Mondauk Common:
Michael-Patrick Harrington's Blog

Democracy Dies in Darkness

 

Anything involving possible censorship should make everyone shudder, particularly when it consistently comes from a dysfunctional branch of the federal government. The Washington Post’s masthead says it all: Democracy Dies in Darkness.

 

From Politico.Com:

Trump suggests challenging NBC’s broadcast license

The veiled threat opens a new front in the president’s feud with the media.

By LOUIS NELSON and MARGARET HARDING MCGILL

10/11/2017 10:37 AM EDT
Updated 10/11/2017 12:07 PM EDT

President Donald Trump on Wednesday suggested that NBC’s broadcast license should be pulled as punishment for the network’s reporting on his national security meetings, opening a new front in the president’s long-running battle with the press.

NBC News published a report Wednesday morning stating that Trump had surprised his national security advisers by proposing a nearly tenfold increase in the U.S. nuclear arsenal during a July meeting. The meeting was what allegedly led Secretary of State Rex Tillerson to call Trump a “moron” — a comment that NBC first reported last week.

Trump lashed out at NBC, appearing to make a threat that is not even possible, given that the Federal Communications Commission doesn’t directly license networks.

“Fake @NBCNews made up a story that I wanted a ‘tenfold’ increase in our U.S. nuclear arsenal. Pure fiction, made up to demean. NBC = CNN!” Trump wrote on Twitter, equating the two TV news outlets he has most often lashed out against. “With all of the Fake News coming out of NBC and the Networks, at what point is it appropriate to challenge their License? Bad for country!”

NBC did not immediately respond to requests for comment. The FCC had no immediate comment.

The president’s willingness to potentially challenge the broadcast licenses of a media outlet whose coverage he objects to marked an escalation in rhetoric for Trump. The president has regularly complained about coverage he views as unfairly critical, labeling stories, reporters and entire outlets “fake news.”

As a candidate, Trump threatened to “open up our libel laws so when they write purposely negative and horrible and false articles, we can sue them and win lots of money.” He repeated that threat in a post to Twitter in March. He also floated the idea of canceling the long-held tradition of White House press briefings, which were moved mostly off-camera for weeks last summer.

It is the second time in as many weeks that Trump has attacked NBC News. The earlier attack came after the “moron” report, which also said Tillerson had been on the verge of quitting over the summer.

Tillerson has denied that he ever considered resigning, and a State Department spokeswoman later said the secretary doesn’t use language like “moron.”

Trump, meanwhile, said the network’s news division “is so knowingly inaccurate with their reporting” and had “low news and reporting standards.”

“NBC news is #FakeNews and more dishonest than even CNN. They are a disgrace to good reporting. No wonder their news ratings are way down!” Trump wrote on Twitter on Oct. 4.

It’s unclear exactly how Trump could directly challenge a media outlet’s broadcasting license, if he chose to follow through on his veiled threat.

The FCC, an independent federal agency, issues broadcast licenses to stations and oversees license holders. It does not license networks. NBC is owned by Comcast, which holds broadcast licenses for several stations. NBC also airs on affiliate stations owned by other companies.

Local residents or competitors can file a challenge to a station’s license renewal, but the basis for such a challenge is extremely limited — it must be a case where the station systematically violated the FCC’s rules or lacked the requisite “character” to hold the license. That is usually defined as a felony conviction, said Andrew Schwartzman, a communications lawyer with the Institute for Public Representation at Georgetown University Law Center.

“It’s an empty threat. The last thing that NBC is going to worry about is whether its broadcast licenses are in jeopardy,” Schwartzman said.

Schwartzman said the only time he could remember a large broadcaster losing its license was in the 1970s, after a New York station’s management was convicted of bribery. The license renewal issue surfaced in 2012, when Rupert Murdoch’s News Corp. was facing controversy over a phone-hacking scandal in Britain, but Fox’s U.S. television licenses were not revoked over the issue.

Although NBC is currently in Trump’s cross hairs, CNN has most often been the target of Trump’s anger with the media. The president has sought to turn the network into something of a foil for him and his supporters, who have chanted “CNN sucks” at rallies. Trump has shared images viewed by some as encouraging violence against CNN, including a professional wrestling clip that shows the president attacking a man with a CNN logo superimposed over his head and a cartoon with a “Trump” train running over a man covered by a CNN logo.

The cable network’s White House reporters have sparred often with White House press secretaries Sean Spicer and Sarah Huckabee Sanders during briefings, while the administration has, at times, refused to put its spokespeople and surrogates on CNN.

