Mark H. Teeter: Turn on the News

tumblr_m58pus9vFN1qz9qooo1_500Marilyn Monroe doing a spit-take.

And Now the News, With Somebody You Weren’t Expecting
Mark H. Teeter
Moscow TV Tonite
April 7, 2019

The accepted wisdom among high-dome media analysts here in Russia has been that Muscovites who checked on-the-hour radio news either tuned in Ekho Moskvy or Kommersant FM for actual news, in larger and smaller doses, respectively, plus commentary from sources who were relevant and informed or were supposed to be.

Or they got earfuls of untruths, half-truths or misrepresentations of the news from just about everywhere else on the dial, along with pseudo-commentary from various professional spokes-liars (presidential, ministerial, etc.) or professional dim bulbs (Russian MPs, selected idiots on the street, somebody’s cousin Vanya).

Whether or not you accept this accepted wisdom, there has been an interesting recent development you should note: an intriguing Third Way that you may have missed (as I did until recently) has opened up here in the New Muscovite ether for listeners keen on locally sourced radio news coverage. Its creators have given their project’s genre the highfalutin name Avtorskie Novosti, that is, Auteur News, by analogy with avtorskoe kino or auteur cinema.

You might, however, dub the genre The News from Somebody Noteworthy Who Doesn’t Do Radio News for a Living and Might Offer an Interesting Take on Today’s Edition of It.

Auteur News was the brainchild of the modest-sized NSN (Natsionalnaya Sluzhba Novostei), which described the project, as I discovered on its website, in alluring terms.

Auteur News from NSN is a radio program broadcast simultaneously by three stations (Nashe Radio, Rock FM, Radio Jazz) with a daily audience of 1.5 million people in Moscow and four million in Russia. The presenters of Auteur News are well known to listeners, as they are among the most famous people in the country. Currently, 200 contributors are involved in the project.

That thumbnail sketch should pique the interest of listeners numbed by Ekho’s necessary but wearisome good accounts of bad news and the embarrassing agitprop elsewhere on the dial: “President Vladimir Putin today signed another new law to make life better and happier.”

Question No. 1 in the minds of potential listeners would likely be, “Wait, just who are the Auteur 200?” And they would be right to ask. Nikita Mikhalkov is certainly a famous person, for example, but many people would feel more confident getting their news and commentary from a bag of doorknobs.

But let’s start with the glass half full: a brief retelling of how I came across Auteur News.

The wife and I often put on Radio Jazz quietly as background music to dinner, when the grandson, who hates jazz, isn’t joining us.

We were listening to it with one ear, as usual, when the news came on at 8:00 p.m. one recent evening.

Imagine my surprise when a measured female voice from the seemingly politics-free jazz station launched into a four-point litany of items-plus-commentary that seemed like something you’d call Real News with Real Attitude.

The Ministry of Finance, Radio Jazz told us, had “refused to provide the Russian Academy of Sciences funding for international scholarly and scientific cooperation,” which would result in Russia “finding itself in the backwaters of science again, the fruits of which we already know from the Soviet period.”

A repeat of that would be, the voice continued, a “very sad” prospect.

Hmm! My one-ear listening quickly ratcheted up to one-and-a-half-ear listening.

Radio Jazz continued on a more upbeat note.

“Kirill Serebrennikov’s ballet Nureyev was named Ballet of the Year by the jury of the professional music award BraVo,” with the presentation taking place at the Bolshoi Theater in Moscow.

This wouldn’t seem a particularly newsworthy story: the ballet had won a sizable basket of international awards since its premiere in 2017. Ah, but then you recalled the scandals surrounding the production here, including the arrest of the director, and the overall public attitude toward things artistic identified with “non-traditional orientations.”

But the announcement of the award was not the end of the item, as the presenter continued.

“I had the good fortune to see the ballet Nureyev It really is a wonderful ballet, striking from many points of view. And considering that Kirill Serebrennikov, in fact, staged the ballet by long distance, so to speak, the outcome is little short of a miracle. It is sad our national know-how is linked to creative events in ways that are not positive. But I would like to congratulate Serebrennikov on this well-deserved award. May he have the strength to overcome all his trials.”

