Tuesday, April 29, 2008
Listen 8:00- 10:00 pm (PST) to the WeThePeopleRadioNetwork.com and to our guest- Mike Palacek
Mike Palacek is a former Omaha resident who served five jail and prison terms during the 1980s for protests at Offutt Air Force Base. He crossed the line at the base on many occasions along with others to say no to the United States military and its surge toward global dominance. His incarcerations included the county jails in Omaha, Papillion, Lincoln and Council Bluffs and also included the federal prisons in Chicago, Terre Haute and El Paso.
A former seminarian for the Omaha archdiocese, Palecek once asked for sanctuary in the Cathedral rather than attend a sentencing hearing for an Offutt protest, in order to attempt to convince the Omaha Catholic Church to denounce the Strategic Air Command. The bishop denied Palecek's request. Even though the Cathedral was surrounded by FBI agents, Palecek was able to slip past them. He and his family then went underground for two weeks, pursued by the Omaha FBI office. He ended up giving himself up at a press conference in front of The Chancery, the offices of then Omaha archbishop Daniel Sheehan. Palecek then served six months in the Pottawattamie County Jail.
Palecek later went on to work for small-town newspapers in Nebraska, Minnesota and Iowa.
In 1997 he left newspaper work to concentrate on writing novels. His works are based in the Midwest and feature individuals fighting against the general conservatism they find in their towns. A native of Norfolk, Nebraska, Palecek now lives with his family in Sheldon, Iowa.
He was the Iowa Democratic Party nominee for the U.S. House of Representatives, Fifth District, 2000 election and received 67,500 votes on anti-military, pro-immigration, anti-prison platform.
His novels include: Terror Nation, The American Dream, The Last Liberal Outlaw, Looking for Bigfoot, The Truth, Twins,Killing George Bush, Joe Coffee's Revolution. He also worked, in cooperation with William Strabala, to author a non-fiction work- Prophets Without Honor: A Requiem for Moral Behavior. He also co-edited Cost of Freedom- An Anthology of Anti-War Activism with Whitney Trettien & Michael Annis in 2007.
He just finished his 2008 Book Tour, and also did The American Dream Book Tour in 2007. He is a tireless activist.
His new book- "Iowa Terror" is a unique, political comedy, satire, anti-war - in George W. Bush’s America - telling the truth for once in America, that George W. Bush and Dick Cheney did 9/11 themselves in order to start a war and make money.
Tuesday, April 22, 2008
Listen 8:00- 9:00 pm (PST) to the WeThePeopleRadioNetwork.com and to our guest- Edward T. Haslam.
Edward T. Haslam authored Dr. Mary's Monkey-
How the Unsolved Murder of a Doctor, a Secret Laboratory in New Orleans and Cancer-Causing Monkey Viruses are Linked to Lee Harvey Oswald, the JFK Assassination and Emerging Global Epidemics. This is a remarkable book of an odyssey lasting many decades, by a native of New Orleans. In some way's a murder mystery, looking at a major cover-up by the government and the media, his book has received almost zero press, despite the fact that he brings to light a major witness to the assassination of JFK (Lee Harvey Oswald's ex-lover) who worked with Oswald, Ferrie and Mary Sherman in a secret laboratory developing cancer causing viruses, to be used as bio-weapons.
Ed Haslam, the author of Dr. Mary’s Monkey, was born in Kansas where his family had lived for several generations. His grand-parents were the school-teachers and country-doctors of the prairie. Shortly after his birth in 1951, his father (who had just returned from Harvard and the U.S. Navy) accepted a position teaching at Tulane Medical School in New Orleans. During the next 35 years that Ed Haslam lived in New Orleans, he personally heard and saw things that involved the investigation into the Kennedy Assassination, the murder of one of his father colleagues, and claims of biological weapons to be used for political purposes. Haslam’s 1969 comment: “If there is a bizarre global epidemic involving cancer and a monkey virus thirty years from now, at least we’ll know where is came from” states his concerns clearly.
Haslam’s education was that of a well-placed New Orleans male. He attended Jesuit High School in the late-1960s. The background event of these years was Jim Garrison’s investigation into the JFK assassination. Haslam had teachers, classmates and friends whose family members were involved in the case in one way or another. This experience gave him an “insider perspective” of these events.
