SYNDICATED COLUMN: Cut-and-Paste Revolution, Part I

Winter Looms. Occupy Movement Wiggles Fingers. What Next?

“Let’s recreate Tahrir Square.” The email blast that began it all in June, a call for opponents of America’s wars and bank bailouts and rising income inequality and a host of other iniquities to occupy a public plaza two blocks from the White House, drew its inspiration from the Arab Spring.

The call worked. For the first time since the unrest of the 1960s, Americans joined spontaneous acts of protest and sustained civil disobedience in vast numbers. Why? Perhaps Americans, smugly dismissing the Muslim world as inherently inhospitable to democracy, were embarrassed to watch themselves shown up by people willing to face down bullets in Bahrain and Yemen and Libya. What’s a little pepper spray considering the thousands killed in Syria? Maybe Tahrir appealed because it worked. Or seemed to work. (Note to revolutionaries of the future: never trust the old regime’s military when they say it’s OK to leave them in power.)

The Arab Spring begat an American Fall. An aging Canadian magazine publisher cut-and-pasted the Freedom Plaza occupation (which still goes by the name of October 2011 Stop the Machine). Then he preempted STM, scheduling it to begin a few weeks earlier. He moved it to New York. Finally, he branded his cut-and-paste occupation with a better name: Occupy Wall Street.

Occupy Wall Street, not-so-new but much improved by its proximity to the national media based in Manhattan, began with aimless milling about the closed streets of the Manhattan’s financial district. It was ignored. A week later the collision of a thuggish NYPD officer, a dollop of pepper spray and four stylish young women made the news. “The cops spraying a bunch of white girls, well, our donations have tripled,” victim Chelsea Elliott told The Village Voice. Within a month, OWS was the beneficiary of an unreserved endorsement by The New York Times editorial board. On Sunday, no less–the most widely read edition.

More than a thousand cities now have their own occupations, cut-and-pasted from their format of their Washington and New York granddaddies. The Occupations trend white and young. They claim to be leaderless. Most of them cut-and-paste their tactics from OWS. They first take over public parks in downtown areas. Then they either apply for police permits to use a public park (as in Washington), obtain approval from private owners (as in New York), or take over spaces sufficiently unobtrusive so that the authorities grant their tacit consent (as in Los Angeles, where the encampment is in the city’s mostly disused downtown).

With a few exceptions like Denver, where police forcibly cleared out and arrested Occupy Denver members and confiscated their tents and other property, most local and federal law enforcement agencies have assumed a “soft pillow” approach to the Occupy phenomenon.

This missive to Occupy L.A. participants gives a sense of the modus vivendi: “The event organizers say they have talked to the police and the police say they are welcome. There are certain rules planned to be in place, such as moving tents off the grass onto the sidewalk at night. Please follow the directions of the police or any officials. The lawn has an automatic sprinkler system that someone who went and watched says turns on at 8 pm – 9 pm. The park area closes at 10 pm, but sleeping on the public sidewalks adjacent to the street is allowed from 9 pm to 6 am. That is the sidewalk surrounding the park area, not the sidewalk within the park area. Also, keep in mind you can be charged for clean-up and repairs, so wherever you go, be sure you do not create any need for clean-up or repairs. Please be very mindful of this.”

Aware of the fact that the movement has grown in response to official pushback–in New York after the pepper-spraying of the four women as well as after a threatened “clean up” operation similar to what went down in Denver–police are reluctant to create a spectacle of violent official repression. Protesters, meanwhile, are understandably reluctant to become victims of violent official repression. There have been hundreds of arrests, but no violent showdowns as we’ve seen in Athens. Leftist professor Cornel West seems to get booked every other day yet looks none the worse for wear.

In the absence of serious confrontation the occupations have become campsites. After police threatened to sweep up Freedom Plaza in Washington hundreds of supporters poured in to face down the police. The U.S. Parks Police blinked; now Stop the Machine has an official four-month permit. The same thing happened when New York Mayor Michael Bloomberg scheduled a police-led “clean up” of Zuccotti Park. A night’s worth of phone calls by panicky city politicians made him back down.

Also, as The Nation reports, the NYPD wasn’t certain they had legal grounds for evicting the Occupiers from Zuccotti Park, which is public but privately-owned: “Jerold Kayden, a professor of urban planning and design at Harvard’s Kennedy School, says that these spaces ‘occupy a somewhat murky terrain in terms of what activities and conduct of public users within the space should be acceptable and what goes beyond the pale.’ That is, the protesters have been able to set up camp in Zuccotti not because of any regulation that protects their presence there, but precisely because of a real lack of any defined regulations at all.”

