Collapsing New York City Media?

NEW YORK DAILY NEWS: THE BIGGER PICTURE

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SOMETIMES things move slowly. Incrementally. Glacially. Ever see snails? They come out when it rains. They’re not moving– but they are. One minute in one spot. Later it’s in another spot, and you can’t be sure, really, how it got there.

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“How did you go bankrupt?”

“Two ways,” Mike said. “Gradually then suddenly.”

-Ernest Hemingway, The Sun Also Rises
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SUCH is the case with the mighty edifice of New York City media. With every aspect of New York media: newspapers, magazines, publishing companies. You can’t see them collapsing, but they are. The New York Daily News layoffs were inevitable. There will be more layoffs at other Manhattan flagships. Many more.

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Why? Because the fundamentals are strongly against them. New York City is a ridiculously expansive place in which to do business– yet Big Five publishing and their many acolytes insist on being there. In the internet age when one can set up anyplace, there’s no reason to be on that narrow island or its environs– other than to have swanky three-martini lunches at Sardi’s while playing the role of Manhattan editor or journalist circa 1959.

OLYMPUS DIGITAL CAMERA

Taxes, rents, leases, staffs, cost of living– everything in New York City is hyperexpensive.

A recent cost of living index put out by the Council for Community and Economic Research put Manhattan’s cost of living rating at 238.6. By contrast, Detroit’s is 96.9.

Manhattan’s recent average cost of office space was pegged at $75 per square foot. Downtown Detroit’s? It’s risen to $20 per square foot.

Manhattan is a more appealing place to live, no doubt. But when you’re in competition in business, the arithmetic will eventually catch up to you. Glamor or no glamor.

It’s not just the where these legacy businesses are located. It’s how they’re constructed– top-heavy, vertical, overstaffed. Leaner, meaner, more aggressive upstarts will eventually destroy them. Hungrier upstarts– those willing to do most of their work rent-free at Starbucks, or set up printing presses in a basement. And eat at McDonald’s.

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The Ivy League prep school crowd inhabiting New York skyscrapers may scoff (or whine and cry when they lose their jobs), but it’s the way of the world. Always has been. Doesn’t look to change now.
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-Karl Wenclas for New Pop Lit News

View from the Dominican Republic

OUR COVERAGE OF THE JUNOT DIAZ CONTROVERSY CONTINUES

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WE’VE been receiving a certain number of tips and information regarding the Junot Diaz matter and are trying to look into all of them. Several of them come from the Dominican Republic.

One, for instance, about the mysterious @Get_Hip twitter account. This person joined the anti-Junot Diaz bandwagon when news broke, claiming to be from the Dominican Republic. Journalist Anna Silman even encouraged this individual to contact her– but when “Get Hip” was questioned about her claims the twitter account swiftly vanished. One of Monica Byrne’s apocryphal 38 names?

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AMONG other emails we’ve received, I can excerpt these quotes, from individuals who wish to remain anonymous:

One (almost) invisible aspect– at least in the mainstream media–of this saga is the silence of the Dominican artistic community. Why? you might wonder. According to a well respected male Dominican writer and early supporter of Junot –and early means the time he was starving like a dog–there is a climate of fear thanks to the way some people have reclaimed the #MeToo movement or sentiment to advance their own personal, reactionary and individualistic agendas that have nothing to do with fighting for women’s liberation or fighting for a just and better world. So some people are waiting to see how it all ends. No one wants their careers, personal reputations or livelihoods destroyed by a media frenzy. Despues de la tormenta viene la calma.

And this:

When the Junot affair exploded it also had important ramifications in the Dominican Republic where most people adore him except for right wingers because of his political outlook. In social media, right-wingers used Zinzi Clemmons’ words to destroy Junot and demonstrate what a ‘pervert” and “degenerate” he was. For right wingers, Junot should be silenced at all cost for his outspoken support of social justice causes: immigrant rights, abortion, gay liberation, etc. Was Zinzi aware of the damage she was inflicting on Junot or the Dominican community? Did she know that by attacking Junot she was also silencing someone who spoke out against injustice against immigrants and other marginalized groups in society not only in the Dominican Republic but also in the US? Perhaps she never cared about the consequences or she was not aware of the activism Junot was involved. Or better yet, she never cared. The middle class never cares. Clearly, there are class issues at play. 

