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Dispatch from John Zielinski

“In the small town where John DeCamp lives he owns an old defunct bar which used to feature bands and local attractions.  I have his permission to adapted the enclosed 1/3 with chairs etc enough to accomadate 50 people.  I am helping him move from the town of Hallam to the town where he lives and am setting up a travelling show which would present the video mine included to churches, ci vic . groups and organizations such as the VFW.  John has so many awards from the VWF, Amvets, schools, national organizations and even the President Jimmy Carter that I feel we could even get people to travel from nearby towns once the word goes out.  I am strongly suspecting that John business is in the middle of a Satanic dominated village, since I have found people who hate John and blame him for everything he was accusing the system of.  I am headed back to Gallatin today to pick up tools, saws, etc as there will be some modification and in the back I can converted several rooms into a small apartment, but I would be traveling on a regular basis between Iowa, Missouri and Nebraska, maintaining a place to stay in each location.”

– John M. Zielinksi, 9 June 2013

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Reel Conspiracy

Photographer John Zielinski’s stumbled upon a diabolical plot “bigger than the Kennedy assassination.” Or has he? Two Missouri filmmakers spent two years trying to find out.


via St. Louis Magazine – Posted January 2012

Ryan Walker & Chase Thompson. Photo by Justin Brown.

If John Zielinski—the subject of a new documentary that bears his name—stuck exclusively to photography, he might be regarded as one of the all-time greats. Take his 1967 shots of the Amish. The photographer traveled to their pastoral environment and blended into the Amish woodwork. In the process, he captured unguarded moments that existed outside of the horse-and-carriage stereotypes. Even a corncob is rendered with rustic splendor, brushed with just the right stroke of sunlight to bring out the puzzle of its multicolored kernels. Zielinski’s photo of Martin Luther King Jr. captures the pensive side of a man whose iconic images usually show him in the throes of passionate oration. Unsurprisingly, Zielinski easily sold his photographs to famous magazines like Life. But Zielinski is even larger than life.

“He made his living for 20 years with his photos and postcards,” says Ryan Walker, who co-directed the documentary Zielinski ( “If you go to Iowa now and ask people, a lot of them would remember his name and have his books in their house—but they would have no idea what he’s doing now.”

If the story of Zielinski stopped there, it would be the miniature legend of a talented photographer who deserved to be famous. But really, it’s a tale in which fact and fantasy are like clever identical twins, switching places at the whim of the viewer’s perspective. Zielinski, you see, isn’t merely a photojournalist; he’s an investigative reporter. And his namesake documentary depicts a man on an often-intrusive mission, knocking on the doors of public officials and barging in on press conferences—a man who alleges a giant cover-up, wherein criminals and public officials are not only in bed together, but also have the common dream of destroying him.

“He’s been telling the same story for 25 years,” says Walker, who, like his co-director Chase Thompson, lives in Columbia, Mo. “He draws on a lot of facts. But he draws a lot of conclusions that I don’t agree with at all.” Like its namesake’s ideas, Zielinski the movie has been years in the making. “We come from cable-access [TV],” explains Walker. “It started as just a little project.” In the early ’90s, Zielinski moved down from Iowa, presumably to find a new audience for his unconventional theories when his home state tired of them.

“He would come into the station trying to make programming, doing his thing, and bringing in his video. We were just around,” recalls Walker, “and kind of forced to listen to this guy.” Undoubtedly, the directors-to-be shared an incredulous glance or two as Zielinski went on about drug trafficking, underage sex rings, and secret societies of devil-worshippers, much of it, he alleged, reaching up to the Iowa state government—even the CIA. Walker was impressed—not so much by the theories, but by the theorizer. “I just thought this guy was such a character, with all his footage and books and photos. We were like, ‘Are you hearing this? Can you believe this guy?’ It just fell in our laps, pretty much.”

