Category Archives: media

Axe and misogyny: They view it as a war to defend white supremacy

On January 6, supporters of the sitting president of the United States attacked the United States capitol and rioted inside the building. The stories, images and fallout are all visible and well documented. Here is how I understand that we got here:

In the 80s, republican operatives, mapping demographic changes and voting assumptions began to see rising numbers of people of color as a threat to the electoral power that they had held. Billionare conservatives started funding very specific media sources (Breitbart, Fox News, Daily Caller) to make money from a new market – white people who could be made angry about changes for justice in order to create an enthusastic white supremacist voting block to keep republicans in power.

In their mind, there were just a few short decades to go until the showdown, so they strategized in a couple of very focused ways to ensure that conservative business leaders could resist.

  1. They funded, fostered, nurtured white anger against people of color at every opportunity. Using the axis of race, right wing journalists could re-articulate crushing poverty as the fault of the gains of people of color. It was the Southern Strategy on steroids.
  2. They invested heavily in controlling the courts. Federalist society, nurturing young conservatives, scholarships, mentorship, and guidance to create targeted young right wing ideologues ready to carry the white supremacist mission long after they are dead.
  3. They worked hard to win state legislatures, and use gerrymandering to minimize the power of voters that didn’t vote republican.
  4. They succeeded in establishing a relationships to politicize videogame players and an emerging online troll culture to embrace the symbols of white supremacy with ease and comfort.
  5. They absorbed / hijacked the Republican party in the 2010s and reassured the traditional elements of that coalition that the gains in power would be worth the harm to the nation. Corporate donors, philanthropists, government agencies, and many others became complicit in a full-fledged white supremacist government structure working under the Trump administration to do active harm to people of color at almost every turn.

Here is where we often get it twisted. The justifications and explanations for each of these activist strategies are fairly well documented. The key question is how do a small number of very privileged republican organizers spin this strategy? What do they specifically say and to who – these questions can be part of the educational work to innoculate future fascist moments. In this case, the narrative of white supremacy was the only communiciation strong enough to push working class white people to harm people of color and it was buoyed by hatred of women and an anger at lack of white solidarity.

There are a lot of issues of accountability that will be navigated in the next few weeks. Criminal charges for those who killed a cop, resignations from those leaders who are identifed as responsible (or those who are scapegoated). And this rupture will open the space for new policies that will often have profoundly negative implications for people of color, poor people, women and disadvantaged folks (increased surveillance, new anti-terrorism laws, policing in communities of color etc). To rush into policy-making without reflection is a terrible path forward.

We should take stock of the recuperation efforts. Examine those who played a role, or had been connected to the violence and some-how are attempting to detatch themselves. We should be asking how the invitation was framed such that it made sense to so many people. But finding access points is important.

My first off note about this was Strava – the bike riding app told me that it didn’t support the insurrection against the US government and weren’t cop killers in an announcement at the top of the app. Well yeah . . . you are supposed to be an app that tracks my cycling miles, I hadn’t honestly assumed that you were in favor of a violent overthrow of the government by Nazis and their allies.

“What we saw in the US Capitol this week was the antithesis of what Strava stands for,” the letter read. “It was internal terrorism and we denounced it. Whatever the limits or flaws our democracy may have, we believe that we must protect it. ”

“This is not about politics. These are fundamental principles in which we deeply believe: treat ALL people with decency, respect and fairness ”. says the letter. “When you joined Strava, you joined a global community of athletes who are in line with our community standards: respect each other, respect the rules, and be inclusive and anti-racist.” (Sidenote: it looks like Strava disappeared this note almost as soon as it was made. The only reference I can find to this quote is from a weird fitness webpage that is giving me fascist vibes . . .)

We can probably distinguish those corporations who took a serious loss from their de-platforming of Donald Trump. In this case, we are talking about a corporation that commented on the attacks either for their own gain or to protect themselves from public relations losses.

