Category Archives: Art
Pop Culture Has Become an Oligopoly

By Adam Mastroianni
Source: Experimental History
You may have noticed that every popular movie these days is a remake, reboot, sequel, spinoff, or cinematic universe expansion. In 2021, only one of the ten top-grossing films––the Ryan Reynolds vehicle Free Guy––was an original. There were only two originals in 2020’s top 10, and none at all in 2019.
People blame this trend on greedy movie studios or dumb moviegoers or competition from Netflix or humanity running out of ideas. Some say it’s a sign of the end of movies. Others claim there’s nothing new about this at all.
Some of these explanations are flat-out wrong; others may contain a nugget of truth. But all of them are incomplete, because this isn’t just happening in movies. In every corner of pop culture––movies, TV, music, books, and video games––a smaller and smaller cartel of superstars is claiming a larger and larger share of the market. What used to be winners-take-some has grown into winners-take-most and is now verging on winners-take-all. The (very silly) word for this oligopoly, like a monopoly but with a few players instead of just one.
I’m inherently skeptical of big claims about historical shifts. I recently published a paper showing that people overestimate how much public opinion has changed over the past 50 years, so naturally I’m on the lookout for similar biases here. But this shift is not an illusion. It’s big, it’s been going on for decades, and it’s happening everywhere you look. So let’s get to the bottom of it.
(Data and code available here.)
Movies
At the top of the box office charts, original films have gone extinct.
I looked at the 20 top-grossing movies going all the way back to 1977 (source), and I coded whether each was part of what film scholars call a “multiplicity”—sequels, prequels, franchises, spin-offs, cinematic universe expansions, etc. This required some judgment calls. Lots of movies are based on books and TV shows, but I only counted them as multiplicities if they were related to a previous movie. So 1990’s Teenage Mutant Ninja Turtles doesn’t get coded as a multiplicity, but 1991’s Teenage Mutant Ninja Turtles II: The Secret of the Ooze does, and so does the 2014 Teenage Mutant Ninja Turtles remake. I also probably missed a few multiplicities, especially in earlier decades, since sometimes it’s not obvious that a movie has some connection to an earlier movie.
Regardless, the shift is gigantic. Until the year 2000, about 25% of top-grossing movies were prequels, sequels, spinoffs, remakes, reboots, or cinematic universe expansions. Since 2010, it’s been over 50% ever year. In recent years, it’s been close to 100%.

Original movies just aren’t popular anymore, if they even get made in the first place.
Top movies have also recently started taking a larger chunk of the market. I extracted the revenue of the top 20 movies and divided it by the total revenue of the top 200 movies, going all the way back to 1986 (source). The top 20 movies captured about 40% of all revenue until 2015, when they started gobbling up even more.

Television
Thanks to cable and streaming, there’s way more stuff on TV today than there was 50 years ago. So it would make sense if a few shows ruled the early decades of TV, and now new shows constantly displace each other at the top of the viewership charts.
Instead, the opposite has happened. I pulled the top 30 most-viewed TV shows from 1950 to 2019 (source) and found that fewer and fewer franchises rule a larger and larger share of the airwaves. In fact, since 2000, about a third of the top 30 most-viewed shows are either spinoffs of other shows in the top 30 (e.g., CSI and CSI: Miami) or multiple broadcasts of the same show (e.g., American Idol on Monday and American Idol on Wednesday).

Two caveats to this data. First, I’m probably slightly undercounting multiplicities from earlier decades, where the connections between shows might be harder for a modern viewer like me to understand––maybe one guy hosted multiple different shows, for example. And second, the Nielsen ratings I’m using only recently started accurately measuring viewership on streaming platforms. But even in 2019, only 14% of viewing time was spent on streaming, so this data isn’t missing much.
Music
It used to be that a few hitmakers ruled the charts––The Beatles, The Eagles, Michael Jackson––while today it’s a free-for-all, right?
Nope. A data scientist named Azhad Syed has done the analysis, and he finds that the number of artists on the Billboard Hot 100 has been decreasing for decades.

And since 2000, the number of hits per artist on the Hot 100 has been increasing.

(Azhad says he’s looking for a job––you should hire him!)
A smaller group of artists tops the charts, and they produce more of the chart-toppers. Music, too, has become an oligopoly.
Books
Literature feels like a different world than movies, TV, and music, and yet the trend is the same.
Using LiteraryHub’s list of the top 10 bestselling books for every year from 1919 to 2017, I found that the oligopoly has come to book publishing as well. There are a couple ways we can look at this. First, we can look at the percentage of repeat authors in the top 10––that is, the number of books in the top 10 that were written by an author with another book in the top 10.