Wow, just wow. It dawned on me what I was hearing was not only not The News in Putinese. It was news-plus-opinion that would make many Putinistas angry and hostile. I was beginning to wonder whether black sedans and a police van were heading toward Radio Jazz that very minute.

Next, Radio Jazz reported that an ominous institution called the Federal Penitentiary Service of Russia, which sounds even more ominous in Russian (Federalnaya Sluzhba Ispolneniya Nakazanii, or Federal Service for the Enforcement of Punishments) now “want[ed] to oblige its employees to apologize to prisoners in cases where their rights and freedoms have been violated.” As in, “Sorry for the rubber hoses and the knuckle sandwich there, Petrov, we didn’t mean to, y’know, violate your rights and freedoms and stuff.”

As absurd as it sounded to me, it sounded even worse to the Radio Jazz news commentator.

“What a Kafkaesque reality! We will torture people, but then apologize to them. I don’t really understand how these things go together. Lately, I’ve been seeing various features of the old utopian Soviet mindset in a great number of legislative acts. You get the feeling lawmakers don’t understand what is happening in reality at all and create an attractive little mockup of it for themselves, to placate their consciences. As in, ‘Go right ahead, citizens, demand an apology from your jailers for beating and torturing you.'”

Kafka and sarcasm are surely justified in passing along this news item, I agree, but it was still hard to believe my ears. At this point, I was experiencing a flashback impulse to close the kitchen door and huddle around the radio so the neighbors wouldn’t hear us listening to illegal “foreign voices”!

The final item Radio Jazz offered its evening listeners to ponder was a question about as philosophical as a news broadcast gets: How happy are you?

First, the context.

“Finland is the happiest country in the world,” Radio Jazz told us by way of summing up the annual World Happiness Report. “This ranking of global happiness takes into account GDP per capita, life expectancy, charitable contributions, social support, the level of freedom and the level of corruption in terms of their impact on residents ‘vital decisions.’”

Well, Miss Radio Jazz News gave the neighboring Finns plenty of credit.

“Frankly speaking, I am ready to agree right off with this award, because in Finland they do a huge number of social projects. The Finnish people try to be at the center of their own culture. For example, if a festival takes place in a large city in this country, the residents of the surrounding villages are brought there free of charge by bus so  they can be involved in culture. I won’t even mention many other important laws related to social status, support for the population, and so on. In sum, we should follow the path of Finland, and not, say, North Korea.”

The last time I heard a Russian newsreader say, “Let’s not be North Korea” was, let’s see here, carry the two, ah, that’s right: never. Which was why I almost lost a mouthful of after-dinner decaf doing a Danny Thomas spit-take over the kitchen table as the news ended. A little went up my nose, but it was still worth it.

After the shock wore off, a little laptop skating yielded some background on the presenter and commentator of that evening’s edition of Auteur News: “Irina Prokhorova, editor-in-chief of the publishing house New Literary Review, specially edited what she thought were the top stories of the day for NSN.”

All I could say was, Nice job, Irina, and here’s hoping you get another turn at Auteur News before unpleasant men in ill-fitting suits are sent to chat with you at your place of work.

A further bit of web surfing still did not yield what I wanted most: a list of the Auteur 200 and a schedule of their appearances for, say, the upcoming month. But I did dig up a little more background.

I discovered that Auteur News had been on the air for nearly five years, and over 200 presenters had contributed, including politician Vladimir Zhirinovsky, politican and TV presenter Pyotr Tolstoy, football star Ruslan Nigmatullin, actor Sergey Bezrukov, rock musician Andrei Makarevich, writer Sergey Lukyanenko and other Russian celebrities.

This was clearly a very hit-and-miss kind of thing, I could tell. You can imagine setting a long jump record with a sudden vault across the kitchen to turn the radio off before “Auteur News with Vladimir Zhirinovsky” (or Pyotr Tolstoy) abused your eardrums, but if such leaps of faith were what it took to get the likes of Makarevich, long implicitly banned from state-controlled media as an “enemy of the people,” back in the public arena, then maybe it was worth it, I figured.

