Metallica’s James Hetfield on Chinese Censorship: Hopefully One Day They’ll Realize We’re Not a Political Threat – Loudwire

Raymond Ahner, Loudwire

When bands perform in China, it is no secret that they must submit their song lyrics to the government, who then return to the band with a list of songs they can and cant play as well as allowing certain songs as long as the lyrics are altered to something permissible. Metallicas recent trek to the country was no different, though James Hetfield seemed nonplussed by being forbidden from playing classics like Master of Puppets.

In an interview with South Morning China Post, the frontman was more than understanding about the censorship, stating,Why shouldnt you respect their culture when youre there as a guest and youve been invited to play? We want to be respectful and just because we do things differently, it doesnt mean it should be forced upon [others].

Hetfield is optimistic about returning to China and having the ability to play not just Master of Puppets, but other exclusions like One (in Shanghai) and Hardwired. But hopefully well keep coming back and theyll realize were not a threat politically and we have no agenda except to cross boundaries with music and let people enjoy the songs, he continued. Were not trying to bring a secret message to anybody.

During Iron Maidens performances in China last year, Bruce Dickinson toed the line with the censors, mouthing curse words and instructing the crowd to take a picture despite cameras not being allowed at the concert.

Metallica will embark on a North American stadium tour this summer, bringing along Avenged Sevenfold, Volbeat and Gojira on select dates. For more info and a list of all stops, check our 2017 Guide to Rock + Metal Tours.

Where Do Metallica Ranks Among the Top 50 Hard Rock + Metal Live Acts of All Time?

10 Bands That Were Banned From Countries

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10 Unforgettable James Hetfield Moments

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Metallica's James Hetfield on Chinese Censorship: Hopefully One Day They'll Realize We're Not a Political Threat - Loudwire

White House media ban is ‘unconstitutional censorship’, America’s National Press Club warns – The Independent

The National Press Club has condemned Donald Trumps exclusion of select media outlets from a White House press conference, calling the unprecedented action deeply disturbing and likening it to censorship.

Senior figures from the world's leading professional organisation for journalistsjoined a host of other industry leadersin protesting the decision announced by White House Press Secretary Sean Spicer to block news outlets including CNN, TheNew York Times, BBC, TheGuardian and BuzzFeed from the off-camera gaggle.

I find it deeply disturbing and completely unacceptable that the White House is actively running a campaign against a constitutionally enshrined free and independent press, the club's president, Jeffrey Ballou, saidin a statement.

The action harkens back to the darkest chapters of US history and reeks of undemocratic, un-American and unconstitutional censorship. The National Press Club supports our colleagues in the White House Correspondents Association in its protest and calls on the White House to reverse course.Mr Spicer did not give any justification as to why the news outlets had been excluded, however far-right organisations Breitbart News, One America News Network and The Washington Times were all granted access.

Othermajor outlets approved included ABC, CBS, NBC, Fox News, Reuters and Bloomberg, with Associated Press and Time both boycotting the gaggle after the exclusions emerged.

It came just two months after the press secretary promisedthe Trump administration would never ban press access regardless of the political leaning of the publication.

We have a respect for the press when it comes to the government, that that is something you cant ban an entity from, he said. You know conservative, liberal, otherwise I think that is what makes a democracy a democracy versus a dictatorship.

Donald Trump: We are fighting the phoney, fake news

National Press Club Journalism Institute President, Barbara Cochran, also accused Mr Trump of hypocrisy for claiming he loves the First Amendment, which defends the freedom of the press.

The president said, No one loves the First Amendment more than me. We call on the president and his staff to prove that and stop interfering with the ability of all news organisations to do their job of covering the White House, she wrote.

TheNew York Times and Buzzfeed both issued written statements protesting their exclusion from the briefing.

Fox News anchor Bret Baier discouraged conservative news outlets who celebrated the gaggle, citing organisations who defended his network when former President Obama tried to freeze out Fox News in 2009.

Some at CNN and New York Times stood with Fox News when the Obama admin attacked us and tried to exclude us, he wrote on Twitter, a White House gaggle should be open to all credentialed orgs.

It came as the US President renewed his attack on the mainstream media at the Conservative Political Action Conference.

I want you all to know that we are fighting the fake news. Its phony, fake, he said.I called the fake news the enemy of the people. They are the enemy of the people, because they have no sources. They just make them up when there are none.

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White House media ban is 'unconstitutional censorship', America's National Press Club warns - The Independent

Behold the censorship machine! – Personal Liberty Digest

Personal Liberty Poll

Exercise your right to vote.

In an effort to make websites more advertiser friendly some media outlets have taken to eliminating comment sections where, without considerable effort from moderators, they are unable to control the direction of reader conversations. But a Google-funded algorithm could change that via censorship.

The technology, called Perspective, uses machine-learning to ferret out toxic comments. Its designers reportedly based the technologys moderation standards on those used by the team of human moderators tasked with keeping discourse civil on The New York Times website. The Times is also reportedly now using Perspective to expand the number of articles it allows comments to appear on without overtaxing its moderation team.

Developers explain how the tool works thusly:

Perspective is an API that makes it easier to host better conversations. The API uses machine learning models to score the perceived impact a comment might have on a conversation. Developers and publishers can use this score to give realtime feedback to commenters or help moderators do their job, or allow readers to more easily find relevant information, as illustrated in two experiments below. Well be releasing more machine learning models later in the year, but our first model identifies whether a comment could be perceived as toxic to a discussion.

The level of potential toxicity appears largely based on the use of vulgarity or insulting language in comments.

Here are a few examples of comments the technology would deem highly toxic in comments:

And here are a few that are considered the least toxic:

Personal insults and name calling cheapen any pointand theres certainly no shortage of uncomfortable language on the internet. But is the top-down sanitation of comment sections really the answer?

How long before the machine decides whole topics are too uncomfortable for discussion and are likely to cause readers to leave?

And if the problem is online harassment, are we really going to pretend that simply silencing the true assholes among us will make them disappear? Theyll still be out there Ever been in a big city traffic jam?

Civility is important. But pretending that life isnt uncomfortable, and partially so because of the personalities of people we have to deal with, isnt the answer.

Besides, sometimes you just have to call a spade a spade or a f*cking moron.

. Bookmark the

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Behold the censorship machine! - Personal Liberty Digest

Block-Happy Miami Beach Mayor Philip Levine ‘Turns Trump’ with Censorship – Sunshine State News

Miami Beach Mayor Philip Levine and President Donald Trump are two peas in a pod.

While Trump blasts news organizations for "fake coverage," and closes off press to White House gaggles, Levine takes censorship a step further, tryingto gag the pressby blocking them off of social media. Mayor Levine's feelings are so fragile, in fact, that he's gone block-happyon Twitter, censoring reporters and members of the public who raise questions about his tenure as mayor or say, well, pretty much anything else he doesn't like.

How do I know? I'm one of the reporters who'sfound themselves in the crosshairs of Levine's Twitter block spree.

It all started three weeks ago when SSN published a column raising questions about Levine possibly using Miami Beach taxpayer dollars to fund a lawsuit against Florida and in turn, raise his profile for a gubernatorial bid.

I tweeted out the story thatMonday. From what I heard, Levine didn't take the it well, exploding at Miami Beach commissioners and threatening to sue.

By Saturday, I noticed Levine had been running a paid ad campaign promoting his "living wage" schtick. I tweeted it was ironicto run a paid campaign so close to what was undoubtedly critical coverage of Levine -- coverage that didnt make him look good. Can you say PR overhaul?

Levine fell off my radar until last Friday, when I heard he was speaking at the Central Florida Urban League conference in Orlando with other possible gubernatorial contenders. I went to tweet about it, but Levine's name turned up blank when I went to tag him.

I searched for him, clicked on his profile, and saw I had been blocked. I still have no idea why it happened, but suspicion leads me to believe Levine wasn't thrilled about my previous tweet.

Levine's adviser Christian Ulvert told me thepage was not an official Miami Beach social media account, but Levine does officially represent the city and often tweets what he's up to on a day-to-day basis, which seems pretty official to me.

Ulvert said Levine's accounts don't allow individuals to post "slanderous, false...misinformation" and says anyone who uses social media for those purposes isblocked.He also told me I could look at how many people the mayor was following, which has zero indication of how many people Levine has actually blocked.

I can only imagine it's because the number is so high, Levine has lost count.

"His long supported policy, utilized by many, is to allow constructive dialogue to take shape through social media," Ulvert told me, adding that I was "inadvertently" blocked, assuring me it would "be corrected."

Constructive? What's constructive about blocking people you don't agree with? By the way, at the time this article was published, I am still blocked.