As the U.S. flag-bearer for Jesuit’s U.S. Marine Corps JROTC unit, he marched in many Mardi Gras parades and developed an interest in the “parade beat” music of this unusual city – an interest he was to pursue. After graduating from the demanding agenda of Jesuit High School, he studied Art History at Tulane University and further developed his interest in music and writing.
For most of the 1970s he worked with the legendary piano-player Professor Longhair, considered by many to the one of the Founding Fathers of Rock-and-Roll for his contributions to the style in the 1940s. In 1975, ex-Beatle Paul McCartney visited New Orleans to honor Professor Longhair and wrote the song “Rock Show” to commemorate his visit to Longhair’s concert which Haslam produced.
When Longhair died in 1980, Haslam got out of the music business to pursue a career in advertising. There he was able to use his creative, musical, art and writing skills as a Creative Director. His radio campaigns for Tabasco Pepper Sauce and his work for The Treasures of the Vatican art exhibit at the World’s Fair in New Orleans recall this period. It was during this time that he stumbled upon hard evidence connecting people involved in the JFK assassination investigation to the medical community in New Orleans. But the time was not right to speak out.
In the 1980s Haslam’s advertising career took him to Detroit where he managed advertising campaigns for the Chrysler Corporation – and where he made presentations to then-Chairman Lee Iacocca. In his word’s, “I went from Professor Longhair to Lee Iacocca in 8 years.”
In his final days in Detroit, as the AIDS epidemic fixed itself upon the media landscape, Haslam started questioning what he had seen and heard in New Orleans. He began work on a research project known as Mary, Ferrie & the Monkey Virus: The Story of an Underground Medical Laboratory. The book has expanded into the current version, which is in its third printing.
His website- www.themonkeyvirus.com has links to the interviews with Judyth Vary Baker, Oswald's lover, and a key witness in the book to detail precisely what was going on in the secret laboratory, as well as Oswald's role in the murder of JFK.
Tuesday, April 15, 2008
April 21, 2008 - Women, Empowerment, Labor Show with Almudena Carracedo, Robert Bahar, and Jo Ann Lo
Listen 8:00- 10:00 pm (PST) to the WeThePeopleRadioNetwork.com and to our guests- Almudena Carracedo, Robert Bahar and Jo Ann Lo.
Almudena Carracedo and Robert Bahar produced the award winning documentary film Made in L.A.. Jo Ann Lo was in the film and the lead organizer in the long campaign against "Forever 21."
"Made in L.A. follows the remarkable story of three Latina immigrants working in Los Angeles garment sweatshops as they embark on a three-year odyssey to win basic labor protections from a mega-trendy clothing retailer. In intimate verite style, Made in L.A. reveals the impact of the struggle on each woman’s life as they are gradually transformed by the experience. Compelling, humorous, deeply human, Made in L.A. is a story about immigration, the power of unity, and the courage it takes to find your voice."
Made in L.A. has been shown on PBS and has received recognition nationally and internationally. It is a powerful tool to raise awareness and encourage people to stand up for themselves and their rights.
I received an email about a showing at Stanford University, a short bicycle ride from my home, where Almudena and Robert spoke and showed clips of their film. Later I returned for the screening, followed by a panel discussion. I was very impressed with the film, but also by the story behind the film -- Almudena and Robert's journey, adventure, and transformation as the project and the women's struggle grew organically and their personal lives took unexpected twists and turns.
The film may be complete, but the story never really ends. The most personal is often the most universal, and what the characters in the film and Almudena and Robert experienced in their project is deeply personal and very political. In the struggle for justice, people must always choose between their personal lives and the collective efforts in many struggles, on many levels.
There are multiple love stories behind this film. Almudena and Robert met, fell in love, and gave birth to this film. Within the stories of the three women is the story of a mother who left her children in order to support them and her family. One of the most heart-rending parts of the film is the mother’s concerns for her children, who seek to visit her but do not make it to L.A. The first question I asked after I saw the film was whether the mom ever was able to reunite with her children. In responding to this question, Almudena told us about a very teary, moved audience that witnessed the world premiere of the film in Washington, DC -- which also brought together the mother with her eldest son for the first time in over a decade. The film is a story of love and solidarity between workers and their families and between workers and other workers, across time, for the struggle of immigrants in sweatshops is not a new one, and continues to this day in countries throughout the world.
