a visit by U.S. President Joe Biden to Vietnam.

    Yet their security and defense cooperation, deemed highly sensitive as the two countries fought each other in the past, remains limited and has focused mainly on the legacies of the Vietnam War, such as searching for American soldiers missing in action and decontamination of areas affected by toxic chemicals.

    Giang meeting.jpg
    U.S. Defense Secretary Lloyd Austin (R) welcomes Vietnamese Defense Minister Gen. Phan Van Giang (L) to the Pentagon in Washington, Sept. 9, 2024. (AP Photo/Kevin Wolf)

    Gen. Giang and his counterpart, Defense Secretary Lloyd Austin, had a meeting on Monday at the Pentagon, during which they “underscored the importance of working together to overcome war legacies,” according to a summary provided by the Department of Defense.

    They also “discussed opportunities to deepen defense cooperation, including on defense trade, industrial base resilience, and information sharing,” the department said without providing  further details.

    Shopping list

    According to the U.S. government, from 2016 to 2021, it authorized US$29.8 million – a relatively small amount – in defense articles to Vietnam via direct commercial sales. The Defense Department also has more than $118 million in active foreign military sales to Vietnam, mainly of trainer aircraft.

    This budget would be greatly expanded if Vietnam decided to procure more U.S. equipment, analysts say.

    “Defense equipment suppliers and subcontractors can expect increased demand for naval combatants, aerial defense, intelligence systems, and surveillance and reconnaissance equipment,” the U.S. government’s International Trade Administration said in its commercial guide.

    “Maritime security and air defense is where Vietnam has the biggest need, but I would expect Vietnam would start with maritime security first, as this dovetails with U.S. expectations,” said Alexander Vuving, a professor at the Daniel K. Inouye Asia-Pacific Center for Security Studies in Hawaii

    “But there is no clear-cut distinction between maritime security and air defense. For example, aircraft, radars and missiles are essential in both,” Vuving told Radio Free Asia.


    RELATED STORIES

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    The United States and Vietnam signed in 2015 a so-called Joint Vision Statement on defense relations – their most important document setting out defense cooperation, in which maritime security was highlighted.

    The U.S. has given the Vietnam coast guard two Hamilton-class cutters – a third one is scheduled to be delivered in the near future – as well as tactical drones and patrol boats.

    Veteran regional military watcher Mike Yeo said that coast guard cutters “would be an obvious item” on Hanoi’s shopping list.

    “But another possibility is the approval for transfer of subsystems to Vietnam such as jet engines for Korean FA-50 light attack planes should Vietnam decide to buy them,” Yeo said. 

    “Vietnam hasn't bought the FA-50 yet but it seems like a logical choice going forward and as the engine used is a U.S. design an export clearance will be needed for any buyers,” he added.

    Not targeting China

    The United States lifted its lethal arms embargo on Vietnam in 2016, enabling it to procure U.S. equipment but “it will depend mainly on Vietnam's needs and the prices,” said Vuving.

    Vietnam’s defense budget has not been made public, but could be about $7.8 billion in 2024, according to GlobalData. It remains dependent on cheaper Russian arms and equipment but there are efforts to diversify supplies with a major defense expo in Hanoi in 2022 and a second one slated for this December.

    Before the meeting with Gen. Giang on Monday, Secretary Austin said his department had accepted an invitation to the event that is due to be attended by defense suppliers from dozens of countries including Russia, India, the United Kingdom, Israel and France.

    Vietnam’s big neighbor China did not attend the first Vietnam Defense Expo and has yet to confirm its attendance at the second.

    Expo 2019.jpg
    A visitor looks into the U.S. Excelitas’ Merlin-LR Image Intensifier weapon-mounted sight during a defense expo in Hanoi on October 2, 2019. (Nhac Nguyen/AFP)

    Hanoi is always cautious not to antagonize Beijing while deepening ties with Washington, insisting that any effort to modernize its military is purely for self-defense and not aimed at any  country.

    “China will watch Vietnam-U.S. relations very closely,” said Vuving. “Beijing is unhappy with any progress in U.S.-Vietnam relations.” 

    Edited by Mike Firn.


    This content originally appeared on Radio Free Asia and was authored by By RFA Staff.

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    CODEPINK Files Ethics Complaints Against Rep. Derrick Van Orden for Abuse of Power https://www.radiofree.org/2024/07/18/codepink-files-ethics-complaints-against-rep-derrick-van-orden-for-abuse-of-power/ https://www.radiofree.org/2024/07/18/codepink-files-ethics-complaints-against-rep-derrick-van-orden-for-abuse-of-power/#respond Thu, 18 Jul 2024 18:09:29 +0000 https://www.commondreams.org/newswire/codepink-files-ethics-complaints-against-rep-derrick-van-orden-for-abuse-of-power CODEPINK has officially filed two ethics complaints against Representative Derrick Van Orden, alleging an egregious abuse of power and influence. The complaints follow an incident in which Rep. Van Orden falsely accused Nour Jaghama, CODEPINK’s Palestine campaign organizer, of assault. This accusation led to Jaghama’s unwarranted arrest and 15-hour detainment on charges of battery.

    CODEPINK has maintained from the start that Nour Jaghama, a Palestinian-American, never made physical contact with Rep. Van Orden. However, law enforcement insisted on taking action based on Van Orden's claims due to his position as a U.S. Congressman.

    Following a thorough investigation, including the review of body cam footage, the Milwaukee District Attorney concluded that no crime had been committed and dropped the charges. Despite this, Rep. Van Orden continues to spread false claims of being assaulted and injured to his constituents, the media, and on social media.

    The false accusations have sparked a wave of death threats and hate messages directed at CODEPINK, including one currently under investigation by the FBI. Here is an example of the threats received:

    "Contact: (815) 284-4661 (m) jeffdkcjka@yahoo.com
    Fuck you CUNT bitches. Hurt another Republican senator and it will be the LAST person you hurt CUNTS. Hamas should die and rot in Hell."

    This situation underscores the unacceptable nature of a U.S. Congressman using his position to defame a private citizen and incite violence. The public must hold elected officials accountable for such abuses of power.

    The ethics complaints are attached. For more information or to request further details, please contact Melissa at melissa@codepink.org.


    This content originally appeared on Common Dreams and was authored by Newswire Editor.

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    NATO Using AI against Russia – Top Official https://www.radiofree.org/2024/06/11/nato-using-ai-against-russia-top-official/ https://www.radiofree.org/2024/06/11/nato-using-ai-against-russia-top-official/#respond Tue, 11 Jun 2024 17:55:02 +0000 https://dissidentvoice.org/?p=151025 FILE PHOTO. David van Weel. ©  Getty Images / Anadolu Agency / Omer Taha Cetin NATO is utilizing artificial intelligence to track Russian aircraft and fueling stations, the US-led bloc’s Assistant Secretary General for Innovation, Hybrid and Cyber, David van Weel, has revealed. Speaking at the NATO-Ukraine Defense Innovators Forum at AGH University of Krakow, […]

    The post NATO Using AI against Russia – Top Official first appeared on Dissident Voice.]]>
    NATO using AI against Russia – top official FILE PHOTO. David van Weel. ©  Getty Images / Anadolu Agency / Omer Taha Cetin

    NATO is utilizing artificial intelligence to track Russian aircraft and fueling stations, the US-led bloc’s Assistant Secretary General for Innovation, Hybrid and Cyber, David van Weel, has revealed.

    Speaking at the NATO-Ukraine Defense Innovators Forum at AGH University of Krakow, Poland, the top official pledged to deepen cooperation with Kiev, with a new agreement on “battlefield innovation” already in sight.

    “The energy for more collaboration between Ukrainian and Allied innovation ecosystems was contagious, and is exactly why Allies and Ukraine are working together on a new innovation agreement in the NATO-Ukraine Council,” van Weel stated.

    As an example of the integration of various AI solutions, he said the bloc utilizes it to analyze satellite imagery in order to track and count Russian aircraft and fueling stations. The assistant secretary general said that using AI in such a manner was in accord with NATO’s principles on ethical Al use.

    “It’s low-risk,” van Weel said. “Nobody gets killed if you get the number off.”

    In recent months, Ukraine has reportedly ramped up its effort to strike Russian airfields, both those close to the combat zone and deep inside the country’s territory. Moscow appears to have significantly expanded its use of frontline aviation as well, primarily to launch aerial bombs fitted with UMPK (Universal Glide and Correction Module) winged guidance kits.

    Various Ukrainian military sources have noted the growing use of UMPK-fitted bombs by Russia, attributing frontline setbacks to the effectiveness of the weapon.

    UMPK modules, widely regarded as an analogue of US-made Joint Direct Attack Munition (JDAM) kits, fit most freefall bombs in Russia’s arsenal. They are frequently upgraded with thermobaric and cluster munitions, which have already been observed being used on the frontline.

    The post NATO Using AI against Russia – Top Official first appeared on Dissident Voice.


    This content originally appeared on Dissident Voice and was authored by RT.

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    Van Thinh Phat case tests investor confidence in Vietnam https://www.rfa.org/english/news/vietnam/scandal-04162024131456.html https://www.rfa.org/english/news/vietnam/scandal-04162024131456.html#respond Tue, 16 Apr 2024 17:15:45 +0000 https://www.rfa.org/english/news/vietnam/scandal-04162024131456.html A Vietnamese court decision handing Truong My Lan a death sentence for masterminding a US$27 billion fraud has been met with shock by international observers who say the chairwoman of developer Van Thinh Phat was likely protected by high-level officials who should share some of the blame.

    Last week, Ho Chi Minh City’s People’s Court convicted Lan, 68, of bribery, embezzlement and violating banking regulations. More than 80 others were given lengthy prison terms for their involvement.

    Lan owned 91.5% of Saigon Commercial Bank and over 10 years ordered bank officials to approve more than 2,500 loans to shell companies she controlled, causing the bank to lose the equivalent of US$27 billion.

    Lan ordered subordinates to bribe auditors at the State Bank of Vietnam to cover her tracks, according to state media. Head banking inspector Do Thi Nhan received US$5.2 million in bribes, while deputy chief inspector Nguyen Van Hung received US$300,000, the reports said.

    The case demonstrates poor management capacity and has damaged trust of the Communist Party and government, experts said, and will cause foreign investors to think twice before betting on the Southeast Asian nation.

    The case is “unprecedented … even on a global scale,” said U.S.-based attorney Dang Dinh Manh. He called the failure of prosecutors to hold officials from the Ministry of Finance and State Bank accountable “highly unreasonable.”

    “This reflects the regime’s irresponsibility towards the financial system, the national banking system, and the rights and interests of innocent people,” he said. “Given the current political situation in Vietnam, maintaining an authoritarian regime without control over state power continues to be a favorable condition for serious corruption.”

    ‘Unstable’ financial system

    Experts interviewed by international media outlets described the sentence as a part of the “Blazing Furnace” anti-corruption campaign launched by Communist Party General Secretary Nguyen Phu Trong and suggested it would harm Vietnam’s image at a time when foreign investors are seeking to move their operations out of neighboring China.

    They called the Van Thinh Phat case an example of a power struggle within the senior ranks of the party that is shaking investor confidence and questioned why more high-level officials weren’t held responsible when the scandal occurred under their watch.

    The case shows that Vietnam’s financial sector is “unstable,” said Vu Tuong, the head of the political science department at the University of Oregon. And while the government may hope that it would reflect a determination to fight corruption, it also lays bare poor management capacity, he said.

    “The political impact is a decline in trust in the Communist Party and the government,” Tuong said.

    Observers noted that the court ruling focused only on punishing Lan and Saigon Commercial Bank, and recovering assets, while failing to address how to compensate the bank’s customers, who were the direct victims of the fraud.

    Van Thinh Phat Group and its affiliates were accused of illegally issuing bonds to raise money from investors from 2018 to 2020. Lan's company issued 25 bonds worth US$1.24 billion, all through proxies, and sold to buyers through Saigon Commercial Bank.

    Last week’s verdict ignored the losses of an estimated 42,000 victims who bought the fraudulent products.

    Investigators have said Lan will face additional charges in another trial that will address the bond fraud, although investors are likely to bear some of the blame for failing to thoroughly research Van Thinh Phat Group and the high-interest rate it promised.

    Compensating victims

    Manh, the U.S.-based attorney told RFA that the thousands of customers who deposited money into Saigon Commercial Bank should be made whole.

    “Returning the exact amount of money stolen from the victims is entirely justifiable and legal,” he said in an interview. “The exclusion of the 42,000 victims from the legal proceedings … was a deliberate action aimed at identifying all assets being seized by the prosecuting authority from Van Thinh Phat Group, Lan, and other defendants as illegally acquired property for confiscation.”

