Monthly Archives: March 2022

MADISON, Wis. (WJHL) After a national organization filed to remove three crosses erected on Elizabethton city land, local residents were left with several questions as to the origin of the group and why they chose their town.

So what, exactly, is the Freedom From Religion Foundation?

In the organizations own words, [t]he Freedom From Religion Foundation (FFRF) works as an umbrella for those who are free from religion and are committed to the cherished principle of separation of state and church.

That separation was initially accepted in 1791 with the state ratification of the United States Bill of Rights, stating in its first amendment to the Constitution that Congress shall make no law respecting an establishment of religion, or prohibiting the free exercise thereof[.]

This addition, alongside those protecting freedom of speech, assembly and petition, was set down as a cornerstone to American law, civics and daily life. For the FFRF, their outlined goal is to enforce the first clause of the First Amendment: which for them means pursuing freedom of and from religion.

The Wisconsin non-profit was incorporated as Freedom From Religion Foundation, Inc. in 1978 and is now helmed by married public atheist figures Dan Barker and Annie Laurie Gaylor.

Gaylor has served as FFRFs co-president since 2004 after an activist career for feminist causes since she was 14 years old, the FFRF says. Gaylor spent three decades on the board of the Womens Medical Fund, a Wisconsin nonprofit that says it provides financial assistance to people in Wisconsin who need abortions and cannot afford the full cost.

Barker preached for 19 years, according to his site bio, before leaving the ministry and publicly announcing his atheism. Barker has spoken on national television programs multiple times, including The Daily Show, The Oprah Winfrey Show and Good Morning America. Barker has also written several books on atheism in America and hosted debates on college campuses.

The organization itself touts several court victories in First Amendment cases, including removing mandatory school prayers, preventing the use of public funds for religious organizations and removing religious imagery from government buildings.

Currently, FFRF is suing Arkansas Secretary of State Mark Martin, the City of Parkersburg, W.Va., and Texas Governor Greg Abbott among others.

The Tri-Cities have become acquainted with the organization after it renewed calls to remove three crosses from city property in Elizabethton. The complaint originated in 2018 when the FFRF says a resident in the area brought it to the organizations attention.

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What is the Freedom From Religion Foundation? - WJHL-TV News Channel 11

Dr. Richard Kurin

Ambassador at Large, Smithsonian Institution

Seeing the images of Ukrainians sheltered in Kyivs subway and singing their national anthem and folk songs through the perilous night, watching a harried mother comfort her frightened child with a lullaby, and hearing the mournful prayer for Ukraine by New Yorks Chorus Dumka that opened Saturday Night Live speaks to the role music plays in our social life. In times of strife, music gives people courage and comfort, helps us mourn and lament lossand offers us hope for the future.

The Russian invasion of Ukraine and the brutality inflicted upon its people and society jars our current sensibilities. It seems like a throwback to a mindset we thought well behind uslong overcome by changes beginning in the mid-1980s, leading to the independence movements that swept throughout eastern Europe and resulted in the dissolution of the Soviet Union in 1991.

Thinking back to those times, a poignant program in 1990organized by the Smithsonians Center for Folklife and Cultural Heritage with Soviet and Ukrainian colleagues in Kyivtoday takes on added resonance.

Our program grew from the reformist agenda of Mikhail Gorbachev, who led the Soviet Union in the mid-1980s. Gorbachev introduced policies of perestroikathe restructuring of their anemic economy and glasnost, or openness to communication and interactiondomestically and internationally. His ministers reached out to the Smithsonian Institution to develop cooperative cultural initiatives. As a result, folk artists from numerous regions of the Soviet Union came to the National Mall in Washington, D.C., to perform at the 1988 Smithsonian Folklife Festival, and recordings from Melodiya Records were used for the first new release from Smithsonian Folkways Recordings, following the institutions acquisition of the Folkways collection.

Reciprocally, the Smithsonian organized a diverse group of community-based folk artists to participate in a Moscow festival later that summer, as well as subsequent meetings in Washington, Moscow and Kyiv to plan ongoing research and public programs.