Jo Ann Lo is now a Co-Director of Enlace, a membership organization comprised of worker centers, unions and organizing groups in the U.S. and in Mexico engaged in base-building through organizing campaigns for economic and social justice. They seek to build the base of low wage workers to bring balance to the struggle between the rich and working poor.
Here is a statement from Almudena posted at the Made in L.A. website:
Sometimes, when you start a project, you can't imagine the journey that awaits you.
When I started this film, more than five years ago, my goal was only to create a short documentary that portrayed the conditions of Latina immigrants at Los Angeles factories. But, in the five years the film took to complete, it slowly, unexpectedly, became an intimate portrait of an increasingly universal experience in today's globalized society: the struggle of recent immigrants to get a foothold, to learn their rights and to assert their voice in our society.
The project started when I read a newspaper story about sweatshops in Los Angeles. It talked about the deplorable conditions faced by immigrants working in some downtown garment factories: long hours, sub-minimum wage pay (or no pay), unsafe or unsanitary conditions, rats, roaches. I had hears of such conditions in other parts of the world, but I was shocked that they were also happening in one of the richest countries on Earth. I had already made a short documentary and so I set out to make a little film that would expose these issues and that would take about five months to complete. Or so I thought.
I approached Los Angeles’ Garment Worker Center, then newly opened, and started spending time there, sometimes filming, often just talking with workers. They were about to launch a campaign against a clothing retailer: a boycott and a lawsuit that would attempt to hold a retailer – Forever 21, which sells trendy clothes at cheap prices – accountable for the conditions where their clothes are made. The energy of those early days was electrifying and I filmed everything that I could. As I started to get to know the workers, I was struck by their need to tell their personal stories. Stories of why they came to this country, of why they were doing garment work, of their hopes and fears for their children. They were surprised, and proud, that I wanted to listen.
A very raw and rare intimacy came out in these moments and is captured in my early footage. Speaking in Spanish, my native language, being a woman, and working almost completely alone gradually inspired trust and allowed me to enter their lives. In order to portray this, I shot the film in an unobtrusive, intimate verité style. I also desired to capture the lyrical beauty and the details of this colorful, diverse Los Angeles that few outsiders experience.
The five months that I had planned to devote to the project passed quickly and yet I felt that I might only be at the beginning. As the film began to grow, I sought out collaborators and met my producing partner, Robert Bahar. Through our invaluable collaboration, we began to reshape the film from a little documentary on sweatshops to a feature story focusing on the lives of three of the amazing women I encountered at the center: María Pineda, Maura Colorado and Guadalupe “Lupe” Hernandez. I filmed them at home, at the noisy protests with their children, at meetings at the Garment Worker Center, virtually everywhere they’d allow me to follow them. I was so dedicated that Lupe used to tease me: Little camera, one day you’ll leave me alone!
Early in the filming, the Garment Worker Center launched a national tour to draw attention to their boycott campaign and lawsuit. I followed Lupe to New York, and it was the first time either of us had experienced the Big Apple. While there, Lupe visited the Lower East Side Tenement, which preserves the cramped home-based factories of early 20th century immigrant garment workers, and the Museum of Immigration at Ellis Island, through which millions of immigrants, for centuries, came to the United States. Those two visits are captured in the film and were deeply moving for both of us. Lupe saw pictures of the immigrants who came to New York in the early 20th Century. She saw how they lived, how hard they worked, and how they struggled to assert their rights. It’s just like today! was her immediate, gut reaction. That moment was an epiphany. She and I suddenly understood that the experience of Latino immigrants today resembles, in so many ways, the experiences of generations of immigrants who have come before them, from so many other places, in other times and through other ports of entry. The same struggle, the same hopes and dreams for a better life, for themselves and their children.
If Made in L.A. were to accomplish anything, I would hope that it would provide a deeply human window into this immigrants’ struggle, which is repeated around the world regardless of the country of origin or destiny. Wouldn’t you leave your children, no matter the danger, no matter the pain, in order to send back enough money to feed them, hoping to give them a better life? Wouldn’t you work day and night, no matter the physical and emotional drain, if you had four children to raise and you had no other options? And, wouldn’t you overcome your fears and stand up one day to demand your rights in the workplace if you were constantly humiliated, underpaid, even spat at? What would you do – or not do – in order to survive?