Axe Body Spray for instance.

Axe Body spray is the worst. Not only in aroma, but in the toxic sexist rape culture advertising that has been marked, mocked and mapped. I’m not surprised that Axe body spray had to respond – they must know that the bogus entitlement to sex because you sprayed yourself down with duck urine is tied to the entitlement of those who tried to murder Nancy Polosi.

“We’d rather be lonely” is the most minimizing and trivializing read on the events of January 6. To understand that Axe would go without their body spray rather than be affiliated with the murderous nazis and that they still have time to indicate that it would make them lonely is grotesque. They still want you to know that if you don’t wear Axe Body Spray you won’t get laid . . . Axe sells entitlement and in this case, a multinational corporation’s PR team put it clearly that this one was too far.

I think that whoever run’s Axe’s twitter handle might not get the depth of this moment. But then again neither did the men who came to DC to murder uppity women. For instance Cleveland Grover Meredith Jr. The investigating report indicates that he voluntarily showed Federal agents text messages planning to kill Speaker Polosi.

“How much u give me to go trench the Capital lawn with ma big truk?” The other participant wrote, “Don’t do it.” MEREDITH replied, “I’m gonna run that CUNT Pelosi over while she chews on her gums.” Later in the conversation, MEREDITH wrote, “Dead Bitch Walking. I predict that within 12 days, many in our country will die.” (https://extremism.gwu.edu/sites/g/files/zaxdzs2191/f/Cleveland%20Grover%20Meredith%20Statement%20of%20Facts.pdf)

Misogynistic slurs have been uncovered and amplified in the quotes of those who drove to the capital heavily armed with a desire to do harm. The centrality of violence against women is really tied to the logic of the transgression of violating the capitol. The goal was similar to the early 1900s strategies of faux-assasination communications attentat – to illustrate the potential for somene to be harmed. To illustrate that a president or a king can be reached and to strike fear.

We could also examine this from the perspective of the domestic violence literature. Understanding the power and control wheel and the transgression of safe spaces to induce terror. Abusers will communicate in many small ways that the abused is not safe – including by invading previously safe space to communicate disempowerment.

There was no way to understand the photos of the dude with his feet up on the desk outside Speaker Polosi’s office and his initial encounters with the press. Barnett is his name and we can match the entitlement and joy in transgressing with is deep hatred of a powerful woman.

BARNETT states “I did not steal it. I bled on it because they were macing me and I couldn’t fucking see so I figured I am in her office. I got blood on her office. I put a quarter on her desk even though she ain’t fucking worth it. And I left her a note on her deskthat says “Nancy, Bigo was here, you Bitch.” (https://extremism.gwu.edu/sites/g/files/zaxdzs2191/f/Richard%20Barnett%20Statement%20of%20Facts_0.pdf)

Donald Trump has articulated the hurt done to white men in several divisive ways, but the deeply sexist and racist framings he has presented seem to have tracked well with the people who showed up to do harm on January 6.

Challenging white supremacy means contesting the common-sense nature of the dialogue. Fragmented social media (where people can bury themselves in media which affirms their point of view) has reached a point of insulation – where it can protect harmful ideas from critique. This means that unpacking white supremacist (ill)logic means navigating the ways that sexism and racism co-create this moment of deep entitlement and violence.

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“Either unmarked or engraved, hey, who’s to say?” MF DOOM

It is hard to fathom the loss of DOOM (editing note – “all caps when you spell the man’s name”). I listened to a lot of MF DOOM and spent quite a few hours discussing, debating and analyzing his lyrics. I can’t capture the depth and weirdnesss of thoughts about DOOM in a single post – every time I sit down to outline this post I get a gigantic spider web of entwined themes.

Black america, slang, diaspora reflections, coded language in hip hop, sample choices, mocking, survivorship, graffiti, families, drugs and alcohol, masking, comic books, representation, sex, communication strategies and a million other threads travel through DOOM lyrics. All you can really do is pull some of those strings and hope that they spark meaningful thoughts.