Zinzi and the others aided far right xenophobic elements in the Dominican Republic who now argue that Junot is a rapist or a sexual predator. Her actions damaged the reputation of one of the most outspoken writers of these last decades in the US and the world, someone who went to picket lines; denounced corrupt politicians here and abroad and expressed solidarity for the best causes. And the end, this is the story of how a media frenzy was able to silence–for the time being– a public intellectual.
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THESE quotes are a mix of information, speculation, and opinion. I’m offering them here for information purposes– our goal to present vantage points not given by the mainstream media. Take them for what you will– Dominican writers can better judge their accuracy than I can.

THOUGH I think in some sense the affair is over– or should be over, given what’s been discovered about the weakness of the accusations against Junot Diaz– I also believe there’s more to find out about the larger picture. Including the full role of media people in creating this controversy on May 4.

If YOU have credible information to add, feel free to send it to us c/o newpoplitATgmailDOTcom.

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-Karl Wenclas for New Pop Lit News

How Does a News Story Go Viral?

PUBLICITY IN THE JUNOT DIAZ CONTROVERSY

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I ADMIT IT. I’m amazed at how fast the publicity game has changed, thanks to social media. Compared to ten years ago, the creation of buzz moves now at lightning speed.

It’s the difference between military techniques in World Wars One and Two. The speed of blitzkrieg in the latter contest revolutionized the game.

As I’ve said a couple times in this series: Who wins the debate over the sexual harassment allegations about prize-winning author Junot Diaz will be decided by who’s better at PR. Institutions (MIT; Boston Review) cleared Diaz, but it’s out of their hands. In the new media age, static bureaucracies have been left behind.

A key post of ours in this regard is “System versus Zeitgeist.”

The Junot Diaz camp is now fully in the game with their army of twitter fans and trolls. They’ve moved quickly up to speed. Will it be enough?

We have two opinion armies maneuvering against one another online– across twitter, blogs, and media sites.

The accusers’ side has made significant mistakes– but their opening moves in the chess game which began May 4th were breathtaking.

CREATING HYSTERIA

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THE GREATEST publicity feat of all time was the creation of Beatlemania. Most people believe it was spontaneous. Yeah, yeah, the band was talented and young people liked them. As simple as that? Not really.

In November, 1961, Liverpool record store manager Brian Epstein saw an unkempt band playing in an underground club in that beaten-down UK working class city and thought, “I can make these guys bigger than Elvis Presley.” A hidden genius behind the scenes, Brian Epstein was in back of every step of the band’s rise. Some of the facts of how he accomplished this are known. For instance, mass hysteria in New York City in February 1964 when the little-known (in America) band landed for the first time. Reluctant Capitol Records was forced by Epstein to spend $70,000 ($570,000 in today’s dollars) to promote their arrival and the concurrent release of their single, “I Want to Hold Your Hand.”

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WE ALSO know the mob of kids holding signs at the airport wasn’t a spontaneous happening. Their presence was arranged. The kick-off of Beatlemania was staged.

MAY 4 ANTI-JUNOT DIAZ HYSTERIA

I’m still amazed at how quickly fervor against Junot Diaz took place. Three threads of tweets from Zinzi Clemmons, Monica Byrne, and Carmen Maria Machado taking place in the middle of night, one right after another. By morning they’d gone viral. To such extent that The Cut’s Anna Silman was already contacting Monica Byrne for a statement.

Spontaneous? Byrne said to Silman, “The network was activated”– which might be clue enough for an explanation.

Monica Byrne’s unsupported rumors about Melania Trump in June 2017, which went viral, albeit on a smaller scale, served as trial run for this situation. This time out Byrne had at least a smattering of substance to the story, and other women on her side. Enough substance that even the mighty and respectable New York Times joined the generated hysteria.