I'm not alone in being cut off from Levine, though. I recently found myself welcomed into the fold of dozens, possibly hundreds, who have also been given the "Closed for Business" sign on Levine's social media pages. A quick search on Twitter showed many other people had been axed from seeing what Levine was up to -- some of them merely replied to tweets criticizing him for failed projects and high crime rates.

Theirlistof grievances against Levine is long. At the end of the day, however, they all share a common thread: they got blockedfor speaking up.

The Levine Twitter outcastsinclude normal residents, businessmen, and yes, even members of the press.Click thelinks above and see for yourself.

Take Grant Stern, for example. Stern, a journalist and activist with Occupy Democrats, wrote a tweet criticizing Levine last year. Blocked. So, Stern took his comments to Levines official Facebook page. Blocked again.

Dozens of people came to Stern at the time and said they, too, had been closed out of Levines social media pages for criticizing him. Hundreds of comments from Levines official Facebook page have disappeared, presumably deleted by the miffed mayor.

Levine has a history of lashing out at critics. Last June, heaccused the Miami Herald of conspiring with scientists for a hit piece because they wrote the city was pumping human fecal matter into Biscayne Bay. TheHeraldstood by the story.

But wait, theres more. In 2015, the Miami New Times criticized Levine. They got blocked, too. Levine said it was a mistake (sound familiar?), but never unblocked the paper.

Stern filed a public records request to get the names of all the people Levine had shut out from his accounts, but the city deniesthat request was ever made. In the suit, Stern claims Levine uses the Twitter account, @MayorLevine, to communicate official city business, which would make his accounts subject to the Sunshine Law. That means the proceedings of Levines accounts would have to be public information.

Beyond communicating whats going on in the South Florida city, it appears Levine also uses the account to snuff out and censor comments he doesnt like.

Levines skin is so thin, he should be known as the naked mole rat of Miami Beach.

For someone with his political desires, hes got the impulse control and knowledge of a10-year-old, Stern said.

That, to me, is a huge red flag for someone who's thinking of running for governor next year. For all we know, Levine might censor the entire Tallahassee press corps once they dig -- and they will -- anywhere below the surface of Levine's corrupt career as mayor of Miami Beach.

Let me ask you: Do you really feel comfortable putting someone in the governor's mansion who can't even handle one critical tweet from a reporter?

Can you imagine? The entire Tallahassee press corps would be cast out with the click of a button should they "wrong" Levine.

Bye bye, free press. This circus only runs as long as Levine isthe one cracking the whip.

In a way, the timing of this story couldnt be better. Its like journalistic kismet. On Friday, President Donald Trump deliberately expelled CNN and scores of other news organizations from a White House press gaggle. Unsurprisingly, the entire press corps is now out behind CNN, screaming bloody murder.

Is this ringing a bell yet? Mayor Levine is Florida's very own Donald Trump, attacking outlets and squenching coverage he doesnt like. Except, unfortunately for Levine, he has no solid messageand no parade of hundreds of thousands of adoring fans to push him to the top like Trump did.

He's delusional, Miami filmmaker and Levine critic Billy Corben told me. He runs around everywhere with a Secret Service-looking security guard. But nobody even knows who he is.

But as Trump has realized, the funny thing about censorship is that, more often than not, it has the opposite of the intended effect.Censorship causes journalists to pursuestories they wouldn't otherwise write. It emboldens us to dig deeper. It compels us to push harder.

Mayor Levine can try tosilence members of the media from knowing what he's up to, and he can block us all he wants, but it's only at his own peril.

Levine,totally naivein underestimatingthe power of the reporter, has only shot himself in the foot.

Reach Allison Nielsen by email atallison@sunshinestatenews.comor follow her on Twitter:@AllisonNielsen.

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Block-Happy Miami Beach Mayor Philip Levine 'Turns Trump' with Censorship - Sunshine State News

The History of Censorship in the United States

By Tom Head

Updated February 10, 2017.

The right to free speech is a long-standing U.S. tradition, but actually respecting the right to free speech is not.

"Old, querulous, Bald, blind, crippled, toothless Adams," one supporter of challenger Thomas Jefferson called the incumbent president. But Adams got the last laugh, signing a bill in 1798 that made it illegal to criticize a government official without backing up one's criticisms in court. 25 people were arrested under the law, though Jefferson pardoned its victims after he defeated Adams in the 1800 election.

Later sedition acts focused primarily on punishing those who advocated civil disobedience. The Sedition Act of 1918, for example, targeted draft resisters. More

The bawdy novel Fanny Hill (1748), written by John Cleland as an exercise in what he imagined a prostitute's memoirs might sound like, was no doubt familiar to the Founding Fathers; we know that Benjamin Franklin, who himself wrote some fairly risque material, had a copy. But later generations were less latitudinarian.

The book holds the record for being banned longer than any other literary work in the United States--prohibited in 1821, and not legally published until the U.S. Supreme Court overturned the ban in Memoirs v. Massachusetts (1966). Of course, once it was legal it lost much of its appeal; by 1966 standards, nothing written in 1748 was liable to shock anybody. More

If you're looking for a clear-cut villain in the history of U.S. censorship, you've found him.

In 1872, feminist Victoria Woodhull published an account of an affair between a celebrity evangelical minister and one of his parishioners. Comstock, who despised feminists, requested a copy of the book under a fake name, then reported Woodhull and had her arrested on obscenity charges.

He soon became head of the New York Society for the Suppression of Vice, where he successfully campaigned for an 1873 federal obscenity law, commonly referred to as the Comstock Act, that allowed warrantless searches of the mail for "obscene" materials.

Comstock later boasted that during his career as censor, his work led to the suicides of 15 alleged "smut-peddlers." More

The New York Society for the Suppression of Vice successfully blocked the publication of James Joyce's Ulysses in 1921, citing a relatively tame masturbation scene as proof of obscenity. U.S. publication was finally permitted in 1933 following the U.S. District Court ruling United States v. One Book Called Ulysses, in which Judge John Woolsey found that the book was not obscene and essentially established artistic merit as an affirmative defense against obscenity charges. More

The Hays Code was never enforced by the government--it was voluntarily agreed upon by film distributors--but the threat of government censorship made it necessary. The U.S. Supreme Court had already ruled in Mutual Film Corporation v. Industrial Commission of Ohio (1915) that movies were not protected by the First Amendment, and some foreign films had been seized on obscenity charges. The film industry adopted the Code as a means of avoiding outright federal censorship.

The Code, which regulated the industry from 1930 until 1968, banned what you might expect it to ban--violence, sex, profanity--but also prohibited portrayals of interracial or same-sex relationships, as well as any content that was deemed anti-religious or anti-Christian. More

Like the Hays Code, the Comics Code Authority is a voluntary industry standard. Because comics are still primarily read by children, and because it has historically been less binding on retailers than the Hays Code was on distributors, the CCA is less dangerous than its film counterpart. This may be why it is still in use today, though most comic book publishers ignore it and no longer submit material for CCA approval.

The driving force behind the CCA was the fear that violent, dirty, or otherwise questionable comics might turn children into juvenile delinquents--the central thesis of Frederic Wertham's 1954 bestseller Seduction of the Innocent (which also argued, less credibly, that the Batman-Robin relationship might turn children gay). More

Although Senator Reed Smoot (shown left) admitted that he had not read D.H. Lawrence's Lady Chatterley's Lover (1928), he expressed strong opinions about the book. "It is most damnable!" he complained in a 1930 speech. "It is written by a man with a diseased mind and a soul so black that he would obscure even the darkness of hell!"

Lawrence's odd story about an adulterous affair between Constance Chatterley and her husband's servant was so offensive because, at the time, non-tragic portrayals of adultery were, for practical purposes, nonexistent--the Hays Code banned them from films, and federal censors banned them from print media.

A 1959 federal obscenity trial lifted the ban on the book, now recognized as a classic. More

The massive military study titled United States-Vietnam Relations, 1945-1967: A Study Prepared by the Department of Defense, later known as the Pentagon Papers, was supposed to be classified. But when excerpts of the document were leaked to the New York Times in 1971, which published them, all hell broke loose--with President Richard Nixon threatening to have journalists indicted for treason, and federal prosecutors attempting to block further publication. (They had reason to do so; the documents revealed that U.S. leaders had--among other things--specifically taken measures to prolong and escalate the unpopular war.)

In June 1971, the U.S. Supreme Court ruled 6-3 that the Times could legally publish the Papers.

A 5-4 majority of the Supreme Court, led by Chief Justice Warren Burger (shown left), outlined the current definition of obscenity in Miller v. California (1973), a mail-order porn case, as follows:

While the Supreme Court has held since 1897 that the First Amendment does not protect obscenity, the relatively small number of obscenity prosecutions in recent years suggests otherwise. More

When George Carlin's "seven dirty words" routine was aired on a New York radio station in 1973, a father listening to the station complained to the FCC. The FCC, in turn, wrote the station a firm letter of reprimand.

