Watch lovers, collectors, repairmen and -women all face a core issue: How to determine whether a watch is running on time and whether it might need fixing.
Here’s the situation any watch fan might face: You’re at a flea market, a real one with regulars peddling what they found in the attic, and you see an old Angelus. The dial is all vintage geekiness, but showing its age, which you write it off as patina. The case might be scratched, along with the crystal, the band needs replacement…. The real question is whether its heart is beating properly? It might go ticktock, but unless you are the love child of Viola Smith and Gene Krupa (and even then…), you will only know that the mainspring is wound and the escapement is sort of functioning.
Ticks and tocks
Because an escapement mechanism is a little more complex than what the ear can pick up. The ticktock sound is actually made up of three different ticks and tocks, as the impulse pin hits the pallet fork slot (in the rear), the entry stone at the end of the lever unlocks the wheel, and the fork hits the impulse pin again at the “back” of the lever. In fact, there are more sounds coming from the mechanism, but the real point is this: The best way to test a mechanism is by acoustic means. And a small industry has emerged that does just that, supplanting, in some ways , the old way of testing, which was to check with an accurate timegiver, like an observatory.
The solutions out there are mostly for professionals, and they do good work, of course. The watch fan and collector may want to grab one for home use, however.
Fast reading…. a must thin these days of instant gratification.
A few months ago, though, a friend tipped me off to a small company located in Cortaillod, near Neuchâtel, which has come up with a number of products that connect the professional and consumer worlds mainly through design. Oneof – the name is a little odd for Anglophones – was founded by Jean-Charles Rousset and Emmanuel Baudet, who were part of the TAG Heuer crew that produced such wonders as the prizewinning Carrera Mikrogirder. The two men were perfect complements to each other. Rousset, a materials engineer by training, was in charge of innovation projects for TAG Heuer under the Jean-Christophe Babin, and Emmanuel Baudet, a research engineer at Lausanne’s famous EPFL specialized in instrumentation and magnetism. They collaborated on the Carrera MikroPendulumS double tourbillon, which included a high-frequency magnetic oscillator.
In 2017, Rousset and Baudet decided to strike out on their own, and so they founded their company. The aim was to revitalize the measurement tools used in boutiques and at workshops where watches are repaired. “Everything is sexy these days,” Rousset told me when I dropped by the company. “Vacuum cleaners are sexy, hair-dryers are sexy.” Naturally, their products are designed to be sexy, too, which means excellent materials, and, these days, portability. They have essentially three key products. A watch tester and demagnetizer for retailers, which has already found its way into a number of boutiques. It is easy to use, requires little training for personnel, and can therefore be used as a teaser of sorts to satisfy a customer who has magnetized a watch (this happens very frequently, by the way).
Being consumer-oriented, though, Rousset and Baudet decided to make a version for the collector, whether upscale or average… The Accuracy2, which retails at CHF 269, or about $269, is a little box made of lightweight anodized aluminum with a soft covering, fits in the hand or pocket. It is minimalistic in style, recalling the LaCie external hard disc of the Porsche Design studio. The logo on top, two squarish “Cs” facing each other, is a practical decorative element in good Bauhaus style: it’s where you’ll place your watch once the Accuracy2 has been connected to your handheld device or tablet.
The Accuracy2 does what all testers are supposed to do. It will show the three peaks of the ticktock, and determine the beat, which is the difference between the tick and the tock: A value of 0ms is outstanding, a value of 7 or 8 ms means there’s something wrong with the escapement and it probably needs adjusting. The rate of the watch is automatically determined, and the lift is estimated, whereby most watchmakers will prefer using amplitude, according to Rousset.
A similar product has been manufactured by a Geneva-based company called Lepsi. Their Watch Analyzer, for example, will do what any tester must: Measure rate variation, amplitude, and beat error quickly, and then reproduce the results on a smartphone or tablet. They also have a portable solution (the Chrono), which connects to a smart phone and is in the same price range as the Oneof mentioned above. But Lepsi has gone a step further with a convenient wireless demagnetizer, which will identify immediately whether your watch has been zapped by magnetic waves in the first place, and it will demagnetize it as well. Just press the button it it has turned red.
There are other solutions. Browsing the web, you will quickly stumble across Ofrei’s tester, which no doubt does the job, identifying beat rates of up to 43,500 vph, and with a preset lift angle of 52°. It’s not expensive ($189,95), according to the O. Frei website), but, to be honest, it’s not the kind of equipment you want lying around your luxury boutique or well-appointed home… It’s baroque, to say the least, but for those wanting the True Geek look, it’s good and affordable.
In late 2017, I received an email from the “Fundació Gala-Salvador Dalí” in Figueres with a special request: They needed biographical information on my mother, Karen Radkai, for a pending photography exhibition called “The Women who photographed Dalí” based on their collection. They also needed some photographic material.
The request serendipitously
dovetailed with my slow, but painstaking work on a biography of my mother and
father, both photographers of some note, especially around the mid-20th
century. And so, I ultimately wrote the entry to the exhibition’s catalogue. It
is not a “private view.” My copious notes and memories are for
another time and a fuller publication.
“What doesn’t kill us, makes us harder…” The famous quote from Nietzsche’s Twilight of the Gods, appropriately taglined “How to philosophize with a hammer,” rings in my ears when I think of my mother, Karen Radkai. She was not the easiest person to be around or to grow up with. She was, however, someone who left a mark, and lots of photographic material.
Brash, brilliant, outspoken and highly
opinionated, she could make enemies out of friends within minutes, but could
also attract the loyalty of those who were willing to give her space, who
recognized the person behind the lens, who saw and appreciated the very fine –
and extremely myopic – eye she had. She was also ambitious, had endless energy
resources, and a kind of resilience that could drive any normal person to
distraction. A large part of the energy came from her passion for her work, as
such. She had the great good fortune of living at a time when photography had reached
a kind of creative apotheosis and was firmly in the hands and fingers of a small,
busy, gifted elite of perceptive editors, publishers, and photographers, of
She was born in 1919, in Munich. She once
told me that she had already started photographing as a child. It was a hobby
she enjoyed, and somewhere amongst her papers, I do hope someday to find some
of those old shots. Otherwise, among her earliest memories, was sleeping in a
bathtub, because the inflation in the early 1920s in Germany had wiped out the
family fortunes. Abandoned by her parents, who separated soon after her birth, she
was sent to a convent, where, by her own account, she acquired the discipline
that she maintained her entire life.
As a teenager, she left Nazi Germany for the USA, where her mother had moved to about eight years prior. She was working as a stylist in New York in the mid-1940s when she met a dashing Hungarian émigré, who was already a fairly well-established photographer, my father, Paul Radkai. He let her have his studio to work in and experiment – according to him. Her boundless energy and ambition bore fruit. Soon she became a protégé of the notorious Alexey Brodovich at Harper’s Bazaar.