So maybe we start with the fact that DOOM wrote about his death, his legacy and the fragile nature of human existence in his first song as DOOM.

Daniel Dumile emerged in the NYC hip hop sphere as MF DOOM for the potent first album Operation: Doomsday with the support of Bobbito Garcia and his indie record label Fondle ‘Em. Although Dumile had rhymed with KMD, this was a new incarnation for the artist with a new mask, lyrical style and stylized representation as a villain – exhaggerating every hip hop trope with double and triple entendres.

“On Doomsday/ ever since the womb/ ‘Til I’m back where my brother went, that’s what my tomb will say/ Right above my government: Dumile/ Either unmarked or engraved, hey, who’s to say?”

MF DOOM “Doomsday” from Operation: Doomsday.

Dumile’s brother Subroc was killed in a car accident the same week that his band KMD was dropped from Elektra shelving their second album Black Bastards. The band was fired because of the album cover art presenting the hanging of a Sambo character – symbolizing the birth of a new Afro-centric Black man who refused to perform demeaning roles. Cue Dante Ross.

How do you make art out of this kind of stuff? DOOM is honest about his own upcoming death in the chorus, then he names the stakes. It has been DOOM’s day (centered on him) and also a apocalypse/catastrophe (doomsday) from his birth until his death. His tomb might be engraved (famous) or he may finish his run on this earth as an un-acknowledged anonymous dead person but he is going to work.

It is a weird thing to put in the middle of your comeback/vengence album. But for DOOM life and death never seem all that far apart. This is the opening track (after the intro skit) an honored place in the hip hop album – the centerpiece to tell a consumer if they should buy the album. It might seem morbid, but this is life and death stuff and that crucible produces amazing art.

Doom reports that he made the album while semi-homeless, sleeping on couches, battling doubt and an industry that didn’t understand or like him. Which forced a very intimate album. The samples are friendly (if you like 80s and 90s RnB – DOOM and his friend’s limited record collections) and looped with careful MPC skill by the masked villain himself (as he writes in “Operation: Greenbacks” he owns the crown in “microphone, beats or the wheeles of steel”).

For me this song presents a declaration of his rebirth into a new world of DOOM. The song is an invitation to understand an artist’s use of the medium of hip hop to embody his own will to re-define and rearticulate himself. From a traumatized rejected creative artist who had tried to do the right thing (KMD) to a retaliatory bad-man who was beloved and could also pay his electric bill. That transformation came through intention, lyricism, imagination and the follow-through to make something happen.

We can imagine the tomb as an end piece – the final resting place – but we can also understand the tomb as a transition between worlds. Most mystery cults (and the saccharine descendants like the masons) use simulated burial, re-birth and re-naming as ritual symbols marking a person’s change by committing to the worldview.

In similar ways the end of KMD, ending of intimacy (you don’t get to see DOOM’s face after this) and the death of Dumile’s brother come to a focal point in this song’s chorus. Like a mystery cult burying an initiate in a stylized coffin suffused in incense and low lighting only to have them emerge reborn and shrouded in a new costume and given a new name.

For the comic book loving Dumile, it is also the birth of every significant bad guy character. It is Doctor Doom from the Fantastic Four comic book crafting his metal mask, studying esoteric magic and creating the character to plague the comic book heroes. It is a great story arc for an artist and Dumile could foster a literal mask to keep the public just far enough away from the actual pain while still talking explicitly about how much he missed his brother and was still angry at the journalists and record labels that had ruined he and his brother’s career.

The new DOOM, clad in the metal mask is ready to make fun of the goody goody rappers like KMD. Not only that, he wants their money, the credit and the praise. In his mini Jeopardy segment in the song, DOOM chooses the category “Means to the end” – he will do what needs to be done to get the money. He is “Bound to go three Plat / Came to destroy rap.”