The station challenged the reprimand, ultimately leading to the Supreme Court's landmark FCC v. Pacifica (1978) in which the Court held that material that is "indecent," but not necessarily obscene, may be regulated by the FCC if it is distributed through publicly-owned wavelengths.

Indecency, as defined by the FCC, refers to "language or material that, in context, depicts or describes, in terms patently offensive as measured by contemporary community standards for the broadcast medium, sexual or excretory organs or activities." More

The Communications Decency Act of 1996 mandated a federal prison sentence of up to two years for anyone who...

The Supreme Court mercifully struck the Act down in ACLU v. Reno (1997), but the concept of the bill was revived with the Child Online Protection Act (COPA) of 1998, which criminalized any content deemed "harmful to minors." Courts immediately blocked COPA, which was formally struck down in 2009. More

During the live broadcast Super Bowl halftime show on February 1st, 2004, Janet Jackson's right breast was exposed (sort of) and the FCC responded to an organized campaign by enforcing indecency standards more aggressively than it ever had before. Soon every expletive uttered at an awards show, every bit of nudity (even pixellated nudity) on reality television, and every other potentially offensive act became a possible target of FCC scrutiny.

But the FCC has gotten more relaxed over the past five years, and under the Obama administration is likely to become more so still. Meanwhile, the U.S. Supreme Court will review the original Janet Jackson "wardrobemalfunction" fine and with it the FCC's indecency standards--later in 2009. More

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The History of Censorship in the United States

Perspective or censorship? Google shares AI designed to fight online trolling – RT

Google has released to developers the source code to Perspective, a new machine tool designed to flag toxic comments online. Its creators hope the AI will clean up internet debate, but critics fear it will lead to censorship instead.

Perspective was created by Jigsaw and Googles Counter Abuse Technology team both subsidiaries of Googles parent company Alphabet in a collaborative research project called Conversation-AI. Its mission is to build technology to deal with problems ranging from online censorship to countering violent extremism to protecting people from online harassment.

Jigsaw has partnered with online communities and publishers to measure the toxicity of comments, including the New York Times, Wikipedia, Guardian and the Economist.

This gives them (news sites and social media) a new option: Take a bunch of collective intelligence that will keep getting better over time about what toxic comments people have said would make them leave, and use that information to help your community discussions, said CJ Adams, product manager of Googles Conversation AI,according to WIRED.

Until now, for news sites and social media trying to rein in comments the options have been upvotes, downvotes, turning off comments altogether or manually moderating, Adams said.

Twitter and Facebook also have recently announced anti-trolling moves.

On a demonstration website launched Thursday, anyone could type a phrase into Perspectives interface to instantaneously see how it rates on the toxicity scale.

RT America tested the AI with some comments from our own website. Type he is a Communist with a Jew nose into its text field, and Perspective will tell you it has a 77 percent similarity to phases people consider toxic. Write I piss on Confederate graves; I wholly agree with your views of these fellows and Perspective will flag it as 42 percent toxic, while Please RT no more Libtards gets a 33 percent rating.

Jigsaw developed the troll detector by taking millions of comments from Wikipedia editorial discussions, The New York Times and other unnamed partners. The comments were shared with ten people recruited online to state whether they found the comments toxic. The resulting judgements provided a large data set of training examples to teach the AI.

Ultimately we want the AI to surface the toxic stuff to us faster, Denise Law, the Economists community editor, told WIRED. If we can remove that, what wed have left is all the really nice comments. Wed create a safe space where everyone can have intelligent debates.

Jared Cohen, Jigsaws founder and president, said the tool is just one step toward better conversations, and he hopes it will be created in other languages to counter state-sponsored use of abusive trolling as a censorship tactic.

"Each time Perspective finds new examples of potentially toxic comments, or is provided with corrections from users, it can get better at scoring future comments," Cohen wrote in a blog post.

Not everyone thinks Perspective is wonderful, however. Libertarian journalist Virgil Vaduva ran his own experiment on Perspective, and concluded that the AI can easily be used to censor controversial speech, whether that speech comes from the left or the right of the American political spectrum.

Applying the AI to censor comments will create an environment empty of value where everyone agrees with everyone, or so it may appear, Vaduva wrote.

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Perspective or censorship? Google shares AI designed to fight online trolling - RT

Censorship and art don’t mix – Spiked

Censorship is the opposite of what art should be about. Nobody is saying that we should accept alt-right ideas. But artists and curators must be free to let their imaginations, and political ideas, run wild. Rather than just disagreeing with the content of the work on display, these protesters want to limit the creative imagination, and limit what the public is able to engage with.

Even to the end of tackling bigotry, censorship is counter-productive and cowardly. Its much easier to call for the silencing of offensive ideas, and far harder to counter arguments in the form of art, literature or political manifestos. But it is only through democratic challenge that backward ideas are defeated.

The LD50 gallery describes the reaction to its shows as exceptionally aggressive, militant and hyberbolic. Sadly, this isnt the first time this sort of thing has happened. For years, art galleries have been called upon to No Platform particular artists, even where the work itself is not explicitly prejudiced. Exhibit B, an anti-racist installation, was closed at the Barbican in 2014 after protesters deemed it racist.

Whats astounding is that those behind Shutdown LD50 dont even consider themselves censors. The group says the gallery and its collaborators are the authoritarian ones, for giving a platform to hate speech. Some protesters have gone so far as to label LD50 actual fascists, comparing themselves to those who faced off Oswald Mosley at Cable Street. A pink swastika has been painted on the gallery door.

These people seem to think that racist words are in themselves violent and anti-democratic, that they pose a threat to people from ethnic minorities. The act of displaying white-supremacist works in an art gallery is seen as just as much of a threat as a national, fascistic movement, crushing freedom through terror and violence. In truth, it is LD50 that is the real threat to liberty.

As someone who considers themselves a progressive, and who supports immigration and equality, it might seem strange that Im so concerned about the illiberal tactics of these protesters. Why not focus on opposing right-wing ideas? But the fact remains that you cant oppose authoritarian, illiberal ideas through authoritarian and illiberal means. Both sides in this case must be criticised.

Undermining democratic values is the wrong way to oppose views you disagree with. Its also inconsistent. How can those who support equality argue that certain rights must not extend to far-right voices, and galleries willing to give them a platform. Clearly, these protesters dont support freedom or equality at all.

Tessa Mayes is a journalist and documentary filmmaker. Visit her website here.

For permission to republish spiked articles, please contact Viv Regan.

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Censorship and art don't mix - Spiked

‘Sensitivity’ or Self-Censorship? – The Weekly Standard

Here's an excerpt from Ray Bradbury's Fahrenheit 451:

Now let's take up the minorities in our civilization, shall we? Bigger the population, the more minorities. Don't step on the toes of the dog-lovers, the cat-lovers, doctors, lawyers, merchants, chiefs, Mormons, Baptists, Unitarians, second-generation Chinese, Swedes, Italians, Germans, Texans, Brooklynites, Irishmen, people from Oregon or Mexico. The people in this book, this play, this TV serial are not meant to represent any actual painters, cartographers, mechanics anywhere. The bigger your market, Montag, the less you handle controversy, remember that! Authors, full of evil thoughts, lock up your typewriters. They did.

There you have it, Montag. It didn't come from the Government down. There was no dictum, no declaration, no censorship, to start with, no!

Farhrenheit 451 was published in 1953.

Here's an excerpt from a Washington Post news story:

Before a book is published and released to the public, it's passed through the hands (and eyes) of many people: an author's friends and family, an agent and, of course, an editor.

These days, though, a book may get an additional check from an unusual source: a sensitivity reader, a person who, for a nominal fee, will scan the book for racist, sexist or otherwise offensive content. These readers give feedback based on self-ascribed areas of expertise such as "dealing with terminal illness," "racial dynamics in Muslim communities within families" or "transgender issues."

Sensitivity readers have emerged in a climatefueled in part by social mediain which writers are under increased scrutiny for their portrayals of people from marginalized groups, especially when the author is not a part of that group.

The Washington Post article was published in 2017.

As Post reporter Everdeen Mason points out, if you're an author of best-selling renown whose published works include Harry Potter and the Philosopher's Stone just for starters, you might think you don't need to be screened by a sensitivity reader. You'd be wrong:

Last year, for instance, J.K. Rowling was strongly criticized by Native American readers and scholars for her portrayal of Navajo traditions in the 2016 story "History of Magic in North America." Young-adult author Keira Drake was forced to revise her fantasy novel "The Continent" after an online uproar over its portrayal of people of color and Native backgrounds. More recently, author Veronica Rothof "Divergent" famecame under fire for her new novel, "Carve the Mark." In addition to being called racist, the book was criticized for its portrayal of chronic pain in its main character.

