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A new international alliance of culture ministers “to promote and protect cultural diversity” is formed at the conclusion of the two-day International Meeting on Culture Policy held in Ottawa, Canada. Attending culture ministers from Armenia, Barbados, Brazil, Canada, Croatia, Greece, Iceland, Italy, Ivory Coast, Mexico, Morocco, Poland, Senegal, South Africa, Sweden, Switzerland, Trinidad and Tobago, Tunisia, Ukraine, and the United Kingdom—dubbed the Ottawa Group of Ministers—agree to set up the International Network on Cultural Policy (INCP). Both the ministers’ meeting and the formation of the new alliance were launched at the initiative of Canada, largely through its Heritage Minister Sheila Copps. An initial “contact group” consisting of Sweden, Mexico, Greece, and Canada is formed to coordinate activities of the new network. Canada provides the first secretariat for INCP. The ministers agree to set the next meeting to be held the following year in Mexico, and the meet after that, in 2000, in Greece. Canadian Heritage Minister Sheila Copps says, in the light of the network’s formation, “Canadians are delighted that we’ve found so many other countries that share our determination to put culture front and centre on the global stage and to promote cultural diversity for everyone in the world.” [International Network on Cultural Policy, 6/30/1998]
Tony Kushner. [Source: PBS]Tony Kushner, a Pulitzer Prize-winning American playwright, writes a play in which Osama bin Laden is referred to and a disgruntled character warns that Afghanistan’s ruling Taliban—which will be condemned for harboring bin Laden after 9/11—is “coming to New York.” [Village Voice, 12/4/2001; Washington Post, 12/12/2001; Los Angeles Times, 12/20/2001] The play, called Homebody/Kabul, is about a middle-aged English woman who travels to Afghanistan in 1998 and mysteriously disappears there. Her husband and daughter then go to Afghanistan to search for her. [Cleveland Jewish News, 9/19/2002]
Character Is Told the Taliban Are 'Coming to New York' - In one scene, Mahala, an embittered Afghan woman, complains to Priscilla, the young English woman who is searching for her mother, about the world’s indifference to the brutal rule of the Taliban. “We must suffer under the Taliban so that the US can settle a 20-year-old score with Iran!” Mahala says. Apparently mistakenly thinking Priscilla is American, she continues, “You love the Taliban so much, bring them to New York!” In conclusion, she says, “Well, don’t worry, they’re coming to New York!” [Washington Post, 12/12/2001; Los Angeles Times, 12/20/2001; Kushner, 2002, pp. 85]
Character Jokes about Bin Laden Being Killed - In another scene, bin Laden, who will be accused of ordering the 9/11 attacks on New York and Washington, DC, is mentioned. Two characters, Quango and Milton, are joking that the United States “has smiled down on the Taliban” up until the previous week, “when America bombed them!” Quango says the Americans killed “quite a number of people” in the attack. In response, Milton jokingly exclaims, “Osama bin Laden!” but Quango comments, “No, they missed him.” [Kushner, 2002, pp. 100-101]
Play Is Written in Response to the US Attack on Afghanistan in 1998 - Kushner reportedly writes Homebody/Kabul partly in response to America’s cruise missile attack on terrorist training camps in Afghanistan, in August 1998 (see August 20, 1998), in retaliation for the bombings of the US embassies in Kenya and Tanzania (see 10:35-10:39 a.m., August 7, 1998). [Los Angeles Times, 12/20/2001; Cleveland Jewish News, 9/19/2002] It is unclear, however, exactly when the play is written. Kushner writes it, or at least starts writing it, in 1999, according to some reports. [Los Angeles Times, 12/20/2001; Metro Weekly, 3/10/2004; Denver Post, 3/16/2011] But according to other reports, he started work on it as early as 1997 or 1998. [Washington Post, 12/12/2001; New Yorker, 1/28/2002; San Francisco Chronicle, 4/14/2002; Australian Broadcasting Corporation, 2/18/2007]
Writer Will Say that 9/11 Was Foreseeable - Homebody/Kabul will have its world premiere in New York about three months after 9/11, in December 2001. Coverage of the play will be filled with mentions of Kushner’s supposed “prescience” and “prophesy.” [Village Voice, 12/4/2001; Los Angeles Times, 12/20/2001; Observer, 5/5/2002] But Kushner will later dismiss these suggestions. “I’m not psychic,” he will write, adding, “If lines in Homebody/Kabul seem ‘eerily prescient‘… we ought to consider that the information required to foresee, long before 9/11, at least the broad outline of serious trouble ahead was so abundant and easy of access that even a playwright could avail himself of it.” [Kushner, 2002, pp. 144] “So much of [what happened on September 11, 2001] was foreseeable—and had been foreseen by clear-thinking people,” he will explain to the Denver Post. Therefore, he will say, “It wasn’t very hard to smell that particular rat.” [Denver Post, 3/16/2011]
