陳凱: 洛杉磯豬年畫展及中國歷史真假 Mao Portrait Incident in Alhambra 2007

http://www.committee100.org/media/media_...arlie%20Woo.pdf

Click the link below to view the video clip 点击链锁观看“毛像事件”视频：

http://www.youmaker.com/video/sv?id=a2ec...207768269ac0001



Artist: Jeffrey Ma

Confronting Bodies: Alhambra, California city officials, exhibit organizer Pinki Chen

Date of Action: February, 2007

Specific Location: Alhambra, California

Description of Artwork: Jeffrey Ma's screen prints were made in honor of the Chinese New Year and the twentieth anniversary of Andy Warhol's death. In the piece portraits of Mao are juxtaposed with portraits of George Washington. Their faces are superimposed over piggy banks in reference to savings and wishes of good fortune that are associated with the Chinese New Year. Ma chose Washington and Mao because their faces both appear on currency.

Description of Incident: Jeffrey Ma's screen prints were exhibited along with about thirty other pieces honoring the Chinese New Year. The exhibit was shown in the lobby of the Alhambra City Hall. City Hall received a couple of complaints from people offended by the juxtaposition of Washington and Mao. The City Clerk who coordinates city art exhibits says the piece was taken down on the recommendation of the exhibit organizer Pinki Chen. Chen, however, says the city staff made the decision to remove the piece. The artists in the show asked the city to put the piece back up but after receiving no commitment they completely dismantled the exhibit in protest.

Results of Incident: First Amendment organizations have come to the defense of the artists and the exhibit organizer and some city officials have said removing the piece because of a couple of complaints is not correct procedure. There are, however, no plans to re-hang the exhibit.

Source: SGVTribune.com

Submitted By: NCAC

LA Times Article about the Incident: http://www.committee100.org/media/media_...arlie%20Woo.pdf

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Seeing Red Over Mao in Alhambra

Values in China today are only carried forward by the culture largely as a result of the destruction of ethical and civic standards wrought by Mao during the Cultural Revolution. In other words, in my experience, there is generally no honor given in China today for verbal or written contracts and the visitor will find him or herself at the mercy of Chinese pragmatism.

In China today portraits of Mao are everywhere and due to the controlled press few Chinese know the truth of their own modern history. And I am horrified when I hear “Maoism” being bandied about…even here in Oaxaca Mexico!

To understand how this came about, to understand the ability of the Chinese to dupe Westerners and to understand the anger of the Chinese community in Alhambra over the hanging of Warhol-like images of Mao you can read the 1995 “Mao: The Unknown Story,” an 832-page biography of Mao written by the husband and wife team of historians, Jon Halliday and Jung Chang who herself was a Red Guard during the Revolution. It depicts Mao Zedong, the former paramount leader of China and Chairman of the Communist Party of China, as being responsible for mass murder (upwards of 30-70 million people) on a scale greater than that committed under the rule of Adolf Hitler or Joseph Stalin.

The authors spent 12 years researching the Russian and Chinese archives after the fall of the Soviet Union and interviewed hundreds of eye-witnesses to events largely fabricated by Mao including the Long March. In a speech given at Stanford University, former US National Security Advisor Zbigniew Brzezinski mentioned a conversation that he once had with Deng Xiaoping, who commented that the taking of Luding Bridge had been extremely easy and was dramatised for propaganda. At that point, Chairman Deng smiled and said, “Well, that’s the way it’s presented in our propaganda. We needed that to express the fighting spirit of our forces. In fact, it was a very easy military operation.”

Perry Link, Professor of East Asian Studies at Princeton University, wrote in The NY Times Literary Supplement:

“Foreigners who cannot see past the surfaces become trophies of the system’s deception and sometimes even turn into official “friends of China” (although, to the insiders, little true friendship, and even less respect, is actually involved). Part of Chang and Halliday’s passion for exposing the “unknown” Mao is clearly aimed at gullible Westerners. Mao entranced Edgar Snow, (the journalist who carried forward Mao’s propaganda in “Red Star Over China) and Zhou Enlai charmed Henry Kissinger, and in both cases the consequences for Western understanding of China were severe… If the book sells even half as many copies as the 12 million of Wild Swans, (Chang’s immensely popular 3-generational epic) it could deliver the coup de grace to an embarrassing pattern of Western thinking.”

To top it off you can read the 1994 “The Private Life of Chairman Mao: The Memoirs of Mao’s Personal Physician.” Written after the death of Mao when Dr. Li joined his sons being educated in Chicago, Illinois, the book is an intimate account of the bowels, the brains, and the psychic, as well as the physical, ailments of the late Chairman Mao Zedong, and is of the highest importance for revealing the unseemly private face and the destructive passions of the man whom the youth of the world long venerated as the savior of mankind, and for demonstrating with a wealth of evidence that the most damning previous accounts of Mao’s behavior fell lamentably short of the actual horrors Dr. Li witnessed.

This extremely detailed anatomy of the revolutionary who created the People’s Republic of China and then virtually destroyed his own creation is unique. Dr. Li saw Mao Zedong in all moods and at all times, from the insomniac vigor of 1955 to the protracted death scene of 1976.

