Prez, Smart Satire Or Has the 2016 Election Sunk That Low?

I can’t tell if Prez is a smart satire, or if American politics are so dumb that the 2016 campaign trail can be so effortlessly lampooned by a comic book. The limited series reboot of an obscure 1970’s title began publishing in June. Its first four issues have uncannily predicted a number of summer’s political lowlights. Penned by Mark Russell, the DC book details the rise of a 19-year-old fry cook from Oregon, Beth Ross, to become the first teen president of the United States, through a combination of botched legislative manipulation, viral social media and voter revulsion against politics as usual.

In 2036, the media are dominated by the 24-second news cycle and embedded corporate sponsorships. Crossfire-style talking head debate shows feature real time thumbs-up/thumbs-down viewer polls with “winners” thusly declared. Voter turnout in actual elections got so embarrassingly low that the law was changed to count tweets and Likes as actual votes. Corporate interests have enshrined the logic of the Citizen’s United decision into a “Corporate Citizenship” constitutional amendment that had the side-effect of eradicating age requirements for political office. CEO’s wear hologromatic likenesses of their corporate logos when standing in for their corporations’ personhood. Corporations, declares the big yellow smiley-faced CEO, “aren’t players in this game. We are the game.”

Unfortunately for them, the game does require likeable personalities to win votes. But the most likeable – and most beholden – of the potential candidates are sidelined by scandals caused by their youthful indiscretions having been self-documented on Vine and Grindr. The two very boring candidates representing – eh, whatever respective parties they’re representing – run a humiliating gauntlet of Youtube talk shows, pranks and physical endurance tests.

It is here that our hero rises to the occasion…by cleaning the grill at her job for a training video. Her hair gets caught in the deep fryer, and her yokel co-workers post the video on Youtube. “Corndog girl” becomes a viral sensation. The “Anonymous” hacker collective (Glad those guys kept the band together) enter Beth “Corndog Girl” Ross into the presidential race. She trends and surges and…wins Ohio (Good to know the voters of Ohio 21 years hence have retained the sense of humor that gave us two terms of Jon Kasich as governor). The Electoral College is deadlocked and the election gets thrown to the House.

In the House, things go haywire as states trade their delegations’ votes for pork barrel promises (Colorado gets a naval base! Everyone gets a NASA!) and switch their votes to Ross to extract more goodies…except everyone miscounted and she accidentally wins a majority of the states, at which point she is promptly whisked away to prevent her immediate assassination.

The satire of Prez is awfully broad. Mark Russell dissects the targets of his scorn with a meat cleaver where a scalpel might have sufficed. Patients whose health insurance can guarantee them a hospice bed, but not life-saving treatment, are treated by a labor-saving animatronic “end-of-life- care bear.” The debate over whether food stamps recipients can be trusted to make “responsible” choices results in a federal contract for a Taco Bell stand-in to deliver tacos by drone to the poor. Perhaps this satire needs to be so blunt because it might not take until 2036 for these “solutions” to be debated on Fox News.

The comic has been oddly prescient at times. It’s hard to imagine that the idea of debates being settled via social media was the stuff of science fiction in June. Already, we have seen no less than four mainstream presidential candidates drop out of the race because their debate performance did not attract the attention of the Internet. Not one vote has been cast in a primary and yet four campaigns are over because the Internet yawned!

Russell’s coup de grace, however, came with the third issue of Prez, where the smiley-faced CEO (NOT a stand-in for Wal-Mart as it turns out!) parachutes in to his hellhole of a warehouse to deliver a “rock star” pep talk to his miserable human drones. The publication of this issue eerily coincided with the New York Times’ devastating profile of Jeff Bezos’ time-management sweatshops at Amazon. “Every time a fulfillment comes in a few seconds late,” the smiley-faced CEO hectors his employees, “YOU ARE LITERALLY STEALING THE LIFE FORCE OF OUR CUSTOMERS!” And then of course he’s helicoptered away while that theme song of tone deaf politicians everywhere, “Keep On Rockin’ In The Free World,” plays him out. Of course, Donald Trump was this year’s ignoramus to pump his crowd with Neil Young’s ode to “death and crack babies.” Prez’s Bezos stand-in is, at least, is a lyrics guy. “What’s with that exit music?” he demands of a subordinate. “You ever listen to that song?”