It used to be pretty rare for one author to have multiple books in the top 10 in the same year. Since 1990, it’s happened almost every year. No author ever had three top 10 books in one year until Danielle Steel did it 1998. In 2011, John Grisham, Kathryn Stockett, and Stieg Larsson all had two chart-topping books each.
We can also look at the percentage of authors in the top 10 were already famous––say, they had a top 10 book within the past 10 years. That has increased over time, too.

In the 1950s, a little over half of the authors in the top 10 had been there before. These days, it’s closer to 75%.
Video games
I tracked down the top 20 bestselling video games for each year from 1995 to 2021 (sources: 1, 2, 3, 4, 5, 6, 7) and coded whether each belongs to a preexisting video game franchise. (Some games, like Harry Potter and the Sorcerer’s Stone, belong to franchises outside of video games. For these, I coded the first installment as originals and any subsequent installments as franchise games.)
The oligopoly rules video games too:

In the late 1990s, 75% or less of bestselling video games were franchise installments. Since 2005, it’s been above 75% every year, and sometimes it’s 100%. At the top of the charts, it’s all Mario, Zelda, Call of Duty, and Grand Theft Auto.
Why is this happening?
Any explanation for the rise of the pop oligopoly has to answer two questions: why have producers started producing more of the same thing, and why are consumers consuming it? I think the answers to the first question are invasion, consolidation, and innovation. I think the answer to the second question is proliferation.
Invasion
Software and the internet have made it easier than ever to create and publish content. Most of the stuff that random amateurs make is crap and nobody looks at it, but a tiny proportion gets really successful. This might make media giants choose to produce and promote stuff that independent weirdos never could, like an Avengers movie. This can’t explain why oligopolization started decades ago––YouTube only launched in 2005, for example, and most Americans didn’t have broadband until 2007––but it might explain why it’s accelerated and stuck around.
Consolidation
Big things like to eat, defeat, and outcompete smaller things. So over time, big things should get bigger and small things should die off. Indeed, movie studios, music labels, TV stations, and publishers of books and video games have all consolidated. Maybe it’s inevitable that major producers of culture will suck up or destroy everybody else, leaving nothing but superstars and blockbusters. Indeed, maybe cultural oligopoly is merely a transition state before we reach cultural monopoly.
Innovation
You may think there’s nothing left to discover in art forms as old as literature and music, and that they simply iterate as fashions change. But it took humans thousands of years to figure out how to create the illusion of depth in paintings. Novelists used to think that sentences had to be long and complicated until Hemingway came along, wrote some snappy prose, and changed everything. Even very old art forms, then, may have secrets left to discover. Maybe the biggest players in culture discovered some innovations that won them a permanent, first-mover chunk of market share. I can think of a few:
- In books: lightning-quick plots and chapter-ending cliffhangers. Nobody thinks The Da Vinci Code is high literature, but it’s a book that really really wants you to read it. And a lot of people did!
- In music: sampling. Musicians seem to sample more often these days. Now we not only remake songs; we franchise them too.
- In movies, TV, and video games: cinematic universes. Studios have finally figured out that once audiences fall in love with fictional worlds, they want to spend lots of time in them. Marvel, DC, and Star Wars are the most famous, but there are also smaller universe expansions like Better Call Saul and El Camino from Breaking Bad and The Many Saints of Newark from The Sopranos. Video game developers have understood this for even longer, which is why Mario does everything from playing tennis to driving go-karts to, you know, being a piece of paper.
Proliferation
Invasion, consolidation, and innovation can, I think, explain the pop oligopoly from the supply side. But all three require a willing audience. So why might people be more open to experiencing the same thing over and over again?
As options multiply, choosing gets harder. You can’t possibly evaluate everything, so you start relying on cues like “this movie has Tom Hanks in it” or “I liked Red Dead Redemption, so I’ll probably like Red Dead Redemption II,” which makes you less and less likely to pick something unfamiliar.
Another way to think about it: more opportunities means higher opportunity costs, which could lead to lower risk tolerance. When the only way to watch a movie is to go pick one of the seven playing at your local AMC, you might take a chance on something new. But when you’ve got a million movies to pick from, picking a safe, familiar option seems more sensible than gambling on an original.
This could be happening across all of culture at once. Movies don’t just compete with other movies. They compete with every other way of spending your time, and those ways are both infinite and increasing. There are now 60,000 free books on Project Gutenberg, Spotify says it has 78 million songs and 4 million podcast episodes, and humanity uploads 500 hours of video to YouTube every minute. So uh, yeah, the Tom Hanks movie sounds good.
What do we do about it?