Trump has lobbed insults and threats at newspapers, too, most often targeting the “money losing” New York Times and The Washington Post, which is owned by Jeff Bezos, the owner of online retail giant Amazon.

“The #AmazonWashingtonPost, sometimes referred to as the guardian of Amazon not paying internet taxes (which they should) is FAKE NEWS!” Trump wrote on Twitter in June.

The attack came one day after the Post reported that at least four Trump Organization golf properties had on display a fake Time magazine with Trump on the cover and flattering headlines about his reality TV show, “The Apprentice,” which aired on NBC.

Jason Schwartz contributed to this report.

We Lost Tom Petty

Tom Petty, Rock Icon Who Led the Heartbreakers, Dead at 66

Singer suffered cardiac arrest and was taken off life support at hospital

I’m speechless. It’s difficult to explain how much Tom Petty’s music (w/ the Heartbreakers, solo, with the Traveling Wilburys, or with Mudcrutch) meant to me, because his presence was a given. I doubt a week went by when I didn’t play one of his records. Petty didn’t have Bruce Springsteen’s gravitas or Elvis Costello’s lyrical stylings, but he was always there, record after record, a workhorse delivering (generally) no nonsense rock’n’roll. That’s not to say that his music wasn’t something special; it’s just that Petty delighted in the small details. Like Bruce, he grabbed the music of his past and brought it kicking and screaming into the now. He embraced the inherent humor of rock’n’roll, while extolling the virtues of living a life beyond the details he so lovingly explored. To wit, from “American Girl”:

Well it was kind of cold that night;
She stood alone on her balcony.
Yeah, she could hear the cars roll by
Out on 441 like waves crashin’ on the beach,
And for one desperate moment there
He crept back in her memory.
God it’s so painful when something that’s so close
Is still so far out of reach.

I will miss him.

Read the RollingStone.Com article by clicking here.

 

Bruce Springsteen releases classic live show w/ all proceeds going to Hurricane Relief

From BruceSpringsteen.net:

Bruce Springsteen has released the much sought after recording of the classic Houston ’78 show to Benefit MusiCares® Hurricane Relief Fund. Bruce, the E Street band, Sony Music, and nugs.net will donate ALL their proceeds to the hurricane relief effort.

Buy the show HERE.

More from BruceSpringsteen.net:

Bruce Springsteen is releasing an entire 1978 show with the E Street Band in Houston, Texas. The release will benefit the MusiCares® Hurricane Relief Fund, which will aid those affected by the recent devastation in Texas as well as in Florida.

The Houston show originally appeared as part of the Darkness on the Edge of Town box set.  It captures the final leg of the Darkness tour, including the extended intro version of “Prove It All Night,” the rarely performed “Streets of Fire,” and Darkness outtakes “Fire” and “Because the Night.”  It also features prototypes of The River’s “Independence Day,” “Point Blank” and “The Ties That Bind,” plus a rare September song, “Santa Claus is Comin’ To Town.”

Houston was one of Bruce’s earliest springboards, which accounts for the presence here of early favorites “Fire” and “It’s Hard to be a Saint in the City.”

Bruce, the E Street band, Sony Music and nugs.net will donate all their proceeds to the hurricane relief effort.

Houston ’78 is available now as MP3 and hi-res downloads including audiophile grade MQA, or as a 2 CD set. You can order it today at  live.brucespringsteen.net, Bruce Springsteen’s official live recording service powered by nugs.net.

The Jimmy Kimmel Test

From CNN.Com:

Jimmy Kimmel takes on new health care bill, says Sen. Cassidy lied ‘right to my face’

by Frank Pallotta   @frankpallotta September 20, 2017: 9:15 AM ET

Jimmy Kimmel didn’t pull any punches when it came to the Senate’s new health care bill and U.S. Sen. Bill Cassidy, saying that Cassidy lied “right to my face.”

(article continued below the video)

“A few months ago after my son had open heart surgery, which was something I spoke about on the air, a politician, a senator named Bill Cassidy from Louisiana was on my show and he wasn’t very honest,” Kimmel said opening Tuesday night’s show.

Kimmel then explained how Cassidy came up with what the senator called the “Jimmy Kimmel Test,” which according to the host was a test that said that “No family should be denied medical care, emergency or otherwise because they can’t afford it.”

“He agreed to that,” Kimmel said. “He said he would only support a healthcare bill that made sure a child like mine would get the health coverage he needs, no matter how much money his parents make.”