Furthermore, sensitivity readers aren't even controversial in the eyes of a surprising number of the media. "What's not to like?" asks Claire Fallon of the Huffington Post:

There's really no meaningful difference between the content editing any reputable publisher would offer and sensitivity readingexcept that most agents and editors, to this day, are white, straight, cisgender, able-bodied women. The average editor at a publishing house isn't personally familiar with the experiences of an American bisexual child of Chinese immigrants, or a black teenager, or a deaf woman. An editor can and will alert their author that an odd coincidence reads as ridiculously contrived, or that a character's dialogue seems stiff and unrealistic; that's part of helping a writer hone their craft and polish their book. What, then, if the book's flaw lies in a cultural detail misrepresented, or a glaringly dated stereotype of a person of color? Unless the editor has more fluency in a given culture than the author, the editing process could skip right over that weakness.

And Slate's Katy Waldman, although not quite so enthusiastic about the sensitivity industry as Fallon, still thinks it's a generally good industry to have around:

As a push for diversity in fiction reshapes the publishing landscape, the emergence of sensitivity readers seems almost inevitable. A flowering sense of social conscience, not to mention a strong market incentive, is elevating stories that richly reflect the variety of human experience. Americaspecifically young Americais currently more diverse than ever. As writers attempt to reflect these realities in their fiction, they often must step outside of their intimate knowledge. And in a cultural climate newly attuned to the complexities of representation, many authors face anxiety at the prospect of backlash, especially when social media leaves both book sales and literary reputations more vulnerable than ever to criticism. Enter the sensitivity reader: one more line of defense against writers' tone-deaf, unthinking mistakes.

Even authors these days seem to see no problem in having to rewrite their books to fit the exquisite sensitivities of sensitivity readers. Waldman mentions one author "who totaled 12 sensitivity reads for her second novel on LGBTQ, black, Korean American, anxiety, obesity, and Jewish representation issues, among others."

There's another name for sensitivity screening, of course. It's called self-censorship. In Fahrenheit 451 some 64 years ago, Ray Bradbury prophesied that ever-increasing authorial sensitivity to the demands of an ever-increasing group of aggrieved minorities would result in books so blandly inoffensive that no one would care about books anymore. And then you'd have actual censorship.

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'Sensitivity' or Self-Censorship? - The Weekly Standard

Universities and the Threat of Censorship – Conatus News

During the last few years, we havewitnesseda very worrying period for free-speech within universities. In 2015 alone we witnessed 30 universities banning newspapers, 25 banning songs, 10 banning clubs or societies, and 19 worryingly banning speakers from events. Not only that, we have witnessed various feminists, human-rights advocates and LGBT-Rights defenders indicted as encroachers of acceptable propriety and consequently indicted as unfit for a speaker platform.

In the same year, the feminist and anti-Islamist Maryam Namazie was inadmissibly indicted as a highly inflammatory figure who could incite hatred, and was initially prevented from talking at The University of Warwick. Also in 2015, another feminist, Julie Bindell, was labelled transphobic and attempts were made to thwart her planned speech at The University of Manchester because it was deemed that she might also incite hatred. Furthermore, attempts were made to foil the planned university speaker-event of comedian Kate Smurthwaite at Goldsmiths, University of London, as well as Dapper Laughs at Cardiff University for similar refractory reasons. The factious journalist, Milo Yiannopoulos, was also initially no-platformed and prevented from appearing at the University of Manchester in October 2015 over concerns that he, likewise, might incite hatred.

The venerable Chief-Executive of HOPE not HATE, Nick Lowles, was also no-platformed and prevented from speaking at aNational Union of Students (NUS) anti-racism conference in February of this year by the NUS Black Students on the grounds that he was seen as islamophobic and could rile certain frail university students. Not only that, the eccentric MP and former Mayor of London, Boris Johnson, has also been indicted as unfit for a speaker platform at Kings College London after he made inappropriate remarks about President Obamas ancestry.

Where did all of this encroachment on university free-speech originate? As many a student with even a tentative grasp of NUS-philosophy will attest, much of the encroachment has emerged out of a sanitising utopia that is politically-orientated NUS policy encroachment which is uninvitingly embodied in its current no-platforming policy. How did this happen? The NUS was once a profoundly respected body that prized free-speech and truly represented all students around the UK inclusive of political disparity.

Once upon a time, the NUS would only infract on the independence of a university platform when individuals such as fascists and racists wanted to perorate their sickly ideas. Now, however, we have a union gravely steeped in political proclivity, a union that thumps for inoffensiveness and one that regards any speaker who might aggrieve a persecuted minority worthy of censorship.

Its not just the no-platforming of speakers, we have seen people within the NUS short-sightedly no-platform themselves. The honcho of the NUS LGBT+ section caused an uproarwhen she did just that during an event that she was scheduled to appear on alongside the much-respected LGBT-rights campaigner Peter Tatchell. Much to the surprise of many LGBT+ people across the UK, her decision was motivated by the fact that she wanted to remonstrate against and to further arraign Peter Tatchell for holding apparent racist and transphobe views.

Such issues of no-platforming have obviously been a motivator alongside the appointment of Malia Bouattia as the new NUS president, a person that many deem cavil on account of past remarks that many argue are anti-Semitic for many NUS-disaffiliation campaigns. Whilst Exeter, Cambridge, Surrey, Oxford, and Warwick have all voted to remain, Lincoln, Loughborough, Hull, and Newcastle have all voted in favour to disaffiliate. And it wouldnt surprise me if more follow.

Weve seen a plethora of articles rightly griping about the NUS as of late by various academics, campaigners, luminaries, and students all of whom seem to be united in their consternation that the NUS and various university student-unions have restricted free-speech to excess. They rightly adjure their readers to challenge both the NUS and various student-unions because they both now undermine the very legitimacy of debate within universities leaving untold damage to the rich pluralism and debate that once characterised universities. Many deem such untold damage, such a low ebb, to be a mere reflection of the mollycoddling preferences of the uproarious, regressive, and deeply-forcible newfangled university generation.

What, though, is this newfangled university generation? This newfangled generation is characterised by its marked yearning for utopian-like inoffensive environments, its unashamed appeal to pity or guilt to effectuate its political campaigns, its identity politics, its clamorous protestations it calls liberation, its writhing victimisation, its brash holier-than-thou attitudes, its candid cultural relativity, and its unimpeachable ill-will towards those who have the audacity to criticise any unscrupulous areas within minority groups they deem persecuted.

However, what about its unapologetic safe-space advocacy? Is it not the case that universities should be safe places where people are protected from offensive narratives? Moreover, is it not right that universities be increasingly encouraged to symbolise places where students particularly LGBT students and other minority groups can feel protected from maltreatment, harassed, etc.?

Many people both within and outside of academia have quite a different opinion of what universities should represent. Many claim and quite commendably that universities should be places in which the rich tapestry of discussion and debate are safe-spaced i.e. protected as opposed to being safe-spaces in which inoffensive narratives are supressed.

Universities should, of course, be safe-spaces that protect students from certain types of behaviour. No university should put up with particular forms of behaviour such as students or speakers inhibiting the participation of LGBT-students within university life, or subjecting them to violence (or threats of violence). This would clearly be in breach of the law, and utterly reprehensible.

Here its important to introduce a key distinction: freedom-of-behaviour vs freedom-of-expression. Let us consider an example to highlight this. There are many students and speakers, for example, with rather regressive religious-leanings who make the claim that women should be prevented from showing their hair publicly and prevented from occupying certain positions in society the head of a church, for example. Now, whilst I find such a view utterly distasteful, I find myself unwilling to proscribe such drivel-like open expressions of such opinions. However, and here is the important point: if they were to then physically ring-fence such positions from women (or verbally threaten women with violence if they were to occupy or even pursue such positions) then I think contravening would certainly be justified.

What, then, about an external university speaker given a platform in which he or she spews the claim that LGBT people should be prevented from participating in the military? Or a speaker claiming that such a group should be stoned to death because they have spurned godly-endowed propriety? Should they be allowed to speak their minds? Am I really arguing that as long as such a speaker is not actually preventing the LGBT community from participating in the military, or actually stoning LGBT members, then such a speaker should be allowed to churn-out such cruel and hurtful narratives?

Most exponents of that shibboleth safe spacewould likely deem any approval to be, at best,outre, and at worst, uncouth a mere stridencycommandeered by the privileged in societythat doesnot merely ignorethe rights it obviouslytrammels but, most pressingly,ithas the potential ofyielding universityenvironments that is knownto becoldly indifferent and even a pillar that substantiatesthe injustices that besmirch minorities.

