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“The staff of Project Censored presents their annual compilation of the previous year’s 25 stories most overlooked by the mainstream media along with essays about censorship and its consequences. The stories include an 813% rise in hate and anti-government groups since 2008, human rights violations by the US Border Patrol, and Israeli doctors injecting Ethiopian immigrants with birth control without their consent. Other stories focus on the environment, like the effects of fracking and Monsantos GMO seeds. The writers point out misinformation and outright deception in the media, including CNN relegating factual accounts to the “opinion” section and the whitewashing of Margaret Thatcher’s career following her death in 2013, unlike Hugo Chavez, who was routinely disparaged in the coverage following his death. One essay deals with the proliferation of “Junk Food News,” in which “CNN and Fox News devoted more time to ‘Gangnam Style’ than the renewal of Uganda’s ‘Kill the Gays’ law.” Another explains common media manipulation tactics and outlines practices to becoming a more engaged, free-thinking news consumer or even citizen journalist. Rob Williams remarks on Hollywood’s “deep and abiding role as a popular propaganda provider” via Argo and Zero Dark Thirty. An expose on working conditions in Chinese Apple factories is brutal yet essential reading. This book is evident of Project Censored’s profoundly important work in educating readers on current events and the skills needed to be a critical thinker.” -Publisher’s Weekly said about Censored 2014 (Oct.)
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Buy it, read it, act on it. Our future depends on the knowledge this col-lection of suppressed stories allows us.” —San Diego Review
“At a time when the need for independent journalism and for media outlets unaffiliated with and untainted by the government and corporate sponsors is greater than ever, Project Censored has created a context for reporting the complete truths in all matters that matter. . . . It is therefore left to us to find sources for information we can trust. . . . It is in this task that we are fortunate to have an ally like Project Cen-sored.” —Dahr Jamail
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“Project Censored interrogates the present in the same way that Oliver Stone and I tried to interrogate the past in our Untold History of the United States. It not only shines a penetrating light on the American Empire and all its deadly, destructive, and deceitful actions, it does so at a time when the Obama administration is mounting a fierce effort to silence truth-tellers and whistleblowers. Project Censored provides the kind of fearless and honest journalism we so desperately need in these dangerous times.” —Peter Kuznick, professor of history, American University, and coauthor, with Oliver Stone, of The Untold History of the United States
“Most journalists in the United States believe the press here is free. That grand illusion only helps obscure the fact that, by and large, the US corporate press does not report what’s really going on, while tuning out, or laughing off, all those who try to do just that. Americans–now more than ever–need those outlets that do labor to report some truth. Project Censored is not just among the bravest, smartest, and most rigorous of those outlets, but the only one that’s wholly focused on those stories that the corporate press ignores, downplays, and/or distorts. This latest book is therefore a must read for anyone who cares about this country, its tottering economy, and–most important– what’s now left of its democracy.” –Mark Crispin Miller, author, professor of media ecology, New York University.
“[Censored] offers devastating evidence of the dumbing-down of main-stream news in America. . . . Required reading for broadcasters, journalists, and well-informed citizens.” —Los Angeles Times
“[Censored] should be affixed to the bulletin boards in every newsroom in America. And, perhaps read aloud to a few publishers and television executives.” —Ralph Nader
“For ages, I’ve dreamed of a United States where Project Censored isn’t necessary, where these crucial stories and defining issues are on the front page of the New York Times, the cover of Time, and in heavy rotation on CNN. That world still doesn’t exist, but we always have Project Censored’s yearly book to pull together the most important things the corporate media ignored, missed, or botched.” –Russ Kick, author of You Are Being Lied To, Everything You Know Is Wrong, and the New York Times bestselling series The Graphic Canon.
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“Censored 2014 is a clarion call for truth telling. Not only does this volume highlight fearless speech in fateful times, it connect the dots between the key issues we face, lauds our whistleblowers and amplifies their voices, and shines light in the dark places of our government that most need exposure.” –Daniel Ellsberg, The Pentagon Papers
“Project Censored continues to be an invaluable resource in exposing and highlighting shocking stories that are routinely minimized or ignored by the corporate media. The vital nature of this work is underscored by this year’s NSA leaks. The world needs more brave whistle blowers and independent journalists in the service of reclaiming democracy and challenging the abuse of power. Project Censored stands out for its commitment to such work.” —Deepa Kumar, author of Islamophobia and the Politics of Empire and associate professor of Media Studies and Middle Eastern Studies at Rutgers University
“In another home run for Project Censored, Censored 2013 shows how the American public has been bamboozled, snookered, and dumbed down by the corporate media. It is chock-full of ‘ah-ha’ moments where we understand just how we’ve been fleeced by banksters, stripped of our civil liberties, and blindly led down a path of never-ending war.” –Medea Benjamin, author of Drone Warfare, cofounder of Global Exchange and CODEPINK.