In May 1990, we traveled to Ukraine to participate in the second International Folklore Festival and a scholarly symposium on folklore in the contemporary world. Our musical contingent consisted of Alison Krauss and her Union Station band, Tejano legend Santiago Jimmy Jimenez Jr. y su conjunto Jessie Castillo, Philadelphia tap dancer LaVaughn Robinson, New Orleanss Young Tuxedo Brass Band, and a group of Native Hawaiian hula dancers and chanters from Halau O Kekuhi. Scholars included Mark Slobin, Margarita Mazo, Bill Knoll, Richard Dauenhauerand Ruth Thomasian who studied a broad diversity of cultural traditions found in the Soviet Union. National Council for the Traditional Arts director Joe Wilson, the Centers deputy director Rich Kennedy, sound engineer Pete Reiniger, translator Stu Detmerand I rounded out the group.

Like our visit to Moscow two years earlier, we sought to represent American culture not as some unitary, choreographed and top-down product, but rather as a diversity of traditions dynamically and creatively carried forward by community-based cultural exemplars. Our viewthat folklife and culture belonged to the people and was an exercise of their expressive freedomwas in basic contrast with just about all Soviet officials and most, but not all, of their scholarly colleagues. The Soviets saw culture as something controlled and organized by the state, where groups and performances of fictionalized communities were to be costumed and scripted to present themes advancing government interests.

We battled philosophically over these ideas for several years, and that came to a head in Ukraines capital city.

Our group arrived in Kyiv just four years after the Chernobyl nuclear plant disaster. Ukrainians were worried about contamination of their food, water, air and even leaves on the trees. We were put in a downtown hotel and given a tight schedule over which we had no input. Staff and scholars were instructed to eat separately from artists, but we dined together.

The American scholars came prepared to give substantive presentations, to discuss and debate ideas. Instead, the symposium was a staid, uninspired affair, with no attempt to grapple with the relationship between cultural expression and social, economic and political issuesthen a hot topic around the planet. Some of our Russian and Ukrainian colleagues told us not to be so upset or surprised, as that was often the case. Authorities simply did not want real discussion, and we just needed to go along with that.

We found the same Soviet orchestration of the festival. It offered an opening parade of national and Soviet republic delegations through Kyivs main thoroughfare.

With the Young Tuxedo Brass Band leading our group blasting out second-line jazz, we were well-received on the streets by Kyiv residents. But when we entered the stadium, we were met with blaring music, grandiose and formulaic speeches, and bizarrely irrelevant performances. We were props in a spectacle broadcast to huge Soviet television audiences.

The organizers banned the display of flagsas they were afraid the Ukrainians and three Baltic delegations would show their national rather than communist flags. At the time, all were pursuing their own independence from the Soviet Union and indeed subtly using their folkloric costumes and song selections to express that effort. Not so subtly, their flags defiantly came out.

In the days that followed, our American group was directed to offerabbreviated performances on stages in out-of-the-way places, with no context and no real audiences. The organizers werent interested in what bluegrass or conjunto had to say, or what tap or jazz revealed about African American culture or hula illustrated about the Native Hawaiian experience. They didnt seem to care whether Ukrainian audiences were exposed to traditions largely unknown to them, or whether anyone learned anything from, or was inspired by, performances, or got an inkling about the lives of the artists. It seemed clear that our presence was being used to legitimize the authority and grandeur of the Soviet state.

After a few frustrating days in Kyiv, we were bussed several hours south to the small town of Kaniv on the shores of the Dnieper River. There, as we stopped for a break in the center of town, our ministerial minder said we would then be driven to a retreat ten miles further out of town to perform for other folklore groups from Finland, Latvia and Ukraine.

This seemed silly to us. We were in the center of a town. There were people all around us. Why not just perform thereto local people rather than to other festival performers?