I think that an important distinction should be carried when talking about this upbraided term platform namely, contested vs uncontested speaker platforms. I am of the opinion that speakers should have the right to an uncontested platform that is to say, a platform bereft of an opposing speaker if the speaker has not been found to be in breach of what I call inalienable-traits. What do I mean here? To put it bluntly, not encroaching upon those fundamental traits that are an inalienable part of a persons identity at a given time. That includes, at the very minimum, gender, sexuality, race, age and nationality.

If, however, a speaker is found to be encroaching upon such fundamental traits of a person an example would be denying such characteristics, ridiculing them, etc., but is not in breach of the law, then it is my view that a university must only allow that speaker to talk on a university campus on the condition that they are challenged by an opposing speaker (agreed by individuals and/or a society within a university who identity with that trait a speaker is deemed encroaching upon). No-platforming here is positively inexcusable. The stultification of such liberty that this stifling would bring-aboutshould be utterly condemned by all students and university staff alike. Such a speaker should instead be debated and their views exposed to scrutiny.

Why, though, should open debate be prioritised? I have two arguments for this. I will expound the first. Now, its important for us to remember that noxious narratives those that infringe upon the rich humanist-based principles of equality, compassion, and, lets face it,human decency come in various forms, and they will likely be encountered wherever students might find themselves, and whatever age they may be. Noxious narratives can penetrate our local communities, our work environments, our friendships, and even our families. Surely theres an imperative that young people at university be equipped with the invaluable tools to effectively invalidate and neutralise such things as racism, homophobia, transphobia and sexism?There is therefore a key utilitarian point to be made: how can students challenge those noxious narratives in society in the furtherance of equality and overall societal well-being if they have come to learn that noxious narratives can only be defeated through avoiding them? Put another way, how can students particularly those who are passionate about promoting or directing social, political economic, orenvironmentalchange with the desire to make improvements in society and to correct social injusticecreate a better society if they are not fully aware of those things which are antithetical to it?

The secondargument relates to an important epistemic issue: how can students know if offensive narratives are actually morally circumspect if they are not exposed to them? After all, let us not forget that once upon a time Darwins account of evolution was deemed to be immoral and deeply offensive by swathes of people (and many still deem it to be). Galileos heliocentrism was also deemed to be immoral and deeply offensive and many efforts were made to muzzle such views. Given the advances in todays science and the benefits from this that have trickled into our society that the views of Galileos and Darwins have considerably effected we heartily look back to that time in the knowledge that such a view was indeed made manifest despite the significant offense caused. Whilst I deem many a narrative assuredly and distastefully in error racist ones being examples who can unerringly claim with a degree of confidence that all those narratives that our society (or others) considers offensive, whether by the majority or minority, are unquestionably so?

Now, with these two arguments kept in mind, I deeming myself to be somewhat of a defender if notvying fordefender of both classical liberalism and human-rights fear that the kind of universityenvironments hankered for by both theNUS and large swathes of universitystudent-unions alikeis hindering students from effectively tackling noxious narratives in society whilst, simultaneously, deprivingthem of such a key epistemic point. However, there is a third argument to be made which is closely linked to the previous two I expounded. The kind of university environments hankered for by both the NUS and large swathes of student-unionswillcreate, sooner or later, the kind of university environments that preventstudents from expending real discretion. I say this because the kind of excessive censorship that we have seen being coveted by both NUS and student-unions alikewill have the dire consequence of creating a very large sect of people in universitywho are unequipped with the tools of extolling the difference between, on the one hand, independence of thought and, on the other hand, meekness. Students need to exposed to as much richly-plural a medium ofviews as possible in order that they can extol such a key difference. This is such an invaluable component within the development of our young peoples critical reasoning skills. And its critical reasoning which is indispensable in the overall fight against noxious narratives whether in university, our local communities or in society as a whole.

Its essential that students convene in solidarity and press the NUS and university student unions to recalibrate their footing and champion such an extolling, such a key difference. We cannot and should not tolerate their trajectory that currently sees them staunchly remaining inimical to it. Students need to be armed with those salient and deeply important tools to challenge, through debate, those noxious narratives within our larger society. Students need to be exposed to narratives that some, even many, deem offensive for this to happen, and universities need to be places that unerringly epitomise the fearsome pursuit of knowledge and, with it, epistemic-justification.

However, as long as mollycoddling and inoffensive environments continue to be the uncouth utopia of the new-fangled generation and university student unions and the NUS continue to epitomise this we will irrevocably see further free-speech violations within further education. The consequence of this will inevitably be students personifying a spindly type of principled-activism one mired in flimsiness and susceptibility that shakily endeavours to achieve the kind of decent society that most of us rightly deem upstanding.

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Universities and the Threat of Censorship - Conatus News

WikiLeaks’s Assange: Yiannopoulos is facing ‘censorship’ – The Hill

WikiLeaks founder Julian Assange says Breitbart senior editor Milo Yiannopoulos is facing "censorship" amid controversy over a video in which the far-right provocateur appeared to defend pedophilia.

"US 'liberals' today celebrate the censorship of right-wing UK provocateur Milo Yiannopoulos over teen sex quote," Assange tweeted Monday night.

US 'liberals' today celebrate the censorship of right-wing UK provocateur Milo Yiannopoulos over teen sex quote.https://t.co/bz6dH0jyhk

Yiannopoulos has been facing backlash since a video clip gained traction on social media in which he says relationships between older men and young boys can be beneficial. In the clip, he also mentions his own sexual abuse.

Employees from Breitbart News, where Yiannopoulos works, are reportedly prepared to leave if the company doesn't take action.

And Simon & Schuster is canceling the publication of Yiannopoulos's book, "Dangerous."

In a Facebook post Monday, Yiannopoulos denounced the claims that he was advocating for pedophilia.

"I am a gay man, and a child abuse victim, Yiannopoulos wrote.

"I would like to restate my utter disgust at adults who sexually abuse minors. I am horrified by pedophilia and I have devoted large portions of my career as a journalist to exposing child abusers. I've outed three of them, in fact -- three more than most of my critics."

The government of Ecuador granted Assange asylum in 2012. Since then, he has been living inside the government's embassy in London.

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WikiLeaks's Assange: Yiannopoulos is facing 'censorship' - The Hill

Letter: Tele-town hall is form of censorship – Republican Eagle

This is a salad which works fine for Trump's oligarchy. However, these false fears and economics do nothing for the majority of our citizens.

After an hour and a half of waiting for his censorship to end, I hung up and I am sure I wasn't alone in this fiasco.

I wanted to ask questions about two pieces of legislation. The first was House Joint Resolution 40, which would allow "mentally incapable" persons to be omitted from the National Instant Criminal Background Check System and enable them to legally buy a firearm.

Question: Congressman, really, haven't you heard of Sandy Hook?

The second was HJR 41, which would remove the requirement for energy companies to report any funds received from foreign countries.

Question: Congressman, do you really think that is an overly burdening regulation for Exxon and others?

You have said that "doing live town halls" doesn't work because it lets in the radical protesters and turns it into a political rally. I am not a radical protester. I simply wanted you to explain why you voted "aye" on both these bills. Because you censored your tele-town hall, I didn't get an answer and I am sure that there are others who didn't get their legitimate questions answered.

By the way Congressman, Michael Flynn's phone was not wire tapped. The truth is that the Russian ambassador's phone was monitored while Flynn was doing Trump's bidding. Nice try, but you can't defend or excuse this guy.

Gary Anderson

Red Wing

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Letter: Tele-town hall is form of censorship - Republican Eagle

What Is Censorship – Censorship | Laws.com

What is Censorship? Censorship is the act of altering, adjusting, editing, or banning of media resulting from the presumption that its content is perceived to be objectionable, incendiary, illicit, or immoral by the presiding governmental body of a specific country or nation or a private institution. The ideology and methodology of Censorship varies greatly on both domestic and international levels, as well as public and private institutions. Governmental Censorship

Governmental Censorship takes place in the event that the content, subject matter, or intent latent within an individual form of media is considered to exist in contrast with preexisting statutory regulations and legislation. In many cases, the censorship of media will be analogous with corollary laws in existence. For example, in countries or nations in which specific actions or activities are prohibited, media containing that nature of presumed illegal subject matter may be subject to Censorship. However, the mere mention of such subject matter will not always result in censorship; the following methods of classification are typically enacted with regard to a governmentally-instituted statutory Censorship: Censorship within the Public Sector The public sector is defined as any setting in which individuals of all ages inhabit that comply with legal statutes of accepted morality and proper behavior; this differs by locale the nature of the public sector is defined with regard to the nature of the respective form of media and its adherence to legislation: The Federal Communications Commission (FCC) sanctioned by the federal government of the United States in order to regulate the activity taking place in the public setting-based media Censorship and Intent With regard to Censorship, intent is legally defined as the intended result for which one hopes as a result of their participation in the release or authorship of media; typically, proponents for individual censorship will be required to prove that the intent latent within the media in question was enacted knowingly and deliberately in any lack of adherence to legislation Censorship and Privacy