Emerging as a villain from the tomb had to be liberating – and DOOM is free to drive off with sexy women, brag about his toughness in jail, mock the current so-called tough guy rappers and play with verbal expression without any limitations other than being the best. And that is what made him a villain in their eyes — and a hero in ours.

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Etymology learnin’: Victoria Coren’s Balderdash and Piffle

Amateur etymology is really my bag. I love learning where words come from and understanding about evolution in context. Several VERY smart arguments from this first episode of Victoria Coren’s show Balderdash and Piffle from 2006.

  1. Great premise where she pitches revisions to the OED. The focus on a few words and the mix of investigative reports / bad CGI and face-the-camera-and-lecture tactics work for me.
  2. I think Mitchell is wrong about the inclusion of gay from the context of the Gertrude Stein quote. I don’t dispute that the quote is dripping with queerness, but the forced inclusion in the dictionary seems like tokenism. It also sort of positions the dictionary editors as resisting the path of inclusion – which is distinct from the request for gay to get an earlier citation. The editors seem to want evidence and Mitchell has suggestion. I can’t help think that early journals and letters could provide this evidence. Not to mention that the actual dates for queer history are important (First gay man on television).
  3. The pig segment is awesome and the narrator seems pretty cool (until the barbecue scene!)
  4. The Ploughman’s lunch is a pretty cool vignette. I like that the evidence tracked down is anchored in consumer advertising culture post WW2. The use of nostalgia to market British cheese may not be the most romantic of origin stories, but it is credibility enhancing that the show would lead with this kind of honest inquiry.

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Juxtaposition: Marvel donates to the president campaigns

Artifact 1: Goldmacher & Schorey, “Trump Campaign’s $63 Million Dwarfed by Biden’s $177 Million.” New York Times, October 20, 2020.

Artifact 2: Maddeus “‘Avengers’ Stars Encourage Fans to Vote Blue During Biden Fundraiser” Variety. October 20, 2020.

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Wingspan: creating inclusive boardgames

Wingspan and a tasty summer meal.

Long out of print in 2019, I was pleased to get a copy of the boardgame Wingspan this summer. Since it arrived we have played Wingspan almost every two days. Wingspan is one of the best constructed and fun to play games of all time.

Wingspan allows you to build an collection of birds in meadows, forests and wetlands. You operate mostly in solitaire mode, drafting birds, getting food and laying eggs for future generations. The mechanics resemble natural processes and the subject (170+birds) are simply beautiful.

The game play is very pleasing. I find myself lost in my own (almost solitaire-like) joy in strategizing how to get the right food to build a magnificent Golden Eagle or Mississippi Kite, the sense of competition falls away and I’m just in the zone. It is an innovative game mechanic – you finish every game wishing for one more turn.

Wingspan was created by Elizabeth Hargrave who has a robust life as a thoughtful board game intellectual. I’ve watched a few videos where she documents the process of creating Wingspan. She comes across as sincere, thoughtful and aware of issues of representation and power in all aspects of life. The below lecture given at the NYU Game Center is a good example.

https://www.twitch.tv/nyugamecenter/video/757846824

Hargrave outlines the creation of the game and the development of the innovative game mechanics. When given the opportunity she also unpacks some of the gendered assumptions about Wingspan (“Am I making games for women?” she asks at 41:20. ) The response includes this great slide:

Hargrave’s talk is for a group of students (MA and BA) who are studying game design. You can watch the video on a number of platforms, but watching it on twitch has the added benefit of seeing the commentary as Hargrave’s lecture unfolds. (This is also a refreshing juxtaposition, traditionally the text chat on the side of a twitch stream would be rapid-fire trolling copy/paste spam, replaced in this case by earnest classmates joking with each other and riffing sincerely on Hargrave’s arguments).

