Thursday, January 27, 2011

Remembering Howard Zinn, Once Again

By Henry A. Giroux, t r u t h o u t | Op-Ed

Editor's Note: Today, on the one-year anniversary of the death of the late Dr. Howard Zinn, his voice is deeply missed. In his essay titled LaGuardia in the Jazz Age, Zinn profiles Fiorello LaGuardia, a politician who took his work as mayor of New York and as a member of the House of Representatives seriously, putting his life and his reputation on the line for those he was elected to represent.

Thursday 27 January 2011
Who is willing to stand up for unseen and unheard people? Who is willing to move beyond playing safe politics and trying to stay out of the cross-hairs of the plutocrats?

This personal remembrance of Professor Zinn from Truthout board member Henry A. Giroux was published in the wake of Zinn’s death last year. On a day like today, as the spirit of democratic protest spreads across the Middle East, Giroux’s depiction of Zinn’s continual call to action - “resist, organize and collectively struggle” - is especially deeply felt.
-- Matt Renner/TO

Author's Note: We live in an age in which the self has become the center of politics and everyday life. The formative culture, public spheres and institutions capable of challenging this privative notion of survivalism and market-driven notion of barbarism are both under siege and rapidly vanishing. The public intellectual has been replaced by the anti-public intellectual, just as the university as a democratic public sphere is now colonized by corporate and national security interests. Social movements barely speak beyond a narrow identity politics, and the questions that connect agency to pedagogy and social change have been replaced by the search for consumers and clients.

In his work, Howard Zinn criticized all of these positions, while embodying a notion of agency that exhibited a fierce moral courage and a deep propensity for engaged social action. He never faltered in his attempts to connect scholarship with politics, and he never retreated into the dystopian world of indifference or cynicism. Howard has left us a legacy of work, activism and hope that even in the darkest times offers a new language for reclaiming the link between politics and democracy, agency and critical thinking, ethics and a space of social responsibility and hope. We at Truthout are committed to his legacy, vision and mode of engaged struggle, and we are thankful for the work he left us and the humble and courageous spirit he offered as a model for all of us.
-- Henry Giroux 

Howard Zinn, A Public Intellectual Who Mattered
In 1977 I took my first job in higher education at Boston University. One reason I went there was because Howard Zinn was teaching there at the time. As a high school teacher, Howard's book, "Vietnam: the Logic of Withdrawal," published in 1968, had a profound effect on me. Not only was it infused with a passion and sense of commitment that I admired as a high school teacher and tried to internalize as part of my own pedagogy, but it captured something about the passion, sense of commitment and respect for solidarity that came out of Howard's working-class background. It offered me a language, history and politics that allowed me to engage critically and articulate my opposition to the war that was raging at the time.

I grew up in Providence, Rhode Island, and rarely met or read any working-class intellectuals. After reading James Baldwin, hearing William Kunstler and Stanley Aronowitz give talks, I caught a glimpse of what it meant to occupy such a fragile, contradictory and often scorned location. But reading Howard gave me the theoretical tools to understand more clearly how the mix of biography, cultural capital and class location could be finely honed into a viable and laudable politics.

Later, as I got to know Howard personally, I was able to fill in the details about his working-class background and his intellectual development. We had grown up in similar neighborhoods, shared a similar cultural capital and we both probably learned more from the streets than we had ever learned in formal schooling. There was something about Howard's fearlessness, his courage, his willingness to risk not just his academic position, but also his life, that marked him as special - untainted by the often corrupting privileges of class entitlement.

Before I arrived in Boston to begin teaching at Boston University, Howard was a mythic figure for me and I was anxious to meet him in real life. How I first encountered him was perfectly suited to the myth. While walking to my first class, as I was nearing the university, filled with the trepidation of teaching a classroom of students, I caught my first glimpse of Howard. He was standing on a box with a bullhorn in front of the Martin Luther King memorial giving a talk calling for opposition to Silber's attempt to undermine any democratic or progressive function of the university. The image so perfectly matched my own understanding of Howard that I remember thinking to myself, this has to be the perfect introduction to such a heroic figure.

Soon afterward, I wrote him a note and rather sheepishly asked if we could meet. He got back to me in a day; we went out to lunch soon afterward, and a friendship developed that lasted over 30 years. While teaching at Boston University, I often accompanied Howard when he went to high schools to talk about his published work or his plays. I sat in on many of his lectures and even taught one of his graduate courses. He loved talking to students and they were equally attracted to him. His pedagogy was dynamic, directive, focused, laced with humor and always open to dialog and interpretation. He was a magnificent teacher, who shredded all notions of the classroom as a place that was as uninteresting as it was often irrelevant to larger social concerns. He urged his students not just to learn from history, but to use it as a resource to sharpen their intellectual prowess and hone their civic responsibilities.