The original cover design for The Coup’s album Party Music. [Source: 75 Ark]Cover artwork is designed for a forthcoming CD, which looks eerily like the attack on the World Trade Center that occurs three months later. The CD, “Party Music,” is the fourth album by a little-known hip-hop group called The Coup, which is known for its political activism. [CNN, 9/13/2001; Washington Post, 5/22/2002] The intended cover design shows the two members of the group standing in front of the Twin Towers. One of them is pressing a button on a guitar tuner, as if it was a detonator, and two fireballs are exploding from the top floors of the WTC above them. [Village Voice, 11/2/2001] Days after 9/11, Wired magazine comments, “If it weren’t for the super-imposed images of the Oakland, California, hip-hop duo known as The Coup, the scene could pass for a remarkably precise replica of the horrific tragedy that befell New York City on Tuesday morning.” The CD is in fact initially scheduled for release in early September, but at some point before 9/11, it is pushed back two months for release in November. Furthermore, as Wired describes, “Timing of the original album printing was disturbingly in sync with real-world events. The printers were set to crank out copies of the fiery World Trade Center image on Tuesday [September 11]… when the label put in a last-minute call, urging them to stop the presses.” [Wired News, 9/13/2001] The group’s lead member, Raymond “Boots” Riley, is described by Kansas City newspaper The Pitch as a “confessed communist” who “has built a career out of making bold political statements.” [Pitch, 11/8/2001] Riley later says he’d come up with the idea for the CD cover along with his photographer, and they’d finished work on it by the beginning of June. He says, “Any similarities [with 9/11] are totally coincidental, and it was originally supposed to be more of a metaphor for destroying capitalism—where the music is making capitalist towers blow up.” [Stranger, 9/20/2001] A new cover will be designed and used when the CD is eventually released. [Pitch, 11/8/2001] But copies are sent out prior to 9/11 to members of the press and others, and reviews appear in several publications before September 11 that show the original cover artwork of the exploding WTC. [Wired News, 9/13/2001]
The cover of an April issue of Entertainment Weekly featuring nearly-nude depictions of the Dixie Chicks, all with words written on their skin used in commentaries about the band. [Source: Associated Press / Guardian]The Dixie Chicks, a modern country band from Texas, plays a concert in London. The band consists of three singers and multi-instrumentalists, Natalie Maines, Martie Maguire, and Emily Robison, and backing musicians. During the show, Maines says to the audience: “Just so you know, we’re on the good side with y’all. We do not want this war, this violence, and we’re ashamed that the president of the United States is from Texas.” The London Guardian, in a review of the show, reports the comments on March 12. Within days, Maines and the Dixie Chicks become the targets of intense and heavy criticism from conservative commentators and Bush supporters in the United States. Country music radio stations across the nation begin dropping their songs from their playlists, even though the Chicks currently have the top song in country music airplay, “Travelin’ Man.” Radio stations set up trash cans outside their stations for listeners to publicly discard their Dixie Chicks CDs, and some radio stations hold “disc-burning” and “disc-smashing” festivals featuring bonfires and tractors. Two radio station chains, Cox and Cumulus, ban the Chicks from being played on all the stations they own. Critics on Fox News and conservative radio shows nickname the band “the Dixie Sluts,” “Saddam’s Angels,” and other monikers. Country musician Toby Keith, a conservative and frequent guest on Fox News and radio talk shows, begins using a backdrop at his concerts featuring a photo montage putting Maines together with Saddam Hussein. Maines reluctantly accepts 24-hour security from the barrage of death threats she receives. She quickly issues an apology, saying, “Whoever holds that office [the presidency] should be treated with the utmost respect,” but the apology makes little difference to many. Indeed, the band does not back away from its position: Robison will later say: “Everybody talks about how this war was over quickly and not that many people died. Tell that to the parents of people coming home in body bags.