She was twenty-nine when the magazine sent her on assignment to post-civil-war Greece to photograph Queen Frederica (herself a German granddaughter of Emperor Wilhelm II). While the pictures of that job are unavailable, I do own a stunning vignette from that journey that tells the entire story of my mother’s photographs and perhaps reveals the artistry of photography itself: She found the subject somewhere in the war-ravaged country. A man stands. He is looking down at an elderly woman shining one of his shoes. She is almost prostrate. The man towers over her. My mother, I realize looking at the image, did not actually seize that image. She saw it coming and caught the millisecond of the man’s contemptuous look. It also summed up a deep-seated feeling she had about how men treated women.
Her career was a steep upward curb for many
years, despite personal setbacks and a marriage that went south for too many
complicated reasons to enumerate. She had in all four children, but her true
companion was her work, and that made her a favorite of many VIPs, particularly
from the world of film and music. The childhood of my sisters and me was
populated by some remarkable people and filled with special memories.
Because she rubbed elbows with so many big
names in the creative world – may I confess that I played chess with Man Ray
some time around 1969? – my mother was rarely in awe of prominent personalities.
Her approach to work was quite Germanic: You come, you do it, and when it’s finished,
you pack up and left. I would say, this kept her quite objective when
photographing, an important point, since she would not let her personal taste
get in the way.
At some time in the 1960s, she and Paul, my father, bought a house in Cadaqués, the one behind the church up on the hill. It was a funny idea, a bit spontaneous, as I recall (she was like that: after selling that house, she bought an apartment in a small Austrian village from the billboard announcing the house was being built). The village was full of jet-setters and wannabes, rich people living a life akin to that of the rois faineants, odd-balls, social drop-outs, artists real and fraudulent, and Dali, of course, who used to stride into the Bar Meliton twiddling his mustache – I remember him, because, as a boy, I would play chess there. He’d arrive a little like an archbishop expecting his rig to be kissed by the faithful. I’ll be honest: My mother though him a little pretentious, and being a classic liberal, disagreed seriously with his approval of Franco.
But when she was sent to photograph him, she packed her equipment, took her trusty assistant, Vaughn Murmurian, and did the job, and did it well. Her first encounter with Dalì, however, was in 1951 at the famous Bal de Bestegui in Venice, which she and my father, Paul Radkai, attended as photo-reporters. She told me once that Dalí made a few coarse remarks about some of the activities he performed in one of his rooms. On that end, nothing could shock my mother. Especially coming from a man. I asked what she replied…. it was a comment about his age.
My mother also did a lot of advertising,
but the photo-reportage was her favorite kind of work. And she was not only an
assignment person. She had an unerring eye for what was photogenic, what would
fit in a good magazine and so, over the years, she collaborated with many
outstanding magazines, notably World of
Interiors, a British Vogue publication, which at the time was brilliantly
edited by Min Hogg.
As a son, as a freelancer like her, but
with not nearly the talent, I find it difficult to separate the private and the
professional. For years now, I have been working on gathering information for a
kind of biography, not a list of jobs, not a curriculum vitae,
but a personal one. So I’d like to close
with a small anecdote.
My mother and I did one job together. It was for House & Garden. The subject was the 18th-century Schloss Fasanerie near the archbishopric of Fulda in Hessen, Germany. She landed in Munich and, in spite of a generous expense account, picked up a small car. We drove the 400 kilometers to Fulda and set up shop in a B&B. No fancy hotels. We spent one day essentially walking around the palace, which was owned by Prince Moritz von Hessen, whom she admired for his ability to work and run businesses rather than jetset away the family fortune.
The next day, she photographed systematically, while I took note of the furnishings in each room, worried details, picked up the history of the castle and the family (with a long pedigree and some tragic events, especially in the 20th century).
A third day’s work was needed. Everything went very smoothly. But there was one little incident that, again, was typical: Throughout the three days, the house- and groundskeeper had stuck with us like fly-paper, opening doors and moving objects around. I tried to keep him out of my mother’s way, because I sensed he was getting on her nerves (as an amateur photographer, he’d keep making comments about photography, which she hated because, as the Germans would say, Dienst ist Dienst, Schnapps ist Schnapps). At one point, my mother asked if we could put some flowers in a vase, because otherwise everything looked too museum-like. The man said casually that vases in the 18th century then were not for flowers, but rather for decoration. And maybe she could photograph it another way… I did my best to distract, to change the subject, to interfere, because I could see my mother’s lips tightening, a slight pallor form along her nose. I knew that behind those sunglasses she always wore, her eyes were sending out 88mm flak shells. She hated anyone interfering with her work. And the gentleman was then subjected to a tongue-lashing that I can only sum up with “You do your work, and I’ll do mine.”
The trickle of brands leaving Baselworld a few years ago turned into a torrent in 2018, with Swatch Group packing up its castle and kaboodle and leaving a big space free on the ground floor of the main hall in 2019. For the media, it was not a bad deal, since the press center was installed right there in the heart of things. And it left a lot more time to visit those who were at Basel…
Five days, about forty-five meetings, three interviews and many spontaneous conversations about all sorts of topics cannot by any stretch of the imagination be properly condensed into a single article, and these days, even scrolling seems to sap the energy of the online reader …
At any rate, all shapes and sizes were on display, and all price ranges, from Urwerk’sAMC with an atomic time-setting machine already seen at the SIHH and going for around $2,700,000, to the delicate regulator watches of the Münster-based company, MeisterSinger, whose prices begin at around $800.
A coup de coeur is a French term indicating something that takes your breath away. And this Baselworld was quite rich in these, so here are a few that I picked up along the way, certainly not an exhaustive list… And there will be follow-ups for certain brands:
Nature morte, really
Day one,Wednesday, March 21. My first appointment was at 1:30pm at the Ateliers , site of many smaller brands (Czapek &Cie, MB&F, Urwerk, Louis Moinet…the usual suspects). Being quite early, I sauntered over to ArtyA, where Yvan Arpa was setting up along with his extremely talented artist wife Dominique, who contributes her creativity to many dials, notably of the Son of Earth series. Arpa is a small fellow, the way a 300-Watt bulb is small. He’s exuberant, full of vim and vigor, and very direct, which always makes for terrific banter. He started laying out the novelties and other pieces the company produces, rapid-firing the details, a watch with a dial of spokes inspired from motorcycles (“…each one is hand assembled.”), the Son of a GunExtreme with the 6mm rounds in the dial, a brand new Megève with the dial carved like a snowflake. And then there was the Son of Earth Butterfly Iridescent, which was a genuine coup de coeur. It’s a simple three-hander (essentially dauphine hands), powered by the ArtyA automatic Aion movement (made in collaboration with Concepto, 28,800 vph, côtes de Genève, 25 jewels). The beauty is the natural mauve iridescence of the single butterfly wing that almost covers the dial and catches the light every time the watch moves. The luminescence reveals the structure of the wing and gives the dial depth, as if you were looking into a magic fountain filled with mystically glowing water.