During the arduous two decades that came close to destroying his own family life, Dr.Li saw a man who professed great concern for the Chinese masses, but repeatedly sacrificed them to his visions and his whims in spite of his propaganda in the “Little Red Book.” Mao could let millions die to further his dream of becoming an immortal by creating the “stage of pure Communism” over which Karl Marx rhapsodized.

He could also pass on his genital infections to the hundreds of young women with whom he slept, in part because he hoped to absorb their youthful energy. He could not be bothered to undergo the treatment that would have cured his ailments.

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Seeing Red Over Mao

After a complaint, Alhambra evicts a Warhol-style painting of the communist leader.

By David Pierson, LA Times Staff Writer
February 24, 2007

Mao Tse-tung’s image has received the iconic Andy Warhol treatment. It’s been plastered onto tens of millions of kitschy cigarette lighters, medallions, watches, T-shirts and snow domes.

Yet when a painting bearing the former Chinese communist leader’s visage was displayed this week as part of a lunar new year celebration in Alhambra, it set off a debate in Southern California’s Chinese community about ghosts from the past and the promise of the future.

A former basketball player for China’s national team demanded the city remove the painting, saying the display romanticized a despot responsible for the death and suffering of millions of Chinese. The artists behind the exhibit agreed that Mao was a tyrant but countered that Mao brought about a new era of Chinese nationalism, one that would springboard the nation into modern times.
———
In November, John Kong and a crew of three other artists — all from various Beijing art schools — started creating 35 silk-screen paintings playing off a Year-of-the-Boar theme with Andy Warhol-inspired renderings. At the request of a festival organizer, the paintings were put on display Feb. 1 at City Hall and were set to remain there until today’s new year parade.

The exhibit went on without a hitch until last week when someone walked into the lobby and noticed among all the paintings of pigs one that depicted Mao and George Washington’s images on piggy banks.

He told Kai Chen, the former basketball player who is now an author and real estate owner. Chen was so livid to learn that Mao was being displayed in a municipal building that he called the assistant city manager and demanded the artwork be removed. A day later on Feb. 16, the painting was gone.

The synopsis to Chen’s “One in a Billion: Journey Toward Freedom,” on Amazon.com said his family “endured political persecution during the most oppressive years of Chinese modern history — the Cultural Revolution.”

Chen, who immigrated to the U.S. in 1981 after falling in love with an American exchange student, said he and his family were exiled to Manchuria in 1965 because of their ties to the toppled Nationalist regime and Taiwan.

“This is a moral issue. You cannot commercialize Mao,” he said. “They will repress Mao’s true image to save face and for national pride. This is a perversion.”

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Portrait by Chinese artists in Alhambra City Hall:



前八一队成员陈凯公反对展出毛泽东画像

www.kaichenforum.com 陈凯论坛

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【大纪元3月16日讯】（大纪元记者袁玫洛杉矶报导）

阿罕布拉市府在中国年期间举行画展，将毛泽东像和美国总统华盛顿像并列展出，引起侨界部份人士反对。其中曾为中国解放军81篮球队运动员的陈凯成为海外公开反对前领导人毛泽东暨共党体制的第一人，陈凯表示：将文化大革命的罪恶之事，拿来美化、商业化是无法容忍的。

显示中国人道德的虚无

陈凯说此事显示了中国人道德的虚无。毛泽东是混世大魔王是人类的罪人，共党是邪恶的象征；而美国总统华盛顿像代表自由，是人类的救星。在美国钞票上印有“in god we trust ”，而不为“in goverment we trust”。中国人在共党统治下普遍为无神论者，完全不将上帝作为一种道德准则的存在，任意将上帝作为藉口的工具。所有中国人无道德可言，“胜王败寇”深深印烙在人脑子里，以为华盛顿也是“胜王败寇”的情况，而将两像并列，陈凯表示，来美国的许多中国人仍旧没有走到自由的世界。

支持者郭树人说明，今年是反右五十周年、文革四十周年，目前许多论题仍是共党的禁忌，不能公开谈论。包括Henry张等人认为毛泽东像不在中国搞下是不行的，而陈凯为在海外出头抗议反对阿市将毛泽东像和美国总统华盛顿像并列的第一人。以国家篮球队员的身份，国家重点培养之人才，而出来反对批判，反差很大。

中国不把人当作人

1953年在北京出生的陈凯，小时候因有亲属在台湾加入国民党及空军，被贴上“黑五类”的标签。他的双亲和兄弟都被下放到东北通化劳改。他因高人一等的身材（200公分）和优异的技术，还是被征召进入当年最强的81篮球队。在解放军的国家队81队呆了6年。这期间也是第一次有机会出国到巴基斯坦。从而发现中共所言，皆为谎言，而相信共党所言者，都是受到欺骗的。

陈凯表示，人在中国被当作任人杀戮的牲畜，被当作任人利用的工具，被当作一部机器中任人放置的部件，被当作政府的负担。尤其在一胎制之后，中国人更被当作一种污染被政府控制以至灭绝。为人民服务为国家服务，早已成为中国人生存的唯一意义。中国的运动员、知识分子、官员、普通人都逃不过模式。像姚明目前仍是在共产党的控制下被政府利用的宣传工具。