Howard refused to separate what he taught in the university classroom, or any forum for that matter, from the most important problems and issues facing the larger society. But he never demanded that students follow his own actions; he simply provided a model of what a combination of knowledge, teaching and social commitment meant. Central to Howard's pedagogy was the belief that teaching students how to critically understand a text or any other form of knowledge was not enough. They also had to engage such knowledge as part of a broader engagement with matters of civic agency and social responsibility. How they did that was up to them, but, most importantly, they had to link what they learned to a self-reflective understanding of their own responsibility as engaged individuals and social actors.

He offered students a range of options. He wasn't interested in molding students in the manner of Pygmalion, but in giving them the widest possible set of choices and knowledge necessary for them to view what they learned as an act of freedom and empowerment. There is a certain poetry in his pedagogical style and scholarship and it is captured in his belief that one can take a position without standing still. He captured this sentiment well in a comment he made in his autobiography, "You Can't Be Neutral on a Moving Train." He wrote:

    "From the start, my teaching was infused with my own history. I would try to be fair to other points of view, but I wanted more than 'objectivity'; I wanted students to leave my classes not just better informed, but more prepared to relinquish the safety of silence, more prepared to speak up, to act against injustice wherever they saw it. This, of course, was a recipe for trouble."

In fact, Howard was under constant attack by John Silber, then president of Boston University, because of his scholarship and teaching. One expression of that attack took the form of freezing Howard's salary for years.

Howard loved watching independent and Hollywood films and he and I and Roz [Howard's wife] saw many films together while I was in Boston. I remember how we quarreled over "Last Tango in Paris." I loved the film, but he disagreed. But Howard disagreed in a way that was persuasive and instructive. He listened, stood his ground, and, if he was wrong, often said something like, "O.K., you got a point," always accompanied by that broad and wonderful smile.

What was so moving and unmistakable about Howard was his humility, his willingness to listen, his refusal of all orthodoxies and his sense of respect for others. I remember once when he was leading a faculty strike at BU in the late 1970s and I mentioned to him that too few people had shown up. He looked at me and made it very clear that what should be acknowledged is that some people did show up and that was a beginning. He rightly put me in my place that day - a lesson I never forgot.

Howard was no soppy optimist, but someone who believed that human beings, in the face of injustice and with the necessary knowledge, were willing to resist, organize and collectively struggle. Howard led the committee organized to fight my firing by Silber. We lost that battle, but Howard was a source of deep comfort and friendship for me during a time when I had given up hope. I later learned that Silber, the notorious right-wing enemy of Howard and anyone else on the left, had included me on a top-ten list of blacklisted academics at BU. Hearing that I shared that list with Howard was a proud moment for me. But Howard occupied a special place in Silber's list of enemies, and he once falsely accused Howard of arson, a charge he was later forced to retract once the charge was leaked to the press.

Howard was one of the few intellectuals I have met who took education seriously. He embraced it as both necessary for creating an informed citizenry and because he rightly felt it was crucial to the very nature of politics and human dignity. He was a deeply committed scholar and intellectual for whom the line between politics and life, teaching and civic commitment collapsed into each other.

Howard never allowed himself to be seduced either by threats, the seductions of fame or the need to tone down his position for the standard bearers of the new illiteracy that now populates the mainstream media. As an intellectual for the public, he was a model of dignity, engagement and civic commitment. He believed that addressing human suffering and social issues mattered, and he never flinched from that belief. His commitment to justice and the voices of those expunged from the official narratives of power are evident in such works as his monumental and best-known book, "A People's History of the United States," but it was also evident in many of his other works, talks, interviews and the wide scope of public interventions that marked his long and productive life. Howard provided a model of what it meant to be an engaged scholar, who was deeply committed to sustaining public values and a civic life in ways that linked theory, history and politics to the everyday needs and language that informed everyday life. He never hid behind a firewall of jargon, refused to substitute irony for civic courage and disdained the assumption that working-class and oppressed people were incapable of governing themselves.

Unlike so many public relations intellectuals today, I never heard him interview himself while talking to others. Everything he talked about often pointed to larger social issues, and all the while, he completely rejected any vestige of political and moral purity. His lack of rigidity coupled with his warmness and humor often threw people off, especially those on the left and right who seem to pride themselves on their often zombie-like stoicism. But, then again, Howard was not a child of privilege. He had a working-class sensibility, though hardly romanticized, and sympathy for the less privileged in society along with those whose voices had been kept out of the official narratives as well as a deeply felt commitment to solidarity, justice, dialogue and hope. And it was precisely this great sense of dignity and generosity in his politics and life that often moved people who shared his company privately or publicly. A few days before his death, he sent me an email commenting on something I had written for Truthout about zombie politics. (It astonishes me that this will have been the last correspondence. Even at my age, the encouragement and support of this man, this towering figure in my life, meant such a great deal.) His response captures something so enduring and moving about his spirit. He wrote:

    "Henry, we are in a situation where mild rebuke, even critiques we consider 'radical' are not sufficient. (Frederick Douglass' speech on the Fourth of July in 1852, thunderously angry, comes close to what is needed). Raising the temperature of our language, our indignation, is what you are doing and what is needed. I recall that Sartre, close to death, was asked: 'What do you regret?' He answered: 'I wasn't radical enough.'"