Yes, perhaps sharing the airwaves with the loud and confused was not too great a price to pay for getting a great unheard voice of reason heard again.

And that, it has long been assumed here, is the same devil’s bargain by which the majority Gazprom-owned Ekho Moskvy stays on the air: lowbrow types and state shills get air time so real news and sane views can reach millions who would otherwise have to scan the dial for “foreign voices” or, more likely, give up the dial altogether and simply glue their eyes and ears to social media.

Which doesn’t sound so bad at first blush, until you recall that social media were instrumental in blessing our brave new millennium with President Donald Trump, who has in turn introduced us to a new and apparently effective form of zombie-generating, masses-manipulating monologue that substitutes for press releases, news conferences, and indeed governance itself: the Auteur Tweet.

Yikes.

In any case, I was still bothered by one thing: how a longtime listener to Radio Jazz could have remained blissfully unaware of Auteur News for the first five years of its existence. Were the presenters less outspoken before? Or did my long-suffering ears simply click automatically to OFF for any radio news that happened to reach them from a station other than Ekho or Kommersant? Possibly both, but one more net search yielded a more likely answer.

This time, I turned up NSN’s original announcement of Auteur News, dated November 7, 2012, which noted the program would air only on weekdays, and only twice daily, at 8:00 and 10:00 p.m. If you were merely a one-ear listener, and your dinner usually ended before eight, it obviously took a bracing shot of Irina Prokhorova to get your attention.

This last search also produced a much better picture of the fabled Auteur 200, as the original announcement named names that were big time; indeed, almost all of them, as the list ran to some 178 people (if my count was correct). And the Big Picture spectrum is a broad one: there are plenty of presenters an educated listener would definitely like to hear an earful from. Beyond Makarevich, the list included director Serebrennikov himself, historian and journalist Nikoai Svanidze, progressive politician Irina Khakamada, saxophone legend Igor Butman, political scientist Nikolai Zlobin, filmmaker Alexei Uchitel, theater director Konstantin Raikin, satirist Mikhail Kononenko, producer and composer Stas Namin, national elections commissioner Ella Pamfilova, and a bunch more.

That said, there are just as many (probably more, actually) who would make the same listener wish he had taken his high-school long jump practice more seriously. Beyond Zhirinovsky and Tolstoy, you find motorcycle gang leader Khirurg (The Surgeon), the “pranksters” Vovan and Leksus, dim Duma stalwarts such as . . . but why list the losers here, have a look for yourself.

And relax. While there are definitely some wildcard types, including several rock musicians who use a single name (ask your grandson), you won’t find Director Doorknobs on the list. At least not yet.

Which is a reminder that, while Auteur News is a real find, without an updated contributor list and a schedule for it, you’ll need to be wary.

Irina Prokhorova was a great way to start, but the next presenter you hear might well focus on Putinista bikers running amok in Crimea.

Be prepared to leap.

Mark H. Teeter, a former opinion page editor and media columnist for the Moscow Times and the Moscow News, is the editor of Moscow TV Tonite on Facebook. His original article was lightly edited to conform with TRR’s nonexistent style guide. My thanks to Mr. Teeter for letting him reprint his article here.

_________________________________

Advertisements

Maria Kuvshinova: What Sentsov Could Die For

What Sentsov Could Die For
Maria Kuvshinova
Colta.Ru
May 25, 2018

Detailed_pictureOleg Sentsov. Photo by Sergei Pivovarov. Courtesy of RIA Novosti and Colta.Ru 

On May 14, 2018, Oleg Sentsov went on an indefinite hunger strike in a penal colony located north of the Arctic Circle. His only demand is the release of all Ukrainian political prisoners in Russia. According to Memorial’s list, there are twenty-four such prisoners.