QUESTION: Was the hysteria against Junot Diaz generated or spontaneous?

Another tweet from Monica:

AIDING buzz creation was dramatic language used by the accusers in the tweeted narratives.

BYRNE: “I’ve never faced such virulent misogyny in my adult life.”

MACHADO: “–a blast of misogynist rage.”

Promotional blitzkrieg on May 4th worked masterfully– on that very same day the accusations were news across the globe. The feat deserves a chapter of its own in the history of publicity. The planning and coordination worked– but not well enough to claim quick victory. No knockout. Junot Diaz apologized, but he and his institutional backers held firm. By now, today, the controversy has settled into trench warfare– both sides sniping at each other from steady lines, World War One-style.

For the time being, the controversy is at a stalemate.

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WILL the stalemate continue? More to come from:

-New Pop Lit News-
https://newpoplitnews.wordpress.com/

-Karl Wenclas on the literary news beat.

 

How to Write a Hatchet Job

PRELUDE TO EXAMINING SLATE’S JUNOT DIAZ ARTICLE

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THE TRUTH is that a character assassination can be written on anyone– especially when you delve into the person’s long history of writings and cherry pick from them to bolster your argument.

Did Slate‘s Lili Loofbourow do this in her examination of the Junot Diaz sexual harassment controversy now dividing the literary world?

THE TRICK is that the same treatment could be performed on Ms. Loofbourow. For instance, two minutes of google searching found this article:

“In Praise of Fleabag and the Unapologetically Flawed Female Antihero.”

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The television show Loofbourow acclaims is, in her own words, “–a tremendous, oddly nourishing show about a liar and thief.” “It’s the story . . . of a woman who reads people too well and takes advantage of them,” “somehow desperate,” “a lean, amoral Matilda with no impulse control.”

(Anyone we know. . . ?)

Reading the article, one would think Lili Loofbourow doesn’t care, really, about apologies– nor about ethical behavior and truth. One could readily believe that Lili Loofbourow is simply a media gun-for-hire, fixing her opinions to fit the needs of her editors– or those of the greater conglomerate media herd.

That would be unfair.

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THE SLATE article is interesting to me, because it reminds me of a long essay that was written fifteen years ago for a major literary publication, about an activist writers group. A writers group coincidentally devoted to exposing blatant corruption in the established literary world. That long-ago essay was a well-written hatchet job, filled with half-truths, distortions, and omissions. It defined us, creating a narrative which became “the truth” about us in everyone’s heads, so much so that any journalist afterward covering the organization read that essay as part of their research on it, viewing it through the same prism of misconceptions.
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I’m not complaining. I’m stating how the game is played. Those who rise to a position where they crank out articles for a variety of publications play the game very, very well.

The solution? To create an alternative literary world, and alternative lit-media, not based in the shark tank of New York– one devoted to facts, talent, and truth.

COMING SOON: A more direct look at the Slate article.

-Karl Wenclas for New Pop Lit News.

Unlocking the Junot Diaz Puzzle

SEVENTH IN A SERIES

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Abuser or non-abuser? Who, in the end, is telling the truth about this puzzling lit-world affair? Is there or will there ever be a way to tell?

THE CASE against famed author Junot Diaz is fairly well presented here, where you’ll find the statements– the charges, if you will– against him.

THE STORY is in the descriptions of these encounters– the crux of the matter in this passage taken from Monica Byrne’s narrative:

The table struck up a light conversation about the significance of statistics in publishing. I made a point emphasizing how personal narrative is important in empowering the marginalized. He said (and this is my memory, so I’m not including quotation marks), Well, I don’t know if you know how statistics work, but that’s like saying, Oh, I haven’t been RAPED, so RAPE must not exist.

Monica Byrne mentions the importance of personal narrative. Junot Diaz disagrees with her. Ironically, the accusations against him are three examples of personal narrative and the question is to what extent we should trust them.

Three intense narratives. Three brief encounters with Junot Diaz which occurred four-to-seven years ago. Are the narratives strictly accurate?