In the documentary, it’s hard to tell whether we’re watching paranoia personified or a man who’s done his homework. Zielinski claims that a printing company is behind a plot to discredit—even harm—him. It all began with a bitter court battle. In another scene, we watch him preparing horse-manure–compost tea in a yard full of junk. At one point, he discusses the time his hard drive fell off a shelf and into a bucket of water. Zielinski believes “something shifted” while he slept. When asked about why the bucket was there in the first place, he reveals that he had no running water. In a different clip, Zielinski recounts a fire that devastated his residence in the Ozarks, destroying files and irreplaceable negatives. It’s a pivotal point in the movie. Here was his opportunity to blame the conspirators, the people who, he believed, were out to silence him. But we get no conspiratorial fireworks, only Zielinski’s admission that he started the blaze himself—on accident.

Zielinski isn’t crazy—at least not completely. The film demonstrates that he has supporters and corroborators in high places, including the FBI (for whom, he claims, he once worked). It features news clips about busted crime rings and exposed conspiracies that are somehow connected to the ones he’s alleged. One of his disciples is the cameraman from his public-access show, who’s convinced there’s a plan by those in power for a new world order. And Zielinski’s references to President John F. Kennedy’s assassination betray an ironic self-awareness. A conspiracy theorist shouldn’t refer to other conspiracy theories. They should be taken one at a time, not thought of in terms of lineage. At times, the stuff in Zielinski is to be taken with a molecule of salt—at other moments, the claims seem almost plausible and supported. Zielinski appears to be rooted in truth, but at some juncture the “truth” resembles the point at which human hair transitions into extensions.

Zielinski isn’t exactly a family movie. Yet in some sense, it is. One of Zielinski’s sons, a lawyer, discusses his father’s plight in such disconnected terms that it’s not immediately clear they’re even related. The subtext seems to be, “Give it up, Dad.” A rather touching scene shows Zielinski visiting his other son, who’s autistic. He makes the drive regularly. In a way, the brethren can be viewed as representing the two sides of their controversial father—qualities that within Zielinski himself are blended like…well, horse-manure tea.

If there is one main criticism of Zielinski—which, incidentally, doesn’t pass judgment on its subject—it’s that it’s too short. By the time we begin sorting fact from fiction, the 66-minute movie is over. “There’s way more to the story,” promises Walker. “There’s a lot more material, and we shot the stuff so long ago.” Will there be a longer version with updates? “I’m tempted,” he admits. For now, he has an already–award-winning documentary to promote. He says that occasionally Zielinski himself will appear at the screenings. This is very unusual for the subject of a not-always-flattering documentary. (You’ll never see the Rolling Stones promoting Gimme Shelter.) But as befits his role as a photographer—the one he’s best at—Zielinski’s a colorful character who manages to convince us of at least one thing: Not everything in life is black-and-white.

$10. January 6 through 8, 7 p.m. Off Broadway, 3509 Lemp, 314-773-3363,

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ZiELiNSKi named “Top Movie of 2011″…

…by one guy with extremely good taste. Skizz Cykyk was our projectionist at Slamdance (January 2011). He is a prolific filmmaker, musician, and God knows what else. Here is the interview where Skizz mentions ZiELiNSKi.


Freaks in Love: Skizz Cyzyk

By . Posted on 22 September 2011.

Have you ever driven a car for ten hours in one day? I have, and let me tell you: it sucks. Your legs get numb, your eyes can’t focus, your stomach runs a spin cycle on the fast food and energy drinks that have kept your hands on the wheel all day. It leaves most people dazed and cranky, myself included.