… Natalie’s comment came from frustration that we all shared—we were apparently days away from war (see March 19, 2003) and still left with a lot of questions.” Maines will later say: “The thing is, it wasn’t even a political statement. It was a joke made to get cheers and applause and to entertain, and it did. But it didn’t entertain America.” Maines will later say the controversy starts on a right-wing message board and blog called Free Republic. Music producer and comedian Simon Renshaw, a close friend of the band members, agrees with Maines, saying: “The extreme right-wing group, for their own political reasons, are attempting to manipulate the American media, and the American media is falling for it. The Free Republic is very well organized. There’s definitely a Free Republic hit list with all of the radio stations they’re trying to affect, and they are totally focused, and the girls are going to get whacked.” Documentary maker Barbara Kopple, who is making a film about the group, will later say: “[The c]ountry music [industry] put[s] sort of their musicians in a box, and they’re expected to be very conservative in their leanings, and these were three all-American girls that nobody ever expected this from. So when Natalie made her statement, it was as if she had betrayed country music. There was a massive boycott on playing any of their music. There was this group called the Free Republic that immediately got on Web sites and blogs and everything else to make sure that their music was not shown, their CDs were trampled, and for this, they even got death threats. So they had to have bomb-sniffing dogs, they had security, and nothing could stop these women from playing.” Kopple cites one example of a very specific and credible death threat issued for a July 6, 2003 concert in Dallas, but the three band members insist on playing, and the concert goes off without incident. In April 2003, Maines says: “People think this’ll scare us and shut us up and it’s gonna do the opposite. They just served themselves a huge headache.” [Guardian, 3/12/2003; Guardian, 4/25/2003; Democracy Now!, 2/15/2007] Eventually, their CD sales begin to rebound, and in 2007, they will win five Grammy awards, an accomplishment many will see as a vindication of the Dixie Chicks’s music and their right to freedom of speech, as well as something of a repudiation of the Nashville-based country music industry. Music executive Jeff Ayeroff will note that “the artist community… was very angry at what radio did, because it was not very American.” Music executive Mike Dungan, a powerful member of the country music industry, says of the awards, “I think it says that, by and large, the creative community sees what has happened to the Dixie Chicks as unfair and unjust.” [New York Times, 2/13/2007]
The Baghdad Museum is evacuated and locked by its curators, who anticipate Baghdad being overrun by American troops within the next few hours. The last three on the grounds are the director, Dr. Jaber Khalil; the director of the State Board of Antiquities, Donny George; and the curator in charge of the museum’s collections, Dr. Nawala al-Mutawalli. They are forced to flee the grounds because Iraqi militiamen have sought cover around the museum, and they fear a firefight. The entire area is under US control by April 9; by April 10, the Army has left the area without posting guards. George pleads for the Army to return to prevent looting, but is ignored. Much of the looting that ravages the museum’s collection takes place on April 12 (see April 13, 2003). The international outcry against the looting is so fierce that the Army will begin posting guards on April 16. [United Press International, 6/23/2003]
