Its Internet community web site, Fox Nation, serves as the online gathering place for Fox viewers to absorb and spread the aggregated disinformation and conspiracy theories hatched by Fox News.Two years ago the first volume of Fox Nation vs. Reality was published revealing an Internet operation that was dedicated to fiercely partisan, right-wing distortions of the truth. Its mission was, and remains, to construct a safe haven for the broader Fox News community to reinforce their preferred fantasies and unfounded preconceptions. Since then Fox Nation has evolved into an even more sheltered environment that has taken on many characteristics of culthood. It is a pattern they adopted from their parent, Fox News, where the slogan “fair and balanced” was an implicit condemnation of all other news sources as being neither. Recognizing that the prime directive of a cult is to convince your followers that your version of reality is the only true version and that all others are agents of deception, Fox segregated their disciples to prevent them from being contaminated by impure thoughts, otherwise known as facts.In Fox Nation vs. Reality you will find a compilation of articles originally published on the media analysis web site News Corpse. They provide an eye-opening look into the lengths that committed propagandists will go in order to fabricate an alternative political reality. And remember that Fox Nation is not some remote outpost on the Internet Superhighway. It is an integral part of Fox News whose executives are wholly responsible for the stain it produces on journalism.

    Conflict photojournalists have the opposite reaction: they actually look for trouble, and when they find it, get as close as possible and stand up to get the best shot. This thirst for the shot and the seeming nonchalance to the risks entailed earned Greg Marinovich, Joao Silva, Ken Oosterbroek, and Kevin Carter the moniker of the Bang-Bang Club. Oosterbroek was killed in township violence just days before South Africa's historic panracial elections. Carter, whose picture of a Sudanese child apparently being stalked by a vulture won him a Pulitzer Prize, killed himself shortly afterwards. Another of their posse, Gary Bernard, who had held Oosterbroek as he died, also committed suicide. The Bang-Bang Club is a memoir of a time of rivalry, comradeship, machismo, and exhilaration experienced by a band of young South African photographers as they documented their country's transition to democracy. We forget too easily the political and ethnic violence that wracked South Africa as apartheid died a slow, spasmodic death. Supporters of the ANC and Inkatha fought bloody battles every day. The white security forces were complicit in fomenting and enabling some of the worst violence. All the while, the Bang-Bang Club took pictures. And while they did, they were faced with the moral dilemma of how far they should go in pursuit of an image, and whether there was a point at which they should stop their shooting and try to intervene. This is a riveting and appalling book. It is simply written--these guys are photographers, not writers--but extremely engaging. They were adrenaline junkies who partied hard and prized the shot above all else. None of them was a hero; these men come across as overweeningly ambitious, egotistical, reckless, and selfish, though also brave and even principled. As South Africans, they were all invested in their country's future, even though, as whites, they were strangers in their own land as they covered the Hostel wars in the black townships. The mixture of the romantic appeal of the war correspondent with honest assessments of their personal failings is part of what makes this account so compelling and so singular among books of its ilk. – J. Riches

    Captivated, she spent two years tracking the final stages of the mujaheddin victory over the Soviets, as Afghan friends smuggled her in and out of their country in a variety of guises.Returning to Afghanistan after the attacks on the World Trade Center to report for Britain's Sunday Telegraph, Lamb discovered the people no one else had written about: the abandoned victims of almost a quarter century of war. Among them, the brave women writers of Herat who risked their lives to carry on a literary tradition under the guise of sewing circles; the princess whose palace was surrounded by tanks on the eve of her wedding; the artist who painted out all the people in his works to prevent them from being destroyed by the Taliban; and Khalil Ahmed Hassani, a former Taliban torturer who admitted to breaking the spines of men and then making them stand on their heads.Christina Lamb's evocative reporting brings to life these stories. Her unique perspective on Afghanistan and deep passion for the people she writes about make this the definitive account of the tragic plight of a proud nation.