In brief, this nomination is about how one of the nation’s most respected newspapers, The Wall Street Journal, censored one of its top reporters, Mary Williams Walsh, for expos­ing how one of the nation’s most respected television news departments, CBS News, broad­cast biased news coverage of the Afghanistan war to the American people.

The story was told by Walsh in the January cover article of Columbia Journalism Review, it is a damning indictment of the role played by Kurt Lohbeck, CBS’s Peshawar­ based reporter, producer and facilitator, in shaping the network’s coverage of the Afghan war and, in turn, the nation’s understanding of that war. Among Walsh’s charges: Lohbeck, a partisan of the mujahedeen, favored one guerrilla commander, Abdul Haq, and “served in effect as his publicist;” Lohbeck influenced other journalists’ reporting of the war by feeding them disinformation; Lohbeck tried to set up an arms deal between Abdul Haq and a New Jersey arms manufacturer for 10,000 machine pistols.

The article Walsh wrote for CJR was supposed to be the first of a three-part series which she spent five months researching for The Wall Street Journal last year. But it was not to be.

Early last fall, Walsh had what she thought was one of the best jobs in American journalism. At age 33, she was based in Hong Kong as The Wall Street Journal’s principal correspondent in south and southeast Asia. Her stories often appeared as “leaders” on The Journal’s front page and her coverage of the war in Afghanistan had attracted international attention. Her editors at The Journal were planning to nominate her for the Pulitzer Prize. And she was working on a story that would, she believed, be the high point of her brief but illustrious career.

But by late fall, Walsh had resigned in fury and frustration from The Journal. The story she had been working on — the expose of shamefully deceptive coverage of the Afghan war by CBS – had been killed.

“I was sold out,” Walsh told Erwin Knoll, editor of The Progressive, when he inter­viewed her in Toronto where she is now based as Canadian correspondent for The Los Angeles Times.

 In his cover story about the issue, Knoll says:

“This is a story about faked and distorted coverage by CBS News, which boasts about its thorough and outstanding reporting on the Afghan War. It’s a story about how The Wall Street Journal, presented with a thoroughly documented article about that fakery and distor­tion, decided not to publish it. And it’s a story about how even a respected journal issued under academic auspices – The Columbia Journalism Review — was persuaded to tone down Walsh’s expose after accepting the story The Wag Street Journal had refused to print.”

Knoll concludes that this isn’t about how Mary Williams Walsh was sold out but about how the American people — who were trying to understand what happened in far-off Afghanistan — were sold out. It’s a story you rarely hear about because so few are willing to blow the whistle on media self-censorship the way Mary Williams Walsh did.


SOURCE: COLUMBIA JOURNALISM REVIEW 700 Journalism Building, Columbia University New York, NY 10027, DATE: January/February 1990



SOURCE:        DEFENSE MEDIA REVIEW 67 Bay State Road, Boston, MA 02215



SOURCE: THE PROGRESSIVE,  409 E. Main Street, Madison, WI 53703



COMMENTS: This is an exceptionally appropriate story for Project Censored since it produces the “smoking gun” that critics often demand. As Erwin Knoll, editor of The Pro­gressive, points out “The subject matter of this article is neglect of an important story by the mass media. Mary Williams Walsh, a brilliant young reporter for The Wall Street Journal, spent six months investigating questionable aspects of CBS News coverage of the guerrilla war in Afghanistan. Her findings — an indictment of CBS News and, in a larger sense, of most U.S. media, were suppressed by her own newspaper.” Author Sean Naylor said the story reveals “how one of the top three networks’ coverage of the war in Afghanistan was distorted and how the country’s premier financial and business daily kept this fact from its readership.” Mary Williams Walsh said that “reporting this story taught me a lesson I’ll never forget about the media’s extraordinary inability to admit its own mistakes” and it left her wondering “What does it take to get an American network to admit it has made a mis­take?” Walsh concluded that when someone challenges TV’s performance: “It shoots the messenger, the truth and the public be damned.”

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