Deputy curator Mohsen Hassan sits amidst the wreckage in the National Museum. [Source: Getty Images / Salon]The New York Times reports that in the four days of looting in Baghdad and other Iraqi cities (see April 9, 2003 and After April 9, 2003), the National Museum of Iraq has been almost completely pillaged. Over 170,000 artifacts have been stolen or destroyed from the museum, which once boasted an irreplaceable collection of artifacts from Mesopotamia dating back as far as 7,000 years. The Times reports that archaeologists and specialists once regarded the museum as “perhaps the richest of all such institutions in the Middle East.” Only today have museum curators and government officials been able to start cataloguing the losses, as the waves of looting have begun to ebb, and fires set in dozens of government buildings begun to burn themselves out. While some treasures may have been stored in safes and vaults, the 28 galleries of the museum, and the museum’s main storage vaults, have been “completely ransacked,” the Times reports. What could not be taken was vandalized; 26 huge statues were methodically decapitated. Museum officials are enraged that US troops refused to protect the building (with one exception, a single intervention on April 10 that lasted about half an hour). The museum’s corridors are littered with smashed ceramics and burned-out torches of rags soaked in gasoline. “All gone, all gone,” one curator says. “All gone in two days.” Iraqi archaeologist Raid Abdul Ridhar Muhammed describes a crowd of thousands of looters armed with rifles, pickaxes, knives, clubs, and hunks of metal torn from automobiles. He watched as they stormed in and out of the complex, carrying precious antiquities away in wheelbarrows and handcarts. Deputy curator Mohsen Hassan watched helplessly as men with sledgehammers smashed glass display cases to get at the valuables inside. Some of the looters were from the impoverished districts of Baghdad, Hassan recalls, but many were middle class citizens who seemed to know just what they were looking for. “Did some of them know the value of what they took?” Hassan says. “Absolutely, they did. They knew what the most valued pieces in our collection were.” Muhammed blames the Americans for not securing the museum, as do many other Iraqis. “A country’s identity, its value and civilization resides in its history,” he says. “If a country’s civilization is looted, as ours has been here, its history ends. Please tell this to President Bush. Please remind him that he promised to liberate the Iraqi people, but that this is not a liberation, this is a humiliation.” [New York Times, 4/13/2003; St. Petersburg Times, 2/6/2005] Later investigations prove that many of the antiquities thought looted were actually hidden away by museum curators (see June 13, 2003).
Lieutenant General William Wallace tells the Financial Times that, contrary to reports, there was very little looting of antiquities from Baghdad’s National Museum. “[A]s few as 17 items were unaccounted for,” Wallace says. Curators and archaeologists have reported massive looting and vandalism, with over 170,000 artifacts and priceless objects either missing or destroyed (see April 13, 2003). [United Press International, 6/23/2003]
Neoconservative columnist Charles Krauthammer, whom author and media critic Frank Rich calls “a reliable unofficial spokesman for the [Bush] administration’s foreign adventures,” confidently declares that only 33 artifacts were looted from Baghdad’s National Museum, not the 170,000 originally reported stolen or destroyed (see April 13, 2003) or even the 2,000 or 3,000 now considered lost (see June 13, 2003). Krauthammer never explains how he arrives at the conclusion that 33 artifacts were taken, and does not mention the figure in subsequent columns. He does take the opportunity to lambast war critics such as Rich, who decried the looting, as indulging in “narcissism” and “sheer snobbery” typical of “Upper West Side liberalism.” Krauthammer writes that since the looting has been revealed to be less endemic than originally reported, leftist war critics have “simply moved on to another change of subject: the ‘hyping’ of the weapons of mass destruction.” [Washington Post, 6/13/2003; Rich, 2006, pp. 86]
A panel from the ancient and priceless ‘Treasure of Nimrod,’ originally believed to be stolen but later restored to the National Museum. [Source: Zeenaraqi (.com)]UPI columnist John Bloom delves into the mystery of the looted antiquties from Baghdad’s National Museum. Curators and archaologists report over 170,000 antiquties and artifacts either stolen or destroyed, and massive damage done to the building itself (see April 8-12, 2003 and April 13, 2003). On the other hand, General William Wallace has claimed that “as few as 17 items were unaccounted for” (see May 7, 2003). After some research, Bloom claims that virtually everyone involved in the affair is lying to some degree, and, he writes, “the reporters on the scene have been played for patsies.”