But what we did not anticipate is that their campaign would take three long years and the story would take another turn. Struggles cause people to change and, as the campaign dragged on, we were amazed to observe each woman’s growing sense of self-confidence and self-worth, their agency and empowerment. It then became clear to us that this was the real story and that their struggle against Forever 21 mattered not just for its own sake, but because it served as a catalyst for each of their individual stories. The story of María taking control and deciding to leave her husband. The story of Maura learning to cope with her fears and struggling to reunite with her children. The story of Lupe, who grew up feeling ugly and insignificant, becoming an organizer and one day reflecting on her path from atop Victoria’s Peak overlooking Hong Kong. Made in L.A. is a story about the decision to stand up, to say I exist. And I have rights.
I am humbled and honored to have been allowed to capture this on film. Like María, Maura and Lupe, at the end of a long journey, we all got something that we had never expected.
– Director/Producer/Cinematographer Almudena Carracedo
Robert Bahar is also a creator of http://www.doculink.org/, a grassroots organization and network for documentary filmmakers. He works as a producer and line producer on documentaries and works on the International Documentary Association's board of directors.
Tuesday, April 8, 2008
Listen 8:00- 9:00 pm (PST) to the WeThePeopleRadioNetwork.com and to our guest- Samira Goetschel.
Listen 9:00- 10:00 pm (PST) to the WeThePeopleRadioNetwork.com and to our guest- Paul Krik.
Samira Goetschel is the director of Our Own Private Bin Laden, her first full length documentary, made over a three-year time span. It explores Osama bin Laden's rise to notoriety without using a single image of its subject. It won the award for Best Foreign Documentary & Best Film of the Festival (non-European category) at the 2006, The European Independent Film Festival Paris, France and The Audience Award at the 2006, International Documentary Festival Seoul, South Korea.
Samira Goetschel was born in Iran and fled the country with her family after her father was executed by the government of Ayatollah Khomeini. She spent her formative years in the United States. An alumnus of New York University film school, Goetschel's graduating film Clown De La Vie was the Best Short Film winner at the 1992 New York State Film Festival. She earned a Masters of Arts degree at Columbia University, and followed her passion for filmmaking with the short film ¿ about the Holocaust Museum in Washington DC.
Samira interviews an extraordinary array of people in her film including:
Founder and the President of the Movement for Islamic Reform in Arabia (MIRA)
Former CIA Chief of the Soviet/East European Division, the CIA Station Chief in Pakistan during the Reagan Administration
Former Prime Minster of Pakistan
Former Special Counsel to the United States Senate Foreign Relations Subcommittee on Terrorism, Narcotics and International Operations
President Carter's National Security Advisor
American linguist & political activist
Paul Fitzgerald and Elizabeth Gould
American journalists and authors of "The Voice" and "Afghanistan, the End of Illusion"
Paul Krik wrote, produced, directed & edited ABLE DANGER, his first feature film. In describing his film he wrote:
"...Documentaries are invaluable at exposing the truth, but they tend to reach the audience that is already listening. To reach a wider audience the message needs to be sugar coated. More people are reached by a gripping story and stylized filmmaking with beautiful and talented actors. Which is what I've undertaken to achieve. But this story is grounded in truth. The places are real. Vox Pop is a real cafe owned by a real man named Sander Hicks who publishes and sells books that the mainstream media won't touch. He is a level headed, rational and passionate real life Don Quixote still researching detail by irrepressible detail the truth of 911, election fraud, and everything else we should be infuriated about. As the sign above his door reads, 'Coffee, Books, Democracy.' This film is the fictional story of 'what if a femme fatale came into Vox Pop cafe with undeniable proof that 911 was an inside job?' It is a tribute to the people who fight the inevitable demise of American democracy.
Able Danger is a very real but little known private intelligence program that destroyed 2.5 terrabytes of data detailing the financial support network of Al Qaeda six months before 9/11."