Shortly after Cassidy’s May 2017 appearance on Kimmel’s show, Cassidy spoke to CNN about a separate healthcare bill he had just introduced, and had co-sponsored with U.S. Sen. Susan Collins. Unlike the Graham-Cassidy bill, that bill would have avoided lifetime coverage limits, and extended protection to those with preexisting conditions.

In Tuesday’s show, Kimmel explained that a new bill proposed last week by Cassidy and U.S. Sen. Lindsey Graham “actually does pass the Jimmy Kimmel Test” in that with this bill “your child with a pre-existing condition will get the care he needs if, and only if, his father is Jimmy Kimmel.”

“Otherwise, you might be screwed,” he said.

Kimmel continued thrashing Cassidy, saying that the senator not only failed the Jimmy Kimmel test, but that “he failed the Bill Cassidy test.”

Cassidy, in an appearance Wednesday on CNN’s “New Day,” said of Kimmel: “I’m sorry he does not understand.”

He insisted that the bill provides broader health care coverage than now exists.

“There are more people who will be covered under this bill than under the status quo,” Cassidy said. “Everybody fears change. Even if it’s worse to better, they don’t want change.”

During his seven-minute monologue, Kimmel also made the point that those in congress trying to push the bill into reality are counting on the American people to be “overwhelmed with all the information.”

“Most of the Congresspeople who vote on this bill probably won’t even read it. And they want us to do the same thing,” he said. “They want us to treat it like an iTunes service agreement. And this guy, Bill Cassidy, just lied right to my face.”

Kimmel then showed a clip of himself asking Cassidy in May if he believed that every American, regardless of income should get regular checkups and maternity care in the same way that people who have health insurance receive the care. Cassidy responded “yep” in the clip.

“‘Yep’ is Washington for ‘Nope,'” Kimmel said.

Kimmel said he never imagined he would ever get wrapped up in an issue like health care.

“This is not my area of expertise. My area of expertise is eating pizza,” he said. “And that’s really about it.”

Kimmel then ended his monologue telling Cassidy that there’s a new Jimmy Kimmel test for him.

“It’s called a lie detector test,” he said. “You’re welcome to stop by the studio and take it anytime.”

In a statement, Cassidy did not directly address Kimmel’s monologue, but reiterated his commitment to the latest proposed legislation.

“We have a September 30th deadline on our promise,” Cassidy said in a statement, referring to some Republicans’ plan to repeal Obamacare. “Let’s finish the job. We must because there is a mother and father whose child will have insurance because of Graham Cassidy Heller Johnson. There is someone whose pre-existing condition will be addressed because of GCHJ.”

 

CNNMoney (New York) First published September 20, 2017: 12:17 AM ET

RIP Grant Hart

In the summer between my junior and senior years in prep school, Rolling Stone ran an article on the underground music scene in the US, which included R.E.M., the Minutemen, Minor Threat, Meat Puppets, Black Flag, Dead Kennedys, and a Minneapolis band described as being power punk pop, Hüsker Dü. In July, the group released a double LP, Zen Arcade. The first listen was devastating. They screamed and sang and road feedback into hell and acoustic guitars into heaven. I felt as if a veil had been lifted. There was a whole world of music that I didn’t know existed before the RS piece, and I wanted to hear it all. The first two R.E.M. albums raised the hairs on neck. Minor Threat scared the hell out of me. My mom banned the Dead Kennedys because of their name. (They still ended up on my turntable!) In the fall, I bought Let It Be by the Replacements, another Minneapolis band. Just the name of the record told me that these guys didn’t bow to the gods of classic rock. But Hüsker Dü led the pack. When they signed to Warner Brothers in ’86, it was exciting: the underground, in all its noisy glory, breaking into the mainstream. Alas, it was not to be. By ’88, they broke up (in a messy way). But the damage had been done: a transcendent R.E.M. broke through the year before, and in 1991, Nirvana released Nevermind (named after a Replacements song) and nothing has been the same since. Hüsker Dü ‘s drummer/singer Grant Hart was more than just the indie Keith Moon; he was an excellent songwriter. Sometimes he toiled in the shadow of band mate Bob Mould, but Grant’s voice was so jubilant, it was hard to forget. I still love and listen to Hüsker Dü. If you want to give them a try, start with the album Brand New Day. It will blow your hair back. RIP Grant.

From: RollingStone.Com:

Grant Hart, Husker Du Drummer and Singer, Dead at 56

By Daniel Kreps

Grant Hart, drummer and singer of the seminal alternative rock band Hüsker Dü, has died at 56 after being diagnosed with cancer. The news was confirmed by his bandmate Bob Mould on Facebook.