But not Skizz Cyzyk. Nope, after a full day of driving from his home in Baltimore to make it to the POP Montreal premier of Freaks in Love, a film which looks back on the 25-year journey of the cult punk band Alice Donut, Skizz cheerfully granted me an interview last night. Maybe it’s because his long career playing with numerous punk and punk-influenced bands from the Baltimore area — The Jennifers, Mink Stole, Garage Sale, The Go Pills, and Berserk just to list a few — has made long days on the road and late-night chats par for the course. Or maybe it’s the long hours he pulled putting together a decade of the underground film fest MicroCineFest in his own home/theatre, or the times he had to sneak onto college campus’ to finish editing his self-funded 16mm underground films. I don’t know for sure, but Skizz was wide awake and ready to talk about film, freaks, YouTube and sandwiches.

You’ve had a long career with indie/underground film – where have you seen it come from and where do you see it going?
Skizz Cyzyk: These days I’m not really sure. If you’d asked me ten years ago before YouTube… I don’t really know what makes a film underground anymore. It seems like everything is accessible. Undergound used to be a film you wanted to see that was hard to see. And now nothing is hard to see. Between YouTube and BitTorrent, it seems I can see anything I want to see these days. There’s still a lot of underground film festivals, there might even be more now than there were before.

So some kid filming his friends in his backyard with his cellphone and putting it on YouTube isn’t underground film?
SC: To me that’s people making home movies, and then making them public and voyeurs watching them. I don’t see that as film-making, it’s just quick entertainment.

Your latest project, Hit and Stay, is being funded through KickStarter. What do you think of this new prospect of receiving capital from fans and the film faithful?
SC: It solves the problem in a way. Lots of people want to make films but don’t have the funding. It’s a lot easier to get 100 people to pitch ten bucks now than it was years ago. I love the crowd funding movement, though I worry that it’ll get old too soon. I have a lot of friends with KickStarter campaigns for their own projects, but I can’t support them because I am living off a KickStarter fund right now. I think people will start being more choosy, but for the time being it’s working out great.

So let’s hear some about Freaks in Love. What made you want to document the journey of Alice Donut?
SC: Oh, this isn’t going to be the best answer [Laughs]. I got hired to do it. I was approached by my codirecter David with the idea of making this film. And I had been a fan, I had played their first record a lot on college radio in the 80s. In the 90s, I was in a band called Berserk and I played with Alice Donut. David is friends with the band and they said they wanted to make a documentary to celebrate 25 years. So David told me, here’s a film that I already know people will want to see. I’ve never had that with any of my other projects.

What does the term “freak” mean to you, and where does the love come from?
SC: Freak to me is just people that in their natural state that are far from the average person. The love in this case is that, as one of the members says, Alice Donut is a functional family. They actually love each other and get along after 25 years. So it seemed like a good title. We open the film with one of their songs “Love is a Fickle Thing”, which plays into the whole love angle, and the title Freaks in Lovereally describes the band.

You started off working with Super 8 and low budget equipment. Do you prefer to work within harder limitations? Have you graduated to more expensive equipment?
SC: I definitely miss working with film, like the real stuff. I love the process of threading a camera and taking a light meter reading and editing by hand. I don’t miss the limitations, and I don’t miss the cost. I love all the software. I’m in my mid-40’s and keeping up with it is kind of tough. There are people in their 20s learning how to use this stuff in school and I’m just teaching myself. I’m really under-qualified for a lot of the jobs out there[Laughs]. I love what the software is capable of, I wish I had it 20 years ago.

Did you play around with some new software for Freaks in Love?
SC: Not too much. I did everything with Final Cut Pro and part of the soundtrack in Garage Band. I also fixed up some old photos in Photoshop. It’s amazing to me that I had to do it all on a laptop where before I had to sneak onto a college campus to get editing equipment. I was working on the film on an airplane!

Top movie of 2011 for you so far?
SC: It’s not released in theatres yet, still doing the festival rounds, it’s called Prairie Love. I think it premiered at Sundance in January and its been at a few film festivals I’ve been at. There’s also a documentary called Zielinski I saw at the Slamdance Film Festival.

Last question, just for fun – if you had to be a sandwich condiment, what would you be?
SC: Honey mustard. Have you ever read any of my interviews? At the end of every one I ask them what kind of vegetable they’d be.