    To his surprise, when he found the house he was greeted by Dalia Ashkenazi Landau, a nineteen-year-old Israeli college student, whose family fled Europe for Israel following the Holocaust. On the stoop of their shared home, Dalia and Bashir began a rare friendship, forged in the aftermath of war and tested over the next thirty-five years in ways that neither could imagine on that summer day in 1967. Based on extensive research, and springing from his enormously resonant documentary that aired on NPR’s Fresh Air in 1998, Sandy Tolan brings the Israeli-Palestinian conflict down to its most human level, suggesting that even amid the bleakest political realities there exist stories of hope and reconciliation.

    "Story is our medium. It's how we connect emotionally with our viewers. And it's how we make sense of our world...When we talk about a 'big story,' we're really talking about what resonates with people, what matters to them...And I think when it comes to our national narrative, what we need to realize is that we're all contributing to the story, that we can affect where this country is going." From top CNN anchor and special correspondent Soledad O'Brien comes a highly personal look at her biggest reporting moments from Hurricane Katrina, the tsunami in Southeast Asia, the devastating Haiti earthquake to the historic elections and high profile interviews with everyday Americans. Drawing on her own unique background and consciousness as well as her experiences as a journalist at the front lines of the most provocative issues in today's society-and particularly from her work as host of the acclaimed series Black in America and Latino in America-O'Brien offers her candid, clear-eyed take on where we are as a country and where we're going. What emerges is both an inspiring message of hope and a glimpse into the heart and soul of one of America's most straight-talking reporters. Watch a Video

    The Holocaust had left Lotte the lone survivor of her family, and these precious objects gave her back a crucial piece of her past. Four Girls from Berlin vividly recreates that past and tells the story of Lotte and her courageous non-Jewish friends Ilonka, Erica, and Ursula as they lived under the shadow of Hitler in Berlin.Written by Lotte's daughter, Marianne, this powerful memoir celebrates the unseverable bonds of friendship and a rich family legacy the Holocaust could not destroy.

    Hundreds of journalists from every corner of the world rush to the frontier only to leave disappointed when Obama decides not to bomb. They leave behind 200,000 estimated victims, and more than half of a population of 22 million people dispersed or refugeed in nearby countries: the worst humanitarian crisis since WWII according to the UN.Francesca Borri is one of them. But she does not leave. She is 30 years old. For months she covers the battle of Aleppo as a freelance reporter. And she quickly realizes that to report a war is to hide with dozens of women and children, even a baby, born there, in a grave, "a piece of soil under the ground that is as expensive as three houses" or to scavenge for anything to burn for some warmth, "a broken slipper, the plastic hand of a toy" or to mistake bloody figments of skull for rubble. To report a war is also to meet with officials more worried about the stain of snow on their Clarks than the people they are supposed to help. It is to explain what is happening in Aleppo to journalists who have only been there once, on vacation, and bought a carpet. It is risking one's life because of the jealousy of a fellow reporter. And it is also about dreaming of driving at night with the windows open, about remembering impossible little things, the particular light on that day in that café at the beach when you were a kid, the eyes of people you love, all the minuscule simple joys that can be lost in a moment.Syrian Dust is a raw and powerful account of the Syrian war that throws the listener right in the middle of it, without any shelter.

    I hated working for him and I hated being around him. I hated it when he walked through the front door at home. And we feared him from the moment he pulled up in front of the house in his car.” So writes conservative firebrand and popular radio host Larry Elder. For ten years Elder and his father did not talk to each other. When they finally did, the conversation went on for eight hours—eight hours that took Elder on his father’s journey from the Jim Crow South, to service in the Marine Corps, to starting a business in Southern California. Elder emerged not just reconciled with his dad, but admiring him, and realizing that he had never fully known him or understood him.  Heartfelt, beautifully written, compulsively readable, A Lot Like Me—originally published as Dear Father, Dear Son—is both a powerfully affecting memoir and a personal, provocative slice of American history.