Some may think that the rise of the pop oligopoly means the decline of quality. But the oligopoly can still make art: Red Dead Redemption II is a terrific game, “Blinding Lights” is a great song, and Toy Story 4 is a pretty good movie. And when you look back at popular stuff from a generation ago, there was plenty of dreck. We’ve forgotten the pulpy Westerns and insipid romances that made the bestseller lists while books like The Great Gatsby, Brave New World, and Animal Farm did not. American Idol is not so different from the televised talent shows of the 1950s. Popular culture has always been a mix of the brilliant and the banal, and nothing I’ve shown you suggests that the ratio has changed.
The problem isn’t that the mean has decreased. It’s that the variance has shrunk. Movies, TV, music, books, and video games should expand our consciousness, jumpstart our imaginations, and introduce us to new worlds and stories and feelings. They should alienate us sometimes, or make us mad, or make us think. But they can’t do any of that if they only feed us sequels and spinoffs. It’s like eating macaroni and cheese every single night forever: it may be comfortable, but eventually you’re going to get scurvy.
We haven’t fully reckoned with what the cultural oligopoly might be doing to us. How much does it stunt our imaginations to play the same video games we were playing 30 years ago? What message does it send that one of the most popular songs in the 2010s was about how a 1970s rock star was really cool? How much does it dull our ambitions to watch 2021’s The Matrix: Resurrections, where the most interesting scene is just Neo watching the original Matrix from 1999? How inspiring is it to watch tiny variations on the same police procedurals and reality shows year after year? My parents grew up with the first Star Wars movie, which had the audacity to create an entire universe. My niece and nephews are growing up with the ninth Star Wars movie, which aspires to move merchandise. Subsisting entirely on cultural comfort food cannot make us thoughtful, creative, or courageous.
Fortunately, there’s a cure for our cultural anemia. While the top of the charts has been oligopolized, the bottom remains a vibrant anarchy. There are weird books and funky movies and bangers from across the sea. Two of the most interesting video games of the past decade put you in the role of an immigration officer and an insurance claims adjuster. Every strange thing, wonderful and terrible, is available to you, but they’ll die out if you don’t nourish them with your attention. Finding them takes some foraging and digging, and then you’ll have to stomach some very odd, unfamiliar flavors. That’s good. Learning to like unfamiliar things is one of the noblest human pursuits; it builds our empathy for unfamiliar people. And it kindles that delicate, precious fire inside us––without it, we might as well be algorithms. Humankind does not live on bread alone, nor can our spirits long survive on a diet of reruns.
Saturday Matinee: Gloria’s Call

Source: GloriasCall.com
From the cafés of Paris to the mountaintops of Samiland, a scholar’s life is foreverchanged through her friendships with the women artists of Surrealism.
In 1971, graduate student Gloria Orenstein received a call from Surrealist artist Leonora Carrington that sparked a lifelong journey into art, ecofeminism and shamanism. The short film, Gloria’s Call, uses art, animation and storytelling to celebrate this wild adventure from the cafes of Paris to the mountaintops of Samiland. The film is produced by artists Cheri Gaulke (director), Cheryl Bookout, Anne Gauldin, Sue Maberry and Christine Papalexis .
Gloria’s Call was born in October of 2016 during a presentation by renowned scholar Dr. Gloria Feman Orenstein at the Southern California Women’s Caucus for Art (SCWCA) Surrealist Tea in celebration of their 40th Anniversary.
ABOUT GLORIA
While my life has had its challenging moments and I have traversed many a dark woods in my quest for knowledge, I am fulfilled by the wondrous journeys I have made to the realms of the Marvelous, the Magical, the Great Goddess and the Shamanic Mysteries, and I will be forever grateful to the teachers who inspired me and to the feminist activists on whose strong shoulders we now stand as we welcome new generations of visionaries expanding our feminist legacy into the new millennium. -Gloria Feman Orenstein
Gloria F. Orenstein is Professor Emerita in Comparative Literature and Gender Studies from the University of Southern California. Her areas of research have ranged from Surrealism, contemporary feminist literature and the arts to Ecofeminism and Shamanism.
Her first book The Theater Of The Marvelous: Surrealism And The Contemporary Stage paved the way for her pioneering work on The Women of Surrealism. Leonora Carrington had been a friend and remained a major source of her inspiration in research and scholarship since 1971. Her book The Reflowering Of The Goddess offers a feminist analysis of the movement in the contemporary arts that reclaimed the Goddess as the symbol of a paradigm shift toward a more gynocentric mythos and ethos as women artists forged a link to the pre-patriarchal civilization of the ancient Goddess cultures, referencing them as their source of spiritual inspiration.