In August 2015, Sentsov was sentenced to twenty years for organizing a terrorist community and planning terrorist attacks. The second defendant in the case, Alexander Kolchenko, was sentenced to ten years in prison. Mediazona has published transcripts of the hearings in their trial. Around three hundred people have read them over the last three years. The transcripts make it plain the only evidence of the alleged terrorist organization’s existence was the testimony of Alexei Chirniy, who was not personally acquainted with Sentsov. It is police footage of Chirniy’s arrest while he was carrying a rucksack containing a fake explosive device that propagandists often pass off as police footage of Sentsov’s arrest.

Before his arrest, Sentsov was an Automaidan activist. In the spring of 2014, he organized peaceful protests against Crimea’s annexation by Russia.

“Yesterday’s ‘suicide bomber auto rally’ took place in Simferopol yesterday, but in quite abridged form,” Sentsov wrote on Facebook on March 12, 2014. “Only eight cars, six reporters with cameras, and twenty-five activists/passengers assembled at the starting point. I would have liked to have seen more. Unfortunately, most of the armchair revolutionaries who were invited were afraid to go. The traffic cops and regular police also showed up at the starting line, insisting we not leave for our own safety. We told them our protest was peaceful. We had no plans of breaking the rules, so we suggested they escort us to keep the peace for everyone’s sake.”

The second defendant, Kolchenko, admitted involvement in the arson of an office that was listed in the case file as belonging to the United Russia Party, but which in April 2014 was an office of Ukraine’s Party of Regions. The arson took place at night. It was meant to cause physical damage while avoiding injuring anyone.

The Russian authorities tried to prove both Sentsov and Kolchenko were linked with Right Sector, a charge that was unsubstantiated in Sentsov’s case and absurd in the latter case due to Kolchenko’s well-known leftist and anarchist convictions. Gennady Afanasyev, the second witness on whose testimony the charges against the two men were based, claimed he had been tortured and coerced into testifying against them.

Sentsov and Kolchenko’s show trial, like the show trials in the Bolotnaya Square Case, were supposed to show that only a handful of terrorists opposed the referendum on Crimea’s annexation and thus intimidate people who planned to resist assimilation. The Russian authorities wanted to stage a quick, one-off event to intimidate and crack down on anti-Russian forces. But two circumstances prevented the repressive apparatus from working smoothly. The first was that the defendants did not make a deal with prosecutors and refused to acknowledge the trial’s legitimacy. The second was that Automaidan activist Oleg Sentsov unexpectedly turned out to be a filmmaker, provoking a series of public reactions ranging from protests by the European Film Academy to questions about whether cultural producers would be capable of blowing up cultural landmarks. Segments of the Russian film community reacted to the situation with cold irritation. According to them, Sentsov was a Ukrainian filmmaker, not a Russian filmmaker, and he was not a major filmmaker. The owner of a computer club in Simferopol, his semi-amateur debut film, Gamer, had been screened at the festivals in Rotterdam and Khanty-Mansiysk, while release of his second picture, Rhino, had been postponed due to Euromaidan.

The Ukrainian intelligentsia have equated Sentsov with other political prisoners of the empire, such as the poet Vasyl Stus, who spent most of his life in Soviet prisons and died in Perm-36 in the autumn of 1985, a week after he had gone on yet another hunger strike. The Ukrainian authorities see Sentsov, a Crimean who was made a Russian national against his will and is thus not eligible for prisoner exchanges, as inconvenient, since he smashes the stereotype of the treacherous peninsula, a part of Ukraine bereft of righteous patriots. Sentsov’s death on the eve of the 2018 FIFA World Cup would be a vexing, extremely annoying nuisance to the Russian authorities.

Sentsov is an annoyance to nearly everyone, but he is a particular annoyance to those people who, while part of the Russian establishment, have openly defended him, although they have tried with all their might to avoid noticing what an inconvenient figure he has been. Although he was not a terrorist when he was arrested, he has become a terrorist of sorts in prison, because his trial and his hunger strike have been a slowly ticking time bomb planted under the entire four-year-long post-Crimean consensus, during which some have been on cloud nine, others have put down stakes, and still others have kept their mouths shut. Yet everyone reports on the success of their new endeavors on Facebook while ignoring wars abroad and torture on the home front. Sentsov represents a rebellion against hybrid reality and utter compromise, a world in which Google Maps tells you Crimea is Russian and Ukrainian depending on your preferences. To what count does “bloodlessly” annexed Crimea belong, if, four years later, a man is willing to die to say he does not recognize the annexation?