Same day, later…. An annual pilgrimage to the small booth of Itay Noy, whose watches – all in limited editions – engage the beholder in a conversation, usually about something larger than just time. And so his timepieces become like small poems, chrono-haikus, or philosophical fragments, or simply good old friends you like to meet over and over again… I haven’t asked him yet for his own interpretations (in my Maximalism, for instance, I see solid straight roots/rationalism on the lower half of the dial, and turbulent, baroque thoughts on the upper half…), in part because discussing it would be like writing the first sentence of a story, which will create certain inevitability in interpretation. Noy’s concept of “dynamic dials” brings liveliness to the wrist and opens many possibilities for the creative watch designer. But what could be a worthy successor to the Full Month, which tracks the day using thirty-one numbers painstakingly cut into the dial over a disk that turns the right number red? The answer is simply Reorder. Also a sandwich dial, but this time it’s the hours that are cut haphazardly into the dial. Noy prefers not to explain the system he developed to display time in this fascinating manner (no, it’s not as strident as Franck Muller’s Crazy Hours). It’s not about omerta, but rather to keep the mystery alive, he told me. “If you know how the magician does his tricks, it’s no longer any fun to watch.” The watch features the movement he worked on together with a little company called IsoProg.
Art and the machine
One brand that has shown remarkable resilience in spite of recession and fitful starts and stops is Hautlence. Their products – 1970s-styled, television-shaped timepieces with intricate engines inside – are not for the faint-of-heart, nor for the classical purist…. Let me put it this way, if it were music, a modern Eduard Hanslick would have had a fit. But, but, but: You can’t deny the effort and the technical hijinks that go into these odd pieces. Becoming a member of MELB Holding, run by
Georges-Henri Meylan, kept Hautlence in the market … After five years, according to Nathalie Cobos, the company came up with what should by rights be a winner: the HL Sphere. Its most striking feature is the hour display on the left of the dial, a kind of blue globe engraved with numerals that travels on three rotational axes to give the hour. To the right is a retrograde minute display with a special twist. Thanks to a set of braking gears, the minute hand travels back to the big double zero at a moderate pace. It allows one to really watch the mechanism at work, from both sides, if necessary, especially considering the artistry of the four conical gears that drive the “hour bubble,” as it were.
Hautlence’s group sister, H. Moser & Cie, has been making a name for itself these past years, though without ever changing its essence: minimalism. In January at the SIHH (Ed. Note: the review is still being tweaked), it presented a watch with a tourbillon, and that’s it. That didn’t mean the owner couldn’t tell time. The watch had a minute repeater as well. Very clever, but it was merely a prelude to the Endeavour Concept Minute Repeater Tourbillon, which has two hands and is all the more practical for it.
The dial is more exciting thanks to the two repeater hammers have been placed on the dial side and stand out sharply on the black lacquer dial. Not surprisingly, Pierre Favre and the Manufacture Haute Complication is behind this double whammy, the same company that provided the engineering for ArtyA’s combo double-axis tourbillon with three-gong minute repeater. The H. Moser piece distinguishes itself by being of manageable size (ø43 mm x 14mm) and with its white gold case, it’s not too showy until one looks a little more closely…
I could mention at least a dozen other watches that made the trip to Basel well worth every minute. Nomos, for example, has gone sportive, with new additions to its Neomatik line that will thrill swimmers who refuse to wear some pedestrian waterproof watch. This sleek timekeeper can take a 300-meter dive. Note, too, the unique bracelet of tightly assembled slats that look like the smooth scales of a supple aquatic creature. From the same region, Glashütte, comes the magnificently elegant gold Tutima Patriawith power reserve and a green Flieger that is taking the brand into a new era of color… all material that will show up in Wristwatch Annual 2020. Some 40 kilometers from Glashütte is Dresden, home to another maker of classically fine watches, Lang und Heyne (see the Moritz, below).
The children are OK
Almost too perfectly, though, my last two meetings of the fair were with “watch-men” whose idea of design is very similar though the outcome is different. The first man is Chris Long, founder and CEO of an unusual brand called Azimuth(which has been in Wristwatch Annual for as long as I can remember)…. A watch lover from his days as a student engineer, Long has never lost his youthful sense of humor and playfulness, and they pervade his brand’s output.
There is, for example, the Landship, a homage to the first tanks of World War One. Or the King Casino, with a baccarat and roulette function. There are some simple regulators (Back in Time), or more complex ones, like the Predator series, which feature a large fang-like minute hand with an opening at its base that reveals the hour on a disk, the whole thing skeletonized for lightness. Others are inspired by sports cars (the Gran Turismo or the Twin Turbo) … When we met at the Swissôtel Le Plaza bar, Long was wearing one of my favorites: The Mr. Roboto, now in brass, a face, with regulator hours, and small seconds for eyes, and a mouth housing retrograde minutes…. inside, a movement modified in-house. More to come on this remarkable brand and its CEO.
Serendipitously, my final appointment of the fair was with MB&F, a brand with a similar vibrancy as Azimuth, though on a different level altogether. Founder and CEO Max Büsser, the creative impulse behind MB&F, not only makes watches and clocks that do more than tell time; they function equally well as works of kinetic art, and like art, at times they turn the world upside down. Büsser works with a growing roster of “friends,” experts and paragons in their own fields, so the engineering and finishing are always top notch, and each new “machine” is unique. But so far, the watches were always inspired from external objects or ideas. The latest in the Legacy Machine is far more personal, as a quote on the MB&F website suggests: “I wanted LM FlyingT to possess the epitome of femininity as reflected by the women in my life, particularly my mother. It had to combine supreme elegance with tremendous vitality.“
“Flying T” refers to the flying tourbillon that is built up vertically in the center of the dial and topped with a single diamond. The area around it comes either in diamonds, a snow-covered field, or in plain black, a deep sea. And at 7 o’clock, a small watch face, stares at the wearer from a perfect angle. It means an intimate moment with time, excluding all others for the duration of a glance . The entire dial is under a vaulted sapphire crystal, which instantly suggests one of those globes, which, when shaken, produces a snow storm. All that’s missing is a dancing ballerina atop the flying tourbillon. Instead of a dancer, though, the tourbillon is topped with a single diamond.
The Flying T can be read at a deeper symbolic level as well, perhaps channeled by the designer. The little dial recalls the moon revolving around the earth. The smooth rounded crystal could symbolize the rounded belly of a pregnant woman, or even a breast, traditional symbols of life itself. And the transparent case back reveals a special rotor, a voluble sun, symbol of nourishment (as Büsser himself states), and also of masculine energy and that of the visible world that meets the mysterious lunar world of the feminine. Of the many complex watches that have emerged from the MB&F forge, this one, in its apparent simplicity, is perhaps the most complex and the one with the most profound story. It tells us that there is a lot more in time than meets the eye. None of us will survive time, but there’s hop in the cycle of death and life, and the magic of procreation that runs through the feminine. The one woman from Büsser’s life who did not see this gem was his mother, who died a year ago. It may be solace to know that we all inherit our mother’s heartbeat, so a bit of her always lives in us and our children.
The Mueller Report is in… but is the real crime collusion, or has the president been using it as a rhetorical decoy to hide other crimes? There is a case to be made that the Trump administration, with GOP collusion, has been preying on the wishful thinking of those who loudly despise the president.
From the jargondatabase: To a large extent, people declare that a project has either succeeded or failed based on whether it met their expectations. Few projects fail in an absolute sense — they simply fail to meet individual expectations.