Orenstein is also co-editor of Reweaving The World: The Emergence Of Ecofeminism, a collection of essays that grew out of the conference she created at USC in 1987, Ecofeminist Perspectives: Culture, Nature, Theory. During the 80s she was invited by the Shaman of Samiland (Lapland, N. Norway) to be a student with her in Alta, Norway, an experience that continued intermittently for almost five years. She also created The Woman’s Salon in NYC that lasted for ten years beginning in 1975. More recently, her work in Surrealism, in particular, led to her inclusion of an essay in the book In Wonderland that accompanied the important exhibition of the same name that focused on the Women artists of Surrealism in the Americas, both those who were native to the Americas and those who migrated there during or after WWII. Orenstein was a pioneer in introducing the art of Frida Kahlo to North American feminists early in the 70s. Today, she continues her journey investigating the visionary worlds of revelation and the Marvelous, and will continue this pursuit in her research well into the future.
Two for Tuesday
Saturday Matinee: Blue Thunder

Looking back at Blue Thunder
John Badham’s high-tech helicopter thriller Blue Thunder rode the crest of a decade obsessed with cool cars and aircraft…
By Ryan Lambie
Source: Den of Geek
Back in the 1980s, a company called Sega perfected what it referred to as the Full Body Experience. Less kinky than it sounds, this fusion of CRT television, videogame technology and hydraulic pistons aimed to give amusement arcade visitors a taste of what it might be like to drive a Ferrari Testarossa or motorcycle at breakneck speed or fly a fighter jet through a valley full of enemy aircraft.
For a generation of youths, these machines, with their chunky graphics and even chunkier controls, are the stuff of legend, and the mere mention of their names – Hang On, Out Run, After Burner, Space Harrier, Thunder Blade – is enough to evoke involuntary memories of Proustian proportions.
These half-remembered machines sum up the 80s era of mechanical wish fulfilment. More than any other, the decade catered to youthful fantasies of fast cars and deadly aircraft. Perhaps spurred on by the ongoing success of Star Wars, which placed Luke Skywalker at the helm of one of the coolest fighter craft ever committed to celluloid, the 80s saw a rash of mechanical fantasies appear in cinemas, arcades, and on television.
For examples, look no further than Magnum PI, first broadcast in 1980, in which Tom Selleck got to drive around in someone else’s Ferrari 308 GTS, and took the occasional ride in a friend’s helicopter. Knight Rider, first broadcast in 1982, saw David Hasselhoff drive around in an unspeakably cool talking car. In the movies, small boys got to fly through the skies on bikes (E.T.), in stolen spy planes (D.A.R.Y.L.), and sexy alien space craft (Flight Of The Navigator). Even Hollywood elder statesman Clint Eastwood got in on the act, as he controlled a top-secret Russian fighter jet with the power of his mind in Firefox.
Later on in the decade, Top Gun flew into cinemas, whose lovingly lit fighter jet porn inspired such films as Iron Eagle and its sequel. But before Top Gun, there was Blue Thunder, a 1983 movie that appeared to kick off a brief media love affair with helicopters.
Like Firefox, Blue Thunder had the benefit of some quite serious acting heft behind it. Roy Scheider, best known to wider audiences as the chap who blew up a shark real good in Jaws, turned in some quite brilliant performances in Klute, The French Connection (for which he was nominated for a Best Supporting Actor Oscar) and Marathon Man. Scheider starred alongside Malcolm McDowell, whose biggest successes at the time, either financially or critically speaking, were if…, A Clockwork Orange and Voyage Of The Damned.
Quite why either of them signed up for Blue Thunder isn’t initially clear; Scheider would essentially play second fiddle to the true star of the picture – the high-tech experimental helicopter, so important to the story that it gets title billing. But in a 1983 interview with Movies & Video Magazine (as recorded for posterity by Blue Thunder Online), Scheider explained that the film’s political overtones interested him in getting involved.
“So you see the underlying theme of the movie is that it’s a total invasion of privacy,” Scheider said. “Although this kind of device to control crowd would be very effective it would also be invasion of your personal liberties. What my character does in the film is to show the community that this kind of device isn’t necessary to be flying over anyone’s life.”
As for McDowell, director John Badham noted in a Starlog interview that the actor was terrified of flying – a setback, considering the character he was supposed to play was an army colonel with a love of hurtling about in helicopters.
The plot, if you were a youth at the time, mattered little – there was a helicopter in the movie, and it got to blow stuff up with a big gatling gun, and that was all you needed to know. Viewed today, it’s surprising how long it takes for director John Badham to get to the explosive bits – which, as it turns out, is no bad thing.
Scheider plays Frank Murphy, a Vietnam veteran turned helicopter pilot for the Los Angeles Police Department. In spite of his troubled past, Murphy’s selected to fly a new, experimental helicopter called Blue Thunder, a kind of flying Swiss-army knife which would allow the police to spy on citizens from the air undetected, and gun down miscreants with the gigantic gatling cannon sticking out of the front.