I’d be asparagus.
SC: That’s a good vegetable.

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And now, an email from John Zielinski

Date: 19 September 2012
From: John Zielinski
To: Chase Thompson & Ryan Walker
Subject: Hope you are watching the papers

  On Monday KCStar headlines Boy Scouts have been covering for pedophiles, since 1971, stories run include from as far away as England.  Remember pedophilia controls this country. Working in an almost daily basis with John DeCamp–incidentally he was a Presidential decorated War Hero from Viet Nam.  The pedophile and drug related activities involve governors and U.S. Senators and Congressmen.  I will be showing “Conspiracy of Silence” in new improved DVD at Gallatin Library and now setting up for the Friends room in Daniel Boone Library in Columbia.

You know I am the first one beside John DeCamp to expose the kidnapping and child slavery in my film done in 1991-2 and Aired as America’s MIA Children, now having artist create a Child MIA flag.

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Cornfed Film Fest article in The Voice

Two featured films to fit festival’s “Firsts” theme

The McDonough County Voice - Posted Mar 22, 2012 @ 11:12 AM

Macomb, Ill. –Two exciting new films will be part of the upcoming Cornfed Film Fest set for April 13-15 in Macomb.

In keeping with the festival’s theme of “A Festival of Firsts,” “Fever Year” and “Zielinski” are both first films by their filmmakers. Also, both are documentaries offering insights into two complex, but very different, men.

Cornfed Film Fest

“Fever Year,” a film by Xan Aranda, comes to west-central Illinois on a wave of interest that’s been growing throughout the country and now worldwide.

This “feature-length concert documentary film” presents a look into the creative process of acclaimed singer-songwriter Andrew Bird. Filmed during months of Bird’s most rigorous year of touring, the motion picture sees him cross the December finish line in his hometown of Chicago – feverish and on crutches from an onstage injury.

“Fever Year” features live performances at Milwaukee’s Pabst Theater (with collaborators Martin Dosh, Jeremy Ylvisaker, Michael Lewis and Annie Clark of St. Vincent) and is the first to capture Bird’s precarious multi-instrumental looping technique.

The film premiered at the Lincoln Center in New York as part of the prestigious New York Film Festival in October.

Since then it’s been well received at film festivals around the country, with several international premieres forthcoming. Described by the Film Society of Lincoln Center as “a cunning hybrid of documentary and concert film,” “Fever Year” will show at the Cornfed Film Fest at 4 p.m. and 7 p.m. on Saturday, April 14.

“Zielinski” brings home the work of Macomb native Ryan Walker.

The first film of Walker and Chase Thompson, the documentary brings to the screen “the rise and fall of John Zielinski, the most blacklisted author in the history of Iowa.”

The genesis for the film is described as: “John Zielinski walked into Columbia Access Television holding a huge, muddy VHS camera. It was just the three of us. He said, ‘There’s a tape stuck in here that will bring down the U.S. government. Can you help me?’ This jarring first impression kick-started an investigation (that) went much deeper than expected.”

“Zielinski” premiered at the Slamdance Film Festival in Park City, Utah, in January 2011 and has been screened at multiple festivals throughout the country.

Described by Variety as “both a profile and a provocation,” this movie brings a portrait of a complex and unforgettable character to life. See “Zielinski” — and chat with filmmaker Ryan Walker — at the Cornfed Film Fest at 1 p.m. Saturday April 14.

Cornfed Film Fest is down-to-earth while providing a strong and healthy serving of films.
It nourishes with well-crafted film and engaging conversation and is made strong by the region’s enthusiasm for film.

The festival will bring first films by well-known directors of various genres as well as films that represent a “first” or innovation in filmmaking.

The festival is also dedicated to cultivating an audience for talented first-time filmmakers, both young adults and emerging professionals, and providing them with much-needed support and encouragement.

The festival brings to the region a broad range of movies that are not typically available on a large screen.