A scenario: Johnny comes back from an exam and says: “I think I really failed that one….” For days, the kid goes on and on about the failure, … Mom and Dad console him”, his jealous little sister expects, with some glee, and F minus… The result arrives. It’s a D…. Parents scold the sister for being so negative. Johnny, who had revised for 10 minutes, escaped a real scolding for being such a lazy bone. Johnny is an expectations manager.
So: Has anyone wondered why Donald Trump keeps drawing attention to the collusion issue? He repeats the word over and over again, tweets it, rambles on about the “Russia thing” and the fake news business… Anyone with the most basic communication skills would try to change the subject, or just let the matter go… if it really was a thing. So, is he really that furious? Or is it merely grandstanding and throwing red meat for his base to mitigate an eventual bad report card from the Mueller team?
One of the rules of communication is not to call attention to flaws, deficiencies and other warts, and especially to do that vociferously. There are a thousand reasons to oppose this president. But there is not one reason to underestimate the effectiveness of his strange communication, which keeps his base riled up, the GOP terrified, and above all, the media enthralled by so much cheap and flashy raw material, which delivers great product margins.
I’ve had a theory since the beginning of the Mueller probe, and it is this: Trump and his handlers, like Conway, have been engaged in expectations management. In its simplest form, it is like a person going to play a game of chess and mentioning repeatedly that he hasn’t played in 20 years. It may or may not be true, but it either justifies and mitigates the eventuality of a loss, or exalts a win, especially against a strong opponent.The slogan is: promise less, deliver more. This can hide the warts and weaknesses, or downright deficiencies, once the results are in. Anyone who followed the USA-Iraq wars carefully will have noticed how during the run-up to the wars, Saddam’s army was always described in apocalyptic terms, even though in the first war(1991) it had just come off an eight-year battle with Iran and was quite degraded. In 2003, it had hardly been able to rebuild, but the media scoured Roget’s to find the most terrifying words to describe this Incredible Military Force. When the “coalition of the willing went in,” it cut through the the Iraqi army like a hot wire through butter. That victory was followed by a barely suppressed gloat fest … which then hit the real wall of guerilla resistance and the totally predictable, bloody quasi-civil war that then broke out. But it, the victory, was enough to satisfy a critical mass of Americans and the media, for a while at least, while the Bush clowns rejigged their rhetoric and fumbled around in the country they had just invaded until things sort of arranged themselves.
So Trump’s yelling about the Mueller report could be a deflection in that vein, negative expectations. The Resistance expects treason, even the base does (they know their Leader is a criminal, they like him for it). But the report may more or less exonerate Trump of the “collusion thing,” which he’s been drawing so much attention to. This will effectively dash the expectations of all those who have been wishfully and blissfully thinking that Trump is deeply involved in some evil traitorous plot — that his base wouldn’t even care about anyway, because Trump is their weapon against their feeling of inferiority so carefully crafted by Fox News and others. Whit collar stuff is almost trite next to treason, isn’t it?
The GOP, for their part, with the support of said base, will commence howling about Trump having been right all along… about the collusion thing, so obviously he must be totally innocent… Even if he is not entirely exonerated…. That’s the general scenario: On the one side, Congressional committees trying to parse all the white collar stuff dug up by Mueller & Co. that are part and parcel of the Trump repertoire anyway and will be added to the porn payoffs, but that don’t really count for his base, like his moral bankruptcy. On the other side, the base drunk on a kind of false schadenfreude trying to out-holler the Resistance, which will still be pointing out myriad Trump crimes in 280-character bursts. And Trump heating them up, as usual, keeping the country deeply divided.
It’s a little complicated, perhaps, but being simplistic is not a solution, even with this immature and transparent president. A well-conducted campaign of expectations management would explain why Trump has been hollering about collusion, when it would/should have been the last thing to do if he were really guilty.
You see how it works? I may be wrong, but I’ll risk it. Just remember one thing with Trump and his punditocracy: Criminal behavior is unimportant; being in the spotlight at all times is.
This article was updated with material I had gathered two weeks ago.
US news on this 4th of September, 2018, has all to do about justice. And how the current president of the USA apparently refuses to accept the plain fact that the judiciary must be independent.
“He was consistent about this throughout the campaign,” says political commentator Carrie Cordero (Georgetown U.), “and here we are two years later and he is still saying the same thing. If he could he would use the DOJ and prosecutorial powers and engage in political retribution and pervert the system of justice.”
Re. Ben Sasse (R-Nebraska) was clearer: “We are not a banana republic.” A lonely voice coming from the former law-and-order party known as the GOP. Paul Ryan had his usual “what-me-worry?” blinders on.
While most of Trump’s gesticulations are the circus component of the panem et circenses to hide some emolument agenda, I suspect, this business with the justice department does appear more sinister in its consistency. It is literally anti-American and a serious threat to democracy as we know it. Why? Because he seems to think that a president should have unrestricted power to go after the opposition, and we now know that Trump can suffer no contradiction without going ballistic.
I’ve written about it before. It closely resembles how the Moscow Communists took over Hungary between 1945 and 1949, a process known by historians as the salami tactics. I am sure his former advisers Steve Bannon (a self-proclaimed Leninist, though that may just be to shock the sycophants) and Sebastian Gorka would know about this.
Here again the Wikipaedia definition:
“Salami tactics, also known as the salami-slice strategy or salami attacks , is a divide and conquer process of threats and alliances used to overcome opposition. With it, an aggressor can influence and eventually dominate a landscape, typically political, piece by piece. In this fashion, the opposition is eliminated “slice by slice” until one realizes (too late) that it is gone in its entirety.”
Yes, it’s not quite the same, because the USA has institutions, etc…. but the Trump administration has been stuffing courts with partisan judges, and that is simply not healthy.
The real problem is deeper, of course. Democracy is a difficult system. All must participate, all must be well informed, all must be ready to compromise. It is not a winner-takes-all system. It is winner is gracious and shares the spoils, remembering that a large part of the electorate is not of the winner’s opinion. More at some other time.
Note number 2 on this 4th of September 2018: The beginning of the Kavanaugh confirmation hearings to the Supreme Court, which will most probably put a partisan judge onto the highest bench in the land, where he can support decisions for some of the more extremist views of US conservatives.
Watches can be a major investment. So naturally, many collectors, especially of more recent vintage (and notably in emerging watch markets) prefer to play it safe and buy a big-name timepiece. These are more often than not excellent, solid, well-conceived watches … but they tend to overshadow some eyebrow-raising watxches with less PR power, ones that are rare, exciting, and will not break the bank, either.
Here’s the short version of this story: You can get a well-designed, technically classy watch run on one of those brawny, automatic ETA movements: 42mm carbon case, stainless steel bezel, classy black dial and an elegant rubber/fiber strap for under $1000…. But only until July 29 on kickstarter. Here’s the link (Adventure), and here’s the rest of this story.
