Mediaboss Marketing

I am suing Twitter for defamation because they said, I, James OKeefe, operated fake accounts. This is false, this is defamatory, and they will pay, the infamous Project Veritas filmmaker said on his website.Section 230 may have protected them before, but it will not protect them from me. The complaint will be filed Monday.

He then went on to suggest that Twitter was perma-banning him for his most recent video of a CNN sound guy bragging to his date that his employer took down Trump with biased coverage. (So much for the claim that Dominion rigged the vote.)

Twitter permanently suspended James OKeefes personal account on the platform today, following a series of bombshell undercover videos of a CNN employee, he said, before taking to Facebook to complain some more about not being allowed to speak his truth.

Heres OKeefes lawyer Harmeet Dhillon, fresh off her stunning success (AHEM) in getting that Biden win in Pennsylvania overturned, explaining to Sean Hannity that only a manly man like James OKeefe would have the spine to take on CNN, the New York Times, and Twitter.

You may not register or create fake or misleading accounts or use multiple accounts to manipulate Twitter conversations, Twitter support said in an email to OKeefe. While you may use Twitter pseudonymously, or as a parody, comedy, or fan account, you may not use misleading account information in order to engage in spamming, abusive, or disruptive behavior, including attempts to manipulate the conversation on Twitter.

The fact that OKeefe himself published the email may make it more difficult to prove that he was grievously defamed when the company turned around and made roughly similar statements to the media.

Theres also the small matter of whether the suggestion that OKeefe operated sock puppet accounts, even if defamatory, would actually harm his reputation. Pretending to be something hes not is kind of James OKeefes calling card.

This is a guy whose breakthrough move was filming himself dressed as a pimp, complete with faux fur coat and cane, trying to get an ACORN employee to help him dummy-up a mortgage application for a prostitute.

In 2017, a woman associated with Project Veritas pretended to have been impregnated as a teenager by Alabama Senate candidate Roy Moore in a bizarre attempt to discredit his other accusers and the Washington Post.

In 2010, he and two compatriots were arrested for sneaking into the office of then-Senator Mary Landrieu dressed as telephone repairmen. They pleaded guilty to a misdemeanor and paid a fine.

Also in 2010, OKeefe tried to lure a CNN reporter onto a sex boat where he would secretly film himself seducing her in an attempt to discredit the network.

Even the latest sting video the one that supposedly got Twitter to shut OKeefe up as a favor to CNN was shot by an actress claiming to be a nurse who catfished the CNN employee on Tinder. So there may be some difficulty establishing damages to the reputation of a person whose reputation is, umm, mixed.

Theres also the minor detail that Twitter can kick anyone off the site they like, and that the terms of service are not exactly favorable to user lawsuits. Just ask Devin Nunes.

But other than that, knock yourself out, fella.

James OKeefe RESPONDS to TWITTER ACCOUNT SUSPENSION Following BOMBSHELL CNN TAPES: Says He Plans to SUE THE PLATFORM FOR DEFAMATORY STATEMENTS [Project Veritas]James OKeefe vows to sue Twitter for defamation after ban for alleged use of fake accounts [Fox]Project Veritas founder wants to sue Twitter for defamation over recent suspension

Elizabeth Dye (@5DollarFeminist) lives in Baltimore where she writes about law and politics.

Go here to read the rest:
Project Veritas Gonna Sue Twitter For Defamatory Section 230 Censorship And First Amendment Assault Or Something - Above the Law

MEDFORD, Ore. --Today were following up on a story we told you about late last month TheDove TV programming was removed from YouTube.

According to TheDove, more than 15,000 videos were removed following a violation of YouTubes community guidelines.

According to YouTube, in a statement sent to NewsWatch 12, the content was removed following three strikes within 90 days for repeatedly violating our covid-19 misinformation and presidential election integrity policies."

This is a local example of a global issue that has been debated in courts, in congress and among people and politicians the question being, how do you balance, or should there be a balance of regulating misinformation and concerns surrounding censorship?

NewsWatch 12's Alicia Rubin dug into this issue, with the goal of providing context and sharing what the debate is and both sides of it.

We spoke with Professor Anam Sinnreich at American University School of Communications; he specializes in whats called political governance issues, which is the study of how the law intersects with technology and how that impacts our culture.

According to professor Sinnreich, one of the challenges of living in a democratic society is that there are competing visions of what kinds of social goals are needed to make democracy work.