陈凯表示，在中国长大的时候，每一个人都在告诉他是国家，文化与群体给予了个人生命的意义。但多年出访，终于认识到真理是刚好相反 ，“我们每一个个人每一刻都在用我们的思维与行为赋予国家，文化与群体它们的意义”。他看到美国的进步情况，决定为追求个人价值和理想，对自由的渴望，对信念追求而作努力。陈凯在其著作“一比十亿”“One In A Billion”传达了自己热情追求理想的努力，是他挑战共产制度成功的实例。他希望中国人能反省自己，发现个人价值，努力实践梦想。详情可上网站 www.freewebs.com/oneinabillion了解。

中国进步的希望只有在中共消亡之后才能出现

回想当年六四事件，陈凯表示，在大家脑海中是什么情况？坦克、机枪、火、烟、死伤的人民、眼泪、血，共党领导们无情木雕式的脸孔等等。到如今，所有的与那一天有关的信息与形象都被中国当政当局清除，中国人似乎也想将那些血腥景像与那一天从他们的知觉中永远消除。当这一切都过去时，天安门城楼上仍留下魔鬼般的暴君毛泽东的挂像与血腥五星旗。中国人所谈的都是如何挣钱、如何将自己儿女送到海外、如何在中国官途权途往上爬、如何不要扰乱由中共所维持的死水臭水秩序等。

陈凯表示，目前大陆在共党操控下，所有的中国人，都是只要别人比自己不好，就可得到满足，在那种国家中生活是很可怕的。面对这样混乱、残忍、迷信、无尽的流血、专制、绝望等等之国家，只有更无助无奈，走到默默的绝望深渊。

忽视历史者必定会重覆历史，陈凯呼吁大家扪心自问，在人们良知上，对共产党的合法性提出质问与疑问，不论它控制多少人，都是不合法的，因它不是建立在道德上，其所作所为皆是要掩饰它的非合法性。中共不倒，中国就没希望。只要毛泽东的画像仍存在，中国人心里就不会正常，不能证实自己的过去。天灭中共，是不变的天理，只有在中共灭亡之后，它所代表的专制暴政，在中国人灵魂的污染与压迫，统统送到历史的垃圾箱里去。如此，才能充满希望的看到新中国的曙光。(http://www.dajiyuan.com)

洛杉矶时报关于我的抗议信的报道
LA Times' Article about My Protest

每日一语：

邪恶的猖獗是因为良德的沉默。 --- 无名者

The triumph of the evil is because of the silence from the good. --- Unknown

******************************************

Dear Visitors:

Though a small victory, it is nonetheless a significant one.

My friend Henry Zhang and I protested in Alhambra City Hall over the portrait of Mao side by side with the image of George Washington resulted in the removal of the paintings. I urge all of you, the good people with soul and conscience, to battle evil whenever and wherever you see it.

I now paste the LA Time's article (2/24/07) here for all of you to read. I hope you will post your own views and opinions here about the incident.

Best. Kai Chen 陈凯

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http://www.latimes.com/news/local/la-me-...ack=1&cset=true

They're seeing red over Mao

After a complaint, Alhambra evicts a Warhol-style painting of the communist leader. It inspired anger, amusement.

By David Pierson, Times Staff Writer
February 24, 2007

Mao Tse-tung's image has received the iconic Andy Warhol treatment. It's been plastered onto tens of millions of kitschy cigarette lighters, medallions, watches, T-shirts and snow domes.

Yet when a painting bearing the former Chinese communist leader's visage was displayed this week as part of a lunar new year celebration in Alhambra, it set off a debate in Southern California's Chinese community about ghosts from the past and the promise of the future.

A former basketball player for China's national team demanded the city remove the painting, saying the display romanticized a despot responsible for the death and suffering of millions of Chinese. The artists behind the exhibit agreed that Mao was a tyrant but countered that Mao brought about a new era of Chinese nationalism, one that would springboard the nation into modern times.

The debate bounced from holiday dinner banquets to Chinese-language talk radio after organizers of Alhambra's Chinese New Year festival — set to begin today — decided to remove the artwork from City Hall.

Many of the immigrants, who make up America's largest Chinese community, arrived in the San Gabriel Valley to get away from the repressive thumb of the Chinese communist government. And for decades, the community had an undeniable anti-communist bent.

But with the economic rise of China and the passing of generations, Chinese Americans have come to admire what the country has become while still being wary of the government.

Two years ago, a Chinatown businessman raised the red Chinese flag atop a building — a move that just a few years earlier would have certainly generated protests but ended up causing little rancor.

But the Mao paintings touched a chord.

Although some admit they have a conflicting view of Mao — not only recognizing the suffering that occurred under his rule but also his role in guiding China into becoming a global power — most are wondering what the fuss is all about.

They see the spat as overblown and are questioning how a single complaint could result in the removal of the artwork.

"We live in America. We see caricatures of George Bush and George Washington all the time. What's the big deal?" said Philip Young, president of the Chinese American Citizens Alliance Los Angeles Lodge. "I'm for free speech."

Some say it's too late to change the perception of Mao.

"He's such a pop icon, like the image of Che Guevara, that it has less meaning," said Patrick Lam, owner of Munky King, a toy art store in Chinatown.

The store recently sold out of a vinyl bust of Mao with Mickey Mouse ears. Lam tried to give the $200 item to his mother as a gift, but he said she was uneasy with the piece knowing that her parents had lived through the Cultural Revolution.