A week before Baselworld 2014, a friend called me to ask if I could quickly skim over a press release announcing a new brand. I can no longer count the number of times I get these calls , but I’m happily not blasé yet, and my curiosity and inner do-gooder inevitably get the better of me. So I corrected a shabbily translated press release that did, however, describe quite a sexy timepiece called Exploration, I couldn’t help notice. It also landed in the Masters & Mavericks section of Wristwatch Annual 2015, described thus:
“…a 44.5 mm steel case made up of several components and black ceramic inserts, definitely sporty, but not on steroids. The coolness is in the details—the satin-brushed surfaces, contrasting polished beveling, open-worked hands, markers that shorten on the left to make way for the subdials. For complications, he chose a power reserve indicator—the two spring barrels of the customized Technotime automatic movement can drive the watch for up to 120 hours—and a retrograde date hand that takes up about one-third of the dial.”
The “he” in the piece turned out to be Julien Fleury. When I met him a few weeks later in the ground-floor bar at the Ramada (today XXX), I did a double take. Fleury looked like he’d just hatched from an egg, short slightly spiky hair, thin as a rail. He could have been a school kid. But there was something compelling about the intensity of his stare and his very serious demeanor. I was not surprised to discover that he regularly participates in cross-country marathons, a sport that requires focus and self-control.
He is not a watchmaker, he told me off the bat. He started his career in the jewelry trade but had studied graphic design. This did explain the very clear visual impact of the watches.
Businesslike, he explained his concept: He basically designed the watches and has them made by local artisans and friends from his native La Chaux-de-Fonds. They had helped him made the Exploration, and would continue doing so, he said confidently.
Having visited the upper reaches of Neuchâtel canton and the neighboring Franches-Montagnes (Free Mountains) a few times, I realized he was not kidding around. People have loyalties there, and Fleury’s family had, he told me as well, a pedigree reaching into the industry. He’s also a dyed-in-the-wool chaudefonnier with a special love for his native town. “Watches that say Swiss made are readily available,” he said, “but none say ‘made in La-Chaux-de-Fonds.” This odd city is indeed one of the cradles of watchmaking in Switzerland. After a fire destroyed the old town in 1794, a new town was designed along the best lines for natural lighting, a boon to the watchmaking industry. This particularly impressive combination of form and function earned La Chaux-de-Fonds and neighboring Le Locle a place on the UNESCO World Heritage list.
And so, Fleury aimed to render unto Caesar, as it were, and thus rightfully put that trundling, hyphenated name on his watch dials between 1 and 3 o’clock. His second tribute to “La-Chaux” was the brand name, duManège. The “Manège” is the town’s old riding school built in 1855. It was later used as low-cost housing for poorer families and became an architectural ideal of community living.
The start of a dynasty Once all the technical, financial and biographical issues have been taken care of at my first meeting with Julien Fleury, there remained my key question for any new brand: What are the plans for 2.0, 3.0, etc.. Because an idea in watchmaking is only as good as its subsequent generations. He assured me he had a concept, but he needed first to get his first crop into the market.
At any rate, I left the interview with an old quote from Le Cid by the 17th-century French playwright Pierre Corneille: “Aux âmes bien nées, la valeur n’attend point le nombre des années.” The young Rodrigue, who goes on to duel a gifted swordsman, who had an insulted his aged dad, say s “To the soul well-born, the worth need not wait for years…”
Three years later, armed with better funding, Fleury got back to me with the Heritage line where he could use his jeweler’s talents, or tap into local crafts for a grand-feu dial or other decorative arts. He was even offering customized miniature painting. It was a clear sign that his brand was here to stay. I made space for his watches in Wristwatch Annual 2018, including one of my favorites whose dial is covered in stylized fir trees in champlevé enamel. This special chaudefonnier art-nouveau motif reflects the local trees in that cold and snowy region. They are also a legacy of the city’s famous son, Le Corbusier.
A few weeks ago, Fleury wrote me with a new duManège product, a sleek, sober, technical watch again (the 42-millimeter case is made of carbon composite), with a definitively sportive feel and story. It is called Adventure, and is dedicated to those who, like Fleury himself, practice elite sports. This means: a three-hander, lightweight and robust, screw-in crown, water-resistant to 30 ATM, a big superluminova-drenched 6 and applique markers for the other hours that stand out sharply on a black dial with a dynamic ribbing pattern. The rubber strap also contributes to the active look, and comes with a coat of technical fibers and color stitching according to the model. Time here is driven by a robust automatic ETA 2824-2..
The watch comes in six different models, each dedicated to a separate activity, which is identified by a color code appearing on the second hand and stitching on the strap. Ball is yellow and stands for football (soccer); Slide (blue) for tobogganing; Fight (white) is for martial arts, while Military is khaki obviously; Motor is red for motor sports, and, finally, Mountain is green.
Twenty percent of the sale of each watch will go to a designated sportsman to help him on his way to success. These include Swiss bobsleigh driver Yann Moulinier (from La Chaux-de-Fonds) , who’s making a bid for the Olympic Games (Slide); soccer player Neftali Manzambi, training to make it to the national team (Ball); Ludovic Soltermann, Prestige Class motorcycle driver (Motor); Zakaria Khelil, a kickboxing and Muay-Thai specialist (Fight).
Getting it These watches will be available online for chf 1390 (for dollar price, check the daily exchange rates), but Fleury has started a kickstarter campaign to get them produced by the end of the year. His deal: Buy one through the crowdfunder, and get a 40% discount….
You haven’t heard this one yet: Four top experts, a micro-engineer, an industrial designer, an artist with a specialty in metalwork, and an accountant walk into a bar. And the barman says: “So, Herr Gerber, what can I serve you today?”… Add a really smart kid, but that would be getting ahead of my skis…
A slightly flippant joke like that above may not be the most dignified way to introduce a giant of watchmaking, but the real cognoscenti will know that the punchline is pretty accurate. This was confirmed to me during a brief and – as usual, fun – visit with him and his wife Ruth during the Easter break. Let me backtrack for a minute.
In case you don’t know Gerber too well or at all: Bernese by birth, but living and working in Zurich for nearly half a century, he has had his platinum fingers in the mechanism of many a great watch or clock over that half-century plus. Amongst his global creations is, for instance, the cool-calm-collected MIH watch made for the Musée Internationale de l’Horlogerie in La Chauds-de-Fonds. Two of his pieces have been in the Guinness Book of Records. One time was for the smallest clock made of boxwood, another for one of the world’s most complicated watches. It was originally a fairly simple pocket watch made by Louis Elysée Piguet in the early 20th century, but a new owner, Swiss entrepreneur Willi Sturzenegger (the “Earl of Arran”) decided to soup it up… Gerber also makes watches under his own name: they are easy to read, and with small touches of genius, such as a dizzying triple rotor. It’s Gerber’s understated humor coming out, a necessity for his version of “innovation.”