Paul Krik spent a year on his bicycle touring the United States coast to coast from San Francisco to New Orleans in the year between earning his BA in Philosophy at Oberlin College and his MA at the University of Illlinois. He moved to Hamburg, wrote screenplays and worked in television, and then back to the US, to Los Angeles to make movies. In LA he quickly gave up marketing himself as writer and learned filmmaking at the School of Hard Knocks -- TV Commercial Production. He produced national TV commercials for a few years while building his 'Commercial Director's Reel'. He changed the title of the spec reel from 'Director' to 'Editor' and immediately took a job at TBWA Chiat/Day in San Francisco running their editorial department. He's been cutting national TV spots for more than 10 years now. Currently he lives with his German wife and ABLE DANGER co-producer, Katharina Lang, in New York -- where ABLE DANGER was shot. He is on staff at Jump Editorial (www.nycjump.com) in NOHO, New York City, where he edited the film as well.
Paul Krik's film is a riveting, fast paced, dramatic, action packed, beautifully produced artistic masterpiece. It weaves fact with fiction, reality and the surreal, the truth with half truths. There are obvious lies, white lies, black lies, innocent lies, deliberate lies lacing the dialogue, obscuring the truth, blurring the truth, protecting people, endangering people, tricking people, a labyrinth of manipulation, as if each person were a pawn in a great game, not knowing who is calling the moves, or how many players are competing. Throw in the sex, seduction, passions, intelligence operatives, cops, investigators, victims, bribery, money, and a plot moving so fast that the main character probably can’t figure out his own emotions between the competing fear, grief, terror, pain, pleasure, relief, uncertainty of an ever changing landscape of challenges.
When I finished watching it, my immediate reaction was the urge to see it again- to catch the details I had missed and to ponder and grok it more completely. It works and hopefully will reach a wider audience than the "documentary in church basement crowds." (Link to my review of the film).
Tuesday, April 1, 2008
Listen 8:00- 9:00 pm (PST) to the WeThePeopleRadioNetwork.com and to our guest- Danny Schechter.
Listen 9:00- 10:00 pm (PST) to the WeThePeopleRadioNetwork.com and to our guests- Ellen Brown and Richard C. Cook.
Danny Schechter MediaChannel founder and executive editor, Danny Schechter the "News Dissector" is also a founder and Vice President/Executive Producer of Globalvision, Inc., an award-winning media company formed in 1987.
Danny Schechter has been a broadcast and print journalist and is an internationally recognized speaker and writer on media issues. His work has been honored with Emmy awards, the IRIS award, the George Polk Award, the Major Armstrong Award, and honors from the National Association of Black Journalists. Mr. Schechter was the news director and principal newscaster for WBCN-FM, an on-air reporter for WGBH, and a news program producer and investigative reporter at CNN and ABC. He is the author of several books, the most recent of which is "Embedded: Weapons of Mass Deception" (Prometheus) which was the inspiration for the documentary: WMD- Weapons of Mass Deception.
His most recent documentary is In Debt We Trust which explores the relationship between Congress and the credit complex and how it is having an enormously negative impact on the country's financial health. Since the film was made, the situation has worsened and Danny has been following the David and Goliath struggle between the predators and their victims who are organizing and protesting.
Danny has a B.A. in Labor History, Cornell University, 1964; MA in Political Sociology London School of Economics, l968, Harvard University Nieman Fellowship in Journalism, 1978; Honorary Ph.D. Fitchberg College, l991
Ellen Brown developed her research skills as an attorney practicing civil litigation in Los Angeles. In The Web of Debt- The Shocking Truth About Our Money System And How We Can Break Free
, her latest book, she turns those skills to an analysis of the Federal Reserve and "the money trust." She shows how this private cartel has usurped the power to create money from the people themselves, and how we the people can get it back.
Brown developed an interest in the developing world and its problems while living abroad for eleven years in Kenya, Honduras, Guatemala and Nicaragua. She returned to practicing law when she was asked to join the legal team of a popular Tijuana healer with an innovative cancer therapy, who was targeted by the chemotherapy industry in the 1990s. That experience produced her book Forbidden Medicine, which traces the suppression of natural health treatments to the same corrupting influences that have captured the money system. her recent articles include: April Fools: The Fox to Guard the Banking Henhouse and Another Way Around the Credit Crisis: Minnesota Bill Would Authorize State Banks to "Monetize" Productivity.