Festivals provide a unique viewing experience where people can watch a movie together and have an engaging dialogue.

Cornfed Film Fest brings a well-considered program to the community that builds appreciation and understanding of film as well as the field of filmmaking.

The festival will be a weekend long event beginning on Friday, April 13 with a welcoming reception and a screening of famous directors’ short films.

Saturday has a full schedule of firsts, beginning with student films and ending with full-length feature films.

The festival winds down with a Sunday brunch, awards and a family feature.

For more information on Cornfed Film Fest, go to or email Ticket sales will begin soon.

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Newcity Film Review

Review: Zielinski
by Ray Pride
Published 30 Nov 2011 in Newcity Film


“Pedophilia owns this nation!” Like a distressed thumbprint, “Zielinski” is a formal conniption. Decades before any “Occupy,” talented photographer John M. Zielinski, published in Life magazine and the New York Times, had studded his mind with hashtags referring to vast corridors of connections and collusion and conspiracy. Happening onto public-access cable television, Zielinski began to chronicle crusades against all manner of corruption, cover-ups and turpitude, imagined or real about human trafficking and other black crimes. Chase Thompson and Ryan Walker’s portrait of  ”the most blacklisted author in the history of Iowa,” a conspiracy theorist par excellence, the engagingly fractured, blackly comic “Zielinski” debuted at Slamdance 2011 and played the True/False documentary festival a few months later, in Columbia, Missouri, where Zielinski now lives. Its myth of madness keeps you wondering how much this now-old man is on the ball. 66m. Also: Jay Rosenblatt’s “The D Train” (5m).

[“Zielinski” plays 8pm Friday at Chicago Filmmakers. Co-director Walker and Zane L. Zielinski, Chicago attorney and son of John M. Zielinski will appear.]

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The Chicago Tribune’s take on ZiELiNSKi


written by Nina Metz
Chicago Closeup
November 30, 2011
Chicago Tribune

When charges against former Penn State football coach Jerry Sandusky first surfaced last month, many of us wondered how allegations of sexual abuse had gone uninvestigated for so long.

Filmmaker Ryan Walker had this to say about the subject on his blog not so long ago: “To those who have seen ‘Zielinski’” — Walker’s new documentary (made with partner Chase Thompson) about an obscure conspiracy theorist named John Zielinski — “this whole story sounds very familiar.”

For decades Zielinski has claimed that the CIA is running a child sex ring, among other crimes. Taken at face value, his wild stories of government-sanctioned pedophilia sound bonkers. “Not since the Kennedy assassination has there been such a coverup involving child slavery, drugs and murder!” reads the text from one of Zielinski’s ’80s-era video manifestoes included in the film. He also claims that there are injustices involving “CIA money laundering, mixed with North American Man Boy Love Association (NAMBLA) money, child prostitution, child slavery, satanism mingled with political figures, both state and federal.”

Zielinski’s story is a peculiar one, and the film paints an incomplete if fascinating picture. Not much is disclosed about his mental state during the first half of his life. A photojournalist based for many years in Iowa, Zielinski was on the road to a promising career in the 1960s and ’70s, getting his work published in Life magazine and the New York Times, as well as in the pages of the Tribune. During Martin Luther King Jr.’s 1966 trip to Chicago, Zielinski took a remarkable photo of the civil rights leader that hangs in Zane’s office.

A court case that Zielinski lost in the early 1980s (involving a dispute with his book printer) seems to be the fork in the road, but why this particular event knocked him off course remains unclear.

For the past 30 years he has been dismissed by pretty much everyone as nut case. Zielinski all but presented himself as a film subject two years ago when he wandered into a public access television station in Columbia, Mo., where Walker and Thompson were working. “We were the only ones there, and this guy walks in with a cruddy VHS camera that was covered in a wasp nest and he said: ‘I have a tape stuck in here that will bring down the U.S. government, I need your help!’” Zielinski made several return trips to the TV station, and the idea for the documentary was born.