"One of those visions is enshrinedin the First Amendment, and that's the notion that we should have a free press and we should have freedom of speech. And that there's a marketplace of ideas and everybody should say whatever they think is right or true or good, and the best ideas will be debated and will rise to the top," said Sinnreich.

The other side of the argument: "In order to have a functional democracy, you need people to be informed. So that they can vote and make a deliberative decision together and figure out what kind of a society they want. And so, you need to remove disinformation from the public sphere because you don't want people to make decisions based on wrong information," explained Sinnreich.

According to Sinnreich, the two goals are fundamentally at odds with each other. Whats changed in our modern world is the creation of social media.

"What social media does is it exposes us to those divergent viewpoints and it creates an architecture that is very different than the architecture of democratic debate," said Sinnreich.

The basis of the marketplace of ideas, what Sinnreich refers to as a "Thomas Jefferson model," operates on the notion that the best ideas come to the top.

"You might say that lizard people are running the world, and I might say that economic inequity is a problem," said Sinnreich, "and then we debate and we come up with the solution that lizard people seem unlikely. Economic inequity is a demonstrable truth. My idea is better than yours and that rises to the top."

But social media isnt designed to bring the best idea to the top.

It rewards users, and ultimately financially rewards companies, for inspiring the greatest degree of emotional reaction; whether it's joy or outrage or fear or excitement. So when emotions are the most monetized aspect of human expression, that creates a public sphere where, instead of the best ideas rising to the top, the most sensationalistic ideas rise to the top," said Sinnreich.

That idea aligns with studies that have been conducted about social media. In 2016 a study was done by professors at Princeton, it analyzed 376 million Facebook users interactions with over 900 news outlets and found that people tend to seek information that aligns with their views

So where does the responsibility fall to regulate misinformation, if it should be regulated at all? Is it on the consumer or is it on the platform?

"One of the key questions that the courts keep coming back to over and over again is: does the first amendment prohibited private companies from regulating the speech that takes place on their communications platforms? The answer is 'sometimes,'" said Sinnreich.

As Sinnreich explains, courts have treated communication platforms, in regards to the First Amendment, based on size.

"The more that a communications platform becomes something that everybody in society has access to and that everybody needs in order to go about their business, the more expansively the courts interpret the First Amendment as applying to that platform," said Sinnreich, "The more private a platform is, the more it's like a private club or private residence . . . the less expansively the First Amendment tends to be applied to it."

Then the question becomes, are Facebook, YouTube and other social media platforms more like the postal service or telephone system; a publicly accessed good that everyone has access to and needs?

"In which case the First Amendment limitations on censorship would apply more strongly to it," said Sinnreich, "or is Facebook more like a gym or a movie theater where a private entity owns it and invites you into it?"

Right now, social media platforms are allowed to remove content, as we have seen with the removal of TheDove's videos; it is allowed to do so because it is considered a private company, but that distinction is also being debated in court.

"You have Justice Clarence Thomas, basically arguing that it's more like a public good and they should not have the power to censor, said Sinnreich, "whereas you have other thinkers saying that it's, it's still private."

Justice Thomas statements issued on April 5th, regarding a case about former President Trump blocking critics on twitter, was thrown out; Justice Thomas calling it moot since the former president is no longer in office. However, the discussion of social media regulation being brought up in the supreme court increases pressure on lawmakers to change current regulations.

Its possible there could be a federal agency created for regulation, similar to the FCC being established to govern broadcast.

"We don't yet have a federal agency that can really wrap its head around, let alone effectively regulate social media,' said Sinnreich, "The idea of setting up a federal agency devoted to internet communications or even social media communications is still such a new idea that we don't even really know what that would mean."

As recent as March 25th of this year, there was a house subcommittee meeting about misinformation and social media's role. It addressed a wide range of issues and looked at how regulation could potentially help. The focus of the meeting was whether to strengthen Section 230 of the Communications Decency Act to create new oversight of social media companies. Representatives on both sides of the aisle shed support for a revision but for different reasons.

Go here to read the rest:
A deeper look at the debate surrounding misinformation, censorship and social media - KDRV

A television station controlled by the Islamic Republic of Iran censored over 100 broadcast shots of a female referee during the Sunday British soccer match between Manchester United and Tottenham, sparking criticism on social media because of the regimes sexism.

Sardar Pashaei, a world champion gold medalist in Greco-Roman wrestling for Iran, tweeted: "Last night, Iran TV interrupted the important game between Manchester United and Tottenham dozens of times, censoring its images, just because one of the referee's match was a woman (@SianMasseyRef)[Sian Massey]. Will @FIFAcom [International Federation of Association Football] voice its objection to this gender discrimination by Iran?