It’s the twin topics of public freedom and state control which separate Blue Thunder out from most other vehicle-based films of the decade. Although a thriller first and foremost, Dan O’Bannon and Don Jakoby’s script poses some pertinent questions about privacy and surveillance; there are many scenes in Blue Thunder where technology is misused to spy on women in a state of undress, or on private conversations in people’s houses.
Interestingly, Dan O’Bannon, who was inspired to write Blue Thunder with his partner Don Jakoby after growing annoyed at the police helicopters buzzing around LA during the late 70s, wasn’t at all happy with the filmed treament of the script. “The political impact – and there was quite a bit – was toned down,” O’Bannon argued, making the villains of the piece the federal government rather than the LA police department.
Whether Blue Thunder’s political elements were toned down or not, there’s no doubt that, in an era where the British government’s looking to place missiles on the roofs of London buildings as an anti-terrorist measure during the Olympics, and personal privacy is a more current topic than ever before, the idea of a heavily-armed police helicopter scouting the skies doesn’t sound so far fetched.
Anyway, back to the plot. Murphy learns that a group of shady individuals within the military may be thinking of using the helicopter to exterminate troublesome political dissidents. This group is headed up by – surprise – Murphy’s old Nam-era nemesis, Colonel Cochrane, played by McDowell. As Murphy’s wife Kate (Candy Clark) heads off to a news network headquarters with a videotape which proves the military group’s guilt, Murphy steels himself for a final act confrontation with his new-found military enemies.
And what a confrontation it is. Having carefully racheted up the post-Nixon era paranoia, John Badham lets fly with a closing stretch that pleased the young viewers less interested in the script’s earlier meditations on state control. For all those kids who sat in one of Sega’s Thunder Blade machines in the 80s, I suspect it’s Blue Thunder‘s closing action scene which was playing back in their heads as they prepared to pilot a remarkably familiar looking military helicopter.
At the helm of Blue Thunder, Murphy does battle with ordinary police choppers, a pair of fighter jets, and then Cochrane himself, who’s taken to the skies in an armed helicopter of his own. Without CG and with a mere sprinkling model effects, Badham stages an impressive aerial display above the streets of Los Angeles. To modern eyes, it’s not quite so jaw-dropping, but it’s still well shot, well choreographed and surprisingly intense – and there’s a sublimely comic moment involving a shower of roasted chickens.
On the acting front, Roy Scheider’s the consummate tough, unflappable hero, a young Daniel Stern is good value as his sidekick, while Warren Oates puts in a welcome appearance which would sadly prove to be among the last in his long career. Then there’s McDowell, who remains a cheerfully despicable hate figure, in spite of his terror behind the scenes. His character even gets his own obnoxious catchphrase – a stomach-churning “Catch you later”, complete with finger gun.
(On the topic of acting, Mario Machado, who memorably played a news anchor in the RoboCop movies, Scarface and Rocky III, among many others, also turns up in an identical role in Blue Thunder.)
From a technological standpoint, it’s inevitable that a film that dealt with the cutting-edge gadgetry of 80s America would look particularly outdated to 21st century eyes. In spite of this, Blue Thunder remains an intelligent and well-made thriller with some great action moments. Its box-office success triggered a spin-off ABC TV series of the same name in 1984, while rival network CBS brought out its own helicopter-based series, Airwolf, that same year.
Of all the vehicle-based films and TV shows to appear in the 80s, Blue Thunder is almost certainly among the best. Where most, such as Top Gun, brought with them an air-punching sense of jingoism, Blue Thunder is a bitter, cynical film, and that’s probably why it’s aged so well. It’s also a fact that the helicopter itself still looks extremely cool, even if it isn’t quite as high-tech as it was 30 years ago.
With superhero movies currently at the peak of their popularity, Hollywood movie makers are probably wondering what the next big thing might be. If so, might we suggest a return to the mechanical wish-fulfilment movies of the 80s, as exemplified by arcade games such as Thunder Blade, or the film that inspired it, Blue Thunder? If there’s one thing the current clutch of blockbusters are sorely missing, it’s a sexy helicopter.
Watch Blue Thunder on Crackle here: https://www.crackle.com/watch/520
Two for Tuesday
Saturday Matinee: Z Channel: A Magnificent Obsession

By JPRoscoe
Source: Basement Rejects
Launching in 1974, the Z Channel became one of the first pay cable channels. The channel eventually morphed into a movie channel highlighting directors, art films, and championing original visions portrayed on the screen. One of the people behind this transformation and the decisions made on the channel was the program director Jerry Harvey. Harvey (with his team) brought many films to the Z Channel that were never seen anywhere in America and created a world for film lovers…but Harvey had his own demons.