Mystery Man - Apparently, Bloom finds, the controversy centers on Donny George, who is officially the director general of research and study for the State Board of Antiquities. George is not the director of the museum; that position is filled by Dr. Jaber Khalil, who “is never quoted in Western news accounts,” Bloom reports. Instead, George became the museum spokesman early in the occupation. He is also a liar, according to Bloom. Reporters say that George gave them the 170,000 figure on or around April 13. George says he never made such a claim. There were 170,000 pieces in the entire collection, he says, but he has no idea how many were stolen or vandalized. The story has become politicized, Bloom writes, somewhat in the US and far more so in Britain, where war critics have seized on the story as evidence of the lack of respect the Pentagon has for the culture of a nation it has seized. The Pentagon calls the museum a military outpost for Saddam Hussein’s Republican Guard, and its pillaging an understandable reaction from the Iraqi people who hated Hussein and his Ba’athist thugs. After the April looting, archaeological expert Dan Cruikshank, who works for the BBC, attempted to piece together a picture of what exactly was and was not taken. He divided the museum into three main areas:
The galleries themselves. Most of the looting and vandalism took place here. But the galleries had been cleared of much of their valuables. Curators had been planning for this months in advance, having gone through looting after the 1991 Gulf War. They feared both citizen thieves and vengeful Kuwaitis traveling with the US troops. They hid the smaller items, leaving behind only antiquities that could not be stolen without mechanical equipment. Somewhere between 17 and 50 major items were either stolen or vandalized; another 15 items sustained major damage.
The museum offices and conservation rooms, where the safes, keys, and equipment are kept. These areas were heavily looted, but mostly of modern equipment such as computers, fax machines, and copiers.
Five secret storerooms known only to the curators. These are reinforced, locked vaults located in various places throughout the museum. Here is where most of the museum’s treasures were hidden away. Experts who visited the museum after the April looting found that three had not been opened, including one room stuffed with tens of thousands of Greek and Roman gold coins. One had been opened with a key, indicating an inside job. The fifth had been broken into and some items stolen.
Squirreled Away - George was one of the first and loudest of lamenters on April 13, blaming US soldiers for their indifference and lamenting the museum that had been, in Bloom’s description, “overrun by a ravenous horde.” However, George kept a few facts to himself. One, he put the most prized possessions of the museum into a secret vault; only George himself knows where that vault is. Two, many museum staff members took items home to protect them. Three, most of the gold items, including 600 historically priceless pieces of jewelry from the Treasure of Nimrod, are safe in a vault underneath the Iraqi Central Bank. They have been there since the days of the Iran-Iraq war. Four, at least one of the secret storerooms was found to have housed not only antiquities, but parts of a machine gun, an unexploded hand grenade, and a rocket-propelled grenade. The room itself has slit windows giving an excellent field of fire for the street below. This discovery gives some truth to the Army’s contention that its soldiers had taken fire from the museum.
Playing Both Sides - Bloom moves into the realm of admitted speculation in trying to divine George’s underlying motivation. He believes George, who held high rank in the Ba’athist regime, wanted to play his cards close to his chest until he could be sure how everything was going to settle out, not offending either the US occupiers or the Ba’athists, who might, as happened in 1991, end up remaining in power. He also believes George wanted to protect valuable artifacts that had disappeared from the museum long before the war. He wonders if George was collaborating with Saddam Hussein, defending the museum against the depredations of the notoriously rapacious Hussein family (who had no compunctions about selling treasures on the international market), or perhaps both.