Writing on the website of My Stealthy Freedom, which promotes a campaign against the compulsory hijab in the Islamic Republic, Vahid Ycesoy said that Iranian TV was forced to crudely cut away more than a 100 times from the live game between Premier League giants Manchester United and Tottenham Hotspurs on Sunday much to bemusement of the viewers.

He added that The reason: one of the assistant referees was a woman!! Shocking though it seems, Islamic Republic leaders do not allow a woman with her hair uncovered and her bare knees to be shown on the state-owned TV.

The Iran expert Ycesoy noted that Typically, movie scenes showing women in what is deemed revealing clothing are censored. But this would have been impossible when broadcasting Sundays match. The television censors were rattled by the presence of a female referee in shorts. Their solution was to cut away from the live action to views of Londons backstreets, which made a mockery of the game. At the end of the game, one of the commentators joked that he hoped the viewers enjoyed the geographic show.

The founder of the My Stealthy Freedom campaign, Masih Alinejad, tweeted: Censorship in Iran: business as usual!

This is not a joke. Iranian state TV cuts off parts of a football match more than 100 times because the assistant referee was a woman wearing shorts.

cnxps.cmd.push(function () { cnxps({ playerId: '36af7c51-0caf-4741-9824-2c941fc6c17b' }).render('4c4d856e0e6f4e3d808bbc1715e132f6'); });

He added that It is no secret that women are treated as second class citizens in the Islamic Republic, where compulsory hijab rules are rigidly enforced. Now, even non-Iranians on television must be made to adhere to the countrys draconian laws.

The Supreme Leader of the Islamic Republic of Iran, Ali Khamenei, imposed a religious order fatwa that cartoons showing women and animated shows must be depicted wearing a hijab, Ycesoy said.

Meanwhile, The Jerusalem Post can exclusively report the reactions by many Iranian political prisoners to the reported extrajudicial killing of Iranian wrestler Navid Afkari.

A source familiar with political prisoners in Evin prison told the Post that many prisoners watched the IRIB [Islamic Republic of Iran Broadcasting] news broadcast about it. Most prisoners rejected the narrative put forward on state TV that he killed someone."

According to the source, "They ran a clip about him for at least 10 minutes trying to justify his killing but most people laughed at this and said it was bullsh*t.

The source added that There were quite a few political prisoners in Evin who had been rounded up for protesting like Navid in late 2019 or for objecting to the downing of the Ukraine plane. So, of course, they were outraged at his execution. Its very sad.

Evin prison in Tehran is notorious for its harsh conditions, including imposing torture on political prisoners.

Read more here:
Iran censors soccer match over 100 times due to woman referee - The Jerusalem Post

Irish author Lee Dunne, who died earlier this week, came to prominence after the publication of his book Goodbye to the Hill, published in 1965, an account of teenage sexual awakening in working class Dublin.

It caused a stir with its frank depiction of lust and a sexuality that seemed at odds with the idea of cowering obedience to Catholic stricture: in the privacy of a cinema with only a thousand people in it they forget exactly what it was the priest has said and they remember only that they want to touch and be touched and to get as much out of it as they can.

Although Dunnes book was not banned, and the stage version of it became one of Irelands longest running plays, the film version of it Paddy was banned in 1970 and was not issued with a certificate by the Irish film censor until August 2006.

A measure of the changed times was that at that stage the film was given a 12A rating by the censor John Kelleher who noted: By todays standards, there is nothing shocking in it. It is charmingly old-fashioned. But you have to remember it was banned in a different era, a very different time.

Almost all Dunnes 1970s novels were also banned in Ireland; what he called the cabbie books . . . about a team of randy cab drivers in England that were more interested in getting laid than in making money on the cab. The banning of them did not affect him as deeply; he acknowledged himself they were rubbish; written to order in 10 days each because the money was good.

With the passage of time there was a tendency to euphemise or make light of the censoriousness of that era. The same year that Dunnes first book was published, John McGaherns second novel The Dark was banned, and he lost his teaching job as a result. His writing sins were compounded by his marrying of divorced Finnish theatre director Annikki Laaksi in a registry office.

Later in life, McGahern preferred to highlight some of the humorous or farcical aspects of the furore. He liked to tell the story of the encounter he had with Dave Kelleher, the general secretary of the Into who, fortified with whiskey, told him: If it was just the auld book, maybe maybe we might have been able to do something for you, but with marrying this foreign woman you have turned yourself into a hopeless case entirely . . . and what anyway entered your head to go and marry this foreign woman when there are hundreds of thousands of Irish girls going around with their tongues out for a husband?