So the Young Tuxedos took out their instruments and started playing on a street corner. Alison Krauss and Alison Brown then picked up their instruments and started playing and singing. Santiagos conjunto duo followed. We attracted a big crowd. People were surprised but obviously pleasedthey had never seen or heard anything like it. We talked briefly about who we were and passed out materials we had translated with information about the traditions and artists. This was our version of glasnost.

We went on to the retreat where the Hawaiians led by Nalani and Pualani Kanakaole gave a truly magical, stunning performance. Then Alison Krauss and Union Station got everyone dancing to an energetic bluegrass tune. The Ukrainians, Finns, Latvians and Americans all joined together, bringing their various dance movements into joyous rhythm. The effervescent moment gave us hope that music could indeed bridge cultural differences.

Back in Kyiv, our approach continued. We explained that we wanted to perform for and be among the people. The Soviet organizers said they understood, but the next day they sent us to perform at an indoor hall in the midst of a coin show where the numismatists were engaged in their own activities. We were dispirited, but then Big Al Carson from New Orleans pointed to tall apartment buildings across the way and rallied us: Lets march through the projects, he proposed.

The Young Tuxedos started playing and led the way as our group followed. People from the apartments looked out their windows and came out onto their balconies, somewhat bewildered. Detmer, our translator, yelled over and over, Privyethey, listen up! Here are the Americans! Hundreds came out. People cheered and clapped. They tossed us flowers. Some even tossed money. It was a wonderful, direct engagement with local Ukrainians, and we were showered with appreciation.

This anti-performance set our tone. Instead of going to silly festival venues, the Young Tuxedo musicians set up their instruments on the sidewalk in front of the hotel and started an impromptu set with Union Station. Passersby stopped for conjunto music and more jazz. LeVaughn and Stu handed out programs; Jimmy signed autographs. Crowds grew, spilling over Kyivs main boulevard and sometimes stopping traffic on Khreshchatyk Street.

Ukrainians, young and old, intrigued and curious, gathered, moved to the music, asked questions, and sought conversations. This became our modus operandi: holding concerts on the sidewalk steps away from the citys central square.

The next day we visited the Leninska Kuznya Shipyard. Managers wanted us to perform in a small social hall for a select group. We did, but then took our performances out onto the factory floor, doing hula among the heavy machinery, belting out New Orleans tunes along the assembly line, again to surprised but appreciative workers.

The experience for us in Kyiv, in the Ukraine, with local people and with Soviet officials and festival organizers, was instructive. We felt the heavy hand of distant, passionless Soviet-style state control.

But we found the space to exercise our artistic freedom, to sing our songs, not for some aggrandizement of the state, but for engagement with locals. And that engagement was rewarded with smiles and applause, with people joining in dances, and enjoying our obvious display of freedom. Indeed, freedom was in the airthe Berlin Wall had fallen just months before; the Ukrainians were to declare their independence months later; the Baltics, which had been waging their Singing Revolution, reclaimed their nationhood. By the end of 1991, the Soviet Union was no more.

Now, some three decades later, many in Ukraine and around the world worry about that freedom and independence, declared as it was on Kyivs central city squareadjacent to where we performed our hotel sidewalk concerts. The people of Ukraine, their culture, and their freedom to express and exercise it have become a target of warand bombs are now falling on that very spot.

We can only hope for the day when people will be able, once again, to take out their instruments and freely sing on the streets of Kyiv.

The musicians in the American group enjoyed amazing careers. Santiago Jimenez Jr. was awarded a National Medal of the Arts.Alison Krauss, who as an individual artist and with Union Station and others has won 27 Grammy Awards. Alison Brown also earned a solo Grammy and other awards. LaVaughn Robinson and the Kanakaole sisters, Nalani and Pualani, were designated National Heritage Fellows by the National Endowment for the Arts. The Young Tuxedo Brass Band has performed numerous times over the decades at the Smithsonian Folklife Festival as well as venues ranging from hometown New Orleans to the White House.

We asked performers and other staff about their memories of their trip.