That is either very well anticipated by Russell, or else such a piece of luck that, either way, should be rewarded by your reading this comic. The only real misstep has been the understandable assumption that the political parties of 2036 would strain for “boringness” the way that the Bush and Gore candidacies of 2000 did. Who knew that reality television and Twitter would so radically alter candidates’ performances so quickly? Donald Trump and Bernie Sanders relish their media appearances the way that Randy “The Macho Man” Savage relished his interviews with “Mean” Jean Okerlund before a wrestling match. Political campaigning will never be the same.

Beth Ross only just got inaugurated, which means that Prez is about to face the challenge of moving from criticizing the system to proposing solutions. This is where things can really go off the rails for the series. I, for one, will be disappointed with anything less than an agenda for “FULL COMMUNISM!” But this series is clever, relevant and wholly unexpected from DC Comics. It deserves more attention.

[This article originally appeared on GraphicPolicy]

Trump and the Art of the (Union) Deal

The ascendency of Donald Trump’s presidential campaign is a joke that both bores and terrifies me, but that is not the subject of this blog post. An article in today’s NY Times, “Donald Trump and the Art of the Public Sector Deal,” provides an interesting insight into his shrewd use of public/private deal-making to build up his real estate empire, but misses an even more interesting story about an early example of Trump’s pragmatism around unions.

Unlike his more ideological counterparts in the business world, or his Koch-funded competitors for the Republican nomination, Trump has treated unions as a cost of doing business – when, that is, those unions have organized and demonstrated the power to make their existence a fact of life.

The Times story tells of how Trump, in 1978, secured a 40-year tax abatement from city and state officials in order to redevelop the “closed, blighted eyesore” that had been the truly grand Commodore Hotel into the shiny glass monstrosity that we now call the Grand Hyatt Hotel. What the story does not mention is that part of the price tag for that tax abatement was a card check neutrality deal with the NY Hotel Trade Council, the union that had represented the workers at the Commodore when it had closed six years earlier. Although not well known, it is probably one of the earliest examples of such a neutrality card-check agreement in the modern era.

But the union just won the card check by the skin of its teeth. It is difficult to reconstruct precisely what happened. It’s possible that the neutrality was quietly subverted by lower ranked managers who conducted a whisper campaign of lies or intimidation. (Early neutrality agreements didn’t build in strong penalties for violations of the agreements.) It’s also possible that, like the workers at the VW plant in Tennessee a portion of the Grand Hyatt workers psyched themselves out that the union could make the hotel less profitable and lead to layoffs. (After all, the previous workers at the Commodore had all lost their jobs.)

Whatever the case, the union went to the table in a weakened position…which Trump exploited. All hotels represented by the NY Hotel Trades Council are under the terms of the same collective bargaining agreement, and have been since 1939. Trump pushed for concessions, not in wages but in working conditions. He got them in a side agreement, while the hotel nominally signed on to the Industry-Wide Agreement.

But then he did something truly clever. He signed a “Me Too” agreement with the union for the upcoming round of negotiations. A “Me Too” is basically a “pre-signing” of the next contract. It means that an employer agrees in advance to all the terms that its competitors will ultimately settle upon, while securing a no-strike pledge during the contract campaign and beyond. You can see the value of a “Me Too” to a non-ideological employer. But the value is also huge for the union, freeing it to single out particular members of the employers’ bargaining coalition for job actions and pressure.

Trump signed a “Me Too” for every round of negotiations, and after he sold his stake in the hotel the new owners continued to do the same. There actually was a lengthy industry-wide strike in 1985, but the Grand Hyatt Hotel remained open for business.

It wasn’t until the year 2004 that the Hotel Trades Council finally got the Grand Hyatt fully signed on to the Industry-Wide Agreement and won for the workers at the Hyatt the same work rules as the rest of the city, which is, itself, an interesting story but one for another time.

Tuli’s Archives

Gothamist has a pretty incredible story about some newly discovered Bob Dylan lyrics, to a song-never-recorded about Robert Moses. It’s easy to assume that the lyrics sheet is a hoax. But, because, it was discovered in the Tuli Kupferberg files, I’m inclined to regard it as legit.

New Dylan Lyrics!