    Manh said that involving them in the second phase of the case, if that trial proceeds, “would be entirely meaningless” as the seized assets would no longer be available at that point.

    “Therefore, the 42,000 victims will have been robbed twice,” he said.

    Tuong at the University of Oregon said that the fact that Saigon Commercial Bank hasn’t been dissolved suggests that Vietnam's government is trying to save it through debt restructuring negotiations or by finding a buyer who is willing to purchase the debts at a reduced price.

    “As long as Saigon Commercial Bank allows customers to withdraw money freely, we cannot definitively conclude that the customers have suffered losses,” he said. “If depositors demand withdrawals from the bank en masse, and Saigon Commercial Bank does not have enough money … then it must declare bankruptcy or the government must dissolve it.”

    “If I were one of the businessmen who wasn’t arrested,” he said, “I would transfer my capital abroad as soon as possible, because I don’t know when it will be my turn.”

    Translated by Anna Vu. Edited by Joshua Lipes and Malcolm Foster.


    This content originally appeared on Radio Free Asia and was authored by By RFA Vietnamese.

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    Van Thinh Phat chairwoman sentenced to death in Vietnam’s biggest fraud trial https://www.rfa.org/english/news/vietnam/lan-death-sentence-04112024055523.html https://www.rfa.org/english/news/vietnam/lan-death-sentence-04112024055523.html#respond Thu, 11 Apr 2024 09:56:16 +0000 https://www.rfa.org/english/news/vietnam/lan-death-sentence-04112024055523.html Truong My Lan, the chairwoman of Vietnamese developer Van Thinh Phat, has been sentenced to death for masterminding a multi-billion-dollar fraud, state-controlled media reported Thursday.

    Judges at Ho Chi Minh City’s People’s Court said she was guilty of bribery, embezzlement and violating banking regulations.

    Lan owned a 91.5% stake in Saigon Commercial Bank and, over the course of 10 years, ordered bank officials to approve more than 2,500 loans to shell companies she controlled, causing the bank to lose the equivalent of US$27 billion.

    Lan ordered subordinates to bribe auditors at the State Bank of Vietnam to cover her tracks.

    Head banking inspector Do Thi Nhan received $5.2 million in bribes, while deputy chief inspector Nguyen Van Hung received $300,000, state media said.

    A family member told Reuters Lan planned to appeal the verdict.

    Edited by Elaine Chan.


    This content originally appeared on Radio Free Asia and was authored by By RFA Staff.

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    Sen. Van Hollen: Biden Must Halt Offensive Arms to Israel If Restrictions on Gaza Aid Are Not Lifted https://www.radiofree.org/2024/03/20/sen-van-hollen-biden-must-halt-offensive-arms-to-israel-if-restrictions-on-gaza-aid-are-not-lifted/ https://www.radiofree.org/2024/03/20/sen-van-hollen-biden-must-halt-offensive-arms-to-israel-if-restrictions-on-gaza-aid-are-not-lifted/#respond Wed, 20 Mar 2024 12:15:30 +0000 http://www.radiofree.org/?guid=4ac34fc605d7d561bfae847579e0aebe Chris van hollen

    We speak with Senator Chris Van Hollen of Maryland about the U.S. response to Israel’s brutal offensive on Gaza, which has killed over 32,000 Palestinians. Van Hollen expresses “strong frustration with the Biden administration,” which “needs to do a lot more” to hold Israeli Prime Minister Benjamin Netanyahu accountable. Defying Biden’s warnings against a full-scale ground operation in Rafah, Netanyahu continues to promise an invasion of the city, where 1.4 million forcibly displaced people from across Gaza are sheltering. “At the end of the day, Prime Minister Netanyahu simply ignores the president of the United States, and so we need to do more to make Netanyahu accountable for our requests,” says Van Hollen, who warns Biden against “getting dragged into the planning of a Rafah invasion” and becoming “complicit in Netanyahu’s actions.” The senator also discusses U.S. funding of UNRWA and Israeli leaders blocking aid for Gaza. “For goodness’ sakes, lift the restrictions that are in place that are creating this humanitarian disaster in Gaza.”


    This content originally appeared on Democracy Now! and was authored by Democracy Now!.

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    https://www.radiofree.org/2024/03/20/sen-van-hollen-biden-must-halt-offensive-arms-to-israel-if-restrictions-on-gaza-aid-are-not-lifted/feed/ 0 465185
    CNN’s Van Jones sells out to the lobby https://www.radiofree.org/2023/11/22/cnns-van-jones-sells-out-to-the-lobby/ https://www.radiofree.org/2023/11/22/cnns-van-jones-sells-out-to-the-lobby/#respond Wed, 22 Nov 2023 21:55:35 +0000 http://www.radiofree.org/?guid=c670a324ed73691dcbde1207c2840357
    This content originally appeared on The Grayzone and was authored by The Grayzone.

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    The Hypocrisy of Sanctions https://www.radiofree.org/2023/09/26/the-hypocrisy-of-sanctions/ https://www.radiofree.org/2023/09/26/the-hypocrisy-of-sanctions/#respond Tue, 26 Sep 2023 12:51:04 +0000 https://dissidentvoice.org/?p=144029 Some days ago, Belgian Energy Minister Tinne Van der Straeten requested the European Union to reduce importing Russian gas and get rid altogether of fossil fuels by 2027. This after the Global Witness NGO released data showing that Belgium is currently the third-largest importer of Russian liquefied natural gas (LNG).

    Belgium accounts globally for 17% of Russia’s exports, behind only China and Spain.

    Later in an interview with the Financial Times, Van der Straeten said she was “not happy” about the fact that Russian gas kept flowing into Europe. She then understated Belgium’s share of Russian gas, indicating it was merely 2.8% of Europe’s imports that remained in Belgium, the rest was “in transit”. How wrong or misleading her statement was is revealed by the Global Witness NGO.

    She admitted, though Belgium supports sanctions on Russian fuel, it was unlikely to happen. It would require the unanimous support of all EU members.

    Earlier this week, Austrian Chancellor Karl Nehammer admitted that Russian LNG was difficult to replace, pointing out that while it was not cheaper than any other gas, the way the pipeline system is arranged in Europe makes it difficult to substitute.

    There is no end to excuses and pretexts in explaining why Europe must continue to import Russian hydrocarbons. Amazing. No word about the European economy which is at the brink of total collapse. Maybe Germany has already passed the point of no return.

    And no word, of course, that this suicidal path to follow the Washington Masters and their overlords dictate is due to an utterly corrupt European leadership, combined with the equally corrupt strongest economy’s leadership, Germany – something that has hardly been seen in recent history.

    How vassalic must you be to commit suicide on the orders of Washington and the corporate financial overlords who pulls the strings on Washington, pretending to run the world.

    And they may if we just stand by and watch.

    See also this by Dr. Paul Craig Roberts about the west’s lost integrity – “The Disappearance of Integrity: Organized Suppression of the Facts, Only Writers Who Support ‘Official Narratives’ Are Tolerated.”

    This is just the beginning. The EU Russian energy apologists start talking about energy imports from Russia – and how it is necessary for now – but also how to wean themselves off Russian energy dependence very, very soon.

    The Guardian puts it this way: “EU countries bought 22m cubic meters of Russian LNG between January and July 2023, compared with 15m during the same period in 2021, Global Witness said. “Buying Russian gas has the same impact as buying Russian oil. Both fund the war in Ukraine, and every euro means more bloodshed.”

    This is, of course, a mainstream media blow on Russia. Never a reason or history on how NATO provoked the war in Ukraine.

    This is just part of the story. What the holy west and particularly the vassal-EU does not mention are the other more than 100 essential products they keep importing from Russia at ever larger quantities, and – yes – despite the sanctions.

    These table speak for themselves:

    European Union Imports from Russia Value Year
    Mineral fuels, oils, distillation products $155.87B 2022
    Iron and steel $5.91B 2022
    Pearls, precious stones, metals, coins $3.70B 2022
    Nickel $3.39B 2022
    Aluminum $2.99B 2022
    Copper $2.94B 2022
    Commodities not specified according to kind $2.77B 2022
    Fertilizers $2.70B 2022
    Inorganic chemicals, precious metal compound, isotope $2.26B 2022
    Wood and articles of wood, wood charcoal $1.70B 2022
    Organic chemicals $1.31B 2022
    Fish, crustaceans, molluscs, aquatics invertebrates $990.39M 2022

    And the list goes on – another 82 lines of imports.
    2022 EU Imports from Russia are the 3 largest since 2013, despite sanctions.

    People are fooled.
    Europe cannot live without imports from Russia.
    So, what are the sanctions for?
    Propaganda?
    Russia bashing?
    Your mind control?

    Another legitimate question one may ask: why does Russia sell to the sanctioning countries? Russia does not really need Europe and the US for trade and for economic survival.

    President Putin’s Press Secretary, Dmitry Peskov, recently said that Russia is doing well and growing, despite western sanctions. See this.

    Russia is well integrated into the Asian complex.  It is a co-founder of the original BRICS and now the new BRICS-11. Russia is also a key player in the Global South which becomes ever more important on the global stage.

    Uranium imports by the US and Europe from Russia is another unwritten sheet and rarely published news. Russia sold about $1.7 billion in nuclear products to firms in the U.S. and Europe, and this despite the western stiff sanctions, due to the western provoked war in Ukraine. The West calls it a Russian invasion. In reality, it was a NATO-triggered move for preserving Russian sovereignty – and against some 20 to 30 war-grade biolabs in the Ukraine, built and funded by the US. See this.

    The United States’ uranium purchases from Russia have doubled since last year. The U.S. bought 416 tons of uranium from Russia in the first half of the year, more than double the amount for the same period in 2022 and the highest level since 2005.

    One may question the seriousness of the US Russia bashing, especially since according to a report by RT, Russia is supplying the U.S. only with enriched uranium, a critical component for civil nuclear power generation, but also for nuclear weapons – according to a report by RT.  How come Russia is selling Washington Weapon-grade enriched uranium?

    See full report.

    Given the foregoing inconsistencies with “sanctions” – mind you, highly publicized sanctions – how serious can the West be taken?

    The world must wake up. People of western countries, whose democracy has long been abolished, trampled by the tyrannical western powers “rules-based order”, must stand up against these rulers, invent alternatives to their corporate financial empires and build a world of peace and harmony outside the dictatorial matrix.


    This content originally appeared on Dissident Voice and was authored by Peter Koenig.

    ]]>
    https://www.radiofree.org/2023/09/26/the-hypocrisy-of-sanctions/feed/ 0 429843
    Vietnam executes death row prisoner Le Van Manh https://www.rfa.org/english/news/vietnam/manh-executed-09232023053849.html https://www.rfa.org/english/news/vietnam/manh-executed-09232023053849.html#respond Sat, 23 Sep 2023 09:40:50 +0000 https://www.rfa.org/english/news/vietnam/manh-executed-09232023053849.html Death row prisoner Le Van Manh was executed on Friday morning, lawyer Le Van Luan posted on Facebook, in a case with evidence which lawyers said was not clear enough to convict.

    "News and official documents said that defendant Le Van Manh was executed on the morning of September 22, 2023," said Luan.

    A death notice dated September 22, 2023 from the People's Committee of Thu Phong commune, Cao Phong district, Hoa Binh province, posted widely on social media said that death row prisoner Le Van Manh, born in 1982, died at 8:45 a.m. on September 22, 2023 at a Hoa Binh Provincial Police execution facility.

    Upon receiving news of the imminent execution last week, Manh’s family said they did not accept the verdict because it was an unjust sentence. They said they would continue to protest his innocence to authorities in Hanoi.

    In 2005, when he was 23 years old, Le Van Manh was sentenced to death for allegedly raping and killing a female student in the same village earlier that year.

    The case occurred on March 21, 2005, but it was not until April 20 that police arrested Manh on a robbery charge in another case.

    After four days of detention Manh was prosecuted for murder and child rape.

    Manh’s mother Nguyen Thi Viet told Radio Free Asia her son said that he had been tortured to force him to confess.

    During the trial lawyers requested an examination of the defendant's body to determine whether he had been tortured, but the court refused.

    A day before the execution – September 21 – the European Union delegation along with the embassies of Canada, the United Kingdom and Norway in Vietnam issued a joint statement calling on Hanoi to stay execution of the sentence.

    “We strongly oppose the use of capital punishment at all times and in all circumstances, which is a cruel, inhuman and degrading punishment and can never be justified, and advocate for Vietnam to adopt a moratorium on all executions,” said the statement posted on the EU delegation’s Facebook page.