Nalani KanakaoleArtistic director, Kumu Halau O Kekuhi

The visit to Ukraine is on my top five experiences as a performerjust as high as going to Halemaumau to make offerings. I guess in Kyiv our group was eclectic. Trying to fit the bass, let alone three Hawaiians into the tiny European elevator was fun. We were put with the Latvians, Estoniansand Lithuanians. It was like the Soviets did not want to deal with us.The Cubanos had better treatment. Our big performance was ninety miles outside Kyiv, close to Poland. We were told it was a major trail crossingI imagined of the Marco Polo varietyand we had little audience.We played for the unseen, but the feeling was overwhelming, like there were thousands. That was a best, as its like in the hula the gods came to view it.

The whole Moscow-Kyiv experience was such an education in ornate perceived imagery. They were still waiting in line at the stores even for soap. Where I saw any kind of hope would have been at their Orthodox churches, I guess because there were older women who maintained the church and grounds who were friendly, vocal. But they were like the face of the community.

Pualani KanaheleDirector, Edith Kanakaole Foundation

While going to one of the towns to perform, we were stopped by an official looking group of people as we entered a bridge. There was a greeting protocol which was very impressive. A gentleman gave a speech. A young lady held a loaf of freshly baked bread with rock salt on it, on top of a beautiful long cloth that looked like freshly woven linen, which is made from flax. I wondered at the significance of the fresh bread, the rock salt and the beautifully designed cloth. Im sure it was explained but I didnt understand.We have cultural protocols here in Hawaii, so I wondered about the different things being offered.

At a street fair, I bought one of those cloths they used in the protocol. I still have it and am proud of it. I was thrilled that the material was handmade linen, and the design is beautiful.

Ruth ThomasianFounder and president, Project SAVE Armenian Photograph Archive

The Smithsonian and the USSR Ministry of Culture planned meetings of American and Soviet folklife scholars. These scholars would set standards for a cooperative exchange study of cultures that exist in both the Soviet Union and the United States. I was wondering how that concept would be played out in the Soviet Union, where the government made every effort to erase ethnic identity. I was even amazed that the Soviets allowed Ukrainians to hold their folk festival. Actually, that was one of the highlights of the tripbeing able to meet and greet the people out in the open: the little kids mimicking the dancers, old ladies with hands full of flowers to present to us, and folks asking musicians and dancers to autograph their programs.

Mark SlobinEthnomusicologist, professor emeritus, Wesleyan University

I would just like to add a personal epilogue that involves the legendary songwriter and entertainer Tom Lehrer, of all people. Tom used to teach the winter quarter at University of California-Santa Cruz, training a novice class in how to put on a musical. My wife was on the faculty there, and we used to run into Tom and chat. I told him about our trip and mentioned Richard Kurins cheeky response to our Soviet handler, Liudmilla. She was always in a nervous state and trying to manage us, unsuccessfully, and Richard kept saying, Lighten up, Liudmilla. Tom said that would make a great song. He grabbed a yellow pad and scribbled a text, humming a tune to go with it. What an addition to the Lehrer repertoire.

Alas, when we moved back East from Santa Cruz, that piece of paper got lost, and when I asked Tom later for the tune, he didnt remember it. So, it goes into the annals of lost legends. But the trip stays bright and clear in my mind, and Im so glad I took the home movie footage that can anchor the official story of the expedition.

Rich KennedyFormer deputy director, Center for Folklife and Cultural Heritage

I have some vivid memories of looking for food for the performers. This was in 1990, just before the dissolution of the Soviet Union. There were empty shelves everywhere.I remember looking down from my hotel window on Kyivs main square full of peopleprotestors?Independencewas soon to come.

Pete ReinigerFormer technical director and sound production supervisor, Smithsonian

In a performance at a hall which was hosting a coin collection exhibition, I needed to access a control booth where the built-in sound system was located. The house technician arrived and took me up to the booth which had only small projection windows to see and hear through, but we prevailed. When we arrived at the booth, the young technician asked me to share a beer with him. I remarked that it was 11:30 a.m. and pretty early for me to drink a beer, but soon realized that it would be a mistake to not engage in this social encounter and risk offending him on many levels.