With Regard to censorship, privacy is a state in which an individual is free to act according to their respective discretion with regard to legal or lawful behavior; however, regardless of the private sector, the adherence to legislation and legality is required Private and Institutional Censorship

Private institutions retain the right to censor media which they may find objectionable; this is due to the fact that the participants in private or independent institutions are defined as willing participants. As a result, upon joining or participating in a private institution, the individuals concede to adhere to applicable regulations:

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What Is Censorship - Censorship | Laws.com

On Censorship – The New Yorker

No writer ever really wants to talk about censorship. Writers want to talk about creation, and censorship is anti-creation, negative energy, uncreation, the bringing into being of non-being, or, to use Tom Stoppards description of death, the absence of presence. Censorship is the thing that stops you doing what you want to do, and what writers want to talk about is what they do, not what stops them doing it. And writers want to talk about how much they get paid, and they want to gossip about other writers and how much they get paid, and they want to complain about critics and publishers, and gripe about politicians, and they want to talk about what they love, the writers they love, the stories and even sentences that have meant something to them, and, finally, they want to talk about their own ideas and their own stories. Their things. The British humorist Paul Jennings, in his brilliant essay on Resistentialism, a spoof of Existentialism, proposed that the world was divided into two categories, Thing and No-Thing, and suggested that between these two is waged a never-ending war. If writing is Thing, then censorship is No-Thing, and, as King Lear told Cordelia, Nothing will came of nothing, or, as Mr. Jennings would have revised Shakespeare, No-Thing will come of No-Thing. Think again.

Consider, if you will, the air. Here it is, all around us, plentiful, freely available, and broadly breathable. And yes, I know, its not perfectly clean or perfectly pure, but here it nevertheless is, plenty of it, enough for all of us and lots to spare. When breathable air is available so freely and in such quantity, it would be redundant to demand that breathable air be freely provided to all, in sufficient quantity for the needs of all. What you have, you can easily take for granted, and ignore. Theres just no need to make a fuss about it. You breathe the freely available, broadly breathable air, and you get on with your day. The air is not a subject. It is not something that most of us want to discuss.

Imagine, now, that somewhere up there you might find a giant set of faucets, and that the air we breathe flows from those faucets, hot air and cold air and tepid air from some celestial mixer-unit. And imagine that an entity up there, not known to us, or perhaps even known to us, begins on a certain day to turn off the faucets one by one, so that slowly we begin to notice that the available air, still breathable, still free, is thinning. The time comes when we find that we are breathing more heavily, perhaps even gasping for air. By this time, many of us would have begun to protest, to condemn the reduction in the air supply, and to argue loudly for the right to freely available, broadly breathable air. Scarcity, you could say, creates demand.

Liberty is the air we breathe, and we live in a part of the world where, imperfect as the supply is, it is, nevertheless, freely available, at least to those of us who arent black youngsters wearing hoodies in Miami, and broadly breathable, unless, of course, were women in red states trying to make free choices about our own bodies. Imperfectly free, imperfectly breathable, but when it is breathable and free we dont need to make a song and dance about it. We take it for granted and get on with our day. And at night, as we fall asleep, we assume we will be free tomorrow, because we were free today.

The creative act requires not only freedom but also this assumption of freedom. If the creative artist worries if he will still be free tomorrow, then he will not be free today. If he is afraid of the consequences of his choice of subject or of his manner of treatment of it, then his choices will not be determined by his talent, but by fear. If we are not confident of our freedom, then we are not free.

And, even worse than that, when censorship intrudes on art, it becomes the subject; the art becomes censored art, and that is how the world sees and understands it. The censor labels the work immoral, or blasphemous, or pornographic, or controversial, and those words are forever hung like albatrosses around the necks of those cursed mariners, the censored works. The attack on the work does more than define the work; in a sense, for the general public, it becomes the work. For every reader of Lady Chatterleys Lover or Tropic of Capricorn, every viewer of Last Tango in Paris or A Clockwork Orange, there will be ten, a hundred, a thousand people who know those works as excessively filthy, or excessively violent, or both.

The assumption of guilt replaces the assumption of innocence. Why did that Indian Muslim artist have to paint that Hindu goddess in the nude? Couldnt he have respected her modesty? Why did that Russian writer have his hero fall in love with a nymphet? Couldnt he have chosen a legally acceptable age? Why did that British playwright depict a sexual assault in a Sikh temple, a gurdwara? Couldnt the same assault have been removed from holy ground? Why are artists so troublesome? Cant they just offer us beauty, morality, and a damn good story? Why do artists think, if they behave in this way, that we should be on their side? And the people all said sit down, sit down youre rocking the boat / And the devil will drag you under, with a soul so heavy youll never float / Sit down, sit down, sit down, sit down, sit down / Youre rocking the boat.

At its most effective, the censors lie actually succeeds in replacing the artists truth. That which is censored is thought to have deserved censorship. Boat-rocking is deplored.

Nor is this only so in the world of art. The Ministry of Truth in present-day China has successfully persuaded a very large part of the Chinese public that the heroes of Tiananmen Square were actually villains bent on the destruction of the nation. This is the final victory of the censor: When people, even people who know they are routinely lied to, cease to be able to imagine what is really the case.

Sometimes great, banned works defy the censors description and impose themselves on the worldUlysses, Lolita, the Arabian Nights. Sometimes great and brave artists defy the censors to create marvellous literature underground, as in the case of the samizdat literature of the Soviet Union, or to make subtle films that dodge the edge of the censors knife, as in the case of much contemporary Iranian and some Chinese cinema. You will even find people who will give you the argument that censorship is good for artists because it challenges their imagination. This is like arguing that if you cut a mans arms off you can praise him for learning to write with a pen held between his teeth. Censorship is not good for art, and it is even worse for artists themselves. The work of Ai Weiwei survives; the artist himself has an increasingly difficult life. The poet Ovid was banished to the Black Sea by a displeased Augustus Caesar, and spent the rest of his life in a little hellhole called Tomis, but the poetry of Ovid has outlived the Roman Empire. The poet Mandelstam died in one of Stalins labor camps, but the poetry of Mandelstam has outlived the Soviet Union. The poet Lorca was murdered in Spain, by Generalissimo Francos goons, but the poetry of Lorca has outlived the fascistic Falange. So perhaps we can argue that art is stronger than the censor, and perhaps it often is. Artists, however, are vulnerable.

In England last week, English PEN protested that the London Book Fair had invited only a bunch of official, State-approved writers from China while the voices of at least thirty-five writers jailed by the regime, including Nobel laureate Liu Xiaobo and the political dissident and poet Zhu Yufu, remained silent and ignored. In the United States, every year, religious zealots try to ban writers as disparate as Kurt Vonnegut and J. K. Rowling, an obvious advocate of sorcery and the black arts; to say nothing of poor, God-bothered Charles Darwin, against whom the advocates of intelligent design continue to march. I once wrote, and it still feels true, that the attacks on the theory of evolution in parts of the United States themselves go some way to disproving the theory, demonstrating that natural selection doesnt always work, or at least not in the Kansas area, and that human beings are capable of evolving backward, too, towards the Missing Link.

Even more serious is the growing acceptance of the dont-rock-the-boat response to those artists who do rock it, the growing agreement that censorship can be justified when certain interest groups, or genders, or faiths declare themselves affronted by a piece of work. Great art, or, lets just say, more modestly, original art is never created in the safe middle ground, but always at the edge. Originality is dangerous. It challenges, questions, overturns assumptions, unsettles moral codes, disrespects sacred cows or other such entities. It can be shocking, or ugly, or, to use the catch-all term so beloved of the tabloid press, controversial. And if we believe in liberty, if we want the air we breathe to remain plentiful and breathable, this is the art whose right to exist we must not only defend, but celebrate. Art is not entertainment. At its very best, its a revolution.

This piece is drawn from the Arthur Miller Freedom to Write Lecture given by Rushdie, on May 6th, as part of the PEN World Voices Festival.

Illustration by Matthew Hollister.

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On Censorship - The New Yorker

Wisconsin Gov. Scott Walker goes from censorship to killing state nature magazine – City Pages

The magazine feared no subject under Sperling. Its coverage included an array of contentious topics like shoreline development and climate change.

Natasha Kassulke succeeded Sperling. Lost in the transition was the magazine's license to cover all things water and earth.

DNR Secretary Cathy Stepp often meddled. Under Walker's handpicked cabinet member an article about state's endangered pine martens was killed. In 2015, a story on climate change and its impact on Wisconsin animals was kiboshed.

A search of the magazine's archives shows there hasn't been a story regarding climate change or global warming in the past three years.