    This is the second joint statement by the EU and the UK, Norway and Canada on the death penalty in Vietnam in the last two months. Late last month, they issued a statement calling on Vietnamese authorities to stay the execution of Nguyen Van Chuong, who was convicted of murder in Hai Phong in 2007.

    Translated by RFA Vietnamese. Edited by Mike Firn and Elaine Chan.


    This content originally appeared on Radio Free Asia and was authored by By RFA Vietnamese.

    ]]>
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    Sen. Chris Van Hollen: State Dept Must Release Report on Shireen Abu Akleh, Hold Killers Accountable https://www.radiofree.org/2023/06/16/sen-chris-van-hollen-state-dept-must-release-report-on-shireen-abu-akleh-hold-killers-accountable/ https://www.radiofree.org/2023/06/16/sen-chris-van-hollen-state-dept-must-release-report-on-shireen-abu-akleh-hold-killers-accountable/#respond Fri, 16 Jun 2023 14:15:27 +0000 http://www.radiofree.org/?guid=04455125527054e7a2af75722534c6e0
    This content originally appeared on Democracy Now! and was authored by Democracy Now!.

    ]]>
    https://www.radiofree.org/2023/06/16/sen-chris-van-hollen-state-dept-must-release-report-on-shireen-abu-akleh-hold-killers-accountable/feed/ 0 404443
    Sen. Chris Van Hollen: State Dept. Must Release Report on Shireen Abu Akleh Death, Hold Killers Accountable https://www.radiofree.org/2023/06/16/sen-chris-van-hollen-state-dept-must-release-report-on-shireen-abu-akleh-death-hold-killers-accountable/ https://www.radiofree.org/2023/06/16/sen-chris-van-hollen-state-dept-must-release-report-on-shireen-abu-akleh-death-hold-killers-accountable/#respond Fri, 16 Jun 2023 12:24:46 +0000 http://www.radiofree.org/?guid=7706d66a6f158ad385d9ce773570cffa Seg2 vanhollen shireen action 1

    We speak with Democratic Senator Chris Van Hollen of Maryland about his call for the U.S. State Department to declassify a report on the killing of Palestinian American journalist Shireen Abu Akleh by an Israeli soldier in the occupied West Bank last year. The Al Jazeera reporter was covering an Israeli military raid just outside the Jenin refugee camp and was clearly marked as press. “It’s my belief that the United States has an absolute obligation to get to the bottom of what happened, to hold the individuals accountable, or, in this case, potentially the IDF unit accountable,” says Van Hollen. The report is by the U.S. security coordinator for Israel and the Palestinian Authority.


    This content originally appeared on Democracy Now! and was authored by Democracy Now!.

    ]]>
    https://www.radiofree.org/2023/06/16/sen-chris-van-hollen-state-dept-must-release-report-on-shireen-abu-akleh-death-hold-killers-accountable/feed/ 0 404466
    There Is No Escape From Telling https://www.radiofree.org/2023/05/10/there-is-no-escape-from-telling-2/ https://www.radiofree.org/2023/05/10/there-is-no-escape-from-telling-2/#respond Wed, 10 May 2023 23:06:04 +0000 https://dissidentvoice.org/?p=140060 By the lake’s lapping shore above the town and the railroad tracks, my wife and I stopped and marveled, struck stone silent by two dazzling Baltimore Orioles, clawed together as they tumbled, wrestling in the green morning breeze above our heads.  They perched upon a branch and sang a morning hymn, an ode to joy and the spring’s morning glory.  Their black and orange throats vibrated amid the green quaking aspen’s leaves as the lake’s low lapping sounds lent counterpoint.  They were sublime.

    I too felt a quake, a shiver down my spine as associations tumbled through my mind.  Poems, songs, memories of other early morning walks in spring.  Intoxication, elation, the horripilation that accompanies spring’s rising, the sexual excitement.  Hope, and the loose feeling of being forever young.  No solution to anything, just reverence for existence.  Nothing changed, except a few years.

    In quickly putting into words what I felt a half-hour ago, I drew on a vast store of personal and cultural memories that came to me with little thought as I was walking home.  Words strung together without thinking.  You have just read them.  I felt impelled to tell them.

    Now as I sit and contemplate, I think about culture and what it might mean.  In my case, I was gifted by my parents and schools with the love of poetry and art from a young age.  I know well that everyone is not so lucky and that, in any case, culture has many meanings.  “Culture,” writes Raymond Williams, “is one of the two or three most complicated words in the English language.”  From its original verbal meaning to cultivate the land to high, low, and middlebrow culture onto so many other meanings and conflicts that are often tied up with social class issues. There are cultures and culture.

    When I say cultural memories, I mean my memories, no one else’s.

    I learned early on that the music of verse, the sound of birds in the trees, the rush of a creek murmuring over rocks, the lilt of words spoken passionately, the placement of a certain blue paint on a canvas, a singer’s voice flying with a tune of joy or sadness, and a instrument’s vibrations were all connected to the reverence I felt as an altar boy tolling the bells and repeating Latin responses, whose full meaning I couldn’t grasp amid the incense and candle smoke: Et introibo ad altare Dei: ad Deum qui laetificat juventutem mea – “And I go to the altar of God, to God who gives joy to my youth.”

    It was the sound of the bells that entranced me, and that I was allowed to ring them.  To sound in, to participate in the ancient ritual that created a musical enclave from the beyond. I knew then, as I know now, that God has many altars, and that reverence before them and their mysteries is the right refrain.   Bob Dylan singing “Ring Those Bells” comes to mind:

    Ring them bells, ye heathen
    From the city that dreams
    Ring them bells from the sanctuaries
    ’Cross the valleys and streams
    For they’re deep and they’re wide
    And the world’s on its side
    And time is running backwards
    And so is the bride

    So while it is not necessary to draw on stored cultural memories to appreciate the birds in the trees on nature’s altar on a beautiful spring morning, for me it enriched the experience.  You may have heard echoes of Yeats, Van Morrison, and others in my words, but the reality of the world I described would be the same for those who never heard of these artists, who find their inspiration in the terrible beauty of nature and have other associations.

    Are we really at home in our interpreted world, a poet once asked?  It is a good question.  This poet was Rilke, who wrote in the Duino Elegies :

    For beauty is nothing/but the beginning of terror/which we are still just able to endure/and we are so awed because it serenely/disdains to annihilate us/Every angel is terrifying/And so I hold myself back and swallow the call note of my dark sobbing/Ah, whom can we ever turn to in our need?

    Whom can we ever turn to in our need?

    Everyone carries different associations that come to us when we are not thinking but are only immersed in our experiences.  Snatches of trace memories, images, words, sounds, smells, the look of light, etc. that usually occur slightly after the first encounter with natural phenomena.  One doesn’t have to know Shakespeare or William Wordsworth to experience nature’s beauty.  Nor it’s terrors. Yet I must admit I am partial to words like these from Wordsworth:

    Though nothing can bring back the hour
    Of splendour in the grass, of glory in the flower;
    We will grieve not, rather find
    Strength in what remains behind;
    In the primal sympathy
    Which having been must ever be;
    In the soothing thoughts that spring
    Out of human suffering;
    In the faith that looks through death,
    In years that bring the philosophic mind.

    But whatever our backgrounds, we are all interpreters of our world and words are our fundamental way of doing so.  Words and metaphors that lead us to myth and art, even when its expression is wordless sound or pictures.  Words that are often unacknowledged prayers to an unknown God.

    For many years I taught what are called the liberal arts.  This was an extension of my own education in the classics, philosophy, theology, and sociology, disciplines divided in name only but married in reality to science, literature, history, languages, etc.  It is all one study when rightly understood.  But our schools and  universities have been abandoning this approach for the sterility of numbers and the cold dead hand of technology and digital dementia.  For specialization, where professors know nothing outside their limited disciplines.  For the study of the parts without any sense of the whole.

    A new Dark Age is closing upon us, as Max Weber noted more than a century ago when he described the people who run our societies and educational institutions as “specialists without spirit, sensualists without heart; this nullity imagines it has attained a level of civilization never before achieved.”

    Students are being denied the rich heritage of words, images, and music that form the basis of Western culture.  Without such a repository of cultural wisdom, they are left to draw only on popular cultural sources to interpret the world and their lives.  More and more of these sources are anemic, if not degrading.  It is not that some are not extraordinarily rich and meaningful, as is evident from those I link to in this essay, but a quick look around should convince any fair-minded person that the pickings are quite slim.  We are drowning in cultural garbage that is being pumped out through digital media, primarily so-called smart phones, into young people’s minds and souls.  It is poison.  And the schools have devolved into protection rackets where students are protected from their own thoughts and ideas that might allow them to think and be thought.

    To think, question, and debate have been replaced with censorship and the coddling of young minds.  Such censorship, of course, has its counterpart in society at large.  Call it propaganda, which is exactly what it is.

    If Rilke is right, we will never be at home on this earth, our interpreted world.  As a poet and a man of words, he no doubt knew that there is no alternative to interpretation, to ask why, to use words to describe our experiences and to seek meaning as we travel through the mystery of time and existence.

    I know, however, for those minutes I stood by the lake in rapt silence as the birds sang and the water lapped, I felt at home.

    Home, of course, is a complicated word, for we are time-bound creatures always moving on, travelers who are home one minute and gone the next.  Even the word culture derives from an Indo-European root meaning to revolve, tied as it is, as are we, to the idea of a natural cycle, the turning of the seasons.  Doesn’t a contemporary artist, Joni Mitchell, tell this beautifully with The Circle Game.

    To say we are wayfarers is accurate, always on the way, as my recently departed dear friend Graeme MacQueen, a Buddhist and 9/11 scholar told me, when he laughingly said to me right before he recently died, that the old folk and Christian gospel song, Wayfaring Stranger, was his story too.  He was a man of many talents who established the Centre for Peace Studies at McMaster University in Canada, wrote the important book, The 2001 Anthrax Deception, and much more, even a children’s book.

    Graeme did all his work with the awareness that we are temporary sojourners on this earth, and that it is through stories and myths and their associations that come to us unbidden that we can connect life with death, the material and spiritual sides of our natures, in the search for peace. He died at home. I imagine him singing along with the words of the song: “I am a poor wayfaring stranger…. I’m goin’ home to see my mother/I’m goin’ home, no more to roam/I am just goin’ over Jordan/I am just goin’ over home

    And then laughing so hard he couldn’t breathe, just as he did earlier when he told me his doctor’s name was Dr. Sender, as he prepared to hit the road.

    There is no escape from telling. Life is sublime.

    From his album, On the Road, Van Morrison takes us out with “The Beauty of the Days Gone By”


    This content originally appeared on Dissident Voice and was authored by Edward Curtin.

    ]]>
    https://www.radiofree.org/2023/05/10/there-is-no-escape-from-telling-2/feed/ 0 393872
    There Is No Escape From Telling https://www.radiofree.org/2023/05/10/there-is-no-escape-from-telling/ https://www.radiofree.org/2023/05/10/there-is-no-escape-from-telling/#respond Wed, 10 May 2023 23:06:04 +0000 https://dissidentvoice.org/?p=140060 By the lake’s lapping shore above the town and the railroad tracks, my wife and I stopped and marveled, struck stone silent by two dazzling Baltimore Orioles, clawed together as they tumbled, wrestling in the green morning breeze above our heads.  They perched upon a branch and sang a morning hymn, an ode to joy and the spring’s morning glory.  Their black and orange throats vibrated amid the green quaking aspen’s leaves as the lake’s low lapping sounds lent counterpoint.  They were sublime.

    I too felt a quake, a shiver down my spine as associations tumbled through my mind.  Poems, songs, memories of other early morning walks in spring.  Intoxication, elation, the horripilation that accompanies spring’s rising, the sexual excitement.  Hope, and the loose feeling of being forever young.  No solution to anything, just reverence for existence.  Nothing changed, except a few years.

    In quickly putting into words what I felt a half-hour ago, I drew on a vast store of personal and cultural memories that came to me with little thought as I was walking home.  Words strung together without thinking.  You have just read them.  I felt impelled to tell them.

    Now as I sit and contemplate, I think about culture and what it might mean.  In my case, I was gifted by my parents and schools with the love of poetry and art from a young age.  I know well that everyone is not so lucky and that, in any case, culture has many meanings.  “Culture,” writes Raymond Williams, “is one of the two or three most complicated words in the English language.”  From its original verbal meaning to cultivate the land to high, low, and middlebrow culture onto so many other meanings and conflicts that are often tied up with social class issues. There are cultures and culture.

    When I say cultural memories, I mean my memories, no one else’s.