“I had some concerns that they wouldn’t be empathetic,” Zane said. “I think they get maybe 60 or 70 percent right. There’s still huge holes (in the film) — there are so many funnier stories that I can tell that don’t make it in the movie.”

Zane was upbeat during our chat, but his demeanor belied a complicated family situation. “I was born in ’73; my parents got divorced in ’79 but they didn’t tell me until ’83.” He has an older brother with severe autism, and it is in these portions of the film that Zielinski seems most stable — a patient father with his son. Zane disagrees with how his father is portrayed (and is currently not on speaking terms with his mother, who he feels was untruthful in the film). He is also, in some ways, his father’s son — a touch eccentric (he calls his father John), and is eager to talk your ear off while remaining vague when comes to the nitty gritty. “As far as I know, he is still in Columbia,” he said when asked where his father lives these days.

“Zielinski” screens at 8 p.m. Friday at Chicago Filmmakers. Co-director Ryan Walker and Zielinski’s son Zane will be in attendance for a post-show Q&A. For more info go to


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Gaper’s Block interview

FILM  MON  NOV 28 2011
Interview: Ryan Walker
By Jordan Larson

A documentary about “the most blacklisted author in the history of Iowa,” Zielinski toes the line between black comedy, government conspiracy theory, and poignant portrait of the artist as an old man. The film’s directors, Ryan Walker and Chase Thompson, embarked upon the film after meeting John M. Zielinski in Columbia, Missouri. I caught up with Ryan to find out more about public access television, conspiracy’s funny side, and the man behind the rhetoric.


So how did you and Chase meet? And how did you get into public access television?

We met through music. We both used to be more into music than film, really, and we played in a couple bands together. He was making a show on public access that was really popular in Columbia, and he was kind of the first one to make local music videos, about five or six years ago. It was pretty popular, and I got involved with that, and we both started learning through CAT [Columbia Access Television] and working at CAT and being on the Board of Directors. Then I was full-time staff there for three years and he was the Board President, so we were really involved with that and still collaborating on things and giving each other feedback. Before public access, there really didn’t seem like there was any chance to make anything, let alone a film. I couldn’t afford a camera, couldn’t afford software, the door was closed completely. I was on the outside looking in. Public access really opened the door.

How did you get interested in Zielinski?

John Zielinski came in and tried to join [CAT]. Well, first, he walked in and was holding this big, muddy VHS camera and said, “there’s a tape in here that will bring down the U.S. government. Can you help me?” So that kinda made us laugh, and Chase helped get this tape unstuck from the camera, and it was actually Conspiracy of Silence, the tape that was stuck in there, and that finally made it into the film.

That’s how we met him, and he kept coming in, and he comes on really strong when you meet him, but since it’s public access we’re sort of forced to listen to him. And we got through the first few layers and sooner or later we’re just looking at each other like, are you listening to this guy? He’s really entertaining to listen to and he’s saying all these bizarre things and bringing in great photographs. There’s just so much great material there. So we set out to make just a short, five, ten-minute thing, but after a while realized there was much more to the story than we [initially] realized, so we went on to make a feature.

What are you hoping to achieve with the film?

We just wanted to share him. He wanted us to make an exposé on human trafficking and all this stuff, and he wanted it to be a real cause film, and that never really interested us. Although, those causes are important and they’re serious, but we were interested with him, and just thought he was a fascinating guy and really entertaining to watch. So we just tried to tell his story and we think there’s a lot of neat photos and neat videos that he brought in. To us, there’s a lot of funny scenes in it. There’s some serious stuff, but we laugh when we watch it. We hope that people see the humor and are interested by his story.

Why did you structure the film the way you did? The way you unfold the story isn’t entirely conventional.