The success of Gamer on the film festival circuit, which made Sentsov part of the international film world, and his current address in a prison north of the Arctic Circle beg three questions. What is culture? Who produces culture? What stances do cultural producers take when they produce culture? There are several possible answers. Culture is a tool for reflection, a means for individuals and societies to achieve self-awareness and define themselves. It is not necessarily a matter of high culture. In this case, we could also be talking about pop music, fashion, and rap. (See, for example, the recent documentary film Fonko, which shows how spontaneous music making has gradually been transformed into a political force in post-colonial Africa.) On the contrary, culture can be a means of spending leisure time for people with sufficient income, short work days, and long weekends.

Obviously, the culture produced in Russia today under the patronage of Vladimir Medinsky’s Culture Ministry is not the first type of culture, with the exception of documentary theater and documentary cinema, but the founders of Theater.Doc have both recently died, while Artdocfest has finally been forced to relocate to Riga. The compromised, censored “cultural production” in which all the arts have been engaged has no way of addressing any of the questions currently facing Russia and the world, from shifts in how we view gender and the family (for which you can be charged with the misdemeanor of “promoting homosexualism”) to the relationship between the capitals and regions (for which you can charged with the felony of “calling for separatism”). Crimea is an enormous blank spot in Russian culture. Donbass and the rest of Ukraine, with which Russia still enjoyed vast and all-pervasive ties only five years ago, are blank spots. But cultural producers have to keep on making culture, and it is easier to say no one is interested in painful subjects and shoot a film about the complicated family life of a doctor with a drinking problem and a teetotalling nurse.

When we speak of the second type of culture—culture as leisure—we primarily have in mind Moscow, which is brimming over with premieres, lectures, and exhibitions, and, to a much lesser extent, Russia’s other major cities. So, in a country whose population is approaching 150 million people, there is a single international film festival staged by a local team for its hometown, Pacific Meridian in Vladivostok. All the rest are produced by Moscow’s itinerant three-ring circus on the paternalist model to the delight of enlightened regional governors. It matters not a whit that one of them ordered a brutal assault on a journalist, nor that another was in cahoots with the companies responsible for safety at the Sayano-Shushenskaya Dam, where 75 people perished in 2009. What matters is that the festival movement should go on. There is no room in this model for local cultural progress. There can be no free discussion generated by works of art when everyone is engaged in total self-censorship. After I went to Festival 86 in Slavutych, whose curators have been conceptually reassessing the post-Soviet individual and the post-Soviet space, I found it painful to think about Russian film festivals. This sort of focused conceptualization is impossible in Russia. It is of no interest to anyone.

There are two more possible answers to the question of what culture is. Culture is propaganda. Or, finally, culture is only the marquee on a commercial enterprise profiting at the taxpayer’s expense. It is not a big choice, and the kicker is that by agreeing today to be involved in churning out propaganda, milking taxpayers, supplying optional leisure time activities, producing censored works, and colonizing one’s own countrymen for the sake of money, status, and membership in a professional community, the people involved in these processes automatically stop making sense. It is naïve to think the audience has not noticed this forfeiture. It is no wonder the public has an increasingly hostile reaction to cultural producers and their work.

No one has the guts to exit this vicious circle even in protest at the slow suicide of a colleague convicted on trumped-up charges, because it would not be “practical.” The events of recent months and years, however, should have transported us beyond dread, since everyone without exception is now threatened with being sent down, the innocent and the guilty alike.