Charlie Woo, a toy manufacturer and a member of the influential Chinese American organization Committee of 100, said China's economy had taken more of the sting out of Mao's legacy.

"With China's turnaround, I think his harsh image has been softened," said the Hong Kong native who remembers nothing but vitriol for the communist leader when he lived in the former British colony. "I saw the story about the art exhibit in the Chinese Daily News and wasn't sure what to make of it. I'm just watching with amusement."

In November, John Kong and a crew of three other artists — all from various Beijing art schools — started creating 35 silk-screen paintings playing off a Year-of-the-Boar theme with Andy Warhol-inspired renderings. At the request of a festival organizer, the paintings were put on display Feb. 1 at City Hall and were set to remain there until today's new year parade.

The exhibit went on without a hitch until last week when someone walked into the lobby and noticed among all the paintings of pigs one that depicted Mao and George Washington's images on piggy banks.

He told Kai Chen, the former basketball player who is now an author and real estate owner. Chen was so livid to learn that Mao was being displayed in a municipal building that he called the assistant city manager and demanded the artwork be removed. A day later on Feb. 16, the painting was gone.

"We didn't mean to upset anyone," said City Manager Julio Fuentes. "There's a lot of history in this city, and we want to respect everyone's rights."

Kong and the other artists were so appalled by the decision that they drove their van to City Hall on Tuesday and reclaimed all their paintings.

"We didn't even ask for this show; the show came to us," Kong said from his Canoga Park studio Thursday.

He said artists in China had been experimenting with Mao's image for nearly two decades, the beginning of a period in which confidants and aides were coming forward to humanize — mostly in a negative light — the late dictator who had otherwise been portrayed divinely.

"Time passes on," said Kong, 54. "There's no more big brother in China. You can't do magazines or launch a private paper, but other than that, you enjoy freedom of speech."

Chen, the 6-foot-7 basketball player who fled China nearly three decades ago, said that's beside the point. "I can't demand Americans who view Andy Warhol to understand what Chinese have been through," he said. "But I do demand Chinese not to forget what Mao did."

Chen said that speaking out about the paintings was important, especially at a time when the prominence of China is rising both in the Chinese American community and the United States as a whole.

"There's a very unhealthy tendency to water down what the communists did," said Chen, 53.

When asked about how his family suffered during the Cultural Revolution, Chen said, "Read my book."

The synopsis to Chen's "One in a Billion: Journey Toward Freedom," on Amazon.com said his family "endured political persecution during the most oppressive years of Chinese modern history — the Cultural Revolution."

Chen, who immigrated to the U.S. in 1981 after falling in love with an American exchange student, said he and his family were exiled to Manchuria in 1965 because of their ties to the toppled Nationalist regime and Taiwan.

"This is a moral issue. You cannot commercialize Mao," he said. "They will repress Mao's true image to save face and for national pride. This is a perversion."

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david.pierson@latimes.com

透視中共國: 陳凱 魏京生談美國/毛像/中共滲透
Kai Chen/Wei Jingsheng Video Programs/Links

千之風電視平台[/size] http://latwtv.com/

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透視中共國 陳凱 魏京生談中國的毛澤東怪像01
http://www.youtube.com/watch?v=Bdwf4QqNxuY

透視中共國 陳凱 魏京生談美國的毛澤東怪像02
http://www.youtube.com/watch?v=5cVXvoEmypo

透視中共國 陳凱 魏京生 談中共對美國的滲透01
http://www.youtube.com/watch?v=trPlGptk-WE

透視中共國 陳凱 魏京生談中共對美國的滲透02
http://www.youtube.com/watch?v=4Dve21juFBY

透視中共國 陳凱 魏京生談美國政界的變化
http://www.youtube.com/watch?v=_d_qwu2x5HU
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Global Museum on Communism 全球共产邪恶博物院

http://www.globalmuseumoncommunism.org/

Kai Chen on Mao's image in America 陈凯论毛像对美国/西方的危害

18大前 民众大规模撕毛像声援四青年（组图）

http://www.epochtimes.com/gb/12/11/3/n37...E%EF%BC%89.html

【大纪元2012年11月03日讯】（大纪元记者陈静慧综合报导）中共十八大召开前夕，河南郑州四青年一起撕前中共党魁毛泽东画像，以示唾弃毛思想。11月1日，四青年中一位叫曹晓东的青年被警方传唤，随后另外两名撕像青年也联系不上，疑遭警方传讯。消息传开，引起民众的强烈不满，激发大规模的撕毛像活动，并称其为：“撕八大”。

大学生撕毛像 呼吁“去毛化”

10月25日，郑州律师姬来松、爱滋病维权人士曹小东、程帅帅和一名不愿透露姓名的大学生在河南省郑州市紫荆广场公开撕毁毛泽东画像，以示对危害中国人民的前中共党魁毛泽东的唾弃，呼吁中共“去毛化”。

11月1日，撕毛像四青年之一的曹晓东被郑州经八路派出所警察带走，彻夜未归。另外两名青年也下落不明，引起民众的高度关注。
11月2日，曹晓东的朋友（新浪微博名为“V蓝无忧”）发消息说：“晚七时许，我和小东女友进入经三路派出所接人。我见到了小东，并提醒警察已到时间。警察说：‘知道，还有点事问。’我外出买点食物。十分钟左右返回，该警及门卫称小东与女友已走。但，包括我在内，无人能与他俩取得联系。”