Well, that was a long time in the making. That went through a lot of different structures. It took us a long time to really figure out what the facts were. So we eventually tried to do a chronological story just to make sense of it, and then we realized that wasn’t very dramatic. It wasn’t as interesting when it was all laid out one thing after the other. Eventually we decided to structure it the way we experienced it. It starts off really jarring, with John in your face, kinda shouting at you, and saying all these, I don’t know what you want to call them, conspiracies about human trafficking, and “pedophilia owns this nation,” and stuff like that.

So we keep peeling layers away and find out more and more about him, and there’s way more to him than that, even though that’s all he wants to talk about. So that’s want we finally decided on, to structure it the way that we found him.

What have audience and critical reactions been like so far?

Very positive. All the screenings we’ve had, people have been really engaged by it and we’ve gotten a lot of positive feedback. Some people want it to be more of a cause film. We package it as a conspiracy theory type of thing, but that was just the hook to get people interested. Some people want it to be more this or more that. We played at Flame Dance and True/False [film festivals], and probably 1500 people or so have seen it in screenings and we’ve gotten some positive reviews. A lot of the footage is old, we didn’t shoot it in HD, it’s not very gimmicky or anything like that. It’s not a glamorous film. I think it’s going to be a slow burn for people to catch on and build it by word of mouth. We’re happy with what it’s done so far. It’s done a lot better than we expected, really.

What did you learn from making the film? Is this going to lead to more filmmaking?

Well, we kind of started from scratch. Coming from public access, we didn’t go to film school, we just kind of figured this stuff out on the fly. You can even watch the technique evolve as the film goes on. A lot of the early interviews are pretty crude. We really came from nowhere to make the movie we made. And it goes back four years, when we started making it. So now it’s really going from no knowledge at all to now we’re starting new projects and using better equipment and going through the process of editing we learned so much about how to structure a film and made so many mistakes that we’re starting our next project in a totally different place. We’re both starting new documentaries. I’m making one actually set in Western Illinois, called The Bootlegger, and Chase is working on several projects. So we’re gonna keep going on.

Zielinski will be screened at Chicago Filmmakers, 5243 N. Clark St., Friday, Dec. 2 at 8pm. For more information about the film, click here.


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“Pedophilia owns this nation.” – J. Zielinski, 1991

So last night I happened to catch the Bob Costas interview with Jerry Sandusky – the man at the center of the Penn State situation.

To those who have seen ZiELiNSKi, this whole story sounds VERY familiar. John has been trying to expose powerful pedophiles for over 25 years, especially in the state of Iowa. Today he considers himself a political exile from Iowa and a blacklisted author.

John Zielinski: I hope you are following State College. University of Iowa had much more occult and pedophile activity than State College. You see how well defended it has been.

In Nov 1992, I completed and published a newspaper in which one of the lead front page stories was NAMBLA influence on the University campus. While I did not have evidence to stand up in court I had heard from women whose children had been sexually abused. The Daily Iowan rather than identify me as an idiot and street person chose a different route “there is a newspaper circulating on this campus that suggest there is an organization that targets little boys for sexual purposes. We want to tell you that it is all a myth no such organization exists.” Three months later Reader’s Digest had a major expose of NAMBLA.

A nurse after reading my story on what happened to Kitty Krause and her daughter came to me with the story of how the head of the Child Psychiatric Hospital and scout master had gotten her son and three other boys drug on creme de men-the then molested them. She went to the University Hospital and they stonewalled her. Six month later that psychiatrist moved to another hospital and I traced his movements for years–he faced no charges–unlike what is happening now in State College Pa. You see now why there such a hard line about exposing the film in Iowa.

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Winner – Golden Reel Award

We just got word that ZiELiNSKi will receive a Golden Reel Award at the Nevada Film Festival in the Documentary Film Competition! The festival will be held December 2nd and 3rd, 2011 at the “Rampart Casino at the Resort in Summerlin” in Las Vegas, Nevada.

John Zielinski in Las Vegas – February 2011.

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