Hargrave is on top of the significance of representation in boardgames. She also shared the tools and strategies she used to build, and publish her game. She shares information about inclusive calls by game companies and scholarships for new designers. She seems earnest in a desire to open up games for new creators and to encourage sincere support for each other.

I appreciate the values expressed by this approach of game design. She also just comes across as cool. At 46:00 when she encourages future boardgame makers to experience wonder by making games about things that they care about or describing her ban on games that include castles, I got the sense that Hargrave would be fun to hang out with and game with.

One thing that consumers who share the values of inclusion, accessibility and nonviolence can do is BUY these kinds of games. Wingspan is published by Stonemaeir games and you can get all sorts of cool stuff there. I recommend the European bird expansion set.

While praising the game you have to pause at the incredible art that covers the cards of Wingspan. The hundreds of birds illustrated for the game are almost scientific-style drawings, but are really beautiful. You can check out the artwork of Ana M. Martinez and Natalia Rojas on their respective websites.

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1UP global graffiti innovations

I appreciate the thoughtfulness and strategic communication of the 1UP graffiti crew. The above videos are a pretty good representation of the trans-national cohort bent on leaving their shared name on any (un)available surface.

1UP have challenged the stereotypes before with their coral reef tag, and the #LEAVENOONEBEHIND campaigns. They are graffiti extenders – moving the practices of graffiti into new mediums and methods. The crew seem comfortable with a variety of new application strategies including the whole crew whole car strategy with the car in service, fire extinguisher painting, and of course repetition.

These two videos present some of the more interesting elements of 1UP practice. I’ll observe:

  1. Collaborative vacation. These videos document 2019-20 New Years Eve in Napoli. The crew pick a location and then paint up the town and socialize. They share a crew tag and a goal of making it beam from every surface in the city.
  2. interactions on the street. The 1UP crew zip around Napoli and paint on the walls with passersby interacting. These offer up some great moments like the memorial tag at 2:28. But the 1UP crew seem social, jolly, the paintings all seem pretty crisp and they seem to pass cans to people walking by if they express an interest.
  3. Include the failures. I really like the disruption of the standard graffiti video format. Including some high profile failures and semi-honest reflection about those tactics adds a lot to these two films.
  4. Strategic painting. Two giant cans of silver paint with fat caps allow a person to cover a lot of terrain. The use of teams (one person doing the fill and another to do the outline) and the multiplication of these roles if they are doing something larger was really impressive.
  5. Nostalgia. After a half a year of COVID-19 and stresses of the end of democracy in the United States, seeing a band of artists run through a European city on New Years eve seems like nostalgic hi-jinx.
  6. Vele. The Vele houses in the second video (10:45) offer up one of the best case studies of representation and voice. My concern is that it would be exploitative for the community members, so I appreciated that they foregrounded consent with the neighborhood and participation in the message-making.
  7. Art. I have some aesthetic preferences. Not sure what the face on the Vele houses was. Was not moved by the addition of the yellow streaks to most of the finished throwups. Really liked the rainbow drip piece. Appreciated the solid lines and old school letter styles used for 1UP across the project.
  8. Ethics. I’m sympathetic to anyone who was disrupted in their transportation to work. I bet quite a few people were terrified by the giant firework explosions. And I think that some of the crew shots of large gatherings of hooded men may seem menacing to some.

Overall these two videos are great examples of communicative strategy both in the video construction and the 1UP artwork.

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Information literacy as self defense: COVID-19 edition

The election of 2016 marked an deep downward pull for American democratic traditions. After the election the institutions that make up government became under attack by the President and the cabinet members. Each American agency seems to have been sapped of leadership, undercut, and in many cases, the people working at the State Department or the NEH found themselves directed to work 180 degrees opposite the purpose of the agency. The Environmental Protection Agency for instance:

EPA Administrator Andrew Wheeler, a former coal lobbyist, said he was freeing oil and gas companies from “burdensome and ineffective regulations.” By rolling back an Obama-era policy designed to curb gas leaks at pipelines and wells, the EPA administrator was essentially giving energy companies the go-ahead to release much more climate-warming methane into the atmosphere.

