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"Jim Terr occupies a unique place in citizen activism. In both his brilliant satire work, and his more serious essays and outreach, he has a peculiar gift for focusing on the people who need to be reached and who might be reached, instead of just “preaching to the converted.”

His is a unique and valuable gift of populism and simplicity, perhaps a result of his small-town upbringing. His work is wise, hard-hitting, unusually effective, and deserves the support of everyone who wishes for a more humane world. Especially in these particularly divisive times,
Jim has a gift for bridging the “divide.”
-- Thom Hartmann, radio host and author



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Info below is very OLD....

Jim Terr's work has aired on the ABC, CBS, NBC/Mutual, Westwood One, BBC (British) and National Public Radio networks, Voice of America, the Larry King, Jim Bohannon, Paul Harvey, G. Gordon Liddy, Jim Hightower, Thom Hartmann, Peter Werbe, Mike Malloy, Sam Seder, Jon Elliott, Dr. Demento, "Mountain Stage," "This Way Out" and "Whaddya Know?" radio shows, NBC- and CBS-TV News, in film, and has been broadcast in over 20 countries. He wrote and performed the national jingle favorite, "Sing a Song of Snapple" and (many more since
this was posted years ago).

 

"In his letters and articles, Jim Terr makes too much sense. In any other country he would have long since been locked up."
  - Jonathan Alter, Senior Editor, Newsweek

"Jim Terr's spirit shows through consistently in the essays, songs and other projects he creates. It's the droll, sardonic, 'cut the B.S.' outlook that is known around the world as 'American.' His tone is especially valuable in an election year. "
   - James Fallows, National Editor, Atlantic Monthly

"A gentle agitator...who's come up with a way to lower the country's political temperature."
   -Paul Greenberg, syndicated columnist

"Jim Terr’s creativity and versatility are unmatched. Well, almost unmatched."
   -Hodding Carter

 

(These quotes do not indicate support of any or all Jim Terr projects or pronouncements)

 

BEN FRANKLIN HAD IT RIGHT

He was a funny writer, with a . . . taste for pseudonymous pranks; he hid his most ascerbic opinions behind the masks of made-up characters. But he had world-class ambitions, and he understood that these ambitions were probably best served by achievement . . .

...he understood that he would inevitably be viewed as a provincial, and that it paid to play the clown a little . . .The metropolis, while it mistrusts an upstart, forgives a lovable provincial eccentric.

Franklin liked to write letters claiming to be from other people . . . in order to dramatize some political point through obvious overload. The last thing he wrote was a letter purportedly from a Muslim slaver . . . whose lust for slavery was intended to hold a mirror up to the American slaveholder's own, and shame him.

Franklin was an instinctive ironist . . . it was his natural mode . . . the whole thing depended on being reported with an absolutely straight face. It was not that he did not value honesty . . . He would have beem reluctant to to say something that he believed to be a lie. But, as a businessman and a writer and a diplomat, he might very well be willing to dramatize, or even overdramatize, something he believed to be essentially the truth.

Franklin's essentially ironic, distancing turn of mind . . . gave him a kind of second sight into the minds of his hosts. There is little sham in French life, but a lot of show, a lot of rhetorical gesturing. Franklin understood this style instantly. He was pretending to be a naif . . ., which the French knew to be faux, and they were pretending to be worldly, which he knew to be an illusion.

But the logic of power depends largely on the perceptions, the feelings, of the people who have it. Franklin understood that, above all, the good opinion of the French mattered. It paid to be liked and admired, and he made sure that he was. He knew that he could not make his country, and its needs, inescapable if he did not make himself, and his cause, irresistable.

-- Adam Gopnik, "American Electric",
               The New Yorker June 30, 2003