Post-Soviet infantilism is total. It affects the so-called intelligentsia no less than the so-called ordinary folk. Infantilism means being unable to empathize, being unable to put yourself in another person’s shoes, even if that person is President Putin, a man with a quite distinct sense of ethics, a man who has been studied backwards and forwards for twenty years. Apparently, the message sent to the creative communities through the arrest of Kirill Serebrennikov was not registered. If you want to be a dissident, start down the hard road of doing jail time for misdemeanor charges, facing insuperable difficulties in renting performance and exhibition spaces, becoming an outsider, and experiencing despair. If you want a big theater in downtown Moscow, play by the rules. Like your average late-Soviet philistine, Putin regarded the creative intelligentsia with respect at the outset of his presidential career. (See, for example, footage from his visit to Mosfilm Studios in 2003.) However, a few years later, he was convinced the creative intelligentsia was a rampantly conformist social group who would never move even a millimeter out of its comfort zone and would make one concession after another. A lack of self-respect always generates disrespect in counterparts.

By signing open letters while remaining inside the system and not backing their words with any actions whatsoever, the cultural figures currently protesting the arrests of colleagues are viewed by the authorities as part of the prison’s gen pop, while people who live outside Moscow see them as accomplices in looting and genocide. No one takes seriously the words of people who lack agency. Agency is acquired only by taking action, including voluntarily turning down benefits for the sake of loftier goals. The acquisition of agency is practical, because it is the only thing that compels other people to pay heed to someone’s words. I will say it again: the acquisition of agency is always practical. At very least, it generates different stances from which to negotiate.

Sentsov has made the choice between sixteen years of slow decay in a penal colony and defiant suicide in order to draw attention not to his own plight, but to the plight of other political prisoners. Regardless of his hunger strike’s outcome, he has generated a new scale for measuring human and professional dignity. It is an personal matter whether we apply the scale or not, but now it is impossible to ignore.

Thanks to Valery Dymshits for the heads-up. Translated by the Russian Reader

Alexei Malobrodsky: Speech in Court

21314625_10210167764566670_399178550936906940_n
Alexei Malobrodsky, former director of Moscow’s Gogol Center theater, in Moscow City Court on September 6.

Zhanna Zaretskaya
Facebook
September 6, 2017

Alexei Malobrodsky is awesome. I am speechless. He is tough as nails.

What follows is the speech Malobrodsky made in Moscow City Court on September 6, 2017. Everyone who considers himself or herself a decent person in this fucked-up country, which destroys the best people and supports thieves and scoundrels, should read this.

“Today is the seventh court hearing in which I have taken part. Your honor, honor has a place in court. All parties to the proceedings should be guided by the law. So the police investigators should follow these rules. How long can they make do with false accusations and false facts? The team of investigators has been mocking the law. They have not carried out any investigative actions. They have only been busy with lies and intimidation. I refuse to take part in any investigative actions in handcuffs. I have a right to be treated decently and presumed innocent. When the investigators suggest I ‘confess to something or other,’ I refuse to reply. Except for the ridiculous story about [Gogol Center’s production of] Midsummer Night’s Dream, I have not been suspected of anything. I have been denied visits from and communication with my wife; my property has been arrested, our things and dishes; my and my wife’s work and home computers have been confiscated. What is this, if not coercion? I am ready to cooperate with the investigators and answer their questions, but don’t force me to bear false witness against my colleagues.”

Over thirty people agreed to stand surety for Alexei Malobrodsky, including Chulpan Khamatova, Lev Rubinstein, Vladimir Mirzoyev, Vasily Sigarev, Andrei Moguchy, Marina Davydova, Elena Koreneva, Ksenia Larina, and Yevgenia Shermeneva. But he was left behind bars.

I ask you to repost this text and Alexei’s speech so that as many people as possible find about Alexei Malobrodsky, who has been behind bars since June 21, although no charges have been filed against him.

Thanks to Comrade AK for the heads-up. Translated by the Russian Reader

Dust in Our Eyes

OLYMPUS DIGITAL CAMERA

“A third country hostile to the United States may have been involved.”

You don’t say? And what country might that have been?

Meanwhile, some of the most respected political pundits I know in this country have adopted as an article of faith that Putinist Russia is an “ordinary authoritarian regime.”