Walker now wants to kill the publication once and for all.

His recently submitted budget has it ceasing publication in 2018. Cost savings of $300,000 annually and allowing the DNR to better focus on managing natural resources have been Walker's justifications for the move.

Since the magazine pays for operations and staff through subscriptions, some Badger State residents say Walker's logic is bunk. Anti-environmental politics is the culprit behind scotching the journal, they counter.

Kassulke worked at the magazine for about 15 years. She stepped down as editor last summer.

"When Walker's administration came in," she says, "I was required to show all stories, all text, all photos to the entire department leadership team for review. And through that process, I have several stories that were either edited [down], changed, or at times even killed."

In February, Kassulke's story about feedlots and drinking water was supposed to be included in a magazine insert. It still hasn't been published.

"My gut tells me [halting the magazine] is part of a continuing agenda to create a vacuum and black out information on very important environmental issues and an anti-science agenda," she says.

DNR spokesperson Jim Dick had repeatedly denied editorial content played a role in the decision.

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Wisconsin Gov. Scott Walker goes from censorship to killing state nature magazine - City Pages

Indian censorship board cuts the sex and swearing out of Moonlight – Digital Spy

It might be one of the leading Oscar contenders, but Indian audiences won't be seeing the full version of Moonlight.

Barry Jenkins's critically acclaimed coming-of-age drama follows three periods in the life of Chiron, a young, black, queer man growing up poor in Miami, and his journey has been heavily cut in India.

A document posted to Reddit shows that all swearing is out, with every instance of "bitch", "bitches", "motherf**ker" and "dick" muted, and two sex scenes have been cut entirely, including kissing between two men.

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The cuts total 53 seconds, but two minutes and 20 seconds of anti-smoking disclaimers have been added, with one appearing at the beginning and one in the middle of the movie, plus a "static message with scroll wherever smoking scene appears".

When we saw the full version of Moonlight, we described it as a "moving and visually beautiful film that speaks not only to gay or black audiences but to all of us".

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But will it be walking away with any awards at the Oscars on Sunday (February 26)?

Moonlight received eight nominations, including Best Picture, but was completely shut out at last week's BAFTA Film Awards, despite being nominated in four categories.

However, last night (February 19) saw it win at the Writers Guild Awards, which makes it a clear favourite to scoop Best Adapted Screenplay at the Oscars. And Moonlight's Mahershala Ali is widely expected to beat Lion's Dev Patel to Best Supporting Actor, despite Patel's BAFTA win.

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Find out if Moonlight manages to defy La La Land at the Oscars on Sunday night. Here's how you can watch it live in the UK.

Want up-to-the-minute entertainment news and features? Just hit 'Like' on our Digital Spy Facebook page and 'Follow' on our @digitalspy Twitter account and you're all set.

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Indian censorship board cuts the sex and swearing out of Moonlight - Digital Spy

A preview of self-censorship in the new political landscape – Minnesota Public Radio News (blog)

Over the next few months, therell be plenty of debate about the role of the government in funding public broadcasting.

The Trump administration reportedly has the Corporation for Public Broadcasting and a host of other cultural and arts organizations targeted for elimination.

Theres certainly a debate to be had over whether the government should provide financial assistance to a segment of the media it regulates and restricts how it can raise revenue. Theres no indication the administration nor Congress is interested in taking those restrictions off, a clear sign that the ultimate goal of politicians is to kill it.

But the New York Times media critic, Jim Rutenberg, has a cautionary tale of what can happen with a government that wants to control a message holds the money self-censorship; newsrooms that pull their punches because of the fear the government will cut the revenue.

When a Texas congressman took to the House floor to complain about the way the media has covered President Trump, a commentator for a San Antonio public TV station took notice.

Rick Casey wrote his commentary. The stations Facebook page promoted it with a nod to the upcoming broadcast.

And the stations CEO spiked it just before it was to go on the air.

When I caught up with Mr. Emerson this week he acknowledged making a mistake that should not tarnish a career spent mostly in broadcast news, starting in a $1.25-an-hour job as a cameraman. I had to make a decision in what was about 20 minutes, he said.

He acknowledged that clearly we always worry about funding for public television, but said that wasnt the principal reason for his decision to hold back the commentary. We have to protect the neutrality of the station somebody could have looked at it as slander, he said. The commentary label, he said, would take care of it.

Mr. Casey is satisfied with the result. But he acknowledged that it was a close call and that he was uniquely qualified to push back in a way others might not be. Im lucky to be in the position of being 70 years old, and not in the position of being 45, he said, meaning that job security was not the same issue. Theres no level of heroism here.

If you look at what David Brooks has said on the PBS NewsHour in his commentary with Mark Shields, hes been very forceful in his opposition to Trump, Casey told the San Antonio Express-News. So thats part of our brand, but its also part of our values. As a practical reality, if the Corporation for Public Broadcasting does lose its funding, Im too humble to think its because of a piece that I did down in San Antonio.

But the enemy of the American people is censorship, regardless of where the intimidation of an independent media originates.

Bob Collins has been with Minnesota Public Radio since 1992, emigrating to Minnesota from Massachusetts. He was senior editor of news in the 90s, ran MPRs political unit, created the MPR News regional website, invented the popular Select A Candidate, started the two most popular blogs in the history of MPR and every day laments that his Minnesota Fantasy Legislature project never caught on.

NewsCut is a blog featuring observations about the news. It provides a forum for an online discussion and debate about events that might not typically make the front page. NewsCut posts are not news stories but reflections , observations, and debate.

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A preview of self-censorship in the new political landscape - Minnesota Public Radio News (blog)

What Facebook and Instagram’s censorship of my Tillmans post … – The Guardian

Wolfgang Tillmans at the Tate Modern exhibition. When did this assumption that everyone has a right to never be offended take such precedence? Photograph: Guy Bell/REX/Shutterstock

I was delighted to attend the private view of Wolfgang Tillmans mid-career show 2017 at Tate Modern this week. An exhibition on an epic scale, it covers 14 rooms and nearly 25 years of his work. The photographs on display include portraiture, landscape and intimate still lifes. (You can read more about it in the Guardians review.)

I photographed quite a few of Tillmans pieces on my phone, including a huge close-up photograph of his friends backside and testicles. I posted a picture of this, along with others, to my Instagram account, and also shared it from there to Facebook.

Facebook didnt even upload my post. Instead I got an instant message saying: We removed the content that was posted because it doesnt follow the Facebook community guidelines.

Instagram is apparently a little more relaxed, as my post happily stayed up there all day yesterday. It got quite a few likes from my followers, most of whom I know personally, and who, I genuinely believe, were reacting to this as a depiction of an artwork in the context of Tillmans well-known practice.

However, towards the end of the afternoon one of my followers, someone I do not know in the real world, decided to let me know how upset she was: Not really happy this came up on my feed. In fact I find it downright offensive. Im so sick and tired of being bombarded with sexual imagery when there is so much more out there that is aesthetically and visually pleasing. Im so sorry but this is not art. Signed sincerely annoyed!!

I replied saying she could please feel free to unfollow me. A few hours later the post was removed from my feed. I didnt really have any problem with her comment: while I obviously did not agree with it, she is entitled to her opinion although I do question why she did not just simply unfollow me, if she did not want to see the images I post.

Had I had the energy, I could have entered into a lively debate on the role of art in challenging societal values and affecting social change, pointing out that this was an artwork by someone known for very personal responses to cultural attitudes about gender and sexuality in his practice; or perhaps how this piece engaged me with what I perceived as a very moving vulnerability; or maybe even that I found her use of an artists palette emoji while trying to communicate that this was not art quite frankly offensive in itself.

However, I was more surprised that Instagram saw fit to remove an image that was clearly of a work of art, in-situ, in a gallery. It is pictured in a frame, on a wall, and there are even reflections from the gallery lights on the glass. This points to an increasingly popular culture of the fear of offence, not only by corporations, whose very popularity and success lie in the dissemination of the visual image in many forms, but by the audiences of these pictures too.

While she didnt particularly 'want to see a ball sack on a wet Wednesday, hey-ho, that is equality'

As one person commented, we are bombarded every day with images of womens boobs and bottoms, and these arent all removed from Instagram. And while she didnt particularly want to see a ball sack on a wet Wednesday, hey-ho, that is equality. Another pointed out that as around half the population have them, he didnt see the problem with seeing some testicles on his feed.

As Ricky Gervais said in a Twitter post last year: Everyone has the right to be offended. Everyone has the right to offend. But no one has the right to never be offended.

When did this assumption that everyone has a right to never be offended take precedence? If people are indeed offended, is this not in fact the start of a dialogue where interesting, enlightening and necessary conversation may take place? Why should disagreement be treated as an opportunity to shut down any debate from the off?