据《网易》新闻介绍，程帅帅和曹小东是爱滋病志愿者，曾经筹资建爱滋公寓，为到郑州看病的爱滋病患者及其家属提供免费住宿。

撕毛像遭警方24小时传讯 引起民众的愤怒情绪

仅仅因为撕毁中共前党魁毛泽东的画像就遭到警方24小时的传讯，此举引起了民众的极度愤怒，网路沸腾。许多作家、记者、律师、名人等纷纷发声，要求警方立即放人。

民众“铁流老右”拨通郑州警察的电话，要求立即放人：“请大家关注郑州曹小东等四青年因撕毛头像被警察扣押，目前在派出所接受调查一事。看，文革血腥恐怖一幕在郑州重演了！刚才我给郑州警察刘队长去电话 （18638188903），问曹犯了什么法？他不回答，叫我找派出所。我说，我就撕了上百张毛像，欢迎来调查！绝不准许文革复僻，绝不准许郑州警察重演文革闹剧。……我又给郑州刘警官去了电话，问他凭什么拘曹等四青年？他说他们依法办事？再问那条法？他答不出。我厉声指责他们破坏十八大，为薄熙来撑腰打气，必须立即放人，否则承担一切后果，现在网路上已沸腾了，我说一小时后再去电话。”

作家草军书表示，警方传讯四名撕像青年显示出权力的霸道蛮横。撕碎一张印刷品有什么罪？……。

邢建民律师表示：“郑州曹小东等四青年因撕毛头像被警察扣押，法律依据何在？曾几何时，家家必备的毛画像、毛语录、毛像章现在都到哪里去了？撕毁、烧掉、丢弃、当破烂儿卖了....如果这些行为都应处罚，那70年代以前出生的国人大概无人能幸免！包括正在参加斯巴达的当朝大佬！”

小说作者夏商也表示声援：“……在民主国家，撕毁乃至丑化政治人物头像根本不算什么。毛像印在人民币上，我们随身携带，每天都用，不代表喜欢这个人。这只是将政治人物物化，和将毛像印在卷筒纸上擦屁股没本质区别。”

民众“远征锋”痛骂道：“网传，郑州撕毛像者已有三人被拘留，另一人正在抓捕。你大爷，吓得老子尿都出来了。赶紧把钱包从屁股兜拿出来，撕个像就拘留，老子这还不得给枪毙呀！明天一定要找根红绳子，把个钱包系在头上！×，那个王八蛋设计的百元钞票，害得毛爷爷天天被人坐屁股底下！”

毛泽东被称为20世纪“三大屠夫”之一

大陆民众对前中共党魁毛泽东在执政期间，多次发起党内党外运动，数千万中国人在迫害中死于非命；1960年前后3年的大饥荒人祸，造成约4千万人死于饥饿，更发动文化大革命，毁灭性的破坏了中华传统文化的实物和精英深感痛恶。毛泽东的残暴独裁与希特勒和斯大林臭名相齐，而被称为20世纪“三大屠夫”之一。

因此，郑州警方的举动激起了愤怒民众的强烈反弹，更有人发起大规模撕毛像活动，以声援撕毛像四青年，并将此活动称为“撕八大”。

（责任编辑：李熙）

与魔鬼能做一笔多大的生意？

作者:余杰
2012-11-14 03:27:41

－－读玛格蕾特-麦克米兰《只争朝夕：当尼克松遇上毛泽东》

在尼克松图书馆中，有一组与尼克松交往甚密的“世界领袖”的塑像，其中赫然有毛泽东和周恩来的塑像。陈凯等华裔人士联名抗议，尼克松图书馆馆长纳夫塔利回信说，他从担任馆长的第一天开始，就对毛泽东铜像感到“不舒服”。他向相关人员询问为何尼克松希望在图书馆中设置毛的铜像时，得到的回答是－－“尼克松并不了解毛泽东的残暴”。后来，图书馆的管理方在毛泽东塑像旁边立了一个牌子，标注说：“在毛泽东统治中国期间，造成数千万中国人非正常死亡。”后来，又将这个牌子换成一种中性的说法：“对于毛泽东的功过，美国政府不予评价。”

毛泽东与希特勒、斯大林并称为二十世纪三大独裁者，而毛泽东残杀民众数量之多，让希特勒、斯大林亦望尘莫及。在西方，没有哪个政治家会以“我是希特勒的朋友”或“我是斯大林的朋友”自居，罗斯福图书馆中不会出现希特勒和斯大林的塑像。但是，尼克松和基辛格们却毫不脸红地以“我是毛泽东的朋友”为荣。二零一二年年初，基辛格的新著《论中国》问世，《华盛顿邮报》发表评论，居然刊登了基辛格与毛泽东及邓小平、江泽民、胡锦涛几代独裁者的多幅合影。