After splitting the beer in two glasses, he proceeded to tell me that there were two things he wanted me to understand. First, Chernobyl was radioactive, but Kyiv was not. I said I understood, hoping it was true. And second, he was Ukrainian, not Russian. I confirmed that I understood that as well. Obviously, he exemplified tremendous national pride and resentment toward the Russians at that pre-independence time. I was glad I made the decision to share the beer. Certainly my most vivid memory.

A version of this article was previously published in the online magazine of the Smithsonian's Center for Folkllife and Cultural Heritage.

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The Music and Freedom We Experienced on the Streets of Kyiv - Smithsonian Magazine

On the evening of March 14 a journalist named Marina Ovsiannikova interrupted the main Russian TV newscast by holding up a sign opposing the war in Ukraine.

"No to war. Do not believe the propaganda. Here you are being lied to," read the poster she held up for a few seconds behind the presenter's back before the live feed was cut.

The scene went viral on social media and was reported on television stations around the world.

Ovsiannikova instantly became one of the faces of domestic resistance against an autocratic regime that uses lies and repression to keep its population in ignorance about what is happening in Ukraine.

The journalist knew the risks she was running. She did not care.

Her gesture may seem ridiculously small. But, in fact, it was an act of courage that has universal significance.

Ovsiannikova publicly testified that there is no truth without a commitment to freedom or without taking risks.

There is no authentically human life without personal involvement, without giving of oneself when fundamental values are threatened.

A few words hastily brandished on a television screen will not be enough to end the war. But they can elicit the will to act, which has remained buried or repressed until now.

They can restore confidence so that people can commit themselves, in turn, to the resistance to barbarism.

They can stimulate the courage of men and women who need to know that they are not alone in carrying the dream of a world of justice and peace, of truth and freedom.

As Pope Francis likes to repeat, "We are not saved alone."

Deep down, this is what Marina Ovsiannikova's few, hastily written words also tell us.

They are words that invite us to risk our own freedom with and for others.

Dominique Greiner is a senior editor at La Croix, as well as a moral theologian and Assumptionist priest.

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The courage and risk of freedom - La Croix International

American freedom is slipping away.

To save it from completely vanishing under the obsessed Democratic Party, anti-woke entrepreneur, philanthropist, and national political leader Harrison Rogers is staging the Freedom Fight Night pay-per-view (PPV) on Sat., March 19, 2022 inside Miami Airport Convention Center in Miami, Florida.

Thats where former UFC light heavyweight champions Quinton Jackson and Tito Ortiz will lead two teams of freedom fighters into battle. Early bird buyers can order the live stream for just $12.95 on CloutHub. In addition, tickets starting at $100 are available at the same link, along with select VIP packages up to $50,000.

Hey, freedom aint cheap!

That may explain why the newly-created Freedom Key Society (FKS) will release 100 Freedom Fight Night NFTs at $1,000 per key, though to be honest, if youre in Miami and have $1,000 to burn you may want to consider the $1,000 Beef Case at Papi Steak, which could generate far more street cred for your next Instagram flex.

As for the actual fights, heres what viewers (and attendees) have in store:

155 lbs.: Alejandro Pato Martinez vs. Piankhi Zimmerman (13-4-1)155 lbs.: Ivey Nixon (5-2) vs. Arthur Walcott-Ceesay (4-3)135 lbs.: Montseratt Rendon (3-0) vs. Claudia Zamora (3-2)145 lbs.: Demetri Miller (2-1) vs. Timothy Cuamba (3-1)155 lbs.: Shaheen Santana (6-2) vs. Usman Bisultanov (6-4)135 lbs.: Amun Cosme (3-0) vs. David Dzasokhov (2-0)185 lbs.: Luis Hernandez (2-0) vs. Luis Conde Navarro (2-2)205 lbs.: Dan Spohn (18-8-1) vs. Evan Need (11-8)

Fighters on the left are Team Rampage, fighters on the right are Team Ortiz.