Directed by Xan Cassavetes, Z Channel: A Magnificent Obsession is a documentary about the rise and fall of the California based Z Channel which broadcast from 1974 to 1989. The documentary premiered at Cannes in 2004 and was released to positive reviews.
I grew up without cable so dreams of HBO were just dreams. At the time, I wouldn’t have appreciated Z Channel and would have much rather stayed with something like HBO or Cinemax. Watching the Z Channel: A Magnificent Obsession, I dream about the Z Channel still being around.
There are a lot of viewing options now. The difference between something like FilmStruck and the Z Channel is that idea of chance. You don’t know what you are going to get and you don’t know when you’ll get to see it again. That is something that current TV watchers (or streamers) forget…you had to wait to see the movies you wanted and a video store might not have them. The idea of someone so diligently trying to seek out and collect these films for viewers is admirable.
The documentary of course takes a dark turn in that Jerry Harvey really was someone who seemed lost. The documentary does struggle with the ideas of its three themes at points in trying to decide if it is about Z Channel, Jerry Harvey, or the films…and it is understandable because it is hard to separate the three because they were so bound together. Like a lot of documentaries, I wish there was a better way to establish more of a timeline of events through the course of the movie.
The documentary features a lot of great performers and great film clips. Robert Altman, Quentin Tarantino, Jim Jarmusch, James Wood, and Jacqueline Bisset are among some of the people interviewed, but it is the immense outpouring of these people for what Z Channel did for them that shows its importance on modern film. Harvey’s personal acquaintances provide the most insight to him and what was going on at Z Channel and really help round out the documentary…plus, it becomes a film watcher’s guide for movies that should be sought out.
Z Channel: A Magnificent Obsession is an interesting documentary, but it also is a documentary that feels like it needed a little tweaking to become a great documentary. It is a film for film lovers and a specific kind of film lover. The movies highlighted appeal to a certain viewer and the true crime aspect of the story probably isn’t intense enough for people interested in the true crime genre. Still, Z Channel: A Magnificent Obsession is a worthy documentary that should be sought out.
Watch Z Channel: A Magnificent Obsession on Hoopla here: https://www.hoopladigital.com/title/14980839
Alice Walker and the Price of Conscience

Alice Walker was disinvited to the Bay Area Book Festival after Zionist groups threatened to carry out protests. The public and presenters are complicit in her blacklisting if they attend.
By Chris Hedges
Source: The Chris Hedges Report
There is a steep price to pay for having a conscience and more importantly the courage to act on it. The hounds of hell pin you to the cross, hammering nails into your hands and feet as they grin like the Cheshire cat and mouth bromides about respect for human rights, freedom of expression and diversity. I have watched this happen for some time to Alice Walker, one of the most gifted and courageous writers in America. Walker, who was awarded the Pulitzer Prize for fiction for her novel The Color Purple, has felt the bitter sting of racism. She refuses to be silent about the plight of the oppressed, including the Palestinians.
“Whenever I come out with a book, or anything that will take me before the public, the world, I am assailed as this person I don’t recognize,” she said when I reached her by phone. “If I tried to keep track of all the attacks over the decades, I wouldn’t be able to keep working. I am happy people are standing up. It is all of us. Not just me. They are trying to shut us down, shut us up, erase us. That reality is what is important.”
The Bay Area Book festival delivered the latest salvo against Walker. The organizers disinvited her from the event because she praised the writings of the New Age author David Icke and called his book And the Truth Shall Set You Free “brave.” Icke has denied critics’ charges of anti-Semitism. The festival organizers twisted themselves into contortions to say they were not charging Walker with anti-Semitism. She was banned because she lauded a controversial writer, who I suspect few members of the committee have read. The poet and writer Honorée Fanonne Jeffers, who Walker was to interview, withdrew from the festival in protest.
Walker, a supporter of the Boycott, Divestment and Sanctions (BDS) movement, has been a very public advocate for Palestinian rights and a critic of Israel for many years. Her friendship with Icke has long been part of the public record. She hid nothing. It is not as if the festival organizers suddenly discovered a dark secret about Walker. They sought to capitalize on her celebrity and then, when they felt the heat from the Israel lobby, capitulated to the mob to humiliate her.
“I don’t know these people,” Walker said of the festival organizers who disinvited her. “It feels like the south. You know they are out there in the community, and they have their positions, but all you see are sheets. That’s what this is. It’s like being back in the south.”