At the end of August 2015, I had the great luck to spend a few intense days with Paul Gerber and his wife and comrade-in-arms Ruth. The occasion was one of his watch seminars, during which me and two other gentlemen were coached by Gerber while we took apart an old Unitas, changed the mainplate, decorated it, and put the whole thing back together again in a special case. The details of this exciting process, and the depth of learning can be found here
Easy does it
At the time, I had already developed a deep respect for this dyed-in-the-wool watch-genius. Nothing in his surroundings or demeanor suggested the extent of his know-how and experience. He seemed more akin to some regular Joe, puttering around his little den-like workshop in the basement of his modest house on Zurich’s western edge. But the three-day workshop, besides deepening my knowledge of the art, was also full of wonderful discoveries, tiny clocks, machines, movements he’d rebuilt, gadgets and gismos, and lever arch folders stuffed with thousands of pages and images fastidiously documenting the work of a lifetime.
We met at various events since, and each time he extended a generous invitation to drop by. Casually. And so, earlier this year (2018), I was able to finally take up Paul and Ruth Gerber on their invitation.
It was a sunny day. But no sooner had I arrived, than Gerber took me to his workbench in the den-like basement. The operational word is work: The space is covered with motley items he uses to operate on watches, screw drivers, tweezers, bits of gummy stuff used to pick up tiny screws, a quadruple oil dispenser. There was also a broken wine glass he uses to protect parts from dust while they wait to be assembled. Most industrial watch workshops have elegant cheese bells: “I’ve had this since I started,” he pointed out with a mischievous smile. Gleefully he showed me a device he’d built… just to sharpen screw drivers. “The others don’t work well.”
But the pièce de resistance was undoubtedly a tiny ring-shaped part of silvery metal, stainless steel I assumed, which he picked up with a pair of tweezers and held up to the light. I had no idea what it was. He explained forthwith: It was the frame of the watchstrap moon phase he’s made for the MIH watch. The story behind it was typical Gerber: A customer had wanted a moon phase on his MIH watch and rather than clutter up the dial of the minimalist watch, he decided to sink a small, battery driven moon phase into the strap, an innovative idea, if I ever heard one.
We were supposed to go out for lunch on this, the first real day of spring in 2018. But I had brought a big jar of mustard and spontaneously suggested it would be a great day to grill cervelat and enjoy the garden… Gerber seemed relieved, and I was to, and Ruth immediately set about organizing the lunch, while Paul disappeared somewhere to grill the sausages.
(Chatty aside: Is there any Swiss family that doesn’t keep an emergency reserve of cervelat, that short, thick wiener-like sausage wrapped in natural skin (it caused a bit of a stir about eight years ago when it seemed Switzerland was running out of skin? I guess not.)
Over lunch, Gerber talked about his early days in the biz. The quartz crisis was raging at the time he was doing his apprenticeship. And so he began by opening a watch and jewelry shop. As he spoke, I had difficulty imagining this brilliant watchmaker discussing watch straps with walk-in customers, or confirmation gifts for thirteen-year-olds. And he confirmed my feeling: Being in his watchmaking den, with his fingers on the wheels, was more along his lines. He sold the shop.
A distant connection of sorts flash through my mind. Gerber’s enthusiasm with watchmaking reminds me of a sentence Max Büsser (see MB&F) has made into his company’s tagline: “A creative adult is a child who has survived.” Survived the constraints, strictness, rigidity, Gradgrindish goal-setting of the so-called adult world. This explains his desire to stay close to his work, at home, in his basement, rather than delve in the flimflam of communication and publicity. The marketing masters of our industry love to talk about passion, and urge their copywriters to do “emotion.” But Gerber does not perceive and then act in the spirit of passion (conjuring Hume, here), he just lives it as a cellular impulse. His rationality then steps in and tells him how to implement it in the 3D world.
I mention a young unemployed watchmaker I know, who has restored some surprisingly valuable watches (an Omega Seamaster, among others), and the conversation drifts towards old movements and replacement parts. You’d think it is extremely esoteric and a little dull, but it’s not. Not when Gerber talks about it. It’s more like Wilhelm Kempff talking about piano strings or felt hammers. And so I learn that watchmakers who’ve started cranking a heavenly topping tool often leave a treasure trove of bits and pieces, sometimes even entire movements, for the next generation. These end up in flea markets, or are picked up by other watchmakers to fiddle around with. And are then passed down or end up in a special timepiece that may or may not be sold. More likely than not, it will end up in the recycling container. Gerber has his own collection of composants trouvés, as it were.
I thought his big hobby was fly-by-wire planes…. But after lunch, Gerber steers me to a display case in his living room containing one of his own collections. Standing on a shelf like little soldiers, are a battalion of old Oris travel alarm clocks, the ones that folded up into a hard shell, a clever design. Just for the heck of it, he built a functioning tourbillon into one of them. At some point, virtuosity is the key that unlocks total creativity, sort of like Picasso drawing Gertrud Stein as graffiti on a bathroom wall.
He had more to show me, down in his Ali-Baba’s cave, The Basement. Bellies full, we browsed through pictures of his special car, a Fiat 600 Multipla from the late 50s, adoringly restored. Interesting: Many watchfolk I know have flashier vehicles, but this one has personality… He dug up some mechanical place-name holders that show the diner’s name when a lever was depressed. I asked him about the amazing Earl of Arran watch, and he dragged me – where I had sweated for three days two years earlier decorating that Unitas movement – was a large and beautiful box with a leather insert, for the latest iteration of the (see the article on Paul Gerber, P. 1).
Back in the basement, he shows me the large gearwheels he finished for one brand we shall keep anonymous. He dismisses the actual model they were fitted into with a sly, deprecating smile. But those gearwheels …. beveled to perfection, inside and outside edges, including the corners, which are exceedingly tricky, the three wheels displaying forty (40!) surfaces for his rock-steady file to transform from mundane metal to watchmaker perfection. And that, for several models… He also pulls out a thick folder to show the details of the order. Everything is documented, beginning with sketches, down to the last screw. That’s the book-keeping part. It’s a key to maintaining continuity; it’s a gift to future generations.
I think full circle. When I first left Gerber’s cavern a few years back, I thought hard on what elevates some watchmakers to the highest rank. It’s not just the achievement and portfolio. The challenge is this: Watchmaking taps into all sorts of fields. In addition to engineering, material science, gem-setting, enameling, a top-notch watchmaker will know history, navigation, astronomy, theology, philosophy, esthetics. They are Renaissance people, they are the great (sea) venturers, to borrow a term from R. Buckminster Fuller, who required “…great anticipatory vision, great ship designing capability, original scientific conceptioning, mathematical skill, (…), able to command all the people in their dry land realm in order to commandeer he adequate metalworking, weaving and other skills necessary to produce their large complex ships.”1
The era of the master visionary and maker may be dead and gone in many other industries, but to create a beautiful watch, like composing a beautiful string quartet, you need a Beethoven, a Haydn, a Brahms, not a committee of brainstormers dreaming up target groups. Gerber is up there with the giants.
Buckminster Fuller, R., Operating Manual for Spaceship Earth, A Dutton, New York, 1963, p. 17
Laura Ingraham invoked Stalin to attack David Hogg for launching a boycott of her show. It was truly a Goliath versus David moment, i.e. Laura with the power of Fox News and the entire right-wing noise machine, including the president and his surrogates, versus a very real, Internet-savvy, articulate high schooler named … David. Hollywood’s making plans for this one.