    Yet almost no one has spoken at length to the constituency that represents Iraq’s last best hope for a stable country: its ordinary working and middle class.Farnaz Fassihi, The Wall Street Journal’s intrepid senior Middle East correspondent, bridges this gap by unveiling an Iraq that has remained largely hidden since the United States declared their “Mission Accomplished.” Fassihi chronicles the experience of the disenfranchised as they come to terms with the realities of the overthrow of Saddam Hussein. In an unforgettable portrait of Iraqis whose voices have remained eerily silent—from art gallery owners to clairvoyants, taxi drivers to radicalized teenagers—Fassihi brings to life the very people whose goodwill the U.S. depended upon for a successful occupation. Haunting and lyrical, Waiting for An Ordinary Day tells the long-awaited story of post-occupation Iraq through native eyes.

    At the heart of her story and abiding beliefs--her Jewish background. Tikkun olam, the Hebrew injunction to "repair the world," with its profound meaning for a young girl who grew up during the Holocaust and World War II. We see the influence of her mother, Celia Amster Bader, whose intellect inspired her daughter's feminism, insisting that Ruth become independent, as she witnessed her mother coping with terminal cervical cancer (Celia died the day before Ruth, at seventeen, graduated from high school). From Ruth's days as a baton twirler at Brooklyn's James Madison High School, to Cornell University, Harvard and Columbia Law Schools (first in her class), to being a law professor at Rutgers University (one of the few women in the field and fighting pay discrimination), hiding her second pregnancy so as not to risk losing her job; founding the Women's Rights Law Reporter, writing the brief for the first case that persuaded the Supreme Court to strike down a sex-discriminatory state law, then at Columbia (the law school's first tenured female professor); becoming the director of the women's rights project of the ACLU, persuading the Supreme Court in a series of decisions to ban laws that denied women full citizenship status with men. Her years on the U.S. Court of Appeals for the District of Columbia Circuit, deciding cases the way she played golf, as she, left-handed, played with right-handed clubs--aiming left, swinging right, hitting down the middle. Her years on the Supreme Court . . . A pioneering life and legal career whose profound mark on American jurisprudence, on American society, on our American character and spirit, will reverberate deep into the twenty-first century and beyond.

    When she first moved to Sanaa in 2009, she was the only American reporter based in the country. She quickly fell in love with Yemen’s people and culture, in addition to finding herself the star of a local TV soap opera.When antigovernment protests broke out in Yemen, part of the revolts sweeping the Arab world at the time, she contacted the New York Times to see if she could cover the rapidly unfolding events for the newspaper. Laura never planned to be a war correspondent, but found herself in the middle of brutal government attacks on peaceful protesters. As foreign reporters were rounded up and shipped out of the country, Laura managed to elude the authorities but found herself increasingly isolated—and even more determined to report on what she saw.Don’t Be Afraid of the Bullets is a fascinating and important debut by a talented young journalist.

    