Planned Burglary - Bloom and Cruikshank both believe that during the April 12 looting, the same people who plundered the museum in years past came back to steal one more time. Five of the most valuable items were snatched, smuggled out of the country apparently through Damascus, Syria, and sold on the black market in Tehran and Paris. Bloom writes: “That’s what stolen-to-order means. They had lined up buyers in Europe long before the war broke out.” Bloom and Cruikshank also cannot figure out how two of the most valuable artifacts—a 4,500-year-old alabaster relief vase and a 4,250-year-old bronze statue—were stolen. “It would have taken, at the least, a block and tackle, a hoist, and a pickup to get them out of the museum.” Did no one see any of this? Bloom asks.
Real Losses - It seems clear that several thousand antiquities and valuables were indeed looted. The latest figure, from UNESCO and the US Customs Service, hovers around 2,000 to 3,000, notwithstanding the claims of General Wallace. Bloom notes, “Even if the losses are limited to 50 priceless items and 3,000 lesser items, that’s still the most significant robbery of antiquities in living memory.” John Russell of the Massachusetts College of Art said in late May: “It’s only by comparison with the most dire initial reports that said everything was gone that it seems not so bad. Yes, not everything is gone, but major things are.” Other sites suffered worse depredations—the archaelogical digs at Larsa, Nineveh, Hatra, Mosul, Babylon, and the Sumerian city of Umma, among others. Bloom writes: “Lost in all the claims and counter-claims about who was responsible, who was lying, and what was done or not done, was the fact that the whole affair was based on a libel against the Iraqi people—that they would destroy their own citadel of history. It would be the equivalent of thousands of Americans rampaging through the Smithsonian Institution like cannibals.” Cruikshank says flatly, “It is simply not true that the people of Baghdad looted their own museum.” [New York Times, 6/1/2003; United Press International, 6/23/2003]
The UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions is adopted at the 33rd UNESCO General Conference held in Paris, France. It is the first major international convention to be adopted that reaffirms the sovereign right of states to formulate and implement cultural policies. The convention’s approval is seen as a challenge to the legitimacy of the global regime of bilateral, regional and multilateral free trade agreements revolving around the World Trade Organization (WTO), in particular regarding international trade in cultural goods and services and the related cultural policies effected by governments. The approval of this international instrument is seen as a major culmination of years-long efforts led by Canada and the European Union, specifically France, to arrest liberalization commitments in various free trade agreements that tend to strengthen Hollywood’s overwhelming advantage in the global film, music, publishing, advertising, and other cultural industries. The convention is overwhelmingly approved despite a strong counter-lobby by the United States. A hundred and forty-eight vote in the convention’s favor, four countries (Australia, Honduras, Liberia, and Nicaragua) abstain, and only two countries—the United States and Israel—vote against its approval. [Coalition Currents, 10/2005]
Through a unanimous all-party vote at its National Assembly, Quebec becomes the first government worldwide to approve the UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions. The approval comes just three weeks after the landslide vote for the international convention at the UNESCO 33rd General Conference in Paris, France. The day’s favorable vote on the convention is marked as well by statements by leading officials of Quebec noting Quebec’s prime role in the formation of the UNESCO instrument, as well as how the convention boosts Quebec’s efforts to protect and promote its cultural industries. Deputy Premier and Minister of International Relations Monique Gagnon-Tremblay emphasizes Quebec’s important contribution to the “emergence of an international instrument of fundamental importance for the cultural sector, and over and beyond this, for the socio-economic development of all our peoples at the beginning of the 21st century.” Culture and Communications Minister Line Beauchamp ends her own statements by calling the adoption of the convention “a great day for Quebec culture,” adding: ”(T)he fundamental issue is the commitment of states to support their cultures through cultural policies that take the form of subsidies, tax credits, of regulatory policies.