Why have they adopted this article of faith? Did the Archangel Gabriel appear to them in a dream and tell them the good news?

No. They’ve persuaded themselves this is the case so they don’t have to think about things such as why their country’s operatives tried to cause permanent hearing damage to US diplomats at the US embassy in Havana; why their country has invaded and occupied parts of Ukraine; why an unidentified agent of their country’s security forces went to the grassroots memorial to Boris Nemtsov in downtown Moscow the other day and broke the nose of the activist standing vigil there, thus eventually killing him; why their country’s armed forces have aided the bloody dictator Bashar Assad in crushing the massive popular rebellion against his tyrannical regime, a war that has killed, according to some estimates, at least half a million people, not to mention the millions of people it has forced to leave the country; why the country’s most famous theater director, Kirill Serebrennikov, has been arrested on manifestly absurd trumped-up charges; why their country has tried, valiantly it has to be said, to mess with elections in several other countries, including the US; and so on.

My catalogue of ships could have been a hundred times longer. It could have spanned as many of the past eighteen years as I would have liked or been limited to the last week or two. But what’s the point? Do all or any of these behaviors strike you as typical of an “ordinary authoritarian regime”?

They strike me, at very least, as the actions of an extraordinarily aggressive regime, hellbent on pushing its way back to the top (of what?) on the cheap, risking all-out war in the process, and long engaged in a “cold civil war” with its own people.

And so, some of Russia’s hepcat political pundits have adopted this new article of faith so that, no matter what new hellish stupidity the Putin regime commits at home or abroad today or tomorrow (it does something of the sort almost literally every day; sometimes, ten times a day) they can remark dryly to their concerned foreign colleagues, “Don’t look so worried. It’s just an ordinary authoritarian regime.” TRR

Photo by the Russian Reader

Fruits and Vegetables

“Fruits Vegetables”

Anyone who blames the US Foreign Service and its 755 staffers, most of them Russian nationals, who even as I write this are either being removed from their posts and sent back to the States, or (the vast majority) summarily fired without cause from their jobs at the US embassy in Moscow and the US consulates in Petersburg, Yekaterinburg, and Vladivostok, for the earth-crushing “visa crisis” now “unfairly affecting ordinary Russians,” should actually try and figure out what is going on and who is to blame for the so-called crisis before writing yet another wildly misinformed Facebook or Telegram post about how it’s all the fault of Donald Trump, the State Department, and the obtuse staffers in the visa departments at the US embassy and consulates in Russia.

Vladimir Putin, President of the Russian Federation, is to blame for the “crisis,” because it was he who ordered the summary dismissal or removal of 755 embassy and consulate personnel by September 1, 2017.

He knew quite well his order would, among other things, make it difficult for the US embassies and consulates to process visa requests at the pace required by all those “ordinary Russians” and to do this in the big cities where they either live or live near.

But I have seen hardly any mention of Putin’s role in the affair, especially in the tumultuous fountain of collective wisdom known as Facebook, where yet another festival of free-floating anti-Americanism has erupted.

President Putin, if he actually read Facebook, would be pleased to see what some of his countrymen have been writing, because he would be witnessing the wild flowering of the anti-Americanism he has been carefully planting in place of communism as the country’s ruling ideology over the last eighteen years.

I admit he has been going about it in a way that sometimes suggested he was, instead, “fostering better relations” with the US, but nobody who has actually been following the vicissitudes of his regime and his actual moves and key policy statements would have been fooled by that transparent ruse.

But enough of Putin. He’s a super villain and can thus be excused for doing mean, hurtful things to hundreds of people he has never met. That’s his job.

What about his virtual countrymen, who for the last several days have been writing lots of mean, hurtful, and stupid things about hundreds of people, most of whom they have never met, most of them on the verge of losing jobs some of them have held for one or two decades (the Russians) or being uprooted again and sent to another posting after getting settled in Russia (the actual US diplomats)?

What have they done to deserve your wrath?

Nothing.