I suspect that Howard would have said the same thing about himself. And maybe no one can ever be radical enough, but Howard came close to that ideal in his work, life and politics. Howard's death is especially poignant for me because I think the formative culture that produced intellectuals like him is gone. He leaves an enormous gap in the lives of many thousands of people who knew him and were touched by the reality of the embodied and deeply felt politics he offered to all of us. I will miss him, his emails, his work, his smile and his endearing presence. Of course, he would frown on such a sentiment, and with a smile would more than likely say, "do more than mourn, organize." Of course, he would be right, but maybe we can do both.

Note From the Author: The renown sociologist, Zygmunt Bauman, in response to my tribute to Howard Zinn responded by sending a piece he wrote on the recent anniversary of Camus's death. Zygmunt stated that he saw a parallel and connection between the lives of these two important public intellectuals.

This story was originally published on January 28, 2010.

Keith Olbermann Talks With Wendell Potter (CIGNA)

The first part of the interview that Keith Olbermann hosted with guests, Michael Moore and Wendell Potter was extraordinary. In his book "Deadly Spin" former health insurance executive Wendell Potter describes his industry's efforts to de-legitimize Michael Moore's 2007 documentary "Sicko."

OLBERMANN: In his book "Deadly Spin" former health insurance executive Wendell Potter describes his industry's efforts to de-legitimize Michael Moore's 2007 documentary "Sicko."

According to Mr. Potter, the industry at large had a plan to figuratively, quote, "push Moore off the cliff."

In our third story tonight, my guests, Wendell Potter and Michael Moore. We'll discuss cliffs and pushes for the first time. Of course the premise of "Sicko" was to highlight the fundamental flaws in this country's for-profit health care system as well as the benefits of universal health care at a time when no one in this country was even really talking about either.

According to Potter, insurers feared the movie could crater their industry. So to subvert the movie, Potter says American Health Insurance Plans, AHIP, funded a campaign to smear "Sicko."

The principals, a public relations firm APCO which in turn created a front group called Health Care American and some media outlets took the bait. June, 2007, "USA Today" prints an op-ed critical of "Sicko's" premise. The author Sarah Berk was identified as executive director of Health Care America, a nonprofit, nonpartisan organization.

No acknowledging that Berk was essentially on the payroll of the health insurance industry. The same Sarah Berk showed up in that infamous CNN's Sanjay Gupta report on "Sicko." Berk, never identified in the piece, told CNN's audience that Michael Moore, quote, "played fast and loose with the facts."

An ironic quote in retrospect.

Joining me now as promised Academy Award-winning filmmaker, Michael Moore, and the former head of Corporate Communications at CIGNA, now senior fellow on health care at the Center for Media and Democracy, author of the new book "Deadly Spin," Wendell Potter.

Gentlemen, good evening. Thanks for your time.

WENDELL POTTER: Thank you. Hey, Michael.

OLBERMANN: Wendell, on your blog today, you apologized to Michael Moore. Is there anything you'd like to say to him more or less in person here?

POTTER: Well, I'm sorry for the part that I played in attacking the movie. I did see the movie actually twice before it was screened across the country. Once in Sacramento when you had the initial screening an then the official premier in your hometown in Bel-Air.

I knew when I saw the movie the first time that you had really gotten a lot of it right. And I was really not very happy at all to have to be a part of the effort to discredit the movie. But I was still working for the industry then. So my apologies.

MOORE: Well, first of all, Wendell, thank you for saying that. And certainly, the apology is accepted. In fact, I think of you as a real hero. You've done something very brave and courageous, giving up a very good job and knowing that you would not earn that income again and probably be vilified by this industry.

And to come forward -- I mean I have been making these movies for over 20 years. And I've never had a top executive come forward and admit what you've admitted. And -- and yet, I've been dealing with this with every movie since "Roger and Me" when -- I remember actually I was on "The Tonight Show," it was my first time ever on national TV.

And 20 minutes before the show, they're telling me that some executive from General Motors is there with a packet of information about Michael Moore and trying to smear me to the people, the producers of "The Tonight Show."

And it was that same line that -- your first, the Health Care America, the fake organization, that CNN used and "USA Today" used and so many other media outlets used when "Sicko" came out, saying he plays fast with the truth.