With free food, legal services, a press table and bilingual information booths–plus the passage of time–Occupy Wall Street looks increasingly permanent.

Occupy movement outposts utilize an anarchist-inspired “general assembly” structure to make decisions ranging from the profound (resolved, that we should jail Obama) to the mundane (what time shall we hold the next general assembly). Everyone gets to speak. A “mic check” of repeated lines pass everything said to the outer ring of listeners. Attendees indicate approval by holding their fingers up and wiggling them. Downward wiggling indicates disapproval; sideways wiggling reflects uncertainty. Forming a triangle with one’s fingers is a demand for a point of process.

Why this approach? No one asks. That’s how it goes with cut-and-paste.

Crossed arms are a “block.” Anyone may block any motion. A 999-to-1 vote means no passage. Blocks, we are told by non-leader facilitators, are a nuclear option. “You might block something once or twice in your lifetime,” Starhawk, a genre novelist introduced as an experienced facilitator at one of the D.C. occupations. But a lot of nukes went flying around. Occupy Miami took weeks to get off the ground because rival factions (liberals vs. radicals) blocked one another at every turn.

Cut-and-paste at every turn: the local occupations use similar interfaces, even typefaces, for their websites and Facebook pages.

The movement has grown nicely. But, just as Mao found it necessary to adapt industrial-proletarian-based Marxism to China’s agrarian economy with “Marxism with Chinese characteristics,” activists are about to face the negative consequences of trying to replicate Tahrir Square in the United States. The U.S. isn’t Egypt. It isn’t even European. Americans need Tahrir Square with American characteristics.

Conditions on the ground necessitate a reset.

Namely: the weather.

IN MY NEXT COLUMN: Winter is coming. What will happen to the northern Occupations when the snow starts falling?

(Ted Rall is the author of “The Anti-American Manifesto.” His website is tedrall.com.)

COPYRIGHT 2011 TED RALL

Update: Lisa Simeone Only 50% Fired

NPR denies any role in Lisa Simeone’s firing from Soundprint.

Fortunately, the NC station that distributes World of Opera has decided NOT to terminate Simeone. Thanks to everyone who contacted NPR in order to support free speech.

The New York Times Screws Its Print Readers

Yesterday the New York Times “public editor” (fancy word for ombudsman) penned a column wherein he discusses reader complaints about the lean, mean, mostly lean new Times.

He begins:

Ruth Dobsevage, a reader from Bethel, Conn., asked, “Mr. Brisbane, would you care to explain why The New York Times has waited an entire week to cover the Occupy Wall Street protest?” Other than a blog post on City Room, she added, “I’ve seen nothing until I read Ginia Bellafante’s dismissive and superficial comments this morning.”

The Times initially covered the protesters on Sept. 17 on the City Room blog on NYTimes.com, getting a good jump. But while a print version of the piece appeared the next day in the New York edition, readers of the national editions never saw it. It was a full week before many saw a story in print, an attitude-heavy column by Ms. Bellafante headlined, “Gunning for Wall Street, With Faulty Aim.”

Carolyn Ryan, the metro editor, disagreed that The Times was late and listed the many angles of the movement that The Times has covered. “You can criticize us for many things, but undercovering this movement is not among them,” she said, adding that The Times had published at least 160 separate pieces on Occupy Wall Street, including blog posts and opinion articles.

Here, if you’re fully caffeinated and paying close attention, is the crux of the matter. The Times, like other papers, thinks it’s still covering the news if it posts it online.

To be sure, the early coverage was there, but it was hard for some to find because so much coverage is now online only.

To which I say: Fuck that.

I subscribe to the Times’ print edition. This also entitles me to unlimited access to its website and app. I read both, so I should be happy. Right?

Wrong.

The print edition is the “real” paper. It costs more to produce, more to distribute, and it’s more expensive. It’s the premium product, and the premium product should contain the most (i.e. premium) content. The Web version costs less and thus ought to be a stripped-down version of its print counterpart.

If the Times were an airline, it would serve the shitty (or no) food in first-class and deliver the champagne to coach. That’s fucked up.

I admire the Times for partially charging for online content. As I told an editor a few years ago, there are articles in the Times archives available for free that the reporter got killed while he worked on it. Surely his widow ought to collect a few centimes.

But they’re screwing up big time with this crap print version/beefy website strategy.