    I learned early on that the music of verse, the sound of birds in the trees, the rush of a creek murmuring over rocks, the lilt of words spoken passionately, the placement of a certain blue paint on a canvas, a singer’s voice flying with a tune of joy or sadness, and a instrument’s vibrations were all connected to the reverence I felt as an altar boy tolling the bells and repeating Latin responses, whose full meaning I couldn’t grasp amid the incense and candle smoke: Et introibo ad altare Dei: ad Deum qui laetificat juventutem mea – “And I go to the altar of God, to God who gives joy to my youth.”

    It was the sound of the bells that entranced me, and that I was allowed to ring them.  To sound in, to participate in the ancient ritual that created a musical enclave from the beyond. I knew then, as I know now, that God has many altars, and that reverence before them and their mysteries is the right refrain.   Bob Dylan singing “Ring Those Bells” comes to mind:

    Ring them bells, ye heathen
    From the city that dreams
    Ring them bells from the sanctuaries
    ’Cross the valleys and streams
    For they’re deep and they’re wide
    And the world’s on its side
    And time is running backwards
    And so is the bride

    So while it is not necessary to draw on stored cultural memories to appreciate the birds in the trees on nature’s altar on a beautiful spring morning, for me it enriched the experience.  You may have heard echoes of Yeats, Van Morrison, and others in my words, but the reality of the world I described would be the same for those who never heard of these artists, who find their inspiration in the terrible beauty of nature and have other associations.

    Are we really at home in our interpreted world, a poet once asked?  It is a good question.  This poet was Rilke, who wrote in the Duino Elegies :

    For beauty is nothing/but the beginning of terror/which we are still just able to endure/and we are so awed because it serenely/disdains to annihilate us/Every angel is terrifying/And so I hold myself back and swallow the call note of my dark sobbing/Ah, whom can we ever turn to in our need?

    Whom can we ever turn to in our need?

    Everyone carries different associations that come to us when we are not thinking but are only immersed in our experiences.  Snatches of trace memories, images, words, sounds, smells, the look of light, etc. that usually occur slightly after the first encounter with natural phenomena.  One doesn’t have to know Shakespeare or William Wordsworth to experience nature’s beauty.  Nor it’s terrors. Yet I must admit I am partial to words like these from Wordsworth:

    Though nothing can bring back the hour
    Of splendour in the grass, of glory in the flower;
    We will grieve not, rather find
    Strength in what remains behind;
    In the primal sympathy
    Which having been must ever be;
    In the soothing thoughts that spring
    Out of human suffering;
    In the faith that looks through death,
    In years that bring the philosophic mind.

    But whatever our backgrounds, we are all interpreters of our world and words are our fundamental way of doing so.  Words and metaphors that lead us to myth and art, even when its expression is wordless sound or pictures.  Words that are often unacknowledged prayers to an unknown God.

    For many years I taught what are called the liberal arts.  This was an extension of my own education in the classics, philosophy, theology, and sociology, disciplines divided in name only but married in reality to science, literature, history, languages, etc.  It is all one study when rightly understood.  But our schools and  universities have been abandoning this approach for the sterility of numbers and the cold dead hand of technology and digital dementia.  For specialization, where professors know nothing outside their limited disciplines.  For the study of the parts without any sense of the whole.

    A new Dark Age is closing upon us, as Max Weber noted more than a century ago when he described the people who run our societies and educational institutions as “specialists without spirit, sensualists without heart; this nullity imagines it has attained a level of civilization never before achieved.”

    Students are being denied the rich heritage of words, images, and music that form the basis of Western culture.  Without such a repository of cultural wisdom, they are left to draw only on popular cultural sources to interpret the world and their lives.  More and more of these sources are anemic, if not degrading.  It is not that some are not extraordinarily rich and meaningful, as is evident from those I link to in this essay, but a quick look around should convince any fair-minded person that the pickings are quite slim.  We are drowning in cultural garbage that is being pumped out through digital media, primarily so-called smart phones, into young people’s minds and souls.  It is poison.  And the schools have devolved into protection rackets where students are protected from their own thoughts and ideas that might allow them to think and be thought.

    To think, question, and debate have been replaced with censorship and the coddling of young minds.  Such censorship, of course, has its counterpart in society at large.  Call it propaganda, which is exactly what it is.

    If Rilke is right, we will never be at home on this earth, our interpreted world.  As a poet and a man of words, he no doubt knew that there is no alternative to interpretation, to ask why, to use words to describe our experiences and to seek meaning as we travel through the mystery of time and existence.

    I know, however, for those minutes I stood by the lake in rapt silence as the birds sang and the water lapped, I felt at home.

    Home, of course, is a complicated word, for we are time-bound creatures always moving on, travelers who are home one minute and gone the next.  Even the word culture derives from an Indo-European root meaning to revolve, tied as it is, as are we, to the idea of a natural cycle, the turning of the seasons.  Doesn’t a contemporary artist, Joni Mitchell, tell this beautifully with The Circle Game.

    To say we are wayfarers is accurate, always on the way, as my recently departed dear friend Graeme MacQueen, a Buddhist and 9/11 scholar told me, when he laughingly said to me right before he recently died, that the old folk and Christian gospel song, Wayfaring Stranger, was his story too.  He was a man of many talents who established the Centre for Peace Studies at McMaster University in Canada, wrote the important book, The 2001 Anthrax Deception, and much more, even a children’s book.

    Graeme did all his work with the awareness that we are temporary sojourners on this earth, and that it is through stories and myths and their associations that come to us unbidden that we can connect life with death, the material and spiritual sides of our natures, in the search for peace. He died at home. I imagine him singing along with the words of the song: “I am a poor wayfaring stranger…. I’m goin’ home to see my mother/I’m goin’ home, no more to roam/I am just goin’ over Jordan/I am just goin’ over home

    And then laughing so hard he couldn’t breathe, just as he did earlier when he told me his doctor’s name was Dr. Sender, as he prepared to hit the road.

    There is no escape from telling. Life is sublime.

    From his album, On the Road, Van Morrison takes us out with “The Beauty of the Days Gone By”


    This content originally appeared on Dissident Voice and was authored by Edward Curtin.

    ]]> https://www.radiofree.org/2023/05/10/there-is-no-escape-from-telling/feed/ 0 393871 Journalist Duong Van Thai arrested in Vietnam after disappearing in Thailand https://www.radiofree.org/2023/04/18/journalist-duong-van-thai-arrested-in-vietnam-after-disappearing-in-thailand/ https://www.radiofree.org/2023/04/18/journalist-duong-van-thai-arrested-in-vietnam-after-disappearing-in-thailand/#respond Tue, 18 Apr 2023 14:34:13 +0000 https://cpj.org/?p=277895 Manila, April 18, 2023—Vietnamese authorities should immediately release journalist Duong Van Thai and stop all efforts to harass and detain members of the press living in exile, the Committee to Protect Journalists said Tuesday.

    On April 13, Thai, an independent journalist who posts political commentary on YouTube and has about 119,000 followers, went missing in Bangkok, Thailand, according to multiple news reports.

    He had lived in Thailand as a refugee since 2020 and visited the United Nations High Commissioner for Refugees’ office hours before his disappearance, according to those reports and Nguyen Van Hai, a colleague familiar with Thai’s situation and CPJ’s 2013 International Press Freedom Award winner, who communicated with CPJ via email.

    On April 16, Vietnamese state media reported that Thai had been arrested while allegedly trying to enter Vietnam and was being held by police in the Huong Son district of central Ha Tinh province.

    “Vietnamese authorities must immediately release journalist Duong Van Thai and disclose the exact details of his detention,” said Shawn Crispin, CPJ’s senior Southeast Asia representative. “Vietnam has a history of targeting journalists living in exile. Thai authorities should thoroughly and transparently investigate the circumstances of his disappearance in Bangkok, and ensure that members of the press are not targeted for their work.”

    Those Vietnamese state media reports alleged that Thai was arrested while attempting to illegally enter Vietnam on April 14. CPJ called and emailed Thai after his arrest was announced but did not receive any replies.

    On his YouTube channel, Thai recently aired commentary critical of Vietnam’s industrial policy, Prime Minister Pham Minh Chinh, and the country’s finance minister.

    In 2019, Vietnamese blogger Truong Duy Nhat was abducted in Thailand; he resurfaced in Vietnam days later and was subsequently sentenced to 10 years in prison. Two of Nhat’s associates, who spoke with CPJ on condition of anonymity due to fear of reprisal, said they suspected that he was abducted by Vietnamese agents working in cooperation with Thai authorities. Nhat was seeking refugee status in Thailand at the time of his disappearance.

    CPJ emailed Thailand’s Immigration Police and Vietnam’s Ministry of Public Security for comment on Thai’s status but did not immediately receive any replies.

    Vietnam was one of the world’s worst jailers of journalists, with at least 21 behind bars, when CPJ conducted its annual prison census on December 1, 2022.


    This content originally appeared on Committee to Protect Journalists and was authored by Erik Crouch.

    ]]>
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    Senate Dems Urge Treasury Chief to Crack Down on Rich Tax Dodgers https://www.radiofree.org/2023/03/21/senate-dems-urge-treasury-chief-to-crack-down-on-rich-tax-dodgers/ https://www.radiofree.org/2023/03/21/senate-dems-urge-treasury-chief-to-crack-down-on-rich-tax-dodgers/#respond Tue, 21 Mar 2023 23:46:44 +0000 https://www.commondreams.org/news/yellen-treasury-rich-tax-dodgers

    Four U.S senators this week called on Treasury Secretary Janet Yellen to use her existing authority to go after American billionaires and multimillionaires who "use trusts to shift wealth to their heirs tax-free, dodging federal estate and gift taxes."

    "They are doing this in the open: Their wealth managers are bragging about how their tax dodging tricks will be more effective in the current economy," stressed Sens. Elizabeth Warren (D-Mass.), Chris Van Hollen (D-Md.), Bernie Sanders (I-Vt.), and Sheldon Whitehouse (D-R.I.).

    "While we look forward to continuing to partner with you on legislative solutions," the senators wrote to Yellen, "the Treasury Department can and should exercise the full extent of its regulatory authority to limit this blatant abuse of our tax system by the ultrawealthy."

    Their letter to the Treasury leader, dated Monday and first reported by CBS MoneyWatch Tuesday, highlights that "only the wealthiest American families" are asked to pay transfer taxes such as the estate tax, gift tax, and generation-skipping transfer (GST) tax.

    As the letter lays out:

    Tax avoidance through grantor trusts starts with the ultrawealthy putting assets into a trust with the intention of transferring them to heirs. Grantor trusts are trusts where the grantor retains control over the assets, and the structures of some of these grantor trusts allow the transfer of massive sums tax-free. Tax planning via grantor trusts, including grantor retained annuity trusts (GRATs), is a kind of shell game, with a wealthy person and their wealth managers able to pass assets back and forth in ways that effectively pass wealth to heirs while minimizing tax liability.

    Some of the wealthiest families further compound this tax avoidance with perpetual dynasty trusts, which can be used to shield assets from transfer tax liability indefinitely. For example, aggressive valuation discounts can artificially reduce the value of assets transferred into a trust below the GST tax exemption threshold, after which the assets can grow in perpetuity within a trust exempt from transfer tax.

    "The ultrawealthy at the top of the socioeconomic ladder live by different rules than the rest of America, especially when it comes to our tax system," the letter charges. "As the richest Americans celebrate and take advantage of these favorable tax opportunities, middle-class families struggle with inflation and Republicans threaten austerity measures and the end of Social Security and Medicare."

    To help force the richest Americans to "pay their fair share" in taxes, the senators are calling on Treasury to revoke a pair of tax code rulings from the Internal Revenue Service (IRS); require GRATs to have a minimum remainder value; reissue family limited partnership regulations; clarify that intentionally defective grantor trusts (IDGTs) are not entitled to stepped-up basis; and put out clarifying regulations on certain valuation rules for estate and gift taxes.

    The senators also sent a series of questions—about potential administrative action, how much is estimated to be held in grantor trusts, and how much could be raised from cracking down on abuse—and requested a response from Treasury by April 3.

    Their letter comes after President Joe Biden earlier this month introduced a budget blueprint for fiscal year 2024 that would hike taxes on the rich—proposed policies praised by progressive experts and advocates as "fair, popular, and long overdue."

    Yellen last week appeared before the Senate Finance Committee—of which Warren and Whitehouse are members—to testify about the administration's proposal. She said in part that "our proposed budget builds on our economic progress by making smart, fiscally responsible investments. These investments would be more than fully paid for by requiring corporations and the wealthiest to pay their fair share."


    This content originally appeared on Common Dreams and was authored by Jessica Corbett.