But in truth, it was a horrible episode and McGahern was ashamed that our own independent country was making a fool of itself yet again. He was publicly humiliated in his own land for writing about his own people and in particular, of physical and sexual abuse familial, societal and clerical and the torment of the confused teenager with sexual longings and an obsession with confession and damnation, torn between the possibility of a religious vocation or the lay alternative of the world, the flesh and the devil.

McGahern harboured no hatred of religion The Catholic Church in its origins is such a beautiful and great vision of truth and is big enough to contain us all but he did resent that the Church had surrounded sexuality with such a sense of sin, shame and fear. Lee Dunne felt likewise; interviewed by Julia Carlson in 1987 about censorship Dunne insisted the censorship mentality stemmed from shame relating to sex, guilt relating to sex, fear relating to sex. Censorship was engendered in us on a personal level Dont let people know your business.

Even in the year Dunne was interviewed, Alex Comforts The Joy of Sex, originally banned in Ireland in 1972 was re-banned, as according to Dunne, to openly admit that sex is wonderful and that it can be joyous and beautiful and affirming is really regarded with a great degree of suspicion, distaste and repugnance. As for the church, as Dunne saw it, its about control rather than love.

We have had no shortage of vindications of that assertion in recent decades; the level of control and lack of love in the historic treatment of perceived transgressors that has been laid bare is almost overwhelming.

As the playwright John Millington Synge, born 150 years ago today, was to discover, to even allude to the flesh his play The Playboy of the Western World in 1907 included the line, Its Pegeen Im seeking only, and whatd I care if you brought me a drift of chosen females, standing in their shifts [underwear] itself could generate menacing outrage that in the words of W B Yeats from the Abbey stage in response, would mar very greatly . . . the reputation of the country for fair play.

Originally posted here:
Diarmaid Ferriter: We should not minimise the censoring of Lee Dunne - The Irish Times

In Utah, many contradictions confound in their complexities. Mormonism champions its cosmopolitan outreach through its mission service, where members proselytize about the virtues of perfection, prosperity and duty of faith. Meanwhile, while immigrants and refugees are welcomed in the state, many also feel isolated and vulnerable, seeing clearly how lip service and posturing barely mask the borderline racism that runs through Utahs history. Utahs economy is touted for its potential, offering signs of an economic boom. Yet, in agriculture, an industry intertwined with the flourishing of Mormon pioneers, latter generations of farmers became disenchanted with the drudgery of daily farm tasks. Some of those disenchanted individuals leave behind the bleak prospects they see in their lives, occasionally finding the individual they believe will give them just enough luck and know-how to get ahead even if for a little while.

Likewise, the words of appreciation for education sometimes ring hollow in the most conspicuously unflattering ways. Teachers in Utah struggle to empower their own positions, a problem exacerbated by the states ranking near the bottom in terms of school funding. Even the bright spots in education cannot escape being tarnished. The quality of art education in the states schools is quite good. The Beverly Taylor Sorenson Art Learning Program, for example, has supported the placement of art educators in Utahs elementary schools. The Utah All-State High School Art Show, which is coordinated by the Springville Museum of Art in conjunction with the Utah Division of Arts and Museums, is among the nations largest and longest-running student art shows of its kind. However, stories also have gone viral nationally and internationally about art censorship in Utah, both in classrooms and libraries, thereby eclipsing opportunities to make more visible stories about creative entrepreneurship that could smooth the rougher edges of the contradictions mentioned above.

None of these stories occur in a vacuum, as playwright Matthew Ivan Bennett contends. In his newest play, Art & Class, the second premiere in Plan-B Theatres audio-only 30th anniversary season and directed by Jerry Rapier, Bennett builds an elegant theatrical edifice encompassing these complexities. This is channeled through the story of Luca, a Costa Rican immigrant and artist, who faces losing her job as a sixth-grade art teacher, as she is accused of showing pornography to her students. The images in question came from classic art books in the schools library collection.

The production, which requires digital tickets, will launch April 15 at 8 p.m. and will be available through April 25.