But then, are we surprised at this growing culture of outrage when almost two thirds (63%) of university students believe the NUS is right to have a no platforming policy, which includes individual unions and student groups having the right to decide whom they ban from speaking?

This idea that we have some intrinsic right to be comfortable at all times makes me highly uncomfortable. And I am heartened by the fact that I am not the only one. Many people have been in touch with me to say that they cannot believe Instagram has removed my picture.

Interestingly, I took a screenshot of the original, deleted Instagram post and put it up on Facebook instead, where it has yet to be taken down. Perhaps someone out there is not afraid of a little healthy debate after all.

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What Facebook and Instagram's censorship of my Tillmans post ... - The Guardian

In Trump Era, Censorship May Start in the Newsroom – New York Times


New York Times
In Trump Era, Censorship May Start in the Newsroom
New York Times
Rick Casey, the host of a weekly public affairs program on a small television station in Texas, recently fashioned a stinging commentary on remarks by Representative Lamar Smith that was pulled shortly before it was to air. The station later reversed ...

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In Trump Era, Censorship May Start in the Newsroom - New York Times

ACLU calls Hogan Facebook policy ‘censorship’ – Baltimore Sun

The ACLU of Maryland contends Gov. Larry Hogan's deletion of Facebook comments is tantamount to censorship.

The civil rights organization sent the Republican governor a letter Friday outlining its legal argument that Hogan violated the First Amendment rights of his constituents when he deleted their comments from his official Facebook page and banned some people from posting.

The letter said Hogan's actions also violate the state's social media policy, and it asked the governor to reinstate seven ACLU clients who have been banned.

"If he does not, we'll take him to court," said Deborah Jeon, legal director of the American Civil Liberties Union.

Hogan's staff said in a statement they reinstated six out of the seven people, but could not find a Facebook profile for the seventh.

"We appreciate them identifying a handful of individuals out of the over 1 million weekly viewers of the page that may have been inadvertently denied access," Hogan spokeswoman Amelia Chasse said in a statement. "We have already reinstated these individuals, however we will be monitoring them closely for any profane, violent, racist, or inappropriate posts including political spamming attacks."

Chasse also said "the ACLU should be focusing on much more important activities than monitoring the governor's Facebook page."

Since he took office two years ago, Hogan has banned 450 people from leaving comments on his social media page, aides estimated. Scores were recently banned after Hogan's page was bombarded with requests to take a position on Republican President Donald J. Trump's controversial travel ban that barred immigrants from seven predominately Muslim countries from entering the United States.

Hogan spokesman Doug Mayer has said that the press staff considers such efforts "spam" and that they have a responsibility to curate the conversation online.

"We've had to remove and prevent coordinated political spam attacks from infiltrating and hijacking the page," Mayer said when the controversy surfaced two weeks ago. "We have an obligation to the 146,000 people who likes the governor's page to keep the conversation fresh, appropriate, and on topic."

Hogan has not taken a position on the travel ban, and bristled at requests for him to make comments about the Trump administration. The governor did not support Trump as a candidate.

In their letter, the ACLU contend Hogan appeared to have blocked their clients "seemingly because you did not wish to address their questions on various issues or respond to their concerns about your silence in the face of violations of civil rights and liberties by President Donald Trump and his administration."

Several other local politicians also ban posters on their Facebook page, according to The Washington Post, but do not exclude as many as the Hogan administration.

The Maryland Democratic Party and the government accountability group Common Cause have also criticized the governor for silencing constituents on Facebook.

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ACLU calls Hogan Facebook policy 'censorship' - Baltimore Sun

How BBC Persian is using Instagram and Telegram to get around Iranian censorship – Nieman Journalism Lab at Harvard

Last month, a fire tore through an iconic Tehran high-rise building, killing more than 20 firefighters and injuring another 70 people as it collapsed.

The fire made international headlines, but it was a particularly important story for BBC Persian, the British broadcasters Persian-language service that targets Farsi speakers in Iran and neighboring countries.

Covering the story, however, presented a challenge: The Iranian government doesnt permit BBC Persian reporters in the country, and official news agencies are often not reliable.

So BBC Persian turned to a different source: Telegram, the most popular messaging app in Iran. (Its estimated that more than a quarter of all Iranians are on Telegram.) BBC Persian has more than 713,000 followers on its channel, but it also has a profile where users can get in touch with BBC Persian. After news of the fire broke, it asked its followers to share photos and videos of the fire.

Thats the main source of newsgathering at the moment for us, BBC Persian multimedia editor Leyla Khodabakhshi told me from London. The only way we could basically understand what is going on inside the country and get access to pictures was to put a call to action on different platforms and then receiving the UGC via our Telegram, she said, adding that lots of news agencies inside Iran have close ties to different political groups in the country, so you cant rely on what youre getting from the news agencies that are operating inside the country. We have to always crosscheck what we are receiving. Thats by putting different agencies together, but also to compare them to what were receiving from user-generated content as well.

The Iranian Internet is heavily censored. Facebook, Twitter, and most major social platforms are blocked. BBC Persians website is blocked (and its TV broadcasts are routinely censored as well). Even though Iranians regularly use VPNs to circumvent government censorship, BBC Persian has turned to platforms such as Telegram that are permissible in the country in order to conduct reporting and promote its coverage to a wide audience of Iranians.

This is a social circumvention strategy rather than a social media strategy, Khodabakhshi said.

BBC Persians other main platform in Iran is on Instagram, which is the rare social network that is permitted in the country.

BBC Persian has significant followings on Facebook and Twitter, but it recently surpassed 1 million followers on Instagram, where its audience tends to skew female, Khodabakhshi said.

Our strategy on Instagram is partly based on community building. Its where we try to engage women to debate news on our page, she said. Its not very straightforward, because its not a platform that is built for this type of debating or conversation, but it works for BBC Persian.

There are, of course, limitations built into Instagram, though (its difficult to share links, for instance), and thats why the Iranian government has decided at least for now not to block it, said Emad Khazraee, a professor at Kent State University who has studied social media and news consumption in Iran.

I believe the Iranian government consciously left Instagram open because the affordances of Instagram are very limited, Khazraee said. You had a hard time to use it for social activism. They then herd them to one platform by letting it be accessible while blocking the other ones. Within Facebook, you have features, like organizing groups and having private groups, that you can manage to organize protests.

BBC Persian puts most of its major stories on Instagram, Khodabakhshi said. And the account covers a wide range of stories from Playboys decision this week to bring back nude images to Austrias ban on full-face veils. It also uses Instagram to repurpose and promote BBC Persian television programs.

But because of the restrictions of the Telegram and Instagram platforms along with Iranian censorship driving users back to the BBCs own platform isnt necessarily a priority. Instead, Khodabakhshi said BBC Persians goal was to make as much information readily available as possible.

After President Donald Trump last month issued his executive order banning citizens of seven majority-Muslim countries including Iran BBC Persian went to work explaining the ban and its implications on each of its main platforms.

We had to put the news in bullet points and push them on Telegram so people knew what is the latest and how Iranians are affected by this executive order, Khodabakhshi said. BBC Persian also visualized it and post it on Instagram without necessarily thinking that we need to have a referral back to our website, even though we have a detailed explainer on our website. Thats how it works in BBC Persian. We have to serve the audience.

Messaging apps are popular among Iranians because they offer more privacy than more traditional social networks, Khazraee said. (But Telegram and other apps are still vulnerable.)

The beauty of messaging apps is that there is no API that you can go get user information from the system, he said. The max you might be able to do is to crawl all messages that are sent through a channel that is public, but you cant get much information about who is using these channels. This is hard for us as researchers because its extremely hard to study this environment, but its extremely effective in terms of preserving users privacy.

BBC Persian approaches Telegram slightly differently than Instagram and other social platforms. Though it shares video and other features on Telegram, the apps chat interface helps BBC Persian view Telegram primarily as a breaking news tool, Khodabakhshi said. It sends about 20 messages per day.

When stories break, itll post news on Telegram and then also solicit comments and user-generated content as well, taking advantage of the less-public nature of the apps.

We have received hundreds of messages on Telegram about people who have been trapped somewhere, Iranians who have been traveling, those who were really concerned about the impact of the executive order on their lives. It has helped us give a more human personal flavor to our coverage. Not only for BBC Persian, but for the wider BBC as well.

Ultimately, Khodabakhshi said BBC Persian is committed to publishing online to reach audiences in Iran, and it will continue to adapt as platforms and access changes in the country.

We have always had to have contingency plans, Plan Bs, she said. If they shut down this platform, if they filter this platform if they block Telegram, for example, all together, what would be our Plan B? Were basically all the time on our toes.

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How BBC Persian is using Instagram and Telegram to get around Iranian censorship - Nieman Journalism Lab at Harvard