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    Prisoner killed as inmates break out of police van in Naypyidaw https://www.rfa.org/english/news/myanmar/naypyidaw-prisoners-escape-03022023052317.html https://www.rfa.org/english/news/myanmar/naypyidaw-prisoners-escape-03022023052317.html#respond Thu, 02 Mar 2023 10:31:34 +0000 https://www.rfa.org/english/news/myanmar/naypyidaw-prisoners-escape-03022023052317.html Police shot dead a prisoner who was among nine that escaped from a prison van in Myanmar’s capital Naypyidaw, a source close to the prison told RFA.

    The vehicle was taking inmates back from the Pyinmana District Court to Yamethin Prison, 97 kilometers (60 miles) north of the capital on Wednesday, when some prisoners attacked the guards and grabbed a gun.

    A source close to the Prison Department who did not want to be named for security reasons, told RFA police opened fire, killing one inmate and recapturing two others.

    The van was carrying 19 men and two women, including political prisoners.

    “There were about six political prisoners. The rest are criminal prisoners,” the source said.

    “Those escaped are the Yamethin’s notorious prisoners, facing long terms and who have been imprisoned for 50 years for murder, rape and robbery, not the political prisoners.” 

    Fearing a prison riot, authorities sent the remaining inmates to Pyinmana Police Station for temporary custody.

    A political prisoner who was recently released from Yamethin told RFA he was concerned the political prisoners would be punished even though they did not take part in the escape.

    “I am worried that the political prisoners who are facing trial at the court will be in more trouble after this incident,” said the man who also declined to be named.

    “I am worried there will be more cases filed against the political prisoners who were in the vehicle [even though] this incident has nothing to do with them.”

    A policeman was injured during the escape and is being treated in a local hospital, according to a source close to the prison.

    Naing Win, deputy director general of the Myanmar Prisons Department, did not answer when RFA called him to ask about the incident.

    Prison breaks are not uncommon in Myanmar despite tight security.

    In September, a prison transport vehicle heading to Mandalay’s Obo Prison from the city’s Kyaukse Police Station was attacked by an unknown group and two inmates escaped.

    The same month,, five political prisoners broke out of their cell in Pakokku Prison in Magway region, climbed over a high wall and escaped.

    Brutal conditions in Myanmar’s prisons have led to at least seven riots by prisoners protesting violations of their rights, including beatings and torture by prison guards.

    Nearly 20,000 people have been arrested for their views and pro-democracy activities since Myanmar’s military overthrew the democratically elected government just over two years ago, according to figures compiled by the Assistance Association for Political Prisoners. Almost 16,000 political prisoners are still being held, the Thailand-based group said..

    Translated by RFA Burmese. Edited by Mike Firn.


    This content originally appeared on Radio Free Asia and was authored by By RFA Burmese.

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    Vo Van Thuong sworn-in as Vietnam’s new president https://www.rfa.org/english/news/vietnam/vo-van-thuong-03012023212839.html https://www.rfa.org/english/news/vietnam/vo-van-thuong-03012023212839.html#respond Thu, 02 Mar 2023 02:31:00 +0000 https://www.rfa.org/english/news/vietnam/vo-van-thuong-03012023212839.html Vietnam’s National Assembly has elected Vo Van Thuong as the country’s new president signaling an increased focus on stamping out corruption at all levels of the communist party.

    All but one of the 488 legislators voted to pick the veteran party member to serve out the rest of the 2021-2026 term, at an extraordinary session in Hanoi Thursday.

    "I will be absolutely loyal to the fatherland, the people and the constitution of the Socialist republic of Vietnam, striving to fulfill the tasks assigned by the party, the state and the people," Thuong told parliament in a short speech broadcast live on state television, which also carried his swearing-in ceremony.

    Thuong replaces Nguyen Xuan Phuc, who was dismissed by the National Assembly on Jan. 18 and removed from the assembly.

    Phuc earlier announced he was resigning to take responsibility for COVID-related scandals under his watch, which claimed the jobs of two deputy prime ministers and three ministers.

    A communist through-and-through

    At 53, Vo Van Thuong is the youngest member of the Politburo and 15 years younger than his predecessor. He was born in the final years of the 20-year Vietnam war in the northern Vietnamese province of Hai Duong.

    Thuong considers himself a southerner, listing his home province as Vinh Long in his official biography. He relocated to southern Vietnam when the country reunified after the war ended in 1975. He holds a degree in Marxism-Leninism philosophy and studied at the Ho Chi Minh National Academy of Politics.

    Thuong started his career with the Ho Chi Minh Communist Youth Union. He was then promoted to be secretary of the union. 

    He also has experience working in Central Vietnam, where he served as secretary of Quang Ngai province for three years until 2014.

    Thuong is a communist party loyalist through-and-through spending his entire career serving the party and educating members in ideology, culture, ethics and morality, according to Carl Thayer, a veteran Vietnam watcher.

    “Since Thuong’s elevation to head the party’s Secretariat he has assumed significant responsibility for the campaign to combat corruption and negative phenomena,” Thayer said.

    “Thuong has focused on preventing individualism, ending lobbying for jobs, and encouraging cadres who have erred to voluntarily resign. In addition, he has been intimately involved in decisions on streamlining the party bureaucracy, rotation of cadres, and emulation movements.

    Foreign policy unlikely to change

    Thuong’s weakness may be foreign policy according to Thayer, an emeritus professor at the University of New South Wales who also runs his own consultancy. He said Thuong has only traveled with leaders and met officials from other communist nations.

    “Thuong is not expected to initiate any new change in Vietnam’s foreign policy,” Thayer said.

    “This is because there is a high degree of consensus among the top leaders on Vietnam’s foreign policy orientation. Also, foreign policy is the result of collective decision-making and consensus on the Politburo. However, Thuong is not as well versed in global affairs as his predecessor; he will be on a fast learning curve, and will be a relatively unknown quantity when he meets his foreign counterparts.

    A legacy of growth

    Nguyen Xuan Phuc served as president since the 13th Party Congress in January 2021. From 2011-2016, he was the deputy prime minister, before being elevated at the 12th Party Congress in early 2016.

    During Phuc’s term as prime minister Vietnam’s economy grew by 42% to U.S.$366 billion. 

    On assuming the presidency in 2021 he steered Vietnam through the COVID pandemic, helping it to see the only positive gross domestic product growth among ASEAN members that year.

    At the 13th Congress two years ago, Phuc vied to become the general secretary, but did not have sufficient support. Thuong has a better chance according to Thayer.

    “If Vo Van Thuong successfully carries out the duties of state president, he would be an odds-on favorite to replace Nguyen Phu Trong as party General Secretary. His long and unblemished career in the party’s ranks as well as his relatively youthful age all weigh in his favor.”

    Vietnam’s presidency is largely a ceremonial role while general secretary carries far more weight.

    Vice President Vo Thi Anh Xuan has been serving as Vietnam’s caretaker president since Phuc stepped down. 

    RFA Vietnamese contributed to this story.


    This content originally appeared on Radio Free Asia and was authored by By Mike Firn.

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    The Art of Protest: Selling Out van Gogh and 8 Billion Others https://www.radiofree.org/2022/11/01/the-art-of-protest-selling-out-van-gogh-and-8-billion-others/ https://www.radiofree.org/2022/11/01/the-art-of-protest-selling-out-van-gogh-and-8-billion-others/#respond Tue, 01 Nov 2022 06:00:19 +0000 https://www.counterpunch.org/?p=262701 On October 14, two Just Stop Oil protesters threw tomato soup at Vincent van Gogh’s Sunflowers in London’s National Gallery to focus attention on the dangers of continuing to burn fossil fuels amid increased global warming. Many wondered how anyone could destroy an avowed masterpiece in the name of a cause, until learning that the famous painting was under glass and no damage incurred. What seemed like juvenile vandalism became a novel act of protest, garnering media attention across the world. More

    The post The Art of Protest: Selling Out van Gogh and 8 Billion Others appeared first on CounterPunch.org.


    This content originally appeared on CounterPunch.org and was authored by John K. White.

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    Just Stop Oil’s Van Gogh Soup Stunt Sparks Criticism of ‘Alienating’ Strategy https://www.radiofree.org/2022/10/14/just-stop-oils-van-gogh-soup-stunt-sparks-criticism-of-alienating-strategy/ https://www.radiofree.org/2022/10/14/just-stop-oils-van-gogh-soup-stunt-sparks-criticism-of-alienating-strategy/#respond Fri, 14 Oct 2022 19:29:02 +0000 https://www.commondreams.org/node/340382

    A pair of climate activists tossed a couple of cans of tomato soup on one of Vincent van Gogh's famous glass-protected paintings at a London museum on Friday, renewing a debate about the effectiveness of some of their group's strategies.

    Phoebe Plummer, 21, and Anna Holland, 20—who glued their hands to the National Gallery wall after dousing the $84.2 million "Sunflowers" in soup—wore Just Stop Oil (JSO) T-shirts. The U.K.-based group shared footage of the action and their motivations on social media.

    "Is art worth more than life? More than food? More than justice?" Plummer said in a statement. "The cost-of-living crisis is driven by fossil fuels—everyday life has become unaffordable for millions of cold, hungry families—they can't even afford to heat a tin of soup."

    "Meanwhile, crops are failing and people are dying in supercharged monsoons, massive wildfires, and endless droughts caused by climate breakdown," the activist added. "We can't afford new oil and gas, it's going to take everything. We will look back and mourn all we have lost unless we act immediately."

    The National Gallery and Metropolitan Police confirmed that "there is some minor damage to the frame but the painting is unharmed." The latter added that the protesters "have been arrested by Met police officers for criminal damage and aggravated trespass."

    Some in the art and climate activism communities expressed support for the action.

    French visual artist and environmental activist Joanie Lemercier declared that "art is absolutely pointless on a dead planet" and highlighted that the painting was not damaged by the protest.

    Scottish historian and human rights activist Craig Murray initially said that "I support Just Stop Oil's direct action, especially the blocking of roads and refineries. It is needed to wake people up. But this is stupid vandalism, and counterproductive. This beautiful painting has no negative environmental impact."

    However, Murray later added that "I was wrong about this. The painting is behind glass and unharmed. In which case, this is a very effective bit of campaigning for publicity."

    Hyperallergic editor-in-chief and co-founder Hrag Vartanian said in a video that the ultrarich who are "buying and selling Van Goghs" are "the same people" who are on the boards of major polluting companies and "who are being feted by these museums."

    While right-wingers worldwide seized the opportunity to paint the JSO activists as "crazy" vandals, other critics suggested that the soup stunt could damage efforts to bring more people into the global movement to combat the fossil fuel-driven climate emergency.

    "They sure know how to get attention. And while their passion is admirable, their tactics are repugnant," said Mother Jones senior editor Michael Mechanic.

    Two-Spirit Tuscarora (Haudenosaunee) television and musical writer Kelly Lynne D'Angelo said that "this is why y'all need to sit the f*ck down and listen to Indigenous people when it comes to climate activism."

    The co-creator of the musical Starry about Theo and Vincent van Gogh, D'Angelo added that "destroying art—an extension of our humanity—is not the way. The piece is fine. But the damage to the spirit of it isn't. Ignorance wins."

    American comic book artist Jamal Igle stressed that "this is not how you make your point. Luckily, the painting is covered in glass, so nothing was damaged and they'll probably be charged with trespassing. All you did was anger the very people you're trying to appeal to."

    YouTube vegetarian chef Jerry James Stone had a similar message for the activists: "What a horrible way to express an important cause. This is beyond stupid, immature, and alienating. Grow the fuck up."

    Social media content creator Matt Bernstein tweeted, "girl I'm down with the cause but Van Gogh was a broke, mentally ill painter considered a failure until his death, like what does he have to do with this," and contrasted Friday's stunt with some "effective" art-related actions:

    Dana Fisher, a University of Maryland sociology professor who studies protest movements, explained to The Washington Post that actions like throwing soup at a multimillion-dollar painting are a form of "tactical innovation" to attract media attention.

    According to the Post:

    The media gets accustomed to particular types of activism; a march or a sit-in that once commanded attention soon gets written off as old news. Climate protesters, Fisher explained, started by gluing themselves to artworks, which initially made a small news splash. Now that attention for that has cooled down, they have moved on to at least the appearance of defacing artworks, in an attempt to attract more eyes.

    The action in the National Gallery did make prominent headlines across U.K. newspapers and around Europe; by late afternoon, one video of the incident on YouTube had been viewed 13.3 million times. At least to the activists involved, the fact that the protest had gone viral was probably viewed as a success. The climate issue—which at times is buried by geopolitical, economic, and celebrity news—was back in headlines once again.

    But as tactics escalate, protesters risk turning off people who may otherwise be sympathetic to their cause. "Research shows that this kind of tactic doesn't work to change minds and hearts," Fisher said. Someone prevented from commuting to work—or someone who believes that irreplaceable artworks are being harmed—might be turned off by the climate movement for some time, if not permanently.