Banning writers because of books they like or find interesting nullifies the whole point of a book festival. Should I be banned because I admire Louis-Ferdinand Céline’s masterpieces Journey to the End of the Night, Death on the Installment Plan, and Castle to Castle, despite his virulent anti-Semitism, which even after World War II he refused to relinquish? Should I be banned for liking Joseph Heller’s Catch-22, which I recently reread, and which is rabidly misogynistic? Should I be banned for loving William Butler Yeats, who, like Ezra Pound, many of whose poems I have also committed to memory, was a fascist collaborator? Should I be banned because I revere Hannah Arendt, whose attitudes towards African-Americans were paternalistic, at best, and arguably racist? Should I be banned because I cherish books by C.S. Lewis, Norman Mailer and D.H. Lawrence, who were homophobic?
We might as well sweep clean library shelves if the attitudes of writers we read mean we are denied a right to speak.
And let’s not even get started with the Bible, which I studied as a seminarian at Harvard Divinity School. God repeatedly demands righteous acts of genocide, transforming the Nile into blood so the Egyptians will suffer from thirst. God sends swarms of locusts and flies to torture the Egyptians, along with hail, fire and thunder to destroy all plants and trees. God orders the firstborn in every Egyptian household killed so all will know “that the Lord makes a distinction between Egyptians and Israel.” The killing goes on until “there was not a house where one was not dead.”
The Bible contains much of this divinely sanctioned slaughtering of non-believers. It endorses slavery and the beating of enslaved people. It condones the execution of homosexuals and women who commit adultery. It views women as property and approves the right of fathers to sell their daughters. But the Bible also remains, with all these contradictions and moral failings, a great religious, ethical and moral document. Even the most flawed books often have something to teach us.
Organizers of the festival attacked Walker for her poem “It is Our Frightful Duty.” They accuse Walker of channeling Icke’s alleged anti-Semitism into her writing, as if Walker is unable to think for herself. The attack on the poem, which is a gross misreading of its intent, exposes the lie that Walker’s position on Israel and Palestine had nothing to do with her being disinvited.
“Unfortunately, Ms. Walker has not only promoted Icke’s ideas widely on her own blog and in interviews, but they may have influenced her own writing,” the festival wrote in a statement. “Ms. Walker’s 2017 poem “It is our (Frightful) Duty to Study the Talmud” encourages people to use Google and Youtube to “follow the trail of “The / Talmud” as its poison belatedly winds its way / Into our collective consciousness. // Some of what you find will sound / Too crazy to be true. Unfortunately those bits are likely / To be true.” A New York Magazine essay by writer Nylah Burton (who identifies as Black and Jewish) describes her reaction to Walker’s support of Icke and this poem.”
The poem calls out these hate-filled religious texts. “All of it: The Christian, the Jewish, The Muslim; even the Buddhist. All of it, without exception, At the root.” Walker reminds us in the poem that these texts have been used throughout millennia to sanctify subjugation, dehumanization and murder. Slave holders defended the enslavement of Blacks by citing numerous passages in the Old and the New Testament, including Paul’s Letter to the Ephesians where, equating slaveholders with God, Paul writes: “Slaves, be obedient to your human masters with fear and trembling, in sincerity of heart, as to Christ.”
Israel seeks, in the same way, to legitimize its colonial-settler project by citing the Old Testament and the Talmud, the primary source of Jewish law. Never mind that Palestine was a Muslim country from the 7th century until it was seized by military force in 1948. The Old Testament, in the hands of Zionists, is a deed to Palestinian land.
Walker excoriates this religious chauvinism and mythology. She warns that theocracies, which sacralize state power, are dangerous. In the poem, she highlights passages in the Talmud used to condemn those outside the faith. Jews must repudiate these sections in the Talmud and the Old Testament, as those of us who are Christians must repudiate the hateful passages in the Bible. When these religious screeds are weaponized by zealots —Christian, Muslim or Jewish — they propagate evil.
Walker writes:
Is Jesus boiling eternally in hot excrement,
For his “crime” of throwing the bankers
Out of the Temple? For loving, standing with,
And defending
The poor? Was his mother, Mary,
A whore?
Are Goyim (us) meant to be slaves of Jews, and not only
That, but to enjoy it?
Are three year old (and a day) girls eligible for marriage and intercourse?
Are young boys fair game for rape?
Must even the best of the Goyim (us, again) be killed?
Pause a moment and think what this could mean
Or already has meant
In our own lifetime.
Walker was invited to the festival to interview Honorée Fanonne Jeffers about her work, not to give a lecture on Icke or Palestine — but no matter. She ran afoul of the thought police, who are always vigilant about catering to smear campaigns against Israeli critics but blithely ignore the virulent and overt racism of Israeli politicians, military commanders, writers and intellectuals.