晚年的尼克松长期消失在大众的视野之外。因水门事件黯然下台之后，在在很长一段时间内，民调都显示尼克松是二十世纪历届美国过总统中名望最低者。然而，尼克松在去世前依然坚称开启美国与中国的关系大门，乃是他从事公职生涯以来的巅峰创举。他认为，中美关系的改善不仅遏制苏联力量的扩张，同时还缔造了亚洲、甚至全世界的稳定与和平。事实真的如此吗？加拿大出身的历史学家和国际关系学者玛格蕾特-麦克米兰以大量档案、访问与口述资料为底本，撰写成《只争朝夕：当尼克松遇上毛泽东》一书，不但深入关键角色的性格，提供双方讨价还价的过程，还以慢镜头重播尼克松访华这件促成当年国际情势剧变的重大事件。这本书提出了一个悬而未决的疑问：与魔鬼能做一笔多大的生意？

美国外交的两极：现实主义与理想主义

美国学者沃尔特-拉塞尔-米德在《美国外交政策及其如何影响了世界》一书中指出，几个世纪以来，美国人形成了四种看待外交政策的基本方式。汉密尔顿主义者认为，国家政府与大企业之间的强大联盟是国内稳定和国外有效行动的关键，他们长期关注如何以有利的条件融入全球经济之中。威尔逊主义者认为，美国负有向全世界传播美国民主和社会价值观的使命，并进而创建尊重法治的和平的国际秩序。杰斐逊主义者认为，美国外交政策应当多关心国内安全，不应卷入没有必要的海外同盟关系。杰克逊主义者则认为，美国政府在外交和国内政策方面最重要的目标，应该是美国人民的物质安全和经济富足。

冷战使得美国的外交政策出现了两极化的演变，即现实主义者与理想主义者的分歧。现实主义者包括所有的杰克逊主义者及许多汉密尔顿主义者，以及少数威尔逊主义者，他们支持一种积极甚至进攻性的不受限制的方法，主张用必要的军事力量、情报手段以及与不友好国家结盟，来对付苏联的狂妄。理想主义者包括许多威尔逊主义者和所有的杰斐逊主义者，他们对冷战采取一种更为高尚的方法，旨在为世界上其他国家树立一个更好、更有力的榜样，从而击败苏联。

尼克松和基辛格都是彻头彻尾的现实主义者和实用主义者。他们不关心价值、道德和伦理议题，眼中只有权力，权力就是一切。为满足个人的权力欲望，“善变”是其本能。正如美国历史学家德瑞克-李波厄特在《五十年伤痕：美国的冷战历史观与世界》一书中用讽刺的口吻所评论的那样：“尼克松是对杜鲁门和艾奇逊‘丢失’中国提出最严厉批评的人之一，他敦促美国政府给麦克阿瑟复职，对中国大陆进行轰炸，现在这位超级的、可能的现实主义者却称赞毛泽东是本世纪的伟人之一。”尼克松未必多么尊敬和爱戴毛泽东，但能利用缠绵于病榻之上的毛泽东成就其不朽之功业，即便毛泽东是独夫和屠夫，他也顾不上许多了。

而基辛格不仅是赤裸裸的现实主义者，更是钟情于地缘政治或势力均衡的原则。他最崇拜的是梅特涅、俾斯麦等操作现实政治的欧洲旧式人物，他在哈佛读书时的论文便明确指出：“他们的目标是稳定，不是完美，而权力均衡乃是以史为鉴的古老明训。”然而，这正是深受清教徒传统浸染的美国开国之父华盛顿最为深恶痛绝的流氓思维。难怪基辛格数年来不断抱怨说：“这类政治人物通常不为国人所尊重，因为他们的政策往往需要与其他强权妥协，或违背一个国家的最崇高原则，而这通常很难赢得国内的支持。”多年来，基辛格以“中国通”自居，穿梭于中美两国之间捞取个人利益，甚至在薄熙来垮台前专程赴重庆为其打气。可惜，这一次，这个精明的赌徒下错了注，虽不至一败涂地，却也灰头土脸、颜面无光。

毛泽东、尼克松、周恩来、基辛格的“麻将桌”

毛泽东、尼克松、周恩来、基辛格四个人刚好凑成一桌麻将。这个局面的形成缺一不可。《只争朝夕》一书分别为这四个人设立专章论述，在马基雅维利式的“权术大师”的意义上，这四个人还真是一丘之貉。毛泽东的事业离不开周恩来，毛对周恩威并施，两人合作多年却从未建立私人情谊；同样，尼克松的事业离不开基辛格，尼克松认为他在榨取基辛格的能力，而基辛格则认为他在操纵尼克松的思维，这两人一旦跌出权力中心顿时变得冷若冰霜。

最为精彩的场面则是毛泽东与尼克松破冰般的会面，周恩来和基辛格陪同在侧，充当被调侃的对象。毛老谋深算，开门见山便说：“我们今天吹的问题限于在哲学方面。”尼克松则以恭维毛开场：“我们读了主席的诗词和讲话，我知道主席是一位思想深刻的哲学家。”毛指着基辛格说：“他是博士，今天主讲是他。”基辛格回答说：“我过去在哈佛大学教书时，指定我的学生要读主席的文选。”毛说：“我的那些东西算不了什么。”尼克松说：“主席的著作感动了全国，改变了世界。”毛说：“没有改变世界，只改变了北京附近的几个地方。”尼克松表示，他懂得“只争朝夕”。毛指着基辛格说：“‘只争朝夕’就是他。”重病之后正在康复中的毛，说话困难，说起话来粗涩、猝然。谈到一半，毛突然伸出手来，握起尼克松的手约一分钟。尼克松满心愉快，在日记里写道：“这是动人的时刻。”