    "It's working to get attention," Fisher said. "But to what end?"

    Al Jazeera noted Friday that "experts have predicted acts of so-called 'climate sabotage' will increase as extreme weather events such as droughts, wildfires, and storms proliferate and the urgency to act grows."

    Daniel Sherrel, author of Warmth: Coming of Age at the End of the World, warned that such sabotage "would be a gift to the right-wing opponents of climate action, who would use it, leverage it for all its worth to accelerate their creeping fascism, make the issue politically toxic for moderate voters, arrest a generation of young climate activists, and sow division in the climate movement itself."

    Damien Gayle reported from the museum Friday that "alienating people from their cause was a concern, said Alex De Koning, a Just Stop Oil spokesperson, who spoke to The Guardian outside the gallery after the room was cleared."

    "But this is not The X Factor," the spokesperson said. "We are not trying to make friends here, we are trying to make change, and unfortunately this is the way that change happens."

    Gayle also noted that "the canvas of the painting is protected with a glass screen, a factor Just Stop Oil said they had taken into account."

    Writing for The Ecologist in July, Chris Saltmarsh—co-founder of Labour for a Green New Deal and author of Burnt: Fighting for Climate Justicenoted other recent cases of JSO activists "disrupting high-profile sporting events and cultural institutions," including gluing themselves to the frames of other prominent pieces of art.

    As Saltmarsh detailed:

    Targeting cultural institutions is not new within the climate movement. Since 2004, the Art Not Oil coalition has campaigned (with some notable successes) against oil sponsorship, taking creative protest to institutions including the British Museum, the Tate, and the National Portrait Gallery.

    Just Stop Oil differs, though, in that their demand is generic and aimed towards the U.K. government rather than the subject of the protest.

    Although Just Stop Oil is formally a distinct organization, this approach of general social disruption comes out of Extinction Rebellion. Initially, XR blocked roads and key junctions to maximize disruption. However, although they exist within the same tendency of the environmental movement, Insulate Britain and Just Stop Oil now represent a strategic divergence with XR.

    "Since its founding, XR strategy has evolved to target those directly complicit in driving climate change (e.g., fossil fuel firms, the Murdoch press, and financial institutions)," Saltmarsh wrote. "On the other hand, Insulate Britain and Just Stop Oil have respectively applied the approach of general social disruption to motorways or sport and culture."

    "Some have criticized Just Stop Oil and Insulate Britain for alienating ordinary people from supporting radical climate demands," he added. "There's no evidence that this is actually the case. However, the real limitation of Just Stop Oil's strategy is that it tends towards marginality rather than building the power and mass movement we need."


    This content originally appeared on Common Dreams - Breaking News &amp; Views for the Progressive Community and was authored by Jessica Corbett.

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    Just Stop Oil Supporters throw Soup over Van Gogh’s Sunflowers | 14 October 2022 #shorts https://www.radiofree.org/2022/10/14/just-stop-oil-supporters-throw-soup-over-van-goghs-sunflowers-14-october-2022-shorts/ https://www.radiofree.org/2022/10/14/just-stop-oil-supporters-throw-soup-over-van-goghs-sunflowers-14-october-2022-shorts/#respond Fri, 14 Oct 2022 12:11:32 +0000 http://www.radiofree.org/?guid=3c28e5bd5296a744f74009b192fbcbcb
    This content originally appeared on Just Stop Oil and was authored by Just Stop Oil.

    ]]>
    https://www.radiofree.org/2022/10/14/just-stop-oil-supporters-throw-soup-over-van-goghs-sunflowers-14-october-2022-shorts/feed/ 0 342294
    Just Stop Oil Supporter jumps on top of Police Van | Piccadilly Circus, London | 9 October 2022 https://www.radiofree.org/2022/10/09/man-jumps-on-top-of-police-van-piccadilly-circus-london-9-october-2022-just-stop-oil-shorts/ https://www.radiofree.org/2022/10/09/man-jumps-on-top-of-police-van-piccadilly-circus-london-9-october-2022-just-stop-oil-shorts/#respond Sun, 09 Oct 2022 17:26:18 +0000 http://www.radiofree.org/?guid=a7504a9c404989ee8a9d6a53915aad52
    This content originally appeared on Just Stop Oil and was authored by Just Stop Oil.

    ]]>
    https://www.radiofree.org/2022/10/09/man-jumps-on-top-of-police-van-piccadilly-circus-london-9-october-2022-just-stop-oil-shorts/feed/ 0 340246
    Vietnamese death row inmate Dang Van Hien gets reduced sentence https://www.rfa.org/english/news/vietnam/deathpenalty-commutation-09152022160037.html https://www.rfa.org/english/news/vietnam/deathpenalty-commutation-09152022160037.html#respond Thu, 15 Sep 2022 20:03:58 +0000 https://www.rfa.org/english/news/vietnam/deathpenalty-commutation-09152022160037.html Vietnamese President Nguyễn Xuân Phúc has commuted the death sentence of Dang Van Hien and reduced it to life in prison, Hien’s wife, Mai Thi Khuyen, told RFA on Thursday. 

    Hien was sentenced to death by the Dak Nong People’s Court in January 2018 for shooting employees of the Long Son Company who had come to confiscate his home and land in October 2016.  Three people were killed in the incident and 13 injured.

    “[I am] extremely happy and moved. Everyone in our family cheered, relatives from both sides [her and his relatives] and friends, all are sending us their congratulations,” Khuyen told RFA. She said that since her husband’s arrest, her family has encountered significant financial difficulties. She has had to work as a farmer to support her family and pay compensation to the victims of the incident. 

    Hien’s sentence was widely controversial in Vietnam, where authorities regularly authorize private companies to appropriate land for large-scale projects, often at the expense of individual landowners. The Ho Chi Minh City’s High-Level People’s Court upheld Hien’s sentence at an appeal trial six months after his conviction. 

    Del. Luu Binh Nhuong, who serves as the deputy head of the National Assembly's Committee on People’s Aspirations, said in October 2019 that he had forwarded a petition from Hien’s lawyers asking for leniency to his committee to Nguyen Phu Trong, who at the time was president of Vietnam, state media reported.

    The petition described Hein as a hard-working farmer without a prior criminal record and argued that the shooting was the result of emotional stress, anger and pressure that employees from the Long Son Company, including the victims, had put on Hien at his residence. The petition said that the employees carried out an unlawful eviction despite Hien’s protests.

    In July 2018, then Vietnamese President Tran Dai Quang publicly requested the Supreme People’s Court, the Supreme People's Procuracy and the Ministry of Public Security investigate Dang Van Hien’s case.

    The reassessed sentence, which moves Hien off death row and into life imprisonment, appears to end a years-long process that caught the attention of Vietnamese citizens from across the country, many of whom expressed frustration at the government’s land appropriation policies.

    Translated by Anna Vu. Written by Nawar Nemeh.


    This content originally appeared on Radio Free Asia and was authored by By RFA Vietnamese.

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    Nguyen Van Kha’s family waiting for an explanation for December death in custody https://www.rfa.org/english/news/vietnam/nguyen-van-kha-09092022005630.html https://www.rfa.org/english/news/vietnam/nguyen-van-kha-09092022005630.html#respond Fri, 09 Sep 2022 05:01:00 +0000 https://www.rfa.org/english/news/vietnam/nguyen-van-kha-09092022005630.html The family of a man who died in police custody in Vietnam’s southern An Giang province say they have heard nothing from authorities since his death in December last year.

    Nguyen Van Kha, 56, died after being taken to the local police headquarters on the night of Dec. 28. The local police said he died of a heart condition, but the family continues to claim his death was the result of a beating. They told RFA they want the incident fully investigated so there will be no more deaths in custody.

    On the night of the incident, Kha and his son, Nguyen Van Tuan Em, 34, were beaten by the police in front of their house before being taken into custody in Nhon My commune.

    Shortly after their arrest, the authorities announced that Kha had died of a stroke.

    Em’s wife, Nguyen Thi Nguyet Trinh, told RFA in the past eight months, the family has repeatedly submitted petitions and phoned senior officials of the An Giang Provincial Police, but received no response.

    Immediately after the incident, the family contacted then-An Giang provincial Police Director, Colonel Dinh Van Noi, Trinh said, but he did nothing about the information they gave him. In August, Noi was transferred to work as director of the Quang Ninh provincial police, having made no attempt to investigate the case.

    “The next evening [after Kha’s death] I tried to call him but couldn't, so I texted ‘uncle’ Noi,” Trinh said.

    “At 11 o'clock at night ‘uncle’ Noi called me to ask 'how was the case?' I told ‘uncle’ Noi, and he listened to me.”

    “Since that day, I have heard nothing. ‘Uncle’ Noi didn’t call back and the province’s leaders didn’t say anything."

    The family initially refused to accept Kha's body without an explanation of his death. A representative of the An Giang provincial Police and another from the Cho Moi district police finally persuaded the family to collect the body for burial, promising to investigate the case.

    The provincial police performed an autopsy and concluded that the cause of Kha's death was "cardiovascular disease."

    The victim's family repeatedly phoned the provincial police representative who had promised a full investigation but he did not answer their calls.

    Trinh said two to three weeks ago, her mother-in-law and her husband submitted a petition to the provincial police, but she said "they didn't receive it and didn't talk at all." 

    Family’s finances affected

    Kha had been working as a construction worker and was the main earner in his family. His son Nguyen Van Tuan Em also works to cover the cost of his two young children’s education.

    Em’s wife said he suffered lung damage due to the police beating and often has to take time off work without pay putting a financial strain on the family.

    Trinh continues to push the authorities to explain what really happened on Dec. 28 and punish the perpetrators.

    "My family's request is for the state authorities to investigate and clarify the death of my father-in-law,” she said. 

    “If my father-in-law was guilty, my family would apologize to the police. If my father-in-law was innocent and those people are not punished… I can't accept that."

    Trinh said that while convincing the family to receive the body for burial, the An Giang provincial government offered to compensate the family. Her mother-in-law agreed but asked those who beat Kha and his son to apologize to the family.

    The family said it has still not received any compensation and the police who beat Kha have still not apologized or offered condolences.

    What happened on December 28?

    According to state media reports, the chief of police at Nhon My commune led plain clothes police officers to an abandoned house to break up a local gambling ring. 

    The police left their motorbikes outside Kha's house and chased gamblers from the nearby building.

    The Ho Chi Minh City police newspaper quoted the commune police as saying Kha and his two sons, Nguyen Van Tuan Em and Nguyen Van Tuan Anh, were drunk and quarreled with a policeman who was guarding the motorbikes. The police said the three took the motorbikes into their house and beat the policeman.

    According to the police, while they were taking the offenders to the local police station Kha showed signs of fatigue, so they took him to the Nhon My clinic for treatment, where he died.

    However, videos of the incident and field experiments show that the incident happened in a completely different place.

    The family said Kha and his sons took the motorbikes into their house because they did not know who they belonged to, leading to the scuffle with plain clothes policemen.

    Kha and Em were beaten, handcuffed and taken on motorbikes to the commune police headquarters, not the clinic. The police later announced that Kha had died of a stroke.

    Videos of the incident were shared on social networks at that time, generating a lot of angry responses but the police’s forensic examination still gave the cause as "death due to heart disease." No independent forensic agency was involved in the autopsy.


    This content originally appeared on Radio Free Asia and was authored by By RFA Vietnamese.

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    Musician Sharon Van Etten on growing slowly https://www.radiofree.org/2022/07/22/musician-sharon-van-etten-on-growing-slowly/ https://www.radiofree.org/2022/07/22/musician-sharon-van-etten-on-growing-slowly/#respond Fri, 22 Jul 2022 07:00:00 +0000 https://thecreativeindependent.com/people/sharon-van-etten-on-revisiting-your-sad-songs-when-youre-happy What’s it like engaging with older material? I’m curious about the process of going back, remastering it, and thinking about it again as something in the present, versus something you did a while ago.

    In returning to my first record, I was nervous. I mean, I was proud of that record and I know that everybody starts somewhere. I knew it was my first experience in a studio and I’d never played with other people before. I knew all that going into it, but when I think of how naïve I was and how heartbroken I was… I realize I could say that about every record I’ve made, but especially so with that first record.

    So, with all of that in mind, I was surprised by how self-aware I was, for being so naïve. Or I didn’t realize how aware I was, or something. I was so admittedly broken. It was humbling. It gave me perspective in that I’m still that same person, but I’m in a much better place now. It’s comforting to see that I’ve grown and matured from that time, as obvious as that sounds.