Washington Post Is Nice To Me

A piece in the Washington Postcontains a nice hat tip to me:

From Elkanah Tisdale’s rendering of the term “Gerry-mander” in a 19th-century Boston Gazette cartoon to Ted Rall’s unflinching indictments of President George W. Bush and the war in Iraq, editorial cartoonists have often ridiculed political power. Working in one or two frames, they have shown that reducing an issue or event to its core can offer clarity while challenging readers’ apathy.

Sadly, I’ll never have a name as cool as Elkanah.

New Cartoon Auction Up; Bid Starts at 99 cents!

Last week’s eBay cartoon auction finished a few minutes ago. Final price was $115.00. Didn’t get it? No worries. A new auction has just gone up.

I have just posted a new cartoon auction on eBay.

Starting bid is 99 cents; the Buy It Now price is $500. Winner gets to pick the topic of the cartoon. She or he also may reprint it or donate the reprint rights. They also get the original cartoon artwork. I also may syndicate the cartoons that result from this. So far all of them have been syndicated. Of course, this is also a great way to support my work. Thanks for bidding!

NPR Blackballs Freelancer for Occupying DC

Lisa Simeone is one of hundreds of people I met at the October 2011 Stop the Machine occupation of Freedom Plaza in Washington DC. [Media reports say she was at Occupy DC. Wrong. Different protest, different location, similar goals.]

She is beautiful, elegant, charming, and—like tens of thousands of Americans—exercising her First Amendment rights to protest the inequities of the current system. Like the protest itself, Lisa was strictly non-violent at all times.

Lisa is a freelance producer for “World of Opera,” which is recorded at a small radio station in North Carolina. “World of Opera” is distributed by NPR. Its content is apolitical. Lisa is not on staff at NPR or at the NC station.

On Wednesday NPR discovered Lisa Simeone’s attendance at Stop the Machine in DC. That same day, NPR persuaded a company for which Simeone worked to fire her. This is 1950s-style, neo-McCarthyite blackballing. Her income has been halved.

NPR staff received the following email:

From:NPR Communications
Sent: Wednesday, October 19, 2011 6:12 PM
Subject: From Dana Rehm: Communications Alert
To: All Staff
Fr: Dana Davis Rehm [TR: Rehm is Senior Vice President for Marketing, Communications, and External Relations] Re: Communications Alert

We recently learned of World of Opera host Lisa Simeone’s participation in an Occupy DC [sic] group. World of Opera is produced by WDAV, a music and arts station based in Davidson, North Carolina. The program is distributed by NPR. Lisa is not an employee of WDAV or NPR; she is a freelancer with the station.

We’re in conversations with WDAV about how they intend to handle this. We of course take this issue very seriously.

As a reminder, all public comment (including social media) on this matter is being managed by NPR Communications.

All media requests should be routed through NPR Communications at 202.513.2300 or mediarelations@npr.org. We will keep you updated as needed. Thanks.

##

NPR also blogged about this.

Roughly 3.5 hours after the above email was sent, Simeone was fired by a show called Soundprint for being “unethical.”

Soundprint does touch on politics and includes political viewpoint in Simeone’s ledes, but it is not an NPR program and is not distributed by NPR. It is, however, heard on public radio stations. Despite the title “NPR World of Opera,” that show is produced by WDAV, for which Simeone contracts. WDAV has not expressed any concern over Simeone’s “ethics.”

Simeone responded: “I find it puzzling that NPR objects to my exercising my rights as an American citizen—the right to free speech, the right to peaceable assembly—on my own time in my own life. I’m not an NPR employee. I’m a freelancer. NPR doesn’t pay me. I’m also not a news reporter. I don’t cover politics. I’ve never brought a whiff of my political activities into the work I’ve done for NPR World of Opera. What is NPR afraid I’ll do—insert a seditious comment into a synopsis of Madame Butterfly?”

“This sudden concern with my political activities is also surprising in light of the fact that Mara Liaason reports on politics for NPR yet appears as a commentator on Fox TV, Scott Simon hosts an NPR news show yet writes political op-eds for national newspapers, Cokie Roberts reports on politics for NPR yet accepts large speaking fees from businesses. Does NPR also send out ‘Communications Alerts’ about their activities?”

Indeed, there are clearly two standards of conduct at NPR: one for the big corporate shills like Cokie Roberts and another for low-paid freelancers like Simeone. Which is exactly the opposite of how things ought to be: if NPR wants to buy you, to control your political speech, it ought to cough up a full-time salary and full-time benefits. One of the few advantages of freelancing is freedom to think what you like and to say what you think.

Let NPR what you think. Call them at 202-513-2300 or email them at mediarelations@npr.org.

Pass it on.

[By way of David Swanson:]
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