The three women were aspiring young writers meeting one of their idols. Could anyone in that situation not treat it as an important encounter?  Would (just asking) the impact of any dismissive or abrupt gesture, a raising of his voice– any formidable disagreement from him– be multiplied several times over?

One of the encounters has already been unlocked. Read the Carmen Maria Machado description– of her encounter with Diaz– linked to above. Then listen to the recorded audio of the same event (their exchange begins at the 33 minute mark):

https://drive.google.com/file/d/1Oc-g4-jx-jlCQG_cuWsJa3IFrET1-3uV/view

A window into history. A disputed event six years ago is history.

A PARALLEL?

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When I was a kid my dad kept around the house a collection of boxing magazines. He wasn’t much of a reader– never read a book in his life– but he’d boxed a little in his youth and did like boxing magazines. One of the mags detailed the changes in perception wrought by film archivist Jim Jacobs, who restored footage of many of the classic fights of the late 19th century and beyond, including the Jim Corbett versus Bob Fitzsimmons heavyweight contest of 1897.

BY the 1960’s and 70’s, when these magazines were published, the old-time fights had gained the gravity of myth, due to hyperbolic descriptions in publications like The Police Gazette— which after all needed to sell copies and had to have something exciting to present.

In print, these were terribly contentious, blood-drenched battles. When grizzled boxing writers who’d been raised on the legends saw the long-lost footage, their jaws dropped. Cigars fell from their mouths. Action on the screen was minimal. Being no-limit fights in the hot sun, the boxers paced themselves. The men were merely human beings, not superheroes. (Fitzsimmons knocked-out Corbett in the thirteenth round.)

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DRAMATIC LANGUAGE

The reporters in 1897 used dramatic language which colored their descriptions, adding intensity to the event. “Fitzsimmons face was pouring blood–“ Pouring? He had a cut.

Does Machado, a creative writer, color her description?

–he became freshly enraged when I refused to capitulate . . . all (“all”) I got was a blast of misogynist rage and public humiliation– 

IS this in the audio?

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IN THE DESCRIPTION of her encounter with Junot Diaz, author Monica Byrne– who I covered in this blog’s previous two posts– writes with similar intensity.

His response was completely bizarre, disproportionate, and violent. I was speechless and felt sick.

Understandable, if Junot Diaz was indeed shouting at her. The question– was he?

UNLOCKING HISTORY

The past gives us innumerable examples of historical events or periods which have been colored in some way– intensified, romanticized, or toned-down– overstated or understated– by later narratives.

A ready example from the world of letters would be Margaret Mitchell’s novel Gone With the Wind. Mitchell was raised on descriptions of antebellum times in the Old South. She learned the romance of those days, not the horrors.

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THE FLIPSIDE to this is today’s accepted narrative about the 1950’s. Perhaps due to Eisenhower’s low-key presidency (Gore Vidal: “The Great Golfer”), and that it preceded the tumultuous 60’s, it’s considered a bland decade.

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Part of this perception was intentionally created by the polemicists of cultural rebellion. They needed a punching bag to knock around. In truth, in the aftermath of the nightmare of the Second World War, America embraced its traditions of country, home, church, and family. Much of the decade was indeed conformist– though hardly as machine-conformist as now.

YET when vintage 50’s cars parade on avenues in display in summer “dream cruises”– a tradition in the Detroit area– perception changes. One can only remark, “Wow!” at the colors and outrageousness on display.

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Another example is the sumptuous wide-screen Technicolor movies of the era. No restrained tones or muted emotions in that era. Actors declaimed, music scores blasted and garish color bled from the screen.

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ABUSIVE LANGUAGE

HOW do we classify speech as abusive? Where are the lines drawn? Who draws them?

Should we begin regulating not only what a writer says, but how he says it?

Fortunate for Junot Diaz that he publicly speaks in the low-key tones of an academic. He has circulated long enough in the homogenized land of the gentry, and seems to know their codes.

But what of those whose voices are naturally loud and aggressive? Whose personas in public performance and discussion go beyond the acceptable bounds? Can this be allowed?

Questions, questions. Never-ending questions. . . .