Ingraham’s hyperbole was boosted by some repulsive comments from the likes of the NRA’s own Ted Nugent and Sinclair’s Jamie “Red-Hot Poker” Allman (resigned). And a few days later, in reference to the FBI, which had quite legally and courteously raided Trump lawyer Michael Cohen’s premises, Newt Gingrich unmothballed the GESTAPO and Stalin in one breath, a claim that did generate some pushback even in conservative quarters (and in Israel, BTW, see here).
So. Here we go again…. I’ve covered this issue before, but it’s redux time, because the irony of the pundits’ projections is just too much.
Point 1) Hitler and Stalin are old-time favorite to describe very bad people, especially people who do things you don’t like or you may feel have somehow restricted you in your freedom to do and say what you please. In American politics – and to a certain extent in other democratic countries, one could argue – the time it takes to pull the Hitler car is referred to as “Godwin’s Law.” Definition here. No, it doesn’t mention Stalin, but by rights, it should.
Point 2) H&S are favorites for a simple reason: People generally don’t know any others. Why not say: Mao, who was equally monstrous? Or Pol Pot? Or Idi Amin? Or even Suharto? Marcos, Pinochet… Because people would look them up, perhaps, and realize how staggeringly ridiculous it is to refer to that kid as Stalin? Or because Hitler and Stalin have become common adjectives? This demeans the suffering of untold millions at the hands of these two egregious figures.
Imagine Ingraham tweeting “The boycott of my ads was positively Cattaneist…” Her devout viewers would have to search high and low and then read all about the Five Days of Milan, 1848, when Carlo Cattaneo led a tobacco and casino boycott against the Austrian overlords in the city and set off the Risorgimento… (Please look up the details elsewhere).
Point 3) Ingraham and her ilk are not interested in knowledge, of course, maintaining ignorance is the source of their mediatic power. So the irony of the Stalin reference is lost on the nodding Fox audience:
Because there could well be a sinister side to it. In my Trump, wurst, salami post, I noted how the Trump and his administration actually seem to be implementing what are known as Salami Tactics, a term coined by the Hungarian Communist Màtyàs Ràkosi to subvert the embryonic democracy in Hungary after World War Two. Here’s how that went:
Having won only 17% in the 1945 elections, the Communists requested and got leadership of the Ministry of the Interior, while Ràkosi himself became the Vice Premier. Over the next four years, the Communists created a secret police, subverted the justice system, engaged in sustained attacks against any opposition, accusing them of having collaborated with the Nazis, creating fake evidence if necessary, and generally kept the nation divided and frantic. That might sound familiar. The difference was in the state of the economy and the country in general after a devastating war. Massive inflation helped the destabilization process. At any rate, in 1949, the Communists won an overwhelming majority. This was followed some mopping up operations, including a show trial of fellow traveler Laszlo Rajk and a few others to, essentially terrorize any dissenters inside and outside the Party. Note “show trial.”
Stuffing the courts with far right-wing judges is one parallel. Constant attacks on the intelligence community another. But it took a greater organization to maintain the accusations of disloyalty and treason against anyone dissenting, and creating that toxic “Us versus Them” atmo, which is the hallmark of the Trump system in cahoots with the GOP. Imagine: The RNC went out of its way to demonize and calumniate James Comey by means of a dedicated website.
Trump has never stopped campaigning for that reason, and he has a right-wing media apparatus behind him feeding into him and feeding off of him, making money in the process and expanding its base. That is dangerous. Many knowledgeable people are sounding the alarms about the damage being done to democratic institutions and democracy itself. Madeleine Albright being the most recent.
Full Stalinist Now the real punchline. Ingraham conjuring Stalinism, and a few days later Fox actually engaged in what one could only describe as a public show trial in the best Stalinist tradition…. Do they actually understand what they are doing?
I rest my case.
Oh, afterthought: Anyone who thinks David Hogg is Hitlerian or Stalinist needs to go back to the history books, or, if those seem too dry, some novels, like The Seventh Cross by Anna Seghers, or The partially autobiographical Gulag Archipelago by Alexander Solzhenitsyn. Try Sinclair Lewis’s It Can’t Happen Here, too, while you are at it… Windrip… sounds almost like a metaphor for the current occupant of the White House.
AT SOME POINT, the Parkland shooting may be seen as the turning point in the struggle to end what can only be termed NRA blackmail of much of the country and its purchase of unquestioning political support from Congressmen and -women. A group of high-schoolers, with the energy and boldness of youth, and the organizational tools of the 21st century, have become the funnel for the frustrations and disgust of millions of Americans at mass shootings. On another level, however, this struggle is again highlighting some of the uglier sides of what passes for discourse in the nation’s politics.
Though the man is really unpleasant in many ways, vulgar and shady — like his spiritus rector and good friend, the late Roy Cohn — I must give Roger Stone his due for a very insightful quote: “It is better to be infamous than never to be famous at all.” It’s his working motto and, of course, the motto of many others who earned spurs and money from the rich and powerful by simply being malevolent. And it is a direct descendant of the famous “There is no negative feedback” idea, which states that any publicity is basically good publicity.
What the impact of Stone and his large ilk is or would be on society at large was and is unimportant to them. They care nothing of values such as compassion, decency, tolerance and generosity. Beauty is to be ignored, gratefulness is a weakness, loyalty lasts only as long as there is something to gain. They are tough in that way, a predatory gang. All that counts is gaining notoriety, and with that, these days, comes power and money.
This is one of the main reasons why American society is so divided. By donning the cloak of infamy, men and women with a total disregard for decency, for civil discourse, have created a society where fake outrage, generally driven by furious invective, lies or bullshit, rules and poisons any discussion. The technique is pernicious and mostly self-interested.
Take Laura Ingraham’s recent tweet about young David Hogg: It was ad hominem, cheap, and geared towards making waves and keeping the Fox tribe angry, focused on a meta-battlefield, and hence happy. No one is disputing Ingraham’s right to say what she wants. Nor can one dispute that she knows what she is doing, because she’s done it before: her “anchor fetuses,” comment, or her “shut up and dribble,” comment come to mind. She blows the dogwhistle in various registers and keys, and it is aimed not only at the “right.” The other goal is infuriating the so-called left, or simply at people who believe strongly that free speech is a right, but comes with obligations if you are in the public eye.
Ingraham herself might argue that the demonstrators were saying some pretty harsh things about the NRA and about those who blindly support gun ownership as a “God-given right” (a ridiculous statement, if I ever heard one, but in tune with the Puritan idea of manifest destiny). On the other hand, the NRA and its henchmen and -women have polluted the debate and made it extremely acrimonious over the past years.*
The NRA’s reaction following mass shootings has inevitably been aggressive towards the victims, the grieving families and friends, and towards those who are getting exasperated at the long financial arm of an organization that apparently makes its money selling weapons. The NRA and its tribe never sought a real dialogue to find a solution to a major social problem, which would have been the proper path. Now they are faced with a reaction powered by decades of anger and frustration at being bullied into silence.
But the weapons controversy is only one of many battlegrounds in yet another fake war which is powered by people with financial interests. Let me repeat that: These wars are driven by people with no real ideology, but rather with financial skin in the game.