Walker is not the first writer targeted by Israel. Israel banned the author Gunter Grass and demanded the rescindment of his Nobel prize after he wrote a poem denouncing Germany’s decision to provide Israel with nuclear submarines, warning that Israel “could wipe out the Iranian people” if it attacked Iran. Former Israeli Defense Minister Avigdor Lieberman, who calls for the ethnic cleansing of Palestinians to create a “Greater” Israel, described the Palestinian poet Mahmoud Darwish as “someone who has written texts against Zionism — which are still used as fuel for terror attacks against Israel.” He said honoring Darwish was the equivalent to honoring Adolf Hitler for “Mein Kampf.” Israeli bookstores Steimatzky and Tzomet Sefarim purged Sally Rooney’s novels from some 200 branches and online sites because of her support for BDS. Israeli writer Yehonatan Geffen was beaten outside his home for calling the Israeli prime minister a racist.
Bay Area Book Festival founder and director Cherilyn Parsons defended the board’s decision to disinvite Walker when I requested a comment:
Our decision to disinvite Ms. Walker had nothing to do with her position on Palestine, her voice as a Black woman writer, or her right to speak her mind freely. We honor all those things. We also do not hold that she is anti-Semitic. (To be pro-Palestinian does not mean a person is anti-Semitic, just as to be Jewish does not mean that one is anti-Palestine.) Our decision was based purely on Ms. Walker’s inexplicable, ongoing endorsement of David Icke, a conspiracy theorist who dangerously promulgates such beliefs as that Jewish people bankrolled Hitler, caused the 2008 global financial crisis, staged the 9/11 terrorist attacks, and more. (See his book “And the Truth Shall Set You Free,” available full-text on the Internet Archive.) Icke also regularly promotes “The Protocols of the Elders of Zion,” a fabricated, uber-anti-Semitic text that was widely read during the time of social upheaval in pre-WWII Germany and turned public sentiment against Jews–a truly dangerous document for a populace to embrace. Finally, we note that Ms. Walker provided financial support for, and participation in, a documentary celebrating Icke and his work.
“I do not believe he is anti-Semitic or anti-Jewish,” Walker posted on her website. “I do believe he is brave enough to ask the questions others fear to ask, and to speak his own understanding of the truth wherever it might lead. Many attempts have been made to censor and silence him. As a woman, and a person of color, as a writer who has been criticized and banned myself, I support his right to share his own thoughts.”
“I maintain that I can be friends with whoever I like,” Walker told me. “The attachment to this belief that this person is evil is strange. He’s not.”
I worked for two years as a reporter in Jerusalem. I listened to the daily filth spewed out by Israelis about Arabs and Palestinians, who used racist tropes to sanctify Israeli apartheid and gratuitous violence against Palestinians. Israel routinely orders air strikes, targeted assassinations, drone attacks, artillery strikes, tank assaults and naval bombardments on the largely defenseless population in Gaza. Israel blithely dismisses those it murders, including children, as unworthy of life, drawing on poisonous religious edicts. It is risible that Israel and its US supporters can posit themselves as anti-racists, abrogating the right to cancel Walker. It is the equivalent of allowing the Klan to vet speakers lists.
Torat Ha’Melech by Rabbi Yitzhak and Rabbi Yosef Elitzur is one of innumerable examples of the deep racism embedded in Israeli culture. The book provides rabbinical advice to Israeli soldiers and officers in the occupied Palestinian territories. It describes non-Jews as “uncompassionate by nature” and justifiably exterminated to “curb their evil inclinations.” “If we kill a gentile who has violated one of the seven commandments of [Noah]…there is nothing wrong with the murder.” It assures troops that it is morally legitimate to kill Palestinian children, writing, “There is justification for killing babies if it is clear they will grow up to harm us, and in such a situation they may be harmed deliberately, and not only during combat with adults.” The Biblical prohibition on murder, Yitzhak and Elitzur write, “refers only to a Jew who kills a Jew, and not to a Jew who kills a gentile, even if that gentile is one of the righteous among the nations.” They even say it is “permissible” to kill Jewish dissidents. A Jewish dissident, the rabbis write, is a rodef. A rodef, according to traditional Jewish law, is someone who is “pursuing” another person to murder him or her. It is the duty of a Jew to kill a rodef if the rodef is told to cease the threatening behavior and does not. Yigal Amir, who assassinated Israeli Prime Minister Yitzhak Rabin in 1995, argued that the din rodef, or “law of the pursuer,” justified Rabin’s murder.
Walker is the best among us. She is one of our most gifted and lyrical writers. She stands unequivocally with the crucified of the earth. She sees her own pain in the pain of others. She demands justice. She pays the price.
Boycott the Bay Area Book Festival.
That is the least we owe a literary and moral titan.