“The tragic news of Grant’s passing was not unexpected to me,” Mould wrote. “My deepest condolences and thoughts to Grant’s family, friends, and fans around the world. Grant Hart was a gifted visual artist, a wonderful story teller, and a frighteningly talented musician. Everyone touched by his spirit will always remember.”

The St. Paul, Minnesota-born Hart formed Hüsker Dü – Danish for “Do you remember?” – in the late Seventies along with singer/guitarist Bob Mould and bassist Greg Norton. The trio met when Mould, then a college student, frequented the record stores that bassist Greg Norton and Hart worked at.

“It was the fall of 1978,” Mould wrote on Facebook. “I was attending Macalester College in St. Paul, Minnesota. One block from my dormitory was a tiny store called Cheapo Records. There was a PA system set up near the front door blaring punk rock. I went inside and ended up hanging out with the only person in the shop. His name was Grant Hart.”

Hart, who previously played keyboards in other Minnesota acts, became Hüsker Dü’s drummer by default: He owned a drum kit – his older brother’s, who was killed by a drunk driver when Hart was 10 – and the band couldn’t find another drummer to join them.

At the onset, Mould largely shouldered the songwriting load on Hüsker Dü’s early albums – the breakneck live 1982 LP Land Speed Record and 1983’s Everything Falls Apart – but Hart would take the lead on early Dü cuts like the post-punk “Statues,” “Wheels” and “What Do I Want?”

Although entrenched in the city’s burgeoning hardcore scene – fellow Twin Cities rockers the Replacements and Soul Asylum would also find nationwide audience – Hüsker Dü didn’t neatly conform to the genre’s look or sound, with Hart often labeled a “hippie” due to his long hair and habit of playing drums barefoot.

While Mould’s songs were bolstered by his trademark urgent and ragged delivery, Hart’s vocals were more traditional, which only mildly smoothed the rough edges of the vociferous hardcore tracks. Their style was on display on songs like Metal Circus’ “Diane,” a song ostensibly about a murdered Minnesota waitress, and “It’s Not Funny Anymore.”

Hüsker Dü bristled against the rubric of the hardcore scene in other ways besides their music: Mould was openly gay and Hart often brought male partners on tour.

“When you’re dealing with a very small orbit, it doesn’t seem like such a big thing. Then, by the time it would be a big thing, the people you’re dealing with have dealt with it,” Hart told the AV Club in 2000. “They accept it, they’re cool behind it, and they’re doing it themselves, but we can’t let the people down in Topeka think that’s the case. And really, it didn’t define much about the band. If anything, it would have been just another question mark, because we were so unlike the stereotype du jour.”

The Metal Circus EP, Hüsker Dü’s first release on the famed hardcore label SST, also marked a turning point for the band’s songwriting as they shifted away from hardcore toward a more expansive, varied sound that incorporated elements of punk, folk and straight-up rock and roll. The result was Hüsker Dü’s pioneering double-LP concept album Zen Arcade – “a thrash Quadrophenia,” David Fricke wrote in his 1985 review – which served as a blueprint for the alternative music scene that would bubble up in its aftermath.

On the landmark album – which Rolling Stone placed as Number 33 on the 100 Greatest Albums of the 1980s and Number 13 on the Greatest Punk Albums of All Time lists – Hart contributed songs like the classic overdose saga “Pink Turns to Blue,” “Standing by the Sea” and “Turn on the News,” one of the Rock and Roll Hall of Fame’s 500 Songs that Shaped Rock and Roll.

“Maybe the tension of the band, the challenging of one from the other … You hear some live bootlegs, and Bob and I are working so hard to outshine each other that it just lifts the whole thing off the ground with peace and wonderfulness,” Hart said of the group’s dynamics.
Related

1985’s New Day Rising, released just six months after Zen Arcade, featured standout Hart tracks like the fan favorite “Books About UFOs,” featuring Hart on piano, and “The Girl Who Lives on Heaven Hill.” In December of that year, Hüsker Dü put out Flip Your Wig, which firmly cemented their power-pop sound. Hart’s gorgeous “Green Eyes” and “Keep Hanging On” highlighted that LP, the band’s last for SST before they made the jump to major label Warner Bros.

For 1986’s Candy Apple Grey, the trio zoomed “in on personal relationships and private emotional torment with an impassioned directness that reached a dark apex,” David Fricke wrote in his liner notes to the Huskers’ live LP The Living End, which documented their 1987 tour. The album featured Hart’s “Don’t Want to Know If You Are Lonely,” later covered by Green Day.