The divisive and violent rhetoric is not delivered to further arguments, but rather to deflect attention from the issue and attract attention to the speaker or his or her organization, and hence to make money. A perfect example on this Easter weekend, following the Ingraham Tweet, came a few more nuggets of nonsense, one from Sylvester Stallone’s brother Frank (I didn’t know he had a son), and from chicken-hawk extraordinaire Ted Nugent, who as a representative of the NRA, produced this bucketful of verbal trash:
“The dumbing-down of America is manifested in the culture deprivation of our academia that have taught these kids the lies, media that have prodded and encouraged and provided these kids lies. (…) To attack the good law-abiding families of America when well known predictable murderers commit these horrors is deep in the category of soulless. These poor children, I’m afraid to say this and it hurts me to say this, but the evidence is irrefutable, they have no soul.”
The comment is so incoherent, it’d be a waste of time to try to take it apart. But it, like the Ingraham quote, like the strange hallucinations of so many on Fox News and elsewhere, is an example of what has become a rhetorical business model that is having serious repercussions on democratic processes. It is right up there with the scandalous sale of private data by Facebook, by the way. The rules of this model are simple:
Step one: Drop all your scruples about attacking people from some public megaphone, like Fox News, or Twitter, or wherever…
Step two: Mothball your self-respect, because you are about to turn yourself into a rude, trashy, noisy attention-grabber, and will have to say all sorts of things a decent adult person would avoid. I say adult, because as a part-time teacher of young teenagers, I do have to occasionally confront kids whose aim is to draw attention to themselves by being silly.
Step three: Say it: Say something simply outrageous, something without any basis in reality, but that some that goes against what was considered plain human decency not so long ago. Go against everything that would be within the norm, it’s called “being disruptive” these days and is a marketing ploy.
Step four: Reap the harvest, the accolades from the entire spectrum of your own tribe. AND the furious blowback from those who rightfully think you are being a jackass. Reap in the heat and glow of the spotlight, the “everybody’s talking about you” without worrying whether it’s good or bad. You have gotten your moment in the sun, and you can make it to the next step. A disciple of many financially successful bloviators Tomi Lahren, who began by ranting some very provocative but unsupported stuff on Facebook before being picked up by Fox News, where she continues to embarrass herself by acting like a snarky 13-year-old, lots of opinion and little substance.
Step five: Once the outrage machine has been fired up, you have a few options: First option: the easiest is to let it ride out, never back down. It’s common, because you have the power of the bully pulpit and therefore answering any counterarguments by the author would be a sign of weakness. Besides, your online “surrogates” will be spreading your infamy by their own accord. Fame means never having to say you’re sorry in certain quarters of our political layer.
Second option: Apologize soon after, catching the outraged opposition off guard, but apologize in such a way as to not apologize. This is what Laura Ingraham did after advertisers started pulling their ads from her show.
The third option is the Nugent option: Start complaining about being attacked by those who feel your attack on some fellow expressing an opinion was unjustifiably harsh and vulgar. It encourages your fans, who feel that everyone else is the “snowflake,” and makes sure YOU don’t have to look in the mirror.
By now, it has become almost impossible to break this system, because it is ingrained and financially successful, as long as you have no scruples and no self-respect. David Hogg found the weakness: The advertisers. Boycotts can be very powerful tools, and may be the only ones possible short of imposing constraints on the First Amendment. It even works within the tribe: Erick Erickson, who at first rejected Trump during his candidacy, soon found the fans of his own “conservative” ravings walking away, and then returned to the fold. Here a taste of Erickson’s prose, by the way:
“I assume that Obama’s marxist harpy wife would go Lorena Bobbit on him should he even think about it, but I ask the question to make one simple point: Barack Obama, like Elliott Spitzer, is a creation of the liberal media and, as a result, could be a serial killing transvestite and the media would turn a blind eye.”
Interesting projection: The liberal media were not that friendly towards Obama, but conservative media, including Erickson, quickly lock-stepped behind the predatory, pussy-grabbing, adulterous, haywire Trump. This should give these folks pause for thought.
In the will to power and money, anything goes. Lies become the truth, smears become arguments, and projection onto others becomes the only form of self-reflection allowed. It’s a technique we see literally daily, and the masters of it are squarely in the right-wing camp of the USA, where old-fashioned conservatism has been pushed into the corner. In its place are a generation of people who’ve signed a Faustian contract: Their ethics and self-respect for fame, power and money.
Ingraham’s silly tweet was eminently deconstructible, but in the fast-moving communication of the Internet, and in the pre-masticated opinions of her backslapping audience, arguments pro and con do not matter anymore. What remains is the message and the agitation it generated, the noise, the anger, the spectacle. And Twitter picked it up and magnified the outrage tenfold.
* In 1996, the organization got its fingers into the amendment to a spending bill that stopped the Centers for Disease Control and Prevention from using money to “advocate or promote gun control.” As the Washington Post reported: “The National Rifle Association had pushed for the amendment, after public-health researchers produced a spate of studies suggesting that, for example, having a gun in the house increased risk of homicide and suicide. It deemed the research politically motivated.”
For those who do not like to read much, here’s a short version of a longer lucubration on the topic of online invective as it currently stands… :
What drives an adult mother like Laura Ingraham to write ad hominem tweets against a 17-year-old expressing (articulately) his opinion? What drives an adult representative like Ted Nugent of the NRA to hurl very crude and incoherent invective at the same kid? Their argument might be “They did so first…” which is not an argument.
So let’s continue: Why does Lou Dobbs, of Fox News smile glibly when a guest of his literally paints a target on the Parkland students’ back, saying the students are acting “as if they are bulletproof”? By the same token, what drove an adult father of several kids (four, I think), to call retired SC justice David Souter a “goat fucking child molester”? The latter is Erick Erickson, and he was also the author of the following gem:
“Barack Obama, like Elliott Spitzer, is a creation of the liberal media and, as a result, could be a serial killing transvestite and the media would turn a blind eye.”
The list could fill pages, and you’d be astonished, it is mostly fed by family-values, PTL-ing, “patriotic” so-called conservatives. Their invective is shocking, extreme, and very divisive. And it is meant to be. But it is no longer ideological. Empowered by ratings driven by a critical mass of angry Americans, who can’t stand the inevitable changes* in our society, or who simply hate being told what to do even if it is necessary, these immature, unsavory salvos have become the artillery in the cold civil war dividing the country.
And those uttering them, or the organization and companies backing them, are making lots of money out of it. Just as they are making money out of silly conspiracy theories. It’s turning into blood money of sorts, as the victim may well be democracy itself. Fighting back against it is tough, because the Internet offers them a bully pulpit with an unbelievably wild reach for their investment, and it protects them from having to listen to counterarguments. The only thing that counts is cash. Amazingly, a 17-year-old kid understood that. His slightly snarky suggestion about puling ads was hard. Advertisers do not want to be associated with such shabby people. It’s bad for brands.
*Believe me, I don’t like them at all, but they are there, and we have to learn to live with them. The good ole days are just that, good ole days. Weep and move on.