MSN – https://www.msn.com/en-us/news/politics/another-giveaway-to-polluters-from-the-trump-epa/ar-BB18ecp1

Let’s not pretend that the United States confidence in government was very strong before all this. But you pile on the increasingly refined ways that people gather news and form opinions and the genuine cynicism that everyone seems to share, and we face a deeper problem.

We risk losing the inability to discern fiction from truth – (and I’m a postmodernist), or the ability to debate complex ideas. I’m sure that the basic skills still exist on college campuses and the nod toward some shell of debate and rigorous argument can be found in corners of youtube.

Joshua Yaffa writes in the New Yorker about the continued focus on Russian propaganda (Yaffa outlines how much of this should be considered a threat) and the more problematic impact of the President and Fox News reporters muddying the waters over the significance and response to Covid-19.

Yaffa writes: “When it comes to COVID-19, the apparent result of the combined disinformation campaign of Trump and Fox News has been devastating. A working paper released by the National Bureau of Economic Research in May analyzed anonymous location data from millions of cell phones to show that residents of Zip Codes with higher Fox News viewership were less likely to follow stay-at-home orders. Another study, by economists at the University of Chicago and elsewhere, suggested a disparity in health outcomes between areas where Fox News viewers primarily tuned in to tucker Carlson, who, among Fox hosts, spoke early and with relative urgency about the danger of COVID-19, and places where viewers preferred Sean Hannity, who spent weeks downplaying its severity. The economists found that in March, viewership of Hannity over Carlson, in the locales they studied was associated with a thirty-two-per-cent increase in infections, and a twenty-three-per-cent increase in COVID-19-related deaths

(Yaffa, Joshua.”Believe it or Not.” New Yorker. September 14, 2020, p. 29)

With these kinds of numbers, we need to be making the connection that information literacy is a public health investment. In 2020 being able to discern if a source is lying to you is a survival skill. Fortunately it is one that a couple of hundred thousand teachers can resolve with some investment and support.

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RIP “Muffwiggler” Mike

The guy who founded the online forum Muffwiggler passed away.  His vision of a forum to make modular synths accessible has been really meaningful to a lot of people and has corresponded with the rise in Eurorack.  He had been an opaque figure for me – a mostly unknown founder with a basement full of rare synths.  With his passing a number of interesting videos have emerged including this one which gives Mike a chance to talk about the origins of the forum and reflect on the often consumerist nature of modular synths.

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Berlin Kidz: Graffiti for the ages

 

 

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21st Century Boycott: Fox News, O’Reilly, retaliation and institutional protection for sexual harassment

I appreciate the strong reporting in the New York Times article: “Bill O’Reilly thrives at Fox News even as harassment settlements add up.”  Authors Emily Steel and Michael S. Schmidt cover the systematic protection of Bill O’Reilly who comes off as a serial predator.

The article looks at five settlements that have been paid to women who have alleged and often documented harassment from the Fox News star.  Two of the settlements were known, but three were uncovered by Steel and Schmidt.

The article is phenomenal journalism and highlights the pattern of toxic behavior and the costly efforts to retaliate against those who have complained.   This is a good opportunity to examine some of the patterns of retaliation that were visible in this article.

Most of the women who complained were threatened with professional harm when they didn’t comply with threats or when they came forward.  Andrea Mackris filed a sexual harassment suit against O’Reilly in 2004.  The New York Times article describes the retaliatory threats:

“Two years later, allegations about Mr. O’Reilly entered the public arena in lurid fashion when a producer on his show, Andrea Mackris, then 33, filed a sexual harassment lawsuit against him. In the suit, she said he had told her to buy a vibrator, called her at times when it sounded as if he was masturbating and described sexual fantasies involving her. Ms. Mackris had recorded some of the conversations, people familiar with the case said.