… We should be aware to what degree everyday life is shaped and affected by culture and artistic creations.… It is important to realize that the cultural policies I just described are behind the songs you hear on the radio, the television programs you watch, the books you read, your encounters with culture.” For his part, Claude Béchard, minister of economic development, innovation, and exports, stresses the convention “will serve as a tool of reference for states facing pressure to liberalize their cultural sectors by helping to legitimize at the international level their cultural policies.” Premier Jean Charest, meantime, highlights the close cooperation between Quebec and the federal government of Canada in building international support for the convention. Charest indicates again his government is determined to continue championing the convention internationally, and to continue supporting Canada’s Coalition for Cultural Diversity and Quebec’s leading cultural organizations in their work to mobilize cultural professionals around the world to support ratification. [Coalition Update, 11/2005]
Canada becomes the first country to ratify the UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions. Canada’s November 22 ratification comes just 33 days after the international instrument was adopted at the 33rd UNESCO General Conference in Paris, France. The prompt ratification meets a previous public commitment made by Minister of Canadian Heritage Liza Frulla, shortly after the November 22 adoption at the UNESCO Conference, that Canada would be the first to ratify the convention “ideally before Christmas [of 2005].” Frulla recalls at the signing ceremonies in Montreal on November 23, “some people gave me a very skeptical look [after I made that pronouncement], and thought I was dreaming in Technicolor.” But she points out that her resolve to make good the ratification commitment was matched by that of Canadian Prime Minister Paul Martin, who Frulla says “has always been a strong defender and promoter of this convention.” Frulla relates further: “[A]s soon as I got back, we triggered the process so that Canada could be in a position to ratify this convention.… And today we can say mission accomplished. Clearly, this is a great day for our artists, our culture, our cultural industries, and for our country.” Frulla, Martin, Quebec Minister of Culture and Communications Line Beauchamp, and Scott McIntyre and Pierre Curzi, co-chairs of Canada’s Coalition for Cultural Diversity, offer congratulations to each other at the Montreal ceremonies for the convention’s quick ratification in record time. [Coalition Update, 11/2005]
The UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions enters into force. In accordance with the ratification procedure, this happens three months after 30 countries deposited their instruments of ratification at UNESCO. UNESCO Director General Koichiro Matsuura notes, “None of UNESCO’s other cultural conventions has been adopted by so many states in so little time.” The 30 countries are Albania, Austria, Belarus, Bolivia, Bulgaria, Burkina Faso, Cameroon, Canada, Croatia, Denmark, Djibouti, Ecuador, Estonia, Finland, France, Guatemala, India, Lithuania, Luxembourg, Madagascar, Mali, Malta, Mauritius, Mexico, Monaco, Namibia, Peru, the Republic of Moldova, Romania, Senegal, Slovakia, Slovenia, Spain, Sweden, and Togo. By the time it comes into force, 22 more countries have deposited their ratification instruments at UNESCO. [UNESCO, 3/2007]
Willie Nelson. [Source: Adam Bielawski / Photorazzi]Renowned country singer and songwriter Willie Nelson publicly questions the official account of what happened on September 11. Appearing on Alex Jones’s talk radio show, Nelson suggests the World Trade Center was brought down with explosives. He says, “I saw those towers fall and I’ve seen an implosion in Las Vegas, there’s too much similarities between the two.” Referring to WTC 7, which fell in the afternoon of 9/11 though no plane hit it, he says: “I saw the building fall that didn’t get hit by nothing. So, how naive are we, you know, what do they think we’ll go for?” [KVUE News, 2/4/2008; Associated Press, 2/5/2008] Nelson has previously engaged in political activism, such as raising money for small family farmers and writing a song protesting the Iraq war. [Reuters, 1/1/2004; Fort Worth Star-Telegram, 1/19/2004]