Now were fighting back, literally, starting our own Freedom Fight Night for the first time ever, where we not only gain insight on the current political landscape, but the current political figures who can speak on it firsthand, former UFC heavyweight champion Frank Mir said. You also get to watch two incredible MMA teams go for the first Freedom Championship Belt.

Mir is a supporting spokesperson and like Jackson and Ortiz, will not be competing.

All proceeds from this event will go to support initiatives in the fight against mandates and to defend our freedoms in the 2022 elections, Mir continued. When we fight together, there isnt a force in the world that could take our freedoms away from us. UFC legends are joining Americas conservative leaders for the first ever Freedom Fight Night. Were literally going to fight to make sure Americas freedoms are never seized again.

The Freedom Key Society is not a charity or political action committee (PAC) but rather a private entity that will not be restricted within the government controls or regulations. Rogers insists FKS will not be for profit and will arrange quarterly meetings for transparency on income, expenses, and investments.

No doubt the Democrats are shaking in their boots.

Visit link:

Freedom Fight Night: Rampage Jackson and Tito Ortiz go head-to-head to save America from inept White House - MMA Mania

A defiant young woman imprisoned in a perspex cube no longer wants to be called Antigone. Darren Murphys new adaptation of the Greek tragedy seems similarly ambivalent about its origins, as if unsure whether to shrug off the original entirely. In his reduced version, subtitled after Sophocles, the city of Thebes has been ravaged by a dangerous virus. During this state of emergency, Xntigone (Eloise Stevenson) has joined a resistance movement against her uncle Creons government. About to proclaim Freedom Day, Creon (Michael James Ford) promises to release her if she denounces her dead brother as a traitor.

Emma Jordans sleek production for Belfasts Prime Cut and the Mac has a futuristic edge, with Ciaran Bagnalls design suggesting an art gallery where seductive technology enables new forms of surveillance and control. In an intense confrontation between uncle and niece, each accuses the other of weaponising the virus. Bristling with references to culture wars, including plans to destroy statues of dead statesmen, intergenerational conflict is the central theme here, powerfully portrayed. Xntigones disgust at Creons cynicism is expressed in Stevensons physical revulsion, while Fords tone is smoothly supercilious, mocking her new playground name.

Amid the focus on political spin, the central drama of conscience drifts far out of sight through over complication. Issues are piled on, from biological warfare to corruption, with the Oedipus family backstory adding layers of murkiness. Threatening to release a lethal new strain of the virus, Xntigone says: Sometimes you need to destroy the world because the world is broken. It is a nihilistic credo, bleakly shifting the moral balance of the plays arguments, so that the only choices left are between different degrees of destructiveness.

Read more here:

Xntigone review culture wars rage before Freedom Day in Thebes - The Guardian

When making governmental decisions for all Idahoans, our legislators should be able to trust that the information shared by any lobbying group or institution is based in fact, and buttressed by substantive, credible evidence. Opinions are fine, but they should be portrayed as such, and not conflated to appear as fact.

As educators, we feel that citing legitimate sources is fundamental to providing quality research for busy legislators as they debate and develop policies that affect the entire state. And when we find that is not happening, we feel it is imperative that Idahoans know.

In its paper titled, Critical Social Justice in Idaho K-12 Education, the Idaho Freedom Foundation has failed miserably in providing factual information. In fact, their research methodology is so shoddy, it wouldnt pass the basic research requirements of an eighth grade English class.

In sticking with the IFFs tradition of grading legislators, weve done the same for the IFF and their Research team.

Using Primary Sources Correctly: Grade F

Websites such as Buzz Feed and Kootenai County GOP are not primary sources. Buzz Feed being better known for celebrity gossip, and GOP op-eds are not a research source.

Using Vetted Named Sources: Grade F

IFF is utilizing Unnamed sources in allegations about school districts and other public entities. When making allegations, such as they have, it is imperative to provide proven examples and sources transparently and appropriately.