While Hart and Mould’s songwriting continued to mature, the two butted heads creatively on the 1988 double LP Warehouse: Songs and Stories: On that 20-song album, Mould wrote 11 songs and Hart wrote nine.

“Point blank, Mould told me when we were working on Warehouse, ‘We’re not going to finish this song and this song because that would make the album equal: ten songs Bob, ten songs Grant. And that is never going to happen in this band,'” Hart said of the breakup.

Although Hart’s drug use was also blamed for the dissolution of Hüsker Dü – “Only one of three drug-abusing people [in Hüsker Dü] was crucified about it,” Hart said – it was the feud between Hart and Mould and suicide of Hüsker Dü’s manager David Savoy on the eve of the Warehouse tour that ultimately led to the demise of the band.

Following his Dü tenure, Hart launched a solo career with 1989’s Intolerance before assembling the Nova Mob, who released a pair of LPs, 1991’s The Last Days of Pompeii and 1994’s Nova Mob. That band’s name was inspired by the Nova Express, a novel by William S. Burroughs; Hart and the legendary beat author fostered a friendship during the latter years of Burroughs’ life, with Hart attending Burroughs’ 1997 funeral in Lawrence, Kansas. Through Burroughs, Hart also became acquainted with Patti Smith, with Hart providing piano on her 2000 track “Persuasion.”

Hart resumed his solo career with 1999’s Good News for the Modern Man. His last completed album was 2013’s The Argument – based on John Milton’s Paradise Lost – but Hart, according to Norton, was working on a concept album based on the life of Unabomber Ted Kaczynski prior to his death.

In 2004, Hart and Mould reunited onstage at a benefit concert for Soul Asylum bassist Karl Mueller, who was battling throat cancer. The performance marked the first time the two Huskers played together in 16 years, and ultimately the last time.

As Norton told Rolling Stone in August after Hüsker Dü’s Savage Young Dü box set was announced, tensions between the band had largely dissipated as they found a middle ground on the business side of the relationship. Norton, though, added that a Hüsker Dü reunion would “100 percent” never happen.

In July, Minneapolis’ Hook & Ladder saluted Hart with an all-star concert with Norton and Soul Asylum’s Dave Pirner. The gig featured Hart’s last onstage performance.

“We made amazing music together,” Mould wrote in his tribute to Hart. “We (almost) always agreed on how to present our collective work to the world. When we fought about the details, it was because we both cared. The band was our life. It was an amazing decade … Godspeed, Grant. I miss you. Be with the angels.”

© Rolling Stone 2017

Link

 

From RollingStone.Com:

How St. Vincent Battled Anxiety and Made Her Best Album Yet

Annie Clark had so much success it literally made her sick. But she channeled that stress into the bold new ‘Masseduction’

By Kory Grow, Rolling Stone

In 2014, Annie Clark’s career could not have been going better. After years of carving out her place as a cult hero, the singer-guitarist – who records as St. Vincent – found a surprising level of success with her fourth LP, St. Vincent, which reached Number 12 on the album charts. Clark toured the world, fronted Nirvana at their live reunion at the Rock and Roll Hall of Fame induction ceremony and turned in one of the more memorable Saturday Night Live performances in recent years, playing inside a giant box and doing strange choreography between fuzz-guitar outbursts.

“If you want to know about my life, listen to this record,” singer says

But if you ask Clark, that period wasn’t a lot of fun. “I was going out of my mind,” she says. “I was on the road constantly and just trying to keep up with the pace. It was go-go-go, and I didn’t have incredibly well-developed coping mechanisms. I was just trying to keep my sanity.” Clark started taking medication for anxiety and depression. Today, she credits pharmaceuticals with helping her move on to the next phase of her career. In fact, they even influenced her excellent new album, Masseduction (out October 13th); one of the first songs she wrote for the LP was “Pills,” a jittery guitar-scraper with a childlike melody. Masseduction is Clark’s most intriguingly complex album to date. She recorded with producer Jack Antonoff (Taylor Swift, Lorde), working up a set of songs about sex, drugs and sadness. The music she came up with straddles New Wave, ambient rock and straight-ahead pop, and features appearances by jazz virtuoso and Kendrick Lamar sideman Kamasi Washington, Jenny Lewis, and producer and Dr. Dre bassist Mike Elizondo. Model and actress Cara Delevingne (whom Clark dated before they split last year) guests on back-up vocals. “What sold me on working with Annie was how much she was willing to expose and how ready she was to rip it all apart and go all in,” Antonoff says. “It’s exactly in line with how I like to make records right now.”