-Karl Wenclas

 

Are Comic Books Propaganda?

COMICSGATE EXAMINED

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HOW FAR should one take politics in art?

The question arises with the ongoing “comicsgate” controversy which has split the comic book publishing world. (Background on the issue is available here  and here. Debate has raged across the internet, especially on twitter, for weeks.

A point made by those on the social justice side of the issue is that superhero comics have always been political. Nazis in particular have been socked by superheroes for decades.

They’re right. Superhero comics have been political almost from the start. The kicker is they’ve been more than political. From World War II through the Cold War they were outright propaganda. Cheerleaders for American empire.

WORLD WAR II

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The Second World War was a battle for civilization– a no-holds-barred fight to the death, during which all rules of civilized behavior were broken, by all sides. This was reflected in the propaganda.

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Comic books were a big part of this– including “Superman,” fighting for truth, justice, and the American Way.

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STAN LEE AND JACK KIRBY

The two great creators of Marvel characters and storylines during its formative years were both New York City natives who fought in World War II. Both firmly bought into Franklin Roosevelt’s ethos of America saving the world. Given the nightmarish regimes on the other side of the oceans, this was an understandable, even necessary viewpoint.

Kirby and Lee retained this ethos after the war. (Evidence suggests that Stan Lee retains it now.) In the 1960’s they launched “Sgt. Fury and His Howling Commandos,” refighting the same battles.

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NOT that this was unusual– Germans continued as cartoonish villains across the culture, from movies to television shows to professional wrestling, which featured arrogant Nazi bad guys such as the nasty “Baron Von Raschke.”

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ALL’S FAIR in love and war, as they say, even when the war’s long over. Or even when it’s a Cold War. So, while Sylvester Stallone fought cartoonish Russian movie monsters like Ivan Drago–

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— Marvel’s Captain America battled his Soviet nemesis, Red Guardian.

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The question can legitimately be asked: When were superhero comic books not outright propaganda for Pax Americana– usually of the most jingoistic variety?

MANY of Marvel’s recent superhero movies– the “Captain America” and “Iron Man” series come quickly to mind– have continued this mindset. Always with a global, America-running-the-world mindset. One “Iron Man” flick had the character outdoing drone missiles in blowing up bad guys in Afghanistan. (See this Noah Berlatsky review of it.)

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THE SURPRISE is that today’s social justice warriors in the comic book realm, ostensibly on the left, use these precedents as justification for their political aesthetic now.

(It could just be that “left” and “right” are obsolete concepts for truly understanding today’s world.)

CONTRADICTIONS

When dealing with issues like fascism and anti-fascism, one will always run into a host of contradictions. A good example is recently deceased award-winning novelist Philip Roth. Roth’s 2004 novel, The Plot Against America, depicts a world in which Charles Lindbergh has become U.S. President and imposed a fascist-like regime, with Franklin D. Roosevelt offstage as ostensible good guy. Kind of a misguided slant on history, in that Lindbergh was politically inept and non-interventionist. The contradiction is that FDR himself came closer to being a dictator than any President before or since. Elected for four terms; hyper-devious and charismatic; a popular demagogue; knew how to use media, particularly radio; built America’s military-industrial complex and empowered giant corporations in order to do so; put an unpopular ethnic group into concentration camps; tried many maneuvers to get around the U.S. Constitution; etc. etc.

THIS was the offstage ideologue and ideology which comics creators like Stan Lee and Jack Kirby explicitly followed– a worldwide American interventionist viewpoint.

TODAY

The big comic book companies today have a different agenda– or are pandering to a different agenda. As before, the goal is some level of social engineering– real life masters of the universe deciding from above what the brave new world should look like. Art usually gets lost in the process, and always has.

ART AND PROPAGANDA

CAN art be polemical and at the same time, important art?

THAT Frank Norris’s populist novel The Octopus, and Ayn Rand’s The Fountainhead— the first from the left, the other from the right– are both polemical, yet two of the best American novels ever written, says the answer to the question is “Yes.” But there are lines to be crossed. (Rand crossed them herself in her next major work.)