中国学者史云、李丹慧在《难以继续的“继续革命”：从批林到批邓》一书中提供了更有趣的背景材料：这场会面，原定只是礼节性的十五分钟，实际却按照毛的意思延长到一个小时五分钟。会谈一结束，毛便瘫软在沙发上，整整三十分钟不能动弹，随后即卧床休息。这次会见的官方报道中没有出现“神采奕奕”、“身体非常健康”一类的用词。根据中美事先的意向，毛还准备会见尼克松一次，毛自己也有这个强烈欲望，但终究因为身体状况而取消。

这场会面最大的赢家不是尼克松，而是毛泽东。林彪事件之后，“文革”难以为继，苏联大兵压境，毛泽东众叛亲离，内外交困。美国抛出的橄榄枝，成了毛最后的救命稻草。对于尼克松大肆吹嘘的成功，德瑞克-李波厄特《五十年伤痕：美国的冷战历史观与世界》一书中不无鄙夷地指出：“在两个主要敌人中选择加强较弱一方的力量很难说是什么杰作”。尼克松将恢复邦交看作是扩大和平的迹象，而忽视了它的主要方面：北京对克里姆林宫的复仇怀有深刻和合理的恐惧。

即便是基本肯定中美关系走向正常化趋势的玛格蕾特-麦克米兰也不禁发出追问：“美国的表现是否渴望过了头，是否让步太多。在不清楚能否见到毛泽东，上海公报能否底定之前，尼克松该不该贸然先造访中国？美国人该不该私下奉送这么多有关苏联的秘密资料，这会不会给人一种美国急于求成、联中制苏的印象？……美国人无意之间不仅让中国领导阶层感到放心，或许还加深了中国人的传统世界观，亦即中国是世界的中心。基辛格有必要这么谦恭，有时甚至近乎逢迎谄媚吗？”

毛的中国：是东方天堂，还是人间炼狱？

随同尼克松访华的美国国务院官员何志立，二战前夕在北京生活过，在记忆中那是一个生机勃勃的城市，他对眼前的变化大感震惊：“当我从汽车窗帘的缝中窥视北京，感觉它几乎就像是一座鬼城。街上行人稀稀疏疏，他们动作迟缓，表情僵硬，仿佛‘文化大革命’让他们经历了某种战斗后的疲惫。”从一九六六到七六年，有三百万中国人死于“文革”浩劫。这还不包括中国官方自己承认，遭到兽行虐待的数百万受难者。有位意大利精神科医师，在尼克森成行不久之前到中国访问，他对四处可见脸部肌肉抽搐的人，大表震惊。

玛格蕾特-麦克米兰写道：“一九七二年的美国访客对于这人间炼狱所知不多。中方东道主个个表现彬彬有礼，让远来的访客有宾至如归之感，但就是不愿触及敏感话题。”中国虽然面临严重的经济困难，却“竭天朝之物力，结与国之欢心”，周恩来亲自落实在美国客人下榻的房间内放置的点心和水果的种类，友谊宾馆房间内马桶的木质盖子也被油漆一新，可惜崭新的油漆让不少美国客人的屁股产生了严重的皮肤过敏。

在上千人出席的盛大国宴上，精美的菜肴让客人目瞪口呆，没有人相信这个国家物资匮乏。尼克松作了热情洋溢的祝酒辞，他说，他们的目标是“缔造一个和平、正义的世界架构，让人人都能同样有尊严地站在一起”。而残酷的“文革”正在折磨中国人民，武器弹药也源源不断地向南运往河内杀害越南人民和美国士兵。尼克松引述毛的话：“毛主席曾经写过，‘多少事，从来急，天地转，光阴迫。一万年太久，只争朝夕。’”他以舞台总监般的自信向不在场的毛致敬，也向周恩来等高级官员敬酒。白宫幕僚长霍德曼说：“这实在太壮观了。”

然而，不是每个人都有同样的感觉。尼克松刻意拉拢并邀请同行的威廉-巴克莱－－美国保守派的领袖，《国家评论》杂志的创办人－－毫不客气地评论说：“那种感觉好像就是，纽伦堡大审判的时候，检察官萧克罗斯爵士从自己的席位上起身走下来，热烈拥抱戈林、戈培尔、邓尼茨、赫斯等纳粹元凶，乞求他们加入打造美好世界的行列。”此行之后，威廉-巴克莱彻底放弃了尼克松，转而支持真正反共的保守派政治家里根。

毛泽东统治的中国，不是东方天堂，而是人间地狱。正如玛格蕾特-麦克米兰所说，尼克松与基辛格会晤的那个毛泽东，虽不是天生的冷酷暴君，但漫无限制的权力早就他成为一个专制独裁者。不管是内政或外交，只要毛有心为之，他就垄断了中国的所有决策能力。毛即使病入膏肓，依然是左右中美关系变化的最终决断者。而与毛泽东这个魔鬼共舞的尼克松，本身也是一个极度自恋的小人，参拜毛泽东与水门事件之间有着草蛇灰线般的联系。对美国立国精神的践踏与败坏，终于让他声名狼藉。尼克松图书馆中的毛像，则将这一段丑陋的历史定格下来，让世人长久地警醒。