The incident in Art & Class is based on a news story from four years ago, when Mateo Rueda, an art teacher in Cache Countys Lincoln Elementary School, was accused similarly when he showed his students reproductions of classic art works, some of which portrayed nude figures, that were pulled from The Art Box postcard collection in the schools library. Rueda, a Colombian native who had completed his masters degree at nearby Utah State University, lost his job. However, school administrators alleged that the reasons for Ruedas removal were based more on parental complaints that he had spoken inappropriately to the children in explaining that there was nothing wrong with viewing art portraying the nude human figure than on the act of showing the postcards in the first place. In fact, police, acting on a complaint by a parent, searched the school for evidence of pornography and in the midst of its investigation, caught the principal in the process of destroying the postcards in question, which occurred at the school boards request. The story eventually went viral around the world, reinforcing public perceptions about Utahs obsession with pornography as the state defines it along with it unreasonable overreactions, which end up censoring even benign, artistic portrayals of bodies and nudity. Rueda now lives in Portland, Oregon, working as an artist and offering private art lessons.

The main character in Bennetts play shares several key traits with her real-life counterpart. Luca has an advanced degree. She is developing her own artistic portfolio. And, the play makes apparent her commitment as a teacher wanting to inspire her students to appreciate and engage with art. She spends quite a bit from her pockets to enrich the classroom experience, most of which is not reimbursed an experience also familiar to many teachers not just in Utah but elsewhere. However, the casting of a different gender for the teacher also opens up the narratives strategic creative purpose to explore why such incidents in Utah are not limited to the local cultures peculiarities and obsessions with cultural gatekeeping or outright censorship. Also, the principal in the original news story is a woman while the parallel character in the play is male (Leland).

Outsiders are welcomed in Utah but the extent and arenas to which they are welcomed narrow considerably. Immigrants will hear messages about being appreciated that sound good on the surface but eventually are unmasked for their insincerity. Even when outsiders express ideas, opinions or suggestions that sound good to the credentialed members of Utahs predominant culture, they hear sentiments that amount to saying, if only you were one of us. Flo Bravo, the actor who plays Luca and has lived in the U.S. for two decades, encapsulates the circumstances perfectly in a Plan-B blog post:

In my experience, being an immigrant can feel like being an underdog (in many ways, it is). For many, that chip on ones shoulder feeds a desire to achieve. I see that in Luca. She earned a graduate degree, traveled, and is committed to her students. But none of it is enough to earn the respect of her employers or her community and she struggles to carve out space for herself in her own life. Unfortunately, nothing she does, no advanced degree or acrobatic code-switching or smiling through gritted teeth, makes a difference in the eyes of those who see her as other. Even her closest friend encourages her to compromise her values in the name of not ruffling any feathers.

Just as integral to Lucas story is her relationship to her husband, Riley, a dairy farmer who also is hobbled economically while he recovers from an injury. Luca, who has been in the U.S. for six years, is just entering her thirties while Riley already is in his late thirties. On the surface, Riley seems to adore his wife but he also struggles with his own perceived shortcomings. Unlike Luca, he did not attend college. He is more motivated about hunting than in completing an application for a career program that Luca believes would be perfect for him. He also believes Luca could produce art bound to generate quick sales in their community. Meanwhile, he shows little interest in her current project, a series highlighting refugees. These tensions simmer throughout the play, eventually joining and heightening others arising directly from the central part of the drama in Art & Class.

As for the other characters in the plays central drama, Bennett fleshes out the dimensions of their basic traits which many Utahns will recognize. Mindy Van Tassel has a daughter, Payslee, in Lucas class. About the same age as Riley, Mindy fits in with Cache Countys main demographic: white, Mormon, conservative. She also is a part-time ballroom instructor. However, Mindy does not seem to be fully aware of what is happening to her daughter Payslee at school, including some issues that Luca has noticed and has sparked her own concerns. And, the intensity with which Mindy confronts Luca could be explained by other events which have affected the mother.

Meanwhile, Leland Hess, the principal, seems to appreciate Lucas contributions in the classroom, even trying to impress her with his own attempts to be seen as enlightened and cosmopolitan. Leland also cuts a figure recognizable in many Utah communities a liberal Mormon who strives to be a woke intellectual but also does not have the courage to go beyond the dont rock the boat mentality when some problems and controversies arise, for fear that they might be ostracized themselves.

The plays premiere is the culmination of a two-year workshopping process 13 drafts - that not only involved Plan-B Theatre but also the local Pioneer Theatre Company as well as The Constructivists in Milwaukee and the Great Plains Theatre Conference in Omaha. Bennett, whose plays comprise some of Plan-Bs most success productions for artistic impact, exhaustively probes how to confer credibility not only to the characters but also their relationships in particular, the ways in which Mindy and Luca communicate. What stands out in Art & Class is that Bennett has the opportunity to expand these dynamics beyond what normally is possible in Plan-Bs Radio Hour Series episodes, which have strict time limits and include the station breaks as required during live broadcasts on KUER-FMs RadioWest program.