Clark, 34, has spent most of the past two years out of the public eye. But that doesn’t mean she hasn’t been busy. “I don’t take time off,” she says. “I tweeted this the other day, but it’s true: ‘Work is more fun for me than fun.'” Since St. Vincent, she’s directed a short horror film for XX, an anthology spotlighting female directors, and announced plans to direct a film that would reimagine The Picture of Dorian Gray with a female lead. She also designed a custom electric guitar for Ernie Ball instruments and built a recording studio in Los Angeles.

After she turned in the completed Masseduction, Clark made an alternate, stripped-down version of the LP with pianist Thomas Bartlett (a release date for which has not been announced). While recording in New York and L.A., she would hold herself to epic studio binges, a process she calls “monastic fantastic.” Says Clark, “I’m just totally burrowed and celibate and 100 percent dedicated. I took a nap earlier, which was great. But I don’t really do anything but make things.” The songs she has written can deal with anything from sexual role-playing to suicide. One of Masseduction’s highlights is the sorrowful “Happy Birthday, Johnny,” in which she sings about losing touch with a friend who is bogged down by drugs and depression. “That’s a banger,” she says sarcastically. Some artists might worry about being so revealing on record, but Clark doesn’t mind inviting people in. “It’s just my life,” she says. “Besides, you can’t fact-check a record.”

 

We Will Come Around

We are now in a low point in American history. But we survived Nixon, we survived George W. Bush. We will always survive. They can force us down, they can call the people protesting Nazis (Nazis!) the alt-left. They can force their god down our throats. They can ignore science. They can try to give tax breaks to the rich and leave roughly 15-20 million Americans without health insurance. They can try to pass draconian immigration laws in a country of immigrants. They can try to stop a woman’s right to choose or a gay couple’s right to marry.

Guess what? We always win in the end. The religious right, the alt-right, the Nazis, the climate deniers – they will end up in the dustbin of history, just like those that opposed the Civil Rights Act and the traitors that made up the Confederacy. Why? Because Americans, down deep, realize that in order for the truths of the Declaration to be “self-evident” and “unalienable,” they have to be true for EVERYONE. There was a time when blacks were slaves and Native Americans were slaughtered and women couldn’t vote and certain churches, mosques, and temples were not protected as promised and African-Americans were separate but not equal and gays and lesbians couldn’t marry. See, we as a country, we come around (often slowly). You may not like or agree with an idea or a law, and you have the absolute right to petition your lawmakers. But down deep, to love this country is to love the ideas it was founded upon. And, yes, some of our Founding Fathers were flawed men – but we are not here to speak of individual flaws. We are here to revel and rejoice in their ideas. To be an American is to look around and realize that that the people at work, in your neighborhood, at the mall, are different than you, yet the same. They are Americans, and they deserve the chance to fully understand what that means. The rights are for all or the rights are for none. There is no in between. Not here. Not ever.

Michael-Patrick Harrington
Ambler, Pennsylvania

 

From CNN.com:

DC’s Lincoln Memorial vandalized with spray-painted expletive
Miranda Green

By Miranda Green, CNN

Washington (CNN)The National Park Service is actively working to remove graffiti found spray-painted in red on a pillar of the Lincoln Memorial on the National Mall early Tuesday morning.
The graffiti was discovered around 4:30 a.m. ET Tuesday and appears to say “[expletive] law,” according to a statement provided by NPS. NPS also found indecipherable graffiti in silver spray-painted over a map of the Smithsonian museums in another area of the National Mall.

Both sites of vandalism are already being actively cleaned up by a National Mall and Memorial Parks monument preservation crew. Cleanup will continue until all evidence of the graffiti is gone, according to the NPS statement. The United States Park Police is currently investigating the incident.

This is not the first time that national monuments in DC have been tampered with. In February, the World War II, DC War Memorial, Washington Monument and the Lincoln Memorial were all vandalized with conspiracy-filled graffiti.

The graffiti consisted of text written in sharpie or magic marker, officials said, and included the words “Jackie shot JFK” and a message related to the September 11 attacks, according to US Park Police spokesperson Sgt. Anna Rose.

Back in 2013, the statues of Abraham Lincoln inside the Lincoln Memorial and Joseph Henry, outside the headquarters of the Smithsonian Institution, were also vandalized with green paint