－－原载：《自由亚洲电台》，2012-11-07
http://www.rfa.org/mandarin/zhuanlan/wen...2012111448.html

崔健语出惊人：毛像在 我们都是难民

作者：文君

大陆著名音乐人崔健当年《一块红布》隐喻，1949年后中国人被中共“一块红布”蒙住了双眼也蒙住了天，意思是生活在大陆的国人被洗脑了；近日他又语出惊人，称“天安门只要挂着毛主席像，我们就都一样，都是难民。”

大陆新浪网12月11日发表对崔健的采访报导，针对时下大陆流行的“代沟说”崔健认为“天安门只要挂着毛主席像，我们就都一样。别以为你比我小20岁、30岁，我们就不是一代人。我在很多方面是代表你说话，你要是盲目地觉得我岁数大了就觉得要把我区别开，等于是在伤害你自己。”

崔健说，他不希望看到同一代人中不停有逃难者上路，他恨铁不成钢。“你就是那个逃难的难民，你只不过有点儿钱而已，生活在一个好时代而已。”

此话引起社会反响，在大陆论坛和微博，网民纷纷表示对崔健的这番话竖起大拇指，认为他的思想愈发有深度。

有网友表示: “所有人都跟电影里面被欺负的难民是一样的心态，没有人敢去提出问题。现实里的你就是那个逃难的难民，你只不过有点儿钱而已。”

斯德哥尔摩综合症

对于崔健所说的“我们都是难民”，有分析认为，他是在潜意识的表达，自中共夺权（1949年，这就是他所说的毛像挂在天安门）以后，我们都被中共绑架了，自然就是难民，现在年轻人好像比以前有钱了，但国人的“难民”身份一如从前。

对此，医学界有一种“斯德哥尔摩综合症”的精神病，是在一九七三年瑞典首都斯德哥尔摩一家银行发生的抢劫案后被医学界重视并闻名于世的。当时，受两名匪徒劫持的四名银行职员中，有两人出庭为劫匪辩护，甚至其中一名女士与一名服刑期的匪徒定婚，并在后来嫁给了他。

这种发生在绑架案受害者身上特别的精神病，显然是一种不可思议的对人性的扭曲，是受害者遭受巨大伤害的表征。可悲的是，这种悲剧却普遍发生在中华同胞身上。

被中共绑架的中华民族，经历了六十多年的凌辱之后，今天的海内外同胞，在历次所谓的“政治运动”中直接或间接遭受迫害的，在中共灭亡之前极度腐败过程中饱受欺凌的，数以亿计。

就像纳塔莎把绑架者当作自己生命的一部份一样，因为长期与邪恶“同呼吸”，很多同胞不自觉的就认为自己与邪恶“共命运”，担心没有中共的中国就会乱，正像纳塔莎担心所有的亲人和邻居会被害一样。中共一再宣称没有它的领导中国就要乱，这和绑架者对纳塔莎的威胁如出一辙。

—— 原载: 大纪元
本站刊登日期： Saturday, December 22, 2012

《恶魔毛泽东》

中国的恶魔是毛泽东.

根据歌曲东方红改编,
西诺改词.

千秋恨,
万世愤.
中国的恶魔是毛泽东.
害死人民八千万,
呼儿嗨哟.
恶贯满盈害人虫.
搞斗争,
比杀人.
敢提意见就没有命.
杀了地主两百万,
呼儿嗨哟.
百万右派进牢门.
说假话,
无人性.
亩产万斤他放卫星.
三年饿死了三千万,
呼儿嗨哟.
人民公社是瘟神.
音乐伴奏.
搞文革,
天下红.
路线斗争他发了疯.
亿万人民受迫害 ,
呼儿嗨哟.
十年动乱害人民.
全民声讨毛泽东,
呼儿嗨哟.
中国才能得光明,
得光明.

“巨大的倒退”：新领导下的“毛复兴”

德国之声

10/3/13

毛泽东死了，但他还活着。中国领导人不去反思毛泽东的错误，反而对他高呼万岁。观察家们认为这是一个“巨大的倒退”

（德国之声中文网）豆大的雨点打在这位权力最高的中国领导人身上。不过，在北京天安门广场参加国庆典礼的习近平却不动声色，将花篮端正地摆放在近40米高的”人民英雄纪念碑”前。当童声合唱团献上一首讴歌共产党的歌时，习近平打起一把黑伞，举目远眺。在偌大的广场另一头，毛泽东1949年用带着湖南口音的颤抖的声音宣布：”中国人民从此站起来了。”即便毛泽东的名字并不时时出现，但他其实无处不在。

逝世近40年后，这位中国共产党的”伟大领袖”又回到了现实生活中。党和国家主席习近平掀起了一场意识形态运动，要求他的党深刻地整顿党风，并且犹如文革中一般让国家干部们在会上展开”批评和自我批评”。但是，夺取百万人生命的毛时代的阴暗面却没有人提及。

恰恰相反。”我们的红色江山永不变色”，习近平不久前这样强调。6米半高、5米宽的毛泽东画像高高地悬挂在通向帝王宫殿的天安门城门上。这是中国拍照最多的景点。毛泽东像被作为吉祥物挂在出租车后视镜上，在毛泽东逝世25年后，2001年发行的人民币纸币从一元到100元，正面都是毛泽东的头像。