Which means, at least, that the minimum of solidarity you could have shown them as they go through something that will cause many of them and their family members a great deal of anguish, to put it mildly, was to think harder for a few minutes, find out what was really going on, and figure out who was really to blame for the problem, instead of once again taking an absolutely useless but “emotionally satisfying” punch at the Great Satan, as if you were taking your cues from Putin himself or the late Ayatollah Khomeini, Allah bless his soul.

I realize what I’ve written will be nearly inscrutable to people who have reacted this way. They just want their visas—and they want them now.

So I’ll leave it at this. Now matter how many times you may have been to the US and how much time you’ve spent there, you’ve demonstrated to me you’re not exactly friends of my country.

At the same time, you’ve shown you feel no solidarity for your own real countrymen, who are losing their jobs because a whimsical tyrant and his clique of friends have decided to rule Russia for as long as they can or until they drain it dry, whichever comes first.

Is the US State Department and its Russian national employees to blame for that state of affairs, too?

No.

So, at very least, you also have a very odd, contemptuous attitude toward your own countrymen and your own country.

Hence your signal inability to blame the man who actually caused the “crisis” for causing it.

Not to mention he scares you to death, so it’s always wiser to blame someone else for his regime’s excesses. It’s a lot safer to verbally roast the State Department, Kirill Serebrennikov, Kirill Serebrennikov’s accountant, and so on, for the “stupid mistakes” they made.

Anyone smarter than they are wouldn’t have done the stupid things they did, and we know you’re all much smarter than the State Department, Kirill Serebrennikov, his accountant, and all the other, now nearly countless victims of the eighteen-year-old Putinist tyranny. TRR

Photo by the Russian Reader

“Das Ordnung”

OLYMPUS DIGITAL CAMERA

Putinism has triumphed not because the majority of Russians have become convinced “Putinists,” whatever that would mean, or have been persuaded by the man’s notorious “power vertical” system of governance, which in reality is an inefficient, irresponsible literal disaster waiting to happen somewhere nearly every single day (witness the fires in Rostov-on-Don).

It has triumphed because people have, seemingly, lost the will to eject, by whatever means would work best under the circumstances, the entire noxious, corrupt, incredibly expensive, and utterly futureless non-system that Putin and his clique have erected over eighteen long years of conspicuous consumption in a few happy oases, mixed with criminal wars, “legal nihilism,” an incredible gap between the super wealthy and the super poor, the destruction of all the things the Soviet Union did right or, at least, not terribly badly, in terms of education, social provision, healthcare, and housing, and the most inconsistent, frighteningly hilarious “national ideology” ever devised anywhere, which pretends to be “conservative” and “authentically Russian,” but mostly looks as if it had been dreamed up one night by three or four Kremlin spin doctors on a bender, as a bad-spirited practical joke.

At worst, people either pretend, especially in the two capitals, to be incredibly busy and content with their lives. At best, they argue about the particulars—say, about the details of the trumped-up case against director Kirill Serebrennikov, arrested in Petersburg yesterday, and temporarily sentenced to house arrest pending trial on embezzlement charges today in Moscow—as if the system didn’t have the power to turn literally anyone except the members of Putin’s inside circle (and maybe even them) into a “vicious criminal” literally overnight, as if Serebrennikov has made some particular fatal mistake that nearly everyone else would never be so stupid to make. Or that they would never be so stupid to get close to so much money or power and end up in the pickle the feckless Serebrennikov got himself into.

The idea that the country could go on being itself, that is, being mostly messed up and weird and not like any other country, because you cannot be like any other country when you’re the biggest country in the world, but a billion times more productive and easier to live in simply by ditching the crappy, greedy junta that will certainly kill it off in the next few years is a thought that either literally everyone is thinking right now or everyone has forbidden themselves to think at all.

Unfortunately, I’m afraid it’s the latter.

So it doesn’t matter whether you call the reactionary regime currently in power authoritarian, post-authoritarian, fascist, post-fascist, post-truth or pre-truth, because eventually it will go down in flames, taking with it, alas, the magnificent country that has had the misfortune to engender it. TRR

Photo by the Russian Reader