For Example:

Whistle-blower teachers in Blaine County shared the training materials with Parents Defending Education, revealing that the training includes implicit bias, microaggressions.

Using Credited Data: Grade F

Using data required and collected by the federal government to attack school districts as part of a slanted and biased agenda.

For Example:

Nampa School District collects highly sensitive and extremely personal data on childrens lives (including race, ethnicity, income level, discipline records, grades, test scores, disabilities, mental health, medical history, counseling records.)

Using Independent Sources: Grade F

Citing a lobbying group as an independent source to further their incendiary rhetoric.

For Example:

Districts across Idaho, including West Ada, Pocatello-Chubbuck, and Coeur dAlene, teach kids that parents are roadblocks to their goals, white children are privileged, and they should protest for antiracist political causes such as Black Lives Matter. (Utah Parents United 2021).

In another example they cite their own Vice President as a source. Meridian Middle School pressures teachers to judge students by the color of their skin. (Hurst 2021) This is quoted from IFF Vice President Dustin Hursts personal tweet.

Using Bullying Tactics to Sway Decisions: Grade A

The IFF researchers do get an A for deliberately choosing inflammatory, hyperbolic rhetoric while making unfounded accusations.

For Example:

Progressive advocacy groups have succeeded in establishing a statewide framework to ensure children from cradle to college are inundated with radical gender ideology. However, these progressive triumphs are still not enough for sexual revolutionists. (Not true, not verified, but plenty fanciful)

Sometimes school districts quietly adopt APP curriculum, sometimes they quietly allow alternative sex education advocacy groups into the schools to offer programs. There is no transparency, so it is impossible to know what any individual school district is doing. (Nonsensical, untrue, unsupported by factual evidence or research.)

Citing Sources and Bibliography Grade D

Formatting their sources in footnotes or end notes so they can be easily accessed and readily cross checked, rather than having to transfer to another site, which does not help with transparency.

Overall Grade: F

For poor research techniques, cherry picking information, citing opinion-based web sites as credible sources, misleading legislators and others with inflammatory rhetoric, multiple prevarications, demonizing anyone not slavishly adhering to their radical viewpoints, engaging in childish name calling, pushing to overturn sections of the Idaho and U.S. Constitutions to support their personal agenda, and seeking and accepting public federal tax dollars (which they publicly eschew) to support theiranti-public education and anti-government views.

It is clear that the IFF and their researchers cannot be trusted as a credible source that legislators can rely upon to receive fact-based, substantive information. It is also clear that the legislature should not give credence to any reports or information that the IFF provides them when making decisions that affect all Idahoans.

All legislative decisions should be formulated based on what is best for constituents and not on behalf of a radical lobbying group that only cares about advancing its own distorted agenda.

Excerpt from:

The Idaho Freedom Foundation has failed to provide factual information - Idaho EdNews

Pristina 17-18 March 2022: The joint European Union and Council of Europe action on Freedom of Expression and Freedom of the Media (JUFREX) in co-operation with Academy of Justice organised a two- day roundtable with judges, prosecutors, and lawyers on Freedom of Expression: defamation and protection of reputation and safety of journalists.

Detailed presentations on European Court of Human Rights (ECtHR) jurisprudence and various domestic court decisions elaborated by a combination of local and international experts fostered in-depth discussions among all participants.

Strategic litigation against public participation (SLAPP) lawsuits, the role of media (self)regulatory authorities in relation to the protection of reputation, the ECtHR standards for the protection of journalists and the domestic legal framework and judicial cases of violence against journalists were comprehensively discussed.

A specific case study on the application of international standards in the field of freedom of expression was also presented and argued during the second day of the event.

This event is conducted in the framework of the Horizontal Facility for the Western Balkans and Turkey II, a co-operation initiative co-funded by the European Union and the Council of a Union acquis in the framework of the enlargement process, where relevant.

Find more about JUFREX: https://bit.ly/2QtZrT6

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Roundtable with judges and prosecutors Freedom of Expression: defamation and protection of reputation and safety of journalists - Council of Europe