Bennett, who also spoke briefly to Rueda as he developed his script, recalls hearing the news of the incident on the radio during a car trip. I started to think about a play as I talked it out with my wife [Wendy Blankenship, who is a teacher and lived in Wellsville, which is located in the county], he says. This happened at the same time the #MeToo movement became more visible. And, Wendy and I talked about differences in treatment for male and female teachers involved in relatively innocuous infractions and it was a pretty disturbing gap.

In an interview on The Art of Education podcast, Rueda spoke about how he saw the incident as more than an issue of censorship and how he sought to process mentally and emotionally the controversy that had erupted. At one point, Rueda recalls, Luckily one of the parents contacted me through Facebook and she expressed that her daughter was in the classroom, that she heard my explanation, she understood it very well and that for her, she finds that she is not capable of giving her an explanation on why her art teacher is being removed. To me, that actually gave me some sense of hope about maybe being able to establish a better case about what happened.

Rueda adds, I wrote to her and I wrote to her a letter, a little long, but it also helped me to clarify the set of events, how things happened, how I felt and everything in a sense. It was helpful for me and Im glad that she was someone like minded and definitely decided to do something about it, which I admire and Im sure its a good lesson for her daughter to learn about tenacity and conviction about what one holds to be true in a rational manner for that matter, because all of this has been rather irrational, for lack of a more, how do you say, word.

That underlying sene of irrationality also sets up the story in Art & Class. Bennett looked forward to giving the issue of censorship a more multifaceted perspective. In 2010, for Plan-Bs And The Banned Slammed On, in which Utah playwrights were given 24 hours to write a short play and have it produced for a live premiere, he wrote Staged, a hilarious theatrical statement highlighting the absurdity of changing a word in the Broadway musical Avenue Q so as not to offend prudish senses.

Returning to the story about Rueda, I was so angry about the news story but I also did not want it to wind up being a play that preaches, Bennett explains. He adds that this led him to incorporating the tensions in Lucas marriage as well as other relationship dynamics where seemingly well-intentioned socially conditioned responses from those with whom she interacts actually are racist, condescending and oppressive. Thus, some of the most significant exchanges between the characters occur outside of the school, echoing just how embedded the roots of unintentional racism are in many communities. For example, a scene occurring in a Christmas tree lot bringing in a fifth character whose appearance in the play lasts less than two minutes punctuates a key thematic pulse that is present throughout the play.

In addition to Bravo, the cast includes Roger Dunbar, Bijan Hosseini and Stephanie Howell. Cheryl Ann Cluff handles sound design. David Evanoff is handling sound engineering to produce the master that listeners will hear. The production follows the same protocol as last months premiere of Julie Jensens P.G. Anon. That is, the actors and production crew never congregated in physical spaces but stayed separately while rehearsing and performing via Zoom in their homes. To augment the audio quality of Zoom, Plan-B invested in equipment provided to each actor.

The 10-day run of P.G. Anon produced encouraging results, indicating a total audience more than double Plan-Bs usual in-person attendance for a comparable run as live theater, Rapier notes. In addition to Utah, listeners came from Alabama, Arizona, California, Idaho, Illinois, Massachusetts, Maryland, Michigan, Mississippi, New Jersey, New Mexico, New York, Ohio, Oklahoma, Oregon, Pennsylvania, Texas and Washington.

Just as encouraging are the numbers for the audio stream and coloring sheets for Plan-Bs eighth annual but first virtual Free Elementary School Tour (FEST) production, Rachel Bublitzs Presenting: Super Cat and Reptile Robot, which Rapier says, has been enjoyed by elementary students in 283 classrooms at 172 schools in the state. The current FEST production is available through June 7.

Art & Class will be available for streaming as a podcast on the Plan-B website as well as on its free app. Listeners will be able to access the production within the specified run dates. Tickets for individual productions are available on a pay-what-you-can basis: As a guide, the regular ticket price would be $22 and there are no additional fees. Plan-B will send donation letters to individuals who pay an amount larger than $22 per ticket. For more information, see the Plan-B website.

Visit link:
More than a story of censorship: Plan-B Theatre to launch April 15 world premiere audio-only production of Matthew Ivan Bennett's Art & Class -...