    With Arbitron ratings clocking over 3+ million listeners a week and simulcast daily in 37 million homes on Free Speech TV, where she is also the number one show, her strongest numbers are in the grand prize demographic of highly educated males 25-54, despite, or maybe because of , her status as an out gay woman. It probably explains the sublime effectiveness of her national billboard slogan: "Stephanie Miller...making men rise in the morning". Stephanie also headlined the country’s number one comedy tour, “Stephanie Miller’s Sexy Liberal Comedy Tour", as well as the number one comedy album, "Stephanie Miller's Sexy Liberal Comedy Album". She has recently had her second #1 comedy album in the country with her "Stephanie Miller's Happy Hour, Volume One". She frequents the Holy Trinity of cable news: CNN, MSNBC, and FOX, where she bursts the infallibility balloons of right wingers, often with one well-aimed pinpoint punchline. Here is SEXY LIBERAL!, which you can see as Al Franken rewritten by Sarah Silverman, Chelsea Handler horizontal on the desk of The Daily Show. Steph is the youngest child of Congressman William Miller of NY, Barry Goldwater’s running mate in 1964. We all know how that turned out. Though Steph was only 3, she shows here how that defeat affected her as much as it changed the Republican Party. It made her who she is. SEXY LIBERAL! is the book her 3,000,000 fans have been begging her to write. it’s both deeply personal and hilariously political. But most of all it is Stephanie’s unique voice, her jokes, her happy clappy optimism, and her truth that they tune in to day after day, that they download as a subscription podcast, that they buy tickets for, to see her unbleeped and in person. That’s what SEXY LIBERAL! delivers. Like an uncensored comedy drone right to your door!“Stephanie Miller is like ice cream for breakfast, or box-wine through a Krazy Straw: pure pleasure that some people say is bad for you, but you know better. Sexy Liberal! is deeply, deeply profane, big-hearted, surprising, and it might make you pee your pants a little. Just what you need! Read this book. Stephanie Miller for Everything, 2016!”--Rachel Maddow, host of The Rachel Maddow and author of Drift: The Unmooring of American Military Power “Sexy Liberal! is a great book with mind-expanding astuteness and side-splitting humor. Stephanie Miller is so wondrously witty and wise you will want to quote her. But, first, you must read her. Buy this book and help Amazon at last turn a profit. --Lily Tomlin “Sexy Liberal! is inspired reading. It is laugh-enhancing and beyond thought-provoking! A must read. --Jane Wagner Reading Stephanie's book is like being on the best kind of dinner date. The conversation is smart, funny and politically insightful. And Stephanie's contribution bad either. Seriously, what a fun read. Stephanie, in her wonderfully self-deprecating way, lets you into her brilliant mind, her no BS take on the political scene, and life itself. Enter at your own risk.--Rob Reiner

    But she survived, and perseverance in the face of extreme hardship has defined her life ever since. Despite the abuse of her family, the exploitative Russian and Taliban regimes, the murders of her father, brother, and husband, and numerous attempts on her life, she rose to become the first Afghani woman Parliament speaker. Here, she shares her amazing story, punctuated by a series of poignant letters she wrote to her two daughters before each political trip—letters describing the future and freedoms she dreamed of for them and for all the women of Afghanistan.Her story movingly captures the political and cultural moment in Afghanistan, a country caught between the hope of progress and the bitter truth of history.

    Descended from a Black and Mexican father and a white mother, Nolan’s mixed-race identity is obvious, for better and worse. At her mother’s encouragement, she began her first diet at the age of three and has been both fat and painfully thin throughout her life. She has experienced both the discomfort of generational poverty and the ease of wealth and privilege. It is these liminal spaces—of race, class, and body type—that the essays in Don’t Let It Get You Down excavate, presenting a clear and nuanced understanding of our society’s most intractable points of tension. The twelve essays that comprise this collection are rich with unforgettable anecdotes and are as humorous and as full of Nolan’s appetites as they are of anxieties. The result is lyrical and magnetic. In “On Dating White Guys While Me,” Nolan realizes her early romantic pursuits of rich, preppy white guys weren’t about preference, but about self-erasure. In the titular essay “Don’t Let it Get You Down,” we traverse the cyclical richness and sorrow of being Black in America as Black children face police brutality, “large Black females” encounter unique stigma, and Black men carry the weight of other people’s fear. In “Bad Education,” we see how women learn to internalize rage and accept violence in order to participate in our culture. And in “To Wit and Also” we meet Filliss, Grace, and Peggy, the enslaved women owned by Nolan’s white ancestors, reckoning with the knowledge that America’s original sin lives intimately within our present stories. Over and over again, Nolan reminds us that our true identities are often most authentically lived not in the black and white, but in the grey of the in-between. Perfect for fans of Heavy by Kiese Laymon and Bad Feminist by Roxane Gay, Don’t Let It Get You Down delivers an essential perspective on race, class, bodies, and gender in America today.