In this critic’s opinion, two major comic book superhero series have crossed into the realm of important, even mythic, art: “Batman” and “Spiderman.” Most of the rest have either been harmless entertainment or indoctrination pamphlets.

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-Karl Wenclas

 

 

Marxism Incorporated

HOW MARXISM TODAY IS A WHOLLY-OWNED SUBSIDIARY OF BIG MONEY

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First of Two Parts

MUCH CELEBRATION has taken place in recent days of the May 5th, 2018 200th birthday of Communism advocate and theorist Karl Marx. Typical of the press this occasion has received is this article by Olivia Goldhill at Quartz magazine.

WHO owns Quartz?

Laurene Powell Jobs, one of the richest capitalists on the planet. In July 2017 her curiously-named Emerson Collective bought The Atlantic and its digital properties, one of which is Quartz. Ms. Jobs apparently doesn’t see Marxism as any kind of threat to her well-sheltered wealth, or to herself. (Quartz in fact recently published another Goldhill-penned tome joking about Marx’s co-optation by capitalists.)

In 2018 the espousal of Marxism comes chiefly from plutocrats– and from hugely-rich centers of power and influence like Harvard. I previously examined here Marxist intellectual journals The Baffler and Current Affairs, the former owned by a billionaire; the latter founded by Harvard student Nathan J. Robinson, son of an international corporate trainer. Olivia Goldhill, coincidentally, is herself a Harvard grad.

So what’s actually happening?

WHAT MIGHT BE HAPPENING is that Monopoly Capitalism seeks to set the current hierarchy rigidly in place. This would explain much, as I’ll discuss in a future post.

WHAT MIGHT BE HAPPENING is a Shigalovian strategy, as outlined in Fyodor Dostoevsky’s novel The Possessed. A Ten Percent class of enlightened socialist overlords (Harvard grads?) managing the rest of the human herd for the good of all.

WHAT MIGHT BE HAPPENING is that Laurene Powell Jobs and Company see Marxism as a way to channel dissent, directing it toward ideas and programs amenable to the maintenance of Global Capitalism.

Or: Marxism today is a scam.
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NEXT: The Goldhill Essay Itself.

-Karl Wenclas

Classic Incel

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CURIOUSLY, the best movie about the incel (involuntarily celibate) phenomenon is sixty years old– Alfred Hitchcock‘s classic, Vertigo. The lead character, Scottie Ferguson, played by James Stewart, is obsessed with the wife (Kim Novak) of industrialist Gavin Elster (Tom Helmore). I don’t want to give away a complex plot. I’ll just say that Gavin is the successful alpha male juggling women, while Scottie is a troubled loner on the outside, searching for unattainable perfection which he can never have.

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Director Alfred Hitchcock himself was something of an incel, though married– continually crushing on impossibly unreachable actresses like Grace Kelly and Tippi Hedren. Living vicariously through his films– Vertigo revealing much.

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Emma Gonzalez’s Curious Connections

THE MOTHER LODE OF CONSPIRACY THEORIES?

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EVERYONE KNOWS Parkland student David Hogg is the son of a former FBI agent. One can figure Dad has advised young David each step of the way during the remarkable movement which has sprung from the tragedy at Marjory Stoneman Douglas High School.

But what about the other face of the student movement, Emma Gonzalez? Does her father have ties, past or present, to the U.S. intelligence community?

He does.

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Emma’s father, Jose E. Gonzalez, is the CEO of Trapezoid Inc., a Miami-based digital security firm. One of Trapezoid’s chief partners is DigitalEra Inc. Mr. Gonzalez was recently named to DigitalEra’s board of directors, along with James Cason. See this:

https://www.prnewswire.com/news-releases/digitalera-group-appoints-james-cason-jose-gonzalez-to-its-board-300494494.html

James Cason has an interesting biography:

“Cason spent 38 years as a Foreign Service Officer for the US State Department, serving in 12 countries. He’s been the Ambassador to Paraguay and Chief of Mission in Havana, Cuba.  Cason has received numerous awards from State, Defense, the White House and the intelligence community.”