    Did you find yourself learning anything about what you do now? Or, did you discover anything you’d missed when you were in the process of doing it the first time?

    How complicated my vocals were. The melodies were so bizarre, and there was rarely a real chorus in there, but I had no idea what I was doing. Then also, at the time, I didn’t understand why I would need a tuner.

    I literally did the whole record, recorded vocals and guitar front to back, without a tuner. I didn’t realize that when Greg Weeks, who recorded the album, said, “Okay, let’s try to add another instrument now,” that I wasn’t tuned to E. It wasn’t even like a half step. I just tuned it myself. It sounds insane, but to this day, people are like, “What key is that in? I can’t figure it out.” I was like, “I have no idea.” And there was no going back because I’d done every single song with just guitar and vocals simultaneously. That helped us keep it minimal. I kind of liked that that helped keep the album minimal, but I’ve needed a guitar tuner ever since.

    Do you feel like it was a successful record? Years later, can you listen back and be like, “Oh, this is good.” If you had to objectively think about it, how do you see that album in your overall discography?

    I think they’re great songs. “Tornado” is still one of those songs where some of the best metaphors I’ve ever written, but then I think “I Wish I Knew” is one of the best melodies I’d ever written. That melody develops over the entire song. The only line that repeats is the first line of every verse. I liked how it wasn’t trying too hard to be anything. I just had these songs that I felt the need to put out in the world. I will say that it was (BaDaBing Records owner) Ben Goldberg that conspired with Greg Weeks, while I was on tour with Meg Baird, to record these things. By the time I got back from tour, they had figured out a time and a place for me to make these songs. It represents something so important to me, too, where it was just friends trying to help me get my music out there. It was a starting point, but I also look back and I see them as really strong songs. It is an early chapter of my music life, but I do return to those songs and feel very fondly about them. I think they’re really sweet and innocent and feel really strong.

    I remember, around that time, when you worked as a publicist. Was it a difficult? You’re promoting other people’s music, but you likely just wanted to work on your own.

    Yeah, I mean, I have to say Ben (Goldberg) is one of the most beautiful people I know. He has a heart of gold, that guy. I feel very lucky… I started as an intern and one of my friends that I went to college with at Middle Tennessee State was his assistant. She was teaching me what she was learning along the way, too. I had just moved to New York and was working at a wine store. I was interested in the business side of things because I knew that one day, I wanted to put out a record. I knew that I was so far from that when I started working. I didn’t even want him to know I was a musician, so I didn’t tell him. Then I was hand-making CDs out of my house and learning what blogs were. I had no idea.

    I know it sounds silly, but it wasn’t like I was an employee for a little while. He hired me after some time, but I had no idea what I was doing. I had no real aspirations other than, I love music and I love playing. I wasn’t thinking of starting a real career. I just felt lucky to be able to live in New York and play at these dive bars at one in the morning. At the time, I just wanted to figure out how to keep a job and how to live in New York. Working at a label seemed really fun and working with my friend, and at the time Beirut’s following was growing so fast. I learned a lot because it happened at a really fast rate.

    Sometimes bands grow so fast and then shoot back down just as quickly. You can learn a lot from watching a band grow quickly—what to do and what not to do.

    Absolutely. I’ve always been a fan of the slow build. Whether it be with my career, or my songs, or life. Just growing at a slower rate. When I look at bands today, where it is like the SoundCloud phenomenon or whatever, it’s like you have one really big song and you get a record deal. Then that record does well because of that one song, but then you set the bar so high for yourself starting out, that the pressure’s too much. It’s much harder on kids today.

    I’m in my 30s, so I’m not like a grandma by any means, but I feel like it’s happened at such a rate that I don’t even know what the music industry is, or how people find music anymore. I don’t know how kids don’t feel pressured after they have a successful song, let alone if one album’s successful. The kind of pressure that’s put on them by labels now… I feel bad for them.

    When you were working at Ba Da Bing, you loved music, got a job, and, as you said, were just happy to be living in New York. Do you think, in a sense, that you were able to create a path slightly outside of the system? You got a job at a label. They put out the first record. Things took off. You didn’t have to go through some of the hoops that people jump through. It feels like a more natural process.

    I wouldn’t say I didn’t work with the system on some level. There were bittersweet times where I feel like I outgrew Ba Da Bing a little bit, but I also never wanted to be a crazy, big pop star. It doesn’t sound right when I’m saying it, but I didn’t have super high aspirations. I wanted to make music, and eventually, I realized I wanted to put out records. Until things started happening, I wouldn’t know what I needed. I tried to have natural growth with the people that wanted to support me and people that wanted to know me. That’s why I went from Ba Da Bing to Jagjaguwar. That felt like natural growth to me. I was still shooting for the stars in a way, but it was like I didn’t want to go for something too big where I felt uncomfortable, and where it wasn’t a partnership.

    Do you remember when you felt like you’d become, for lack of a better word, a professional musician? Did you realize that with (it was) because i was in love, or did it come after this?

    It was after that, for sure. It was maybe in between this record and Epic because I think I was about to tour. It may have been right around Epic’s release, but Ben would let me work from the road and he would figure out how to keep me on payroll while I was touring, as long as I kept in touch and kept up with emails. He gave me time off if the touring was too intense.

    Then we had a bittersweet conversation around Epic because we realized that I was getting more tour offers and he kind of sweetly and sadly said, “I guess you’re more of a musician now and I think you need to be on the road.” Ben jokingly half-fired me, I think. It was bittersweet when I realized that my calling was more as a musician than at a label and I recognized that my publicist skills weren’t great, but I learned a lot from Ben and the faith that he had in me. I still think about those days and I’ve learned a lot from that time.

    As a musician, as a songwriter, and a player, how has your processed changed from how you wrote songs and performed them back then to how you do things now?

    Honestly, they all start from the same place. Over the years I’ve honed it a little bit, realizing what it is. I always write from a place of therapy, and whenever I’m feeling something, I sit down and come up with a chord progression and a melody and then I let myself go stream-of-conscious. Now, I can look at it and understand what it is that I’m trying to say and then think of the things that I’m saying subconsciously and shape that into more of a song, and be able to consciously admit to myself what it is I’m going through: Obviously, having a kid and being happy and trying to pursue a career, I mean the realities of what’s ahead of you is heavier than some people will admit to themselves.

    I feel like that’s going to be a big change for me. Literally, next week I’m about to go into the studios to start recording my next record. As I’m talking to you, with a bottle in my baby’s mouth and oatmeal all over my hands, I think about how hard it’s going to be to step away and go back to work and the state of the world and what I have to offer this guy. My perspective has changed in that way, but my process is the same, maybe now it’s just whittled down to 20-minute increments. I’m just squeezing in that time in different places now.

    I’m a Pisces and a wanderer by nature, but I feel like I’m the kind of person that needs a little bit of structure. Not to say that I have a baby who’s structured, but I’m excited to see how we both develop, as we learn about each other’s schedule, and as we both progress this year and for our lifetime.

    Does balancing family and music make you feel burnt out, or is it invigorating?

    I feel like touring has trained me in some ways, because we’re used to sleeping when we can. It’s kind of like when you arrive in a country that you’re excited to be in, but you have the worst jet-lag ever and you’re just trying to squeeze everything in. You’re elated and you’re exhausted, but there’s so much to see.

    Even if I am not a natural morning person, when this kid wakes up at seven in the morning and looks at me with his beautiful eyes, it’s just having that awareness that I can’t be that tired. It’s actually comforting that I have those instincts, because you don’t know until you have a kid how things are going to feel. He’s taught me so much already, and I’m adjusting.

    Have you found that the new material you’re writing is different?

    So far, I think they’re still love songs, but there’s the context of a family now. In some ways, it makes it more emotional, because I’ll be playing the piano and I’ll be looking at him and he’s just looking at me. He loves the piano. I’m singing to my child. I’m singing about the love that I share with a person, and I’m looking at what our love created. I mean, it’s leaps and bounds more intense than a broken heart.

    It’s an interesting time to go back to your first record, too. You have a baby, a family, and you’re looking back at this older, heartbroken music. It seems like a lot of things coming together at once. What was the decision to do the reissue now?

    It was a handful of things. I revisited a lot of the songs for the show I was in called The OA. I’ve never done anything like that before, and I learned a lot about myself by trying acting. I think my heart is in being a musician, but it was really fun to challenge myself in doing that.

    Singing that song (“I Wish I Knew”) in that setting was very, very surreal. I had to sing it over and over and over and over and over and over again. I realized I hadn’t sung the song in years, and that I still connected to it was a big deal. Then people started reaching out, asking what that song was. I didn’t realize that most of my fans didn’t know that first record. When people go to watch the show, they don’t always know I’m also a musician. That was the song that was brought into the world. It seemed like a good time.

    I thought, “Okay, well how can we make this special?” I had just gotten my masters back and the song did really well on the show. And, like I mentioned, I’m also about to go back into the studio. All of these things seemed to line up. During this off time, where I probably won’t have a record out for another year, why not share something that will feel new to people? Why not remind people where I came from a little bit, before I scare them with my next record?

    Sharon Van Etten recommends:


    This content originally appeared on The Creative Independent and was authored by Brandon Stosuy.

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    Shalon van Tine https://www.radiofree.org/2022/06/02/shalon-van-tine/ https://www.radiofree.org/2022/06/02/shalon-van-tine/#respond Thu, 02 Jun 2022 19:14:50 +0000 https://www.counterpunch.org/?p=245363

    This time Eric welcomes back to CounterPunch Radio author and historian Shalon van Tine for a discussion of the greatest Russian/Soviet films of all time. Eric and Shalon present their top 5 films and go back and forth discussing various aspects of these films and filmmakers. If you are a film nerd or just a student of history, this is an indispensable conversation for you exclusively at CounterPunch.


    This content originally appeared on CounterPunch.org and was authored by Josh Frank.

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    Writer and critic Rebecca van Laer on choosing personal growth over careerism https://www.radiofree.org/2022/03/28/writer-and-critic-rebecca-van-laer-on-choosing-personal-growth-over-careerism/ https://www.radiofree.org/2022/03/28/writer-and-critic-rebecca-van-laer-on-choosing-personal-growth-over-careerism/#respond Mon, 28 Mar 2022 07:00:00 +0000 https://thecreativeindependent.com/people/writer-and-critic-rebecca-van-laer-on-choosing-personal-growth-over-careerism In your novella, How to Adjust to the Dark, there’s this sense of the poet as an illustrious figure. There’s a line that struck me when the protagonist is referring to gaining a man’s interest by her role as a poet. She says, “He had not yet read my poetry, but it had begun to serve its purpose. The fact that I wrote it spoke volumes about who I was before I opened my mouth.” What do you think is so alluring about being perceived as a poet?

    That’s something I thought about a lot while writing the book—what attracted me so much to that particular identity as opposed to say an essayist or a novelist. There are a few things that go into it. One is that poetry just seems a little bit more impractical than so many other forms of the literary arts. Making a career as a poet is incredibly difficult. For me, the idea that poetry was special, not necessarily useful, in fact, is unconcerned with careerism or money, made it seem an enticing identity.

    There’s not a guise that you can get rich being a poet in the same way there is with other types of writing. Even though we know, I think, that the majority of novelists also have day jobs and there is a very rare breed that get to make their living solely off of writing. How much do you feel the pressure of capitalism or commercialism in your writing practice?

    When I was first writing How to Adjust to the Dark, I was in many ways quite naive to the way that publishing and the industry works and that gave me a certain amount of freedom. Now it does affect my artistic practice more. Once you get a little bit of success—or have a close call with it—I think that it can really tempt you to shape your next work so that it has the potential to be more marketable. As much as possible now, I’m trying to remind myself that the enjoyment and the freedom is when I’m with the work. I try to figure out what the work wants to be in its truest form before thinking about the commercial.

    How do you quiet that voice of “others are going to see this,” or “this might be in some ways tied to my stream of income?” How do you just enjoy the work and explore it when it’s early days?

    It can be hard to do at times, but when I am in a project and it’s going well, and I’m feeling immersed in it, it just takes me out of my day-to-day life and my job and the ways that I make money. I feel very motivated to stay there when I’m in those generative stages before editing. I definitely like to share my enthusiasm in those early stages as well. I know that some people can be phobic about talking about a project that’s not quite done, but having conversations with my partner and other close friends about the possibilities can be another way to invigorate my practice and feel less pressure. I try to stay in that space through the first draft before the world comes crashing in.

    Do you find that you’re willing to talk about a project you’re working on before you’re willing to show the pages to someone else?