The National Museum of Iraq, which was extensively looted and vandalized in the weeks after the US invasion (see April 13, 2003 and June 13, 2003), reopens, though the public cannot yet visit. Many of the stolen items have been returned, the vandalism has been repaired, and the museum refurbished and updated. Prime Minister Nouri al-Maliki and other dignitaries receive a private tour before the museum is opened to the public. The opening generated some controversy, with the Ministry of Tourism pushing for a gala reopening celebration and the Ministry of Culture arguing that security remains too tenuous for such a high-profile event. The state minister for tourism and antiquities, Qahtan Juboori, says that of about 15,000 pieces stolen from the museum, 6,000 have been returned. They include 2,466 items brought back from Jordan, 1,046 from the United States, and 701 from Syria. It is unclear when the public will be allowed back into the premises. [Los Angeles Times, 2/23/2009]
Actors Naomi Watts and Sean Penn as Valerie Plame Wilson and Joseph Wilson. [Source: credit Movieweb (.com)]The movie Fair Game, based on the memoir of the same name by outed CIA official Valerie Plame Wilson (see October 22, 2007), is released in American movie theaters. [MovieWeb (.com), 7/21/2010] Actors Naomi Watts and Sean Penn portray Plame Wilson and her husband, Joseph Wilson; the movie is directed by noted action movie creator Doug Liman. Reviews of the movie are generally positive, though CNN reviewer Tom Charity says it fails to generate the same level of excitement that Liman’s earlier movies created, possibly because of the lack of intense action sequences. Charity says Watts makes for a “distinctly passive heroine,” with Penn “tak[ing] a more dynamic role as Wilson, refusing to back down and taking on the administration in a battle waged over the airwaves and in the op-ed pages of the nation’s newspapers.” Reviewer Joe Tyrell is more positive, calling Watts and Penn “top-flight.” Chicago Sun-Times reviewer Roger Ebert writes that the film “is unusually bold for a fictionalization based on real events. Using real names and a good many facts, it argues: (1) Saddam Hussein had no WMD; (2) the CIA knew it; (3) the White House knew it; (4) the agenda of Cheney and his White House neocons required an invasion of Iraq no matter what, and (5) therefore, the evidence was ignored and we went to war because of phony claims. Well. That’s what the film says. There will no doubt be dissent. Few people are happy to be portrayed as liars and betrayers. What amazes me is that Fair Game doesn’t play the game of using fictional names. They’re all right there, including Cheney personally ordering the intelligence to be falsified.” Charity writes, “The movie becomes a portrait of a marriage splintering under extraordinary outside pressure, a study in self-righteous male pride running afoul of a mother’s anxiety for the safety and well-being of her children,” and chides the outspokenly progressive Penn for portraying a character “so close to [his] public persona.” The entire film, Charity writes, is “workmanlike, earnest but a little dry and predictable. Perhaps we’ve become inured to government corruption since the heyday of the conspiracy thrillers of the 1970s, but at this stage the film’s ‘revelations’ about the propaganda war that pre-sold the Iraq invasion will come as old news to anyone who’s been paying even the slightest attention. A more challenging and relevant movie might have focused on Scooter Libby and probed the convictions that drove him to obstruct justice and commit perjury.” Tyrell praises David Andrew’s portrayal of Libby, noting that he catches Libby’s persona “down to the last oily drop.” [Chicago Sun-Times, 11/3/2010; CNN, 11/5/2010; New Jersey Newsroom, 11/13/2010] Ebert concludes: “This isn’t a lathering, angry attack picture. Wilson and Plame are both seen as loyal government employees, not particularly political until they discover the wrong information. The implication is that if the Bush administration hadn’t suppressed their information and smeared them, there might have been no Iraq war, and untold thousands of lives would have been saved. This topic has been so poisoned by misinformation that a rational discussion seems impossible. I suppose the question becomes, how well does Fair Game work as a movie? I suspect it will work better the more you walk in agreeing with it.” [Chicago Sun-Times, 11/3/2010]
Entity Tags: Joseph C. Wilson, David Andrew, Bush administration (43), Joe Tyrell, Valerie Plame Wilson, Sean Penn, Naomi Watts, Tom Charity, Lewis (“Scooter”) Libby, Roger Ebert, Doug Liman
Timeline Tags: Niger Uranium and Plame Outing
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