And I've listened to that for 20 years. And it's always a lie because all the facts in my film are always true. And I am very, very careful with this. I take it so seriously. And -- because I want to win the political argument that I'm trying to make. So the very first and foremost thing is that things have to be correct.

And so when you were working at CIGNA and what -- you know, your insurance, all the insurance executives apparently -- I read your book this weekend, all got together and met a number of times and you came to the small village in Michigan where I was living and I didn't realize it until I read your blog this morning that actually you had -- we had met before.

POTTER: That's right.

MOORE: And that you were there, as you said, in the blog this morning, to spy on me and to do reconnaissance on the film. And it was -- you know I've had to go through a lot of this stuff for so long. And I'm just so -- you know, if you don't mind, Keith, I don't mean to -- could I ask Wendell a question?

OLBERMANN: Go ahead, please, Michael, please.

MOORE: I -- I mean -- maybe we can -- this is the first time we've talked. So maybe we can talk later.
POTTER: I hope so.

MOORE: But I just -- you mentioned that your son. You took your son to the screening when you came to the little town that I'm in in Michigan. And I'm just wondering, you said that he was -- that -- I mean you sat next to him during these two hours. He is watching on the screen what you do for a living, which, as you say in your book, contributing to the deaths of 45,000 Americans every single year because of this for-profit health insurance system we have.

It causes that many deaths every year. And you say in the book that you were a part of that. And I'm just wondering, as you were sitting there next to your son, being a dad myself, and after the movie, he wants to come up and have his picture taken with me. You say this morning in your blog that he is telling you I'm his hero, yet he is watching what you do for a living.

At that time, I'm just curious what that must have done to you or how you felt going through that experience?

POTTER: He knew that I was having problems with the job that I was having to do, that I was having misgivings about what I was supposed to be doing as a spokesman for the industry.

And as you depicted in the movie, a lot of the people in this country have insurance but it's very, very inadequate. And people are finding every day that the insurance that they think they have is going to be there for them really isn't.

And he saw me be very affected by that movie. It's hard to watch that movie and not almost tear up. Many times here in the movie. And he and I talked. And I told him that I was thinking of leaving my job. I didn't know how I could do it. But I felt like I should do something other than what I was doing.

I just didn't feel very good about having to do what I had done to spy on your movies, to go to the back of theater and take notes as I was watching it and -- you know then come back and know that I was going to have to be on the front line of the calls from the media when it did start showing nationwide.

And people would be calling me about the people who were CIGNA members in the movie. That was going to be tough and I knew it was going to be tough.

OLBERMANN: When -- go ahead, Michael.

MOORE: Yes. No, I was just -- at the time when you saw CNN falling, taking the bait and "USA Today" and "TIME" magazine and, you know, much of the media using the actual language that you and your guys developed --

POTTER: Right.

MOORE: -- on referring to me as against American principles, socialist, all this stuff and of course FOX News then taking it --

POTTER: Right.

MOORE: You know, running with it. I mean, that must felt like -- I mean it must be a real victory when you're in those meetings, having a sense that when you can actually get our major media organizations, supposedly responsible journalists to just repeat verbatim your talking points.

POTTER: It was just amazing. We had a clipping service. I mean we - - every day we would get articles that would appear that had our talking points in them. And this, by the way, is a 23-page PR plan that was developed and carried out against the movie.

I was at the meeting when it was explained. And I'm not supposed to have this. This was something that was actually obtained by Bill Moyers when he did an interview with me last year. But --

MOORE: Could I just read a line -- actually I pulled up Bill Moyer's thing. There is a line in that plan that you guys put together where you said, I'm quoting, "The worse case scenario would be that 'Sicko' would evolve into a sustained populist movement."

POTTER: Right.

MOORE: That that was your worst fear.

POTTER: Right.

MOORE: That this movie could make that happen.

POTTER: That's exactly right. And the industry monitored public opinion from that moment prior to the premier of the movie or the national release of the movie until, you know, many weeks after the premier just to see what -- how public opinion had changed and also monitored the box office receipts of the movie and all these clips that we got.
Many of them were placed by Health Care America, which, as we've talked before, was a front group and a very successful one at that.

OLBERMANN: Michael, hold on a second, I've got to take a --

POTTER: Because they know -- they know if there was a populist movement against them.

OLBERMANN: Michael? Michael?

MOORE: They know if there was a populist movement against them, that'd be the end of their --

OLBERMANN: Michael, forgive me.

MOORE: Yes.

OLBERMANN: I've got to take a commercial break. If you guys can stick around --

MOORE: Sure. Sorry.

OLBERMANN: -- we'll do this after -- obviously, we have to sell something.

MOORE: I'm so sorry, Keith.

OLBERMANN: That's right. I was staying back deliberately. Michael Moore and Wendell Potter, stand by. We're going to take a quick break and resume where we were in just a moment.