By James F. Tracy
This is a subtly revised set of remarks given at “The Point is to Change It” conference on November 1, 2013 at the University of San Francisco. The event was co-sponsored by Project Censored.
The panel on which I participated was organized by Project Censored Director Mickey Huff to address the contrast between the radical journalistic activity practiced by Project Censored and the decade-old US media reform movement that has sought to initiate broader policy changes at the federal level. In previous years PC has been excluded from media reform events, likely because of its research and criticism of foundation-funded progressive-left media and the censorial practices they impose on themselves and their peers.
Kevin Barrett interviews Nolan Higdon and James Tracy on Truth Jihad Radio.
Higdon’s article, “Disinfo Wars: Alex Jones War on Your Mind,” was published by Project Censored in September 2013. Tracy posted a critique of the piece at Memory Hole earlier this month; a response from Higdon appeared shortly thereafter.
By James F. Tracy
This article was originally published at Memory Hole and Global Research on August 3, 2012. It is reposted here for further consideration in light of Nolan Higdon’s article, “Disinfo Wars: Alex Jones’ War on Your Mind,” published by Project Censored’s in September 2013, and the exchange concerning that work taking place here earlier this month.
The following should not be seen as a blanket condemnation of progressive media outlets, which often produce important work. Rather, the observations suggest how, particularly when faced with the challenge of forthrightly addressing “deep events” and the equivalent, such media are arguably subject to similar institutional pressures and self-censorship more overtly exhibited by their corporate-owned counterparts.*
The Dynamic Duo: White Rose Blooms in Wisconsin is a new book about those notorious American resisters and truth-tellers, Dr. James Fetzer and Dr. Kevin Barrett.
Fetzer and Barrett, career academicians and longtime radio-show personalities, in the past hosted a radio show called “The Dynamic Duo.”
It all comes from that day, 22 November 1963, at 12:30 PM in Dallas.
From that day we got Oklahoma City, we got 9/11 and Afghanistan and Iraq.
In this brief email an individual attending university observes faculty hypocrisy and student anger when attempting to discuss and understand the most significant event in recent world history.
(Received October 6, 2013)
To: James Tracy
(Received October 8, 2013)
Following the publication of my article, “DisinfoWars: Alex Jones War on Your Mind,” I was disheartened to read a blazing critique of the piece and Project Censored–who published it–from James Tracy. Given that we both worked on Censored 2014: Fearless Speech in Fateful Times, which was released just a few days before his critique, I would have assumed Tracy would have contacted Project Censored or me about the release of his article: “With ‘Disinfo Wars’ Project Censored Abandons Principles.” However, he did not and consequently released a critique chock-full of omissions and distortions.
(September 26, 2013)
Guest: Professor James Tracy of [censored] University and MemoryHoleBlog, who has been plagued by the mainstream media and by his own university administration for raising questions about the recent Navy Yard shooting, the Sandy Hook massacre, and other questionable events.
The observations captured here emerged in preparation for a September 13 interview on Iran’s Press TV.
It is now becoming increasingly clear to the broader public that the so-called “War on Terror”–the latest chapter of which involves destabilization and proposed military action against Syria–constitutes a twelve-year-old effort to wage never-ending war abroad while maintaining a massive psychological warfare campaign on the citizenry back home.
Documentary Film Preview
Coming this fall, 9/11 in the Academic Community, a Winner of the University of Toronto Film Festival, is a unique film that documents academia’s treatment of critical perspectives on 9/11 by exploring the taboo that shields the American government’s narrative from scholarly examination. Through a powerful reflection on intellectual courage and the purpose of academia, the film aims at changing intellectual discourse on 9/11 and the War on Terror.