Tuli was a true American character. He was a member of the musical avant garde jug-band the Fugs, an early progenitor of the Village underground, a leftist and a proto-zinester. I first learned of him when, accompanied by a (paid!) intern, I poured through David McReynolds’ archives to find suitable material for the Socialist Party’s 100th anniversary conference journal.

McReynolds was a long time leader of the SP, a pacifist and student of Bayard Rustin and A.J. Muste, a two-time candidate for President (I managed his second campaign in 2000; his first, in 1980, is purportedly the first time that an openly gay man ran for the office) and a long-time bohemian and Village resident. Before David complains about this post, I use the past tense because I am describing an event from 2001, not because he is dead. He is very much still alive (and blogging!).

David’s archives included many incredible photographic negatives of Socialist Party and War Resisters League events from the prior 40 years, including some of the last “new” pictures of Martin Luther King – from a WRL (or possibly Fellowship of Reconciliation?) – awards dinner in the early 1960’s.

King!

It also included a shot from that same dinner night that I has developed into a 11″ x 14″ print that has adorned the walls of every home I have since called my own, of A.J. Must and Norman Thomas locked in an intense yet casual conversation at that same awards dinner, (I think) with the glass reflection of MLK’s back behind them.

pinhead

So, what convinces me of the authenticity of these new Dylan lyrics because they were found in Tuli’s archives? Well, many of Tuli’s archives wound up in McReynolds’ archives – most notably a zine called “FUCK GOD!” When we came across that one, McReynolds chuckled and said, “That was pretty controversial back in its day. I don’t know how Tuli got away with that one!”

A few minutes later, I came across Tuli’s sequel to that particular opus, a mimeographed volume entitled, “FUCK GOD IN THE ASS!,” its cover adorned by a crude line drawing of a be-robed man with long grey hair, from behind, spreading his butt cheeks. “Yeah,” I said, “I think this would still be pretty controversial today.”

So, do I think it’s possible that young Bob Dylan threw a lyrics sheet of a song taking the piss out of “master builder” Robert Moses Tuli Kupferberg’s way? Yeah, you betcha.

“What’s next here, Jay-Z?”

The reunited semi-replaced Replacements are coming to NYC. I feel slightly uneasy about that fact, but I’m quite excited about the venue: the Forest Hills Tennis Stadium!

The old home of the US Open is a legendary rock concert venue. It’s legendary mostly for time and place. The sound system was apparently awful, the aisles and backstage cramped and the streets and train stations overwhelmed by the throngs of rampaging kids. But at a time that rock-n-roll and youth culture were surging and there wasn’t much in the way of non-classical concert venues, the stadium served as a useful home for some of the first big New York concerts by The Beatles, Dylan, the Doors, the Stones – you name it.

When I lived a few blocks away, the stadium had long been supplanted by Arthur Ashe at Flushing Meadows. It was a quiet relic. I’m not sure what went on behind its ivy walls in that sleepy neighborhood. There were nights when I would try to imagine what it would be like to hear the distorted tinny amplified sounds of Keef’s clarion-call riff kicking off “Satisfaction,” fighting to be heard over the screams of a thousand girls wafting through the air like a bad block party.

So, the opportunity to see a show there? I’m in (if the scalpers don’t beat me to it). But it got me wondering, when did they start running rock concerts in Forest Hills again?. And then I found this gem, from the Queens Chronicle:

Last year’s sold-out Mumford & Sons concert at the iconic Forest Hills Tennis Stadium may have been declared an impressive success by elected officials and community leaders, but some area residents hope the curtain comes down on any future shows.

[snip]

“I can’t tell you what torture it was that day, getting back and forth,” Tola said to the crowd of around 70 people. “What’s in it for us?”

Tola, a resident of Exeter Street in Forest Hills for the last two years, defended his stance against concerts being held at the venue by claiming the shows booked by Madison House Presents will bring disruptive noise and open drug use by spectators to the immediate area.

“You’re bringing that element. You’re inviting them in,” he said. “What’s next here, Jay-Z?”

Stay classy, Queens. The NIMBYism, well, you can get that just about anywhere. But the dog-whistling racist NIMBYism? Well, that’s a Queens art form. And until the return of rock-n-roll to Forest Hills Tennis Stadium was one of the better known art forms in the borough. It’s time for new art in Queens. Even if it is an oldies concert.