    Talking about the big ideas is something that can be really exciting and invigorating for me. Then actually showing the prose can make me self-conscious about typos and inconsistencies, but more than that, I can begin to feel like, “Oh god, what if this was all a mistake?” That can happen when someone sees the draft, but not in talking through the ideas. The fear just begins to creep in when people see the manuscript.

    When do you know that a draft is ready to share with someone?

    I think that I have sent things out too early before, and I guess what too early is the moment when I have not been able to bring myself to the point of a reread and I’m looking for someone else’s voice or validation. I think that I need to have at least read through it and felt I’ve resolved my own questions to the best of my ability before I learn what someone else’s questions are.

    You have a Ph.D. from Brown in English. I’m curious, especially because your novella is a hybrid of both fiction, poetry and also serves as a sort of criticism, how do you think your academic training impacts your creative writing?

    That academic lens was essential to becoming a prose writer. I think a part of me knew that I always wanted to write a novel, and in fact, when I was writing poetry, I was very drawn to these novels in verse, some of which I mention in the book, but I just felt I didn’t know how to make things up. Then I read Nabokov’s Pale Fire, which is a really long poem accompanied by a narrative that unfolds completely through footnotes. I was like, “Oh, I could do that. Criticism has a narrative in it.” Perhaps that’s the way that I got myself to write this book—by applying a critical lens to poetry and beginning to think about what stories these poems from my own life would tell in a narrative arc that was more coherent than the actuality of my life.

    Beyond that, I do think that as a writer I am driven by thesis and by specific ideas that I want to communicate. I don’t think that’s the only way to write fiction or even the best way to write fiction, but when I am writing I’m always thinking about what my argument is.

    You write both fiction and critical works and what I’ve found interesting about, How to Adjust to the Dark, is that the criticism is embedded into the fiction itself. I wondered what you think of the idea of criticism as an art form. Do you distinguish between art and criticism?

    I think that there are so many works that blur the lines now. I think that criticism is inherently a creative act. There’s no true objectivity to it. It’s always done from a subjective position. But beyond that, any work of art, be it visual or written or sound, has an infinite number of potential interpretations and to apply a critical lens is to create one possible way of looking at or seeing that work of art. Good criticism goes beneath summary. It is always taking out or exposing something deeper. I think that’s also what we try to do in our creative works.

    You were mentioning earlier that writing is a way to escape the everyday. I’ve been drawn to this phrase lately, and I don’t know exactly where I heard it, but it’s something like artists are always working to make time to make more art. What kind of labor have you found that’s been most beneficial to buying you time to create? Whether it’s fiction or poetry or criticism, what’s bought you the time to be artistic?

    Having more leisure time that I am not working for wages doesn’t necessarily help me. In graduate school, I was very, very lucky to have many fellowship years. I was not teaching. I was just working on my dissertation and my creative projects. But my output is actually a lot greater now. I think because I have less of a feeling of precarity and I am no longer in the academic industry in which there are no jobs and you’re always encountering that horizon.

    I spent a few years as a freelancer, which can allow a lot of flexibility in your schedule, but always requires that you are looking forward and pitching your next project. Despite the flexibility and time that it seems to offer, I felt I never had any. I’ve found that security is what enables me to create a sustainable artistic schedule. Even if there are fewer hours, and there certainly are fewer hours, those hours are more of a luxury, something that I’ve made and created for myself and that I enjoy going to. It’s more difficult to fill them with anxiety or at least the anxieties of money than in previous jobs.

    In my experience, freelance work means always looking for a lead. There is something stable about knowing there’s money coming in, so you don’t have to expend all of this creative energy thinking about how to put this paycheck and that paycheck together and also somehow get insurance.

    I’m curious, what’s your schedule like? Do you keep a writing routine or is it a little sporadic?

    I try my best to keep a writing routine, or I intend to have a writing routine where I wake up early at 6:30 and then my time before I start working at 9:00 is my writing time. It doesn’t usually turn out that way. That’s best-case scenario. Sometimes I’m sticking to it. Sometimes it means that I have a lot of energy and I’m not just using that time, but also my weekends and evenings and cannot stop. Sometimes I’m depleted or have no ideas. I try not to let it go more than a few months without trying to return to that writing routine and look at old work and see if it can be remade or tinker with the projects that I have in progress.

    Do you think having breaks between projects is important to your process? Or is it a point of anxiety for you?

    When I was very young and I was writing poetry, I did have a sense that there might be a finite number of poems in me and that I needed to pull them out. There was always the fear that there wouldn’t be another one. Gradually I learned that any writing can be resuscitated or remade into something else. Every piece of writing has the potential for another project within it. The poems became a novella, a short story can become a novel, a novel draft that was really bad can have the grain of a different novel in it. It can be frustrating that it takes time to figure out what these pieces can be or what the best way for them to be is, but at the same time, it has alleviated the pressure that I need some big new idea. Part of my process is returning to the old, remaking it, and figuring out how my perspective has shifted as I change over time. Sometimes even a line can become the basis of something else.

    Do you ever feel something is dead in the water and like you’re not going to return to, or do you always save your darlings?

    I don’t know if I have anything that I’ve written thus far that I really think is dead in the water. I have a pandemic novel draft that I think is pretty terrible and is outside the scope of what I was capable of writing. Some of those characters made their way into the novel I’ve been working on more recently, which you’ve read, but the overall character structure and plot of that novel seems horrible to me now. At the same time, I still have it in the back of my mind that maybe in a long time from now, I might want to go back to that frenzied, pandemic draft written in 200-word increments with no thinking or rereading between them and see if there’s anything in there worthwhile.

    How to Adjust to the Dark had been slated to be published with the now defunct, Curbside Splendor. I imagine that not working out had to come as a big blow. How do you stay motivated and keep persisting on either a single project or just writing in general when you face setbacks?

    With this particular project, the version of the book that was originally slated to come out, honestly, there are parts of it that I had deep doubts about and now those are gone. Sometimes something doesn’t work out and it just sucks. I don’t think that I am the most hopeful person or a huge silver lining’s person, but I have the perspective that if you believe in something about your story, then you can figure out what to do with it.

    I find a lot of freedom in my writing process and sometimes I think to myself, “Oh, it would be so much better if I just did it for myself and enjoyed it for the love of it.” But there is a part of me that wants to get it out there, that is just a strong part of me that I cannot be detached from or disentangled from. I think that you need that. You can have success, but without that urge you might not be able to repeat it or find that you don’t even want to. The urge might be necessary to producing many works or going back to works and weathering all that one does have to weather as an artist.

    How do you stay motivated when you maybe are not getting that validation as quickly as you wanted?

    It never comes as quickly as you want. That’s one thing I’ve learned. I wanted things to happen very quickly for myself and that led to things being rushed, to trying to put things out in the world before I was happy with them, before they were even ready to be published. I have learned that to keep myself motivated, I have to trust that if I’ve begun a project for a reason. I have to trust that the process of taking the work to completion will have a net positive benefit for me in terms of self-growth regardless of the outcome. That doesn’t mean that the outcome can be ignored forever, but there has to be at least some trust that it’s not all for naught, and I’m doing it for personal reasons, in addition to external reasons.

    Rebecca van Laer Recommends:

    Butterfly pea lemongrass tea from Arbor Teas (in backyard compostable packaging)

    Meow Meow Tweet’s lip balm (compostable tube)

    Shopping on Depop instead of buying new

    The Freedom app for blocking unhelpful websites and apps during creative time

    Buying a carbon steel wok


    This content originally appeared on The Creative Independent and was authored by Shelby Hinte.

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    Vietnamese activist Le Van Dung sentenced to 5 years for ‘anti-state propaganda’ https://www.rfa.org/english/news/vietnam/dung-03232022175903.html https://www.rfa.org/english/news/vietnam/dung-03232022175903.html#respond Wed, 23 Mar 2022 21:59:55 +0000 https://www.rfa.org/english/news/vietnam/dung-03232022175903.html A Vietnamese court on Wednesday sentenced independent journalist and activist Le Van Dung to five years in prison for discussing political and socioeconomic issues in online videos, his lawyer told RFA.

    In a trial that lasted a little more than two hours, Dung admitted to making the videos prior to his arrest in June. But his lawyer argued with the prosecution’s stance that the videos violated anti-state propaganda laws, specifically Article 88, a controversial law used to target dissidents.

    “The trial started at 8:30 this morning and ended around 11,” one of his lawyers, Dang Dinh Manh, told RFA’s Vietnamese Service. “The sentence is five years in jail and five years’ probation. They wanted to stick him with up to six years in jail.”

    According to Manh, the trial finished quickly because of Dung’s admission.

    “He affirmed that he had exercised the right to free expression, so what he said in the videos were not violations of law, but they said they made a number of violations, such as bewildering the public and offending state agencies or leaders,” Manh said.

    Manh maintained that he and the other lawyers on the defense argued that what Dung said in the videos is protected under Vietnam’s constitution, which grants the right to free expression. They also said Article 88 is unconstitutional and violates international agreements signed by Hanoi.

    The United Nations Working Group on Arbitrary Detention in June said that Article 88, along with the similarly worded Article 117, is too broad and vaguely written, making it impossible to determine which activities are allowed and which are prohibited.

    Dung’s wife, Bui Thi Hue, was not allowed to attend her husband’s trial. Though it had been announced that the trial was public, security forces said she could not get in without proper authorization.

    “I think my husband is innocent. That five-year verdict, even if it were only five days, it would be very unjustifiable,” she told RFA.

    Nguyen Van Son received an 18-month suspended sentence from the court for helping Dung hide prior to his arrest.

    A day before the trial, New York-based Human Rights Watch in a statement called for Vietnamese authorities to immediately drop what it called the “politically motivated charges” against Dung.

    “The Vietnamese penal code provision on propaganda seeks to intimidate people with the threat to shut up or be locked up,” the group said.

    Independent media is illegal in Vietnam, which ranks 175th out of 180 countries in the Reporters Without Borders' 2021 World Press Freedom Index.

    Translated by An Nguyen. Written in English by Eugene Whong.


    This content originally appeared on Radio Free Asia and was authored by RFA's Vietnamese Service.

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    Vietnamese journalist Le Van Dung sentenced to 5 years in prison https://www.radiofree.org/2022/03/23/vietnamese-journalist-le-van-dung-sentenced-to-5-years-in-prison/ https://www.radiofree.org/2022/03/23/vietnamese-journalist-le-van-dung-sentenced-to-5-years-in-prison/#respond Wed, 23 Mar 2022 15:14:22 +0000 https://cpj.org/?p=178674 Bangkok, March 23, 2022 – Vietnamese authorities should release journalist Le Van Dung immediately and stop imprisoning members of the press, the Committee to Protect Journalists said Wednesday.

    The People’s Court of Hanoi convicted Dung in a two-hour trial on Wednesday, March 23, under Article 117 of the penal code, an anti-state provision that bans “creating, storing and disseminating information and materials” against the state, and sentenced him to five years in prison and five subsequent years of probation, according to multiple news reports.  

    The charges against Dung, also known as Le Dung Vova, stem from videos he made and posted online from March 2017 to September 2018, which the court ruled had defamed the Communist Party administration, those reports said.

    Authorities have held Dung in pretrial detention since June 30, 2021, when he was arrested at a relative’s house outside of Hanoi after fleeing an arrest warrant for several weeks.

    Prior to the trial, Dung’s lawyer said they intended to appeal if he was convicted, those reports said.

    “Vietnamese authorities should not contest the appeal of independent reporter Le Van Dung, and should immediately and unconditionally set him free,” said Shawn Crispin, CPJ’s senior Southeast Asia representative. “If Vietnam wants to be taken seriously as a responsible global actor, it must stop treating journalists as criminals.”

    The court ruled that five videos uploaded by Dung “distort the lines and policies of the State of the Socialist Republic of Vietnam, defame the people’s administration, propagate psychological warfare rhetoric and spread fabricated news,” the BBC reported

    Dung runs the independent Facebook and YouTube-based outlet Chan Hung Nuoc Viet, where he covers politics, social issues, and alleged corruption, according to news reports. One of Chan Hung Nuoc Viet’s Facebook pages has over 12,000 followers while another has been set to private or deleted.

    Dung also posts videos to the YouTube channel Le Dung Vova Official, which has 191 subscribers. He is also a member of the Independent Journalists Association of Vietnam, a civil society organization of more than 70 local journalists advocating for press freedom, whose members have been targeted for harassment and arrest, as CPJ has documented.

    CPJ emailed Vietnam’s Ministry of Public Security and called the People’s Court of Hanoi for comment, but did not receive any replies.

    Vietnam is among the world’s worst jailers of journalists, with at least 23 behind bars at the time of CPJ’s annual prison census conducted on December 1, 2021.


    This content originally appeared on Committee to Protect Journalists and was authored by Erik Crouch.

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