Amy Goodman, a renowned journalist, expresses a unique perspective on reporting by stating, “I view an exclusive as a failure.” This unconventional stance forms the foundation of her documentary, “Steal This Story, Please!” Rather than focusing on a specific news item, Goodman aims to convey her overarching philosophy regarding the importance of sharing significant stories globally.
To achieve this, Goodman allowed “two Oscar-nominated filmmakers into my life” to promote her vision of independent journalism, which she has championed for over forty years. In a media landscape increasingly dominated by large conglomerates and mergers, Goodman has carved out a successful niche, initially through community radio and subsequently by founding “Democracy Now!”, a daily hour-long news program broadcast online and via public radio in the United States, Canada, and beyond.
Goodman emphasizes a crucial principle of her work: the sources of funding for news coverage should not influence the narratives being presented. “When we cover war, we are not funded by weapon manufacturers; and when we discuss climate change, we aren’t supported by fossil fuel companies,” she asserts. With financing primarily from viewer contributions, “Democracy Now!” operates without advertising, sponsorship, or government grants.
The documentary effectively showcases Goodman’s relentless pursuit of truth, directed by Tia Lessin and Carl Deal. It opens with Goodman confronting P Wells Griffith III, a climate adviser to Donald Trump, at the COP climate summit in Katowice, Poland. Griffith, who lacked substantial experience in the energy sector, attended the 2018 summit to advocate for coal mining.
As Goodman approaches him with pointed questions regarding Trump’s dismissal of climate change as a “Chinese hoax,” Griffith avoids engagement, retreating to a secure area within the US delegation suite. Outside, faced with the closed door to dialogue, Goodman attempts to summarize the situation but pauses for a moment to gather her thoughts, illustrating the challenges and exertion involved in reporting.
Recently, “Democracy Now!” marked its 30th anniversary at the Riverside Church in Morningside Heights, New York. The event featured political activist Angela Davis discussing the vital role of dissent, alongside performances by notable musicians like Michael Stipe, Patti Smith, and Bruce Springsteen. Goodman highlighted the church’s historical significance, recalling that Martin Luther King Jr. had used the same platform to denounce the Vietnam War in 1967.
“He stated that the United States was the largest purveyor of violence globally and faced significant backlash from the corporate media,” Goodman reflects. “Life magazine even criticized him for harming his cause. Yet, he stood firm, emphasizing the need to connect militarism, materialism, and racism.” The documentary blends observational footage, interviews, and archival material to trace Goodman’s career from the 1980s, featuring insights from key collaborators like Juan González, her co-host on “Democracy Now!”
Goodman’s body of work is characterized by a steadfast commitment to ensuring that underrepresented voices are heard, especially in contrast to mainstream media narratives. “I recall the widespread protests against the US invasion of Iraq in 2003, with millions voicing their opposition,” she states. “Yet, network reporters often focused on military hardware instead of the human cost of warfare. Our role as journalists is to convey the experiences of those on the receiving end of such actions.”
Goodman’s approach has not come without challenges. Thirty-five years ago, she traveled to East Timor amid its violent occupation by Indonesia, which had already resulted in over 100,000 deaths. At that time, the situation received little attention, but Goodman and fellow journalist Allan Nairn arrived to cover a UN delegation’s visit.
On November 12, 1991, they attended a memorial mass for Sebastiao Rangel, who had been killed by Indonesian forces. As the crowd marched to a nearby cemetery, Goodman believed the Indonesian military would refrain from violence in the presence of foreign journalists. “I raised my microphone like a flag, while Allan held the camera high,” she recalls. Suddenly, Indonesian soldiers advanced, armed and ready, and opened fire on the crowd “without warning or provocation.”
The terrifying moments that followed are etched in her memory. “The first victim was a young boy behind us, raising his hands in a peace sign, chanting for East Timor’s independence,” Goodman recounts, reflecting on the chaos and violence that ensued. Although Goodman and Nairn were not shot, they faced brutal assaults, with Nairn shielding Goodman from the soldiers’ attacks, who used their rifles as weapons in a harrowing display of force.
