Occupy Wall Street: A Radical’s Critique

 

occwallst 

Given the corruption that crashed the American economy (again), and the current administration’s unwillingness to seriously address class issues or corporate greed, it’s hard to find fault with Occupy Wall Street.

The “leaderless resistance movement,” which started in New York City on September 17 and continues to attract protesters to Zuccotti Park near Wall Street, is viewed by many, including Noam Chomsky, as courageous and honorable.

“Anyone with eyes open knows that the gangsterism of Wall Street—financial institutions generally—has caused severe damage to the people of the United States and the world. And should also know that it has been doing so increasingly for over 30 years, as their power in the economy has radically increased, and with it their political power,” Chomsky says. “[The protests] should serve to bring this calamity to public attention, and to lead to dedicated efforts to overcome it and set the society on a more healthy course.”

On the Washington Post’s editorial page, staffer James Downie concludes that “as long as the sluggish economy continues to hit Americans—and especially young Americans—hard, expect more and bigger demonstrations like Occupy Wall Street—unfocused, sometimes excessive, but fundamentally justifiable.”

Not everyone who agrees with the protesters’ principles is impressed, however. In an essay posted on Ted Rall’s website on September 26, the political cartoonist, commentator, and author says that “for me and other older, jaded veterans of leftist struggle, [Occupy Wall Street’s] failure was a foregone conclusion”—and that “yet another opportunity to agitate for real change was being wasted by well-meant wankers.”

This is not to say Rall doesn’t believe in the cause. The author of Wake Up, You're Liberal!: How We Can Take America Back from the Right, acknowledges in the first sentence of his critique that Occupy Wall Street “is and was important.” If only because it represents the first major repudiation of the Obama administration by the American left. But, he argues, good intentions are not enough, especially when the stakes are so high.

“Michael Moore complained about insufficient media coverage, but this non-movement movement was doomed before it began by its refusal to coalesce around a powerful message, its failure to organize and involve the actual victims of Wall Street’s perfidy (people of color, the poor, the evicted, the unemployed, those sick from pollution, etc.), and its refusal to argue and appeal on behalf of a beleaguered working class against an arrogant, violent and unaccountable ruling elite—in other words, to settle for nothing less than the eradication of capitalism.”

Rall desperately wants the protesters to be better organized, and points out that a number of those who did get interviewed by the mainstream media lacked a central message and the ability to articulately unpack key issues. To hammer home his point, he implores the kids in the park to “lose the clown clothes.”

“It’s not the early 1960s; you don’t have to wear a suit like the civil rights marchers did,” he writes. “But how about showing up on national TV looking decent, like it’s Casual Friday?”

Rall is a provocateur, and a few progressives have already taken him to task both for his hyperbolic prose and for his failure to support the troops. Fair enough. There’s a lot to chew on in this tirade, however, and when everyone goes back to their lives and Wall Street continues its run toward ruin, it demands a dispassionate revisitation.

Sources: Occupy Wall Street, Ted Rall, Washington Post 

Image by Carwil, licensed under Creative Commons. 

Send a Cartoonist-Reporter to Afghanistan

Kids in AfghanistanThe always-controversial cartoonist, reporter, and author Ted Rall wants to go back to Afghanistan. After covering the U.S. invasion in 2001 for the Village Voice and KFI Radio, Rall wrote the books To Afghanistan and Back and Silk Road to Ruin. Now, Rall wants to return to Afghanistan to cover the voices of the Afghan people in a style he compares to Joe Sacco’s cartoon-reporting. This time, he wants his readers, rather than major media outlets, to pay it.

To fund his trip, Rall started a Kickstarter project, asking fans help cover his expenses with contributions of $10 or more. In a podcast interview with Kickstarter board member Andy Baio, Rall talks about why independent projects like his so necessary. Most reporters in Afghanistan, according to Rall, “have too much money, and they get parachuted into a place that they don’t know anything about. But also, they’re idiots.”

Source: Waxy 

Art Comic Smackdown

Funny pages by Daniel ClowesAnyone who’s cracked open a supposedly groundbreaking graphic novel in recent years and found themselves bored silly by panel after nearly identical panel depicting an endless parade of young-adult ennui: You’ve got an ally in Ted Rall. In a recent commentary, Rall hauls Chris Ware, Daniel Clowes, and other darlings of the art-comics world to the woodshed in an acerbic takedown. Describing how the New York Times’ foray into art comics, The Funny Pages literary supplement to the New York Times Magazine, has been a flop, Rall summarizes Ware’s serialized work “Building Stories” thusly:

“Anticipation yielded to disappointment as Ware, in his typically mannered and obtuse style, rendered the paint-drying anti-drama of a dowdy middle-aged, one-legged . . . spinster wallowing in self-inflicted depression in a hundred thousand earth-toned squares. Unless you count phony, plot-less, generalized angst, nothing happened in ‘Building Stories.’ Ever.”

Ouch. As a syndicated editorial cartoonist himself who is unabashedly topical and political, Rall is of course wide open to the charge that he just doesn’t get it, that his hit-you-over-the-head style is itself flawed and unfunny, or that he’s simply swinging back after the art-comic tastemakers at Comics Journal called him an “utterly worthless political cartoonist.” But at its core Rall’s critique must sting because there’s a bit of truth to it. “When a reader doesn’t understand a cartoon, it isn’t because he is stupid,” he writes. “It is because the cartoonist has failed.”

Now that’s something for a comic artist to be depressed about—and to turn into a novel, of course.

Keith Goetzman 

Image from the New York Times, by Daniel Clowes.




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