Ms. Mackris also said in the suit that Mr. O’Reilly, who was married at the time (he and his wife divorced in 2011), threatened her, saying he would make any woman who complained about his behavior “pay so dearly that she’ll wish she’d never been born.”

Fox News and Mr. O’Reilly adopted an aggressive strategy that served as a stark warning of what could happen to women if they came forward with complaints, current and former employees told The Times. Before Ms. Mackris even filed suit, Fox News and Mr. O’Reilly surprised her with a pre-emptive suit of their own, asserting she was seeking to extort $60 million in return for not going public with “scandalous and scurrilous” claims about Mr. O’Reilly.

“This is the single most evil thing I have ever experienced, and I have seen a lot,” he said on his show the day both suits were filed. “But these people picked the wrong guy.”

A public relations firm was hired to help shape the narrative in Mr. O’Reilly’s favor, and the private investigator Bo Dietl was retained to dig up information on Ms. Mackris. The goal was to depict her as a promiscuous woman, deeply in debt, who was trying to shake down Mr. O’Reilly, according to people briefed on the strategy. Several unflattering stories about her appeared in the tabloids.

After two weeks of sensational headlines, the two sides settled, and Mr. O’Reilly agreed to pay Ms. Mackris about $9 million, according to people briefed on the agreement. The parties agreed to issue a public statement that “no wrongdoing whatsoever” had occurred.”

Emily Steel and Michael S. Schmidt. “Bill O’Reilly thrives at Fox News even as harassment settlements add up.” April 1, 2017. New York Times.

It is worth noting the techniques used to attack the victim.  The perpetrator attacks the survivor personally, the company defends the perpetrator with a heavy-handed lawsuit, and the company hires a PR firm and private investigators to destroy the survivors reputation.

And then they settle.  That means that all the personal attacks and reputation smearing that ruin someone’s life were essentially pressure to beat someone down so they will take less money for their silence.  I can imagine the meeting where someone at 21st Century Fox has to run the numbers on how much they could save in destroying the lives of sexual harassment survivors.

The cost-benefit-analysis strategies of corporations who decide to try to ruin the reputations of employees who come forward to complain about sexual harassment may undervalue the public relations costs of being associated with a serial rapist or a serial harasser.

The Brock Turner survivor letter, Emma Sulkowicz and the performative mattress carry, an Obama/Biden administration with a robust advocacy for Title IX have changed public opinion about sexual harassment and rape.   The ascendance of a generation of young activists like Know your IX committed to fighting rape culture will not return to the cover-up and blame-the-victims days.

Which means that large corporations who are in the business of making money are going to have to factor in what explicit boycotts and affiliated bad PR will cost them when they defend a prominent figure like Bill O’Reilly and Roger Ailles.

It seems grotesque that an institution would protect a serial predator because they make the business a lot of money.  Steel and Schmidt’s expose does a good job documenting how much advertising revenue O’Reilly’s show pulls in ($446 million from 2014-2016).  So what would a boycott have to cost the parent company to dump O’Reilly?   A couple of hundred million dollars?

More importantly, I wonder how little effort it would take for people on social media to destroy the 21st Century brand.  A dozen volunteers could watch O’Reilly’s show, note advertisers and then illustrate businesses which give money to support victim-blaming.  Simply posting the New York Times article in the publicity threads for each new 20th Century Fox blockbuster movie would convince me to spend my movie money elsewhere.   Artists who might record soundtrack music for Fox Music can be gently reminded through fan pages or tweets about the retaliatory behavior of the parent company.

Steel and Schmidt’s article is a good piece of investigative journalism that makes visible the retaliatory behavior of one of the largest companies in the world.  It also exposes how much the company has to lose if they mishandle the public relations associated with their brand being tainted by O’Reilly’s harassment lawsuits.

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