Richard Cook is a former federal government analyst who was one of the key figures in the investigation of the space shuttle Challenger disaster.
In 1985, he went to work for NASA as the lead resource analyst for the space shuttle solid rocket boosters, external tank, and Centaur upper stage. Cook’s first assignment led to his writing a memo on engineers’ concerns that flaws with the solid rocket booster O-ring seals could cause the shuttle to blow up. In 1986, after the Challenger disaster, he disrupted a NASA cover-up when he provided his memo, along with other documents on the hazards of the O-rings, to the New York Times. His disclosures paved the way for revelations by engineers from Morton Thiokol, Inc., about how they opposed the launch of Challenger the night before lift-off.
Called to testify before the Presidential Commission at an internationally televised public hearing, Cook stood his ground when his experience and competence were challenged. He continued to contribute to the investigation during interviews with Commission staff and the NASA Office of Inspector General and in meetings with Senator Ernest Hollings, who was trying to raise issues before the Senate on whether there had been White House pressure to launch Challenger.
In addition to extensive interviews with the media after the disaster, Cook published articles in the Washington Post, Washington Monthly, Space and Security News, and the Houston Post; gave a press conference with the Institute of Space and Security Studies, where he said that the Presidential Commission had been created to cover-up the role of the White House in the launch decision; and wrote a report which he submitted to the U.S. Justice Department with a request for a new investigation. In 1991, he was the recipient of the Cavallo Foundation Award for Moral Courage in Business and Government, sharing the award with Roger Boisjoly of Morton Thiokol.
Before joining NASA, Cook worked as an analyst for the U.S. Civil Service Commission, where he received extensive training in federal government operations. He then worked for the Food and Drug Administration and next served in the Jimmy Carter White House under Esther Peterson, special assistant to the president for consumer affairs. He also taught history at the Field School, a private high school in Washington, D.C.
Cook left NASA to become an analyst with the U.S. Treasury Department in 1986. There he developed and taught training courses on policy analysis and led project teams on financial policy and organizational restructuring. He authored Challenger Revealed- An Insider’s Account of How the Reagan Administration Caused the Greatest Tragedy of the Space Age in 2006.
He retired from the federal government in January 2007 and works today as a writer, lecturer, and consultant. His website is richardccook.com.
Cook graduated with honors from the College of William and Mary, where he was elected to Phi Beta Kappa. He resides in College Park, Maryland.
One of his areas of interest has been the monetary system and he has written a series of articles about the current financial crisis including- Financial Meltdown: U.S. Treasury Regulatory Reform Proposals: Hapless, Helpless, Hopeless, Is an International Financial Conspiracy Driving World Events?, and An Emergency Program of Monetary Reform for the United States.
We will be looking at the systemic, as well as the more recent flagrantly criminal aspects of the deteriorating financial system and possible solutions. For those wishing to become more involved, there is a conference coming up this month-
- unMoney Convergence
A Conference on Money, Liberation and Systems Change
April 14th - 16th, 2008, Seattle, WA
On April 14th a group of social-entrepreneurs, academics, economists, bankers, philanthropists, business men and woman, system changers, lenders, borrowers and barter-ers will gather in Seattle for the 2008 unMoney Convergence to engage in an evolutionary conversation on money. Other topics covered will include micro-credit, slow money, local currencies, complementary currencies, time dollars, retail trade exchanges, LETS, state of the art transaction software and hardware technologies, money and spirituality, ecological accounting, social venture and entrepreneurship, monetary theory, value network mapping, equity sharing, energy backed currency, organizational structures, gift economies, and barter. Most of the conference will be participant driven, the agenda will be created live over the course of the event by those attending. We will be predominantly using Open Space Technology to organize ourselves. Everyone attending is welcome to present or lead a discussion about the topics they are interested in. Feel free to add a workshop and/or dicussion you would like to attend, facilitate or lead on the Proposed Topics page.
Hazel Henderson*, Co-Executive Producor, Ethical Markets, author of Creating Alternative Futures, Beyond Globalization, Ethical Markets Growing the Green Economy, and the Power of Yin.