Before founding Trapezoid, Jose E. Gonzalez worked for DigitalEra, helping them expand into “managed information security services.”

Among its other tasks, DigitalEra tracks “key security events,” including hacker conventions like DEF CON in Las Vegas– an event, according to DigitalEra, regularly attended by Federal law enforcement agents.

Another major investor in Trapezoid is CoVant Management Inc., based in McLean, Virginia. CoVant invests in the federal government technology services industry. Meaning, in firms which do business with the federal government.

TERREMARK

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Jose E. Gonzalez’s most interesting employment was from 2000 to 2007 with the now-defunct Terremark Inc., where he worked as its Chief Legal Officer, then as Senior Vice-President.

Founder, and CEO when Gonzalez worked there, was Manuel D. Medina. Born in Cuba, Medina left that country with his parents in 1965, at age 13, “because of the extensive political changes in the country” per wikipedia.

JAMIE DOS SANTOS

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In 2001, Medina hired Jamie Dos Santos to oversee the transition of Terremark from a real estate firm to a security firm. She became CEO and President of subsidiary Terremark Federal Group, which was based not in Miami but in Herndon, Virginia. Its objective was to secure government security contracts– which were in abundance following 9-11.

Ms. Dos Santos has been involved in a number of similar corporations, during her time at Terremark and afterward. One example is the Armed Forces Communications and Electronics Association, incorporated in 2003 with Dos Santos as Director. It’s currently inactive.

A noteworthy incorporation which took place after her Terremark time was the curiously-named Isis Defense Corporation in McLean, Virginia (less than a mile away from the Department of Homeland Security), created in 2013 with Jamie Dos Santos as President and CEO, and still active.

In 2014 Jamie Dos Santos was appointed as a Member of President Obama’s Intelligence Advisory Board. Currently Dos Santos is the CEO of Cybraics Inc., which uses Artificial Intelligence to enhance security– presumably for business and government.

It’s not known how close a business or personal relationship Jose E. Gonzalez has with Jamie Dos Santos– other than they’re both prominent in the government-business security field and both worked in important positions at the same time for the same company.

MORE TERREMARK

Exactly how big and powerful Terremark was in the government-security field is evidenced by this analysis of why Verizon purchased Terremark Worldwide Inc. in 2011.

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Verizon-Terremark was given the enormous government contract to run the healthcare.gov website, which infamously crashed late 2013. This fiasco led to the end of Terremark, whose data centers were sold to Equinix Inc. for $3.6 billion.

ARTHUR L. MONEY

Another past Terremark employee of note is Arthur L. Money, on its board and a strategic advisor to Terremark on homeland security affairs from 2003 to 2011. Money has played huge roles in the government-business security relationship, including as the Assistant Secretary of Defense under Bill Clinton, and later as first chairman of the FBI‘s Science and Technology Advisory Board under George W. Bush.

Arthur L. Money has been on the board of too many security firms to count. One example is the Paladin Capital Group, set up three months after 9-11 specifically to capitalize on federal investments in security after the terrorist attacks.

CONCLUSIONS

Jose E. Gonzalez, father of Parkland survivor student activist Emma Gonzalez, is an expert on security, and has direct connections to several of the most important players in the government security field. It’s highly ironic that the two most important Parkland activists have fathers who were or are in that field. When the shooting at Marjory Stoneman Douglas High School took place, all their expertise went for naught– despite numerous warnings about the shooter given to police agencies and the FBI.

THIS commentator doesn’t believe there was any advance conspiracy to stage the shooting, or even to allow it to take place. It’d be absurd to think parents would purposely allow their children in the vicinity of that kind of danger. However, it’s logical to believe the parents would do everything they could after the tragedy to transfer focus away from the failure of police agencies like the Federal Bureau of Investigation to act on the many advance warnings.

What some see as conspiracy, NPL News sees (despite the many observed connections) as simple government incompetence.

-K.W.

(Be sure to read the other interesting posts on this blog– and check out our main site, New Pop Lit.)