The Intolerance of Ileana (Part 3)

So, last Tuesday, Rep. Ileana Ros-Lehtinen called in to Radio Mambi (WAQI 710 AM) and spoke with host Ninoska Perez Castellon. Rep. Ros-Lehtinen called not only to inform listeners that she has sent out a "protest letter" to State Sec. Clinton, but also to encourage listeners of Radio Mambi to write their own letters of protest to the State Department because of what occurred at the U.S. Embassy booth of the Buenos Aires International Book Fair. Furthermore, Rep. Ros-Lehtinen also mentioned another letter that is being signed by "dozens and dozens" of her colleagues telling Sec. Clinton that "she should be informed about (or alerted to)" what is happening at our Embassies.

[Audio of Interview]

While the exact words of the "protest letter" to Sec. Clinton are not known, the comments from the press release are incredibly misinformed. Rep. Ros-Lehtinen believes that the book presentation of "Che's Afterlife" was an event "venerating" Ernesto Guevara. And, thus "the U.S. Embassy in Argentina is using American tax dollars to advance the radical agenda of those working feverishly to threaten regional stability and undermine critical U.S. foreign policy priorities in the region."

These comments make no sense at all.

The book by Michael Casey, just like the other investigations into Korda's "Che," does not "venerate" anyone, and does not "advance" any political ideology. Rather, it seems that Rep. Ileana Ros-Lehtinen is completely misinformed about the content of Michael Casey's book. As a matter of fact, Rep. Ros-Lehtinen mentions that she wrote her "protest letter" immediately after reading the Miami Herald's article describing the book presentation as "provocative" and part of a "charm offensive." Way to go Herald.

But, even if Rep. Ros-Lehtinen did have some knowledge of the book's content, she would probably still protest because as she told Radio Mambi: "I don't care about the image of 'Che' Guevara. What I care about is what 'Che' Guevara has done, and the hundreds of Cubans that died because of this tyrant."

It's clear that some people only see a "Killing Machine" when they see or think of Ernesto "Che" Guevara. Ileana Ros-Lehtinen's father, Cuban historian Enrique Ros, is author of one of the first books to confront the "Che Myth" before Humberto Fontova or Alvaro Vargas Llosa did. To these authors, based on their thorough research, Guevara embodied all the worst human elements anyone can think of. Therefore, they believe that the people who continue to idolize "Che" the assassin are either "idiots," victims or members of the "worldwide media/academia axis," or tyrants themselves.

But, it's incredibly ironic that these authors, who write to counter the appeal of "Che," are revealing historical material that is irrelevant to the worldwide appeal, distribution and proliferation of Korda's "Che." Remember what Michael Casey wrote, those who idolize "Che" are engaging in a "personal act" where they re-interpret and incorporate "Che" into their "idealized self." It has little, or nothing, to do with the documented facts of Ernesto Guevara.

Interestingly, the conclusions drawn by Casey, and others, concerning the worldwide appeal of the "Che" image, may inform why some Cuban exile militants venerate alleged terrorists like Orlando Bosch, or Luis Posada Carriles.

For example, Orlando Bosch, who was arrested as a suspect of the 1976 bombing of a civilian Cuban airliner which killed 73 people and and act which he publicly justified (in print and video@4:30) as an act of war, has never denounced acts of terrorism attributed to him. Despite his long-time, open support for terrorism against the Cuban government, then-State Sen. Ileana Ros-Lehtinen signed a letter in 1988 which described Bosch as a "valiant freedom fighter."*

In a 2006 interview, Bosch told a reporter: "I would have liked to kill [Fidel Castro] to set an example for future generations." That same year, Rep. Ileana Ros-Lehtinen appeared in a video saying: "I welcome the opportunity of having anyone assassinate Fidel Castro and any leader who is oppressing the people." She dismissed the video as a fraud once it gained media attention, but then admitted it's authenticity days later, never apologizing for her comments.

I guess her admiration for Orlando Bosch is a personal thing, like those that admire "Che." One wonders if it has anything to do with the historical facts. But, just like her protest against a book which she hasn't read, and has no interest in reading anyway, why should the facts get in the way?

[*] Harrison, Carlos. (1988, February 23). Politicians plead for Bosch's release. The Miami Herald.

----- [Extras]-----

- Michael Casey responds to Roger Noriega's book review on "Che's Afterlife."
- Another reaction from a blogger in Buenos Aires.
- And, despite being charged repeatedly with torturing, kidnapping, and homicide, and having U.S. support throughout his brutal repression, Humberto Fontova would have no problem wearing an Augusto Pinochet t-shirt. Welcome to the Twilight Zone.

[Part 1]

The Intolerance of Ileana (Part 2)

Before we continue, let's be clear about what Michael Casey's new book, "Che's Afterlife", is all about: the study of a picture found worldwide.

According to the review by Michiko Kakutani, Casey's book "is not only a cultural history of an image, but also a sociopolitical study of the mechanisms of fame. It is a book about how ideas travel and mutate in this age of globalization, how concepts of political ideology have increasingly come to be trumped by notions of commerce and cool and chic."

It is NOT a book on the life of Ernesto 'Che' Guevara. It is an investigation on a social phenomenon, which is clearly explained by Casey:

[Excerpts from epilogue]

"Humans have always used meaning-laden images to promote (sell) ideas, to build loyalty among followers (customers), to cultivate a sense of belonging within communities (markets), and to differentiate themselves from their enemies (competitors)."

[...]

"Choosing a brand—much as choosing to display a loved one’s photo, to don a religious pendant or national flag pin, to wear a favorite team’s colors, or to declare our admiration for a political, artistic, or sporting hero—is a personal act. Brands, symbols, and images are incorporated into a person’s identity. They form part of the idealized self with which we define our place in the world."

[...]

"In fact, the brand is powerful because, quite independently of Che and his story, the icon that emerged from Alberto Korda’s photograph is independently capable of stirring the forces of human imagination and of tapping into deep-seated longings for a better world."

Fortunately, Casey is not the only one that has investigated the various incarnations of Korda's "Che." The 2007 documentary "Personal Che" [trailer] also conducted a similar investigation and came to a similar conclusion: "fact or history is of little importance when compared to these people's desire to see Guevara through their own lens... [Personal Che] is a documentary not about 'Che' Guevara, but about how this man continues to be reinterpreted by many around the world in ways that would probably surprise 'Che' himself." The documentary shows Korda's "Che" appearing as a holy icon in one part of the world, and also on the shirt of a Neo-Nazi in another part.

Another recent documentary, called "Chevolution" [trailer], also studies the unpredictable development of Korda's "Che." The directors conclude "that there is a mythology that grows from Che and it happens in all sorts of ways in different cultures, and that's one aspect of it. And there's also this development of the icon itself. And what's interesting [...] is that there's this open source where no one really specifically controls it. And it keeps changing and remodifying. It becomes this open vessel that's constantly evolving without one person or group really dictating where it goes."

So you get the picture right? Korda's famous picture of "Che" has taken a life of its own since it was captured in 1960. It operates as a personal symbol which sometimes brings people together (or separates them), but has little (or nothing) to do with the real history of Ernesto Guevara.

But, interestingly, there are some people who don't care about all that, and only see Ernesto 'Che' Guevara, the "Killing Machine."

[Photo above of Alberto Korda (1928-2001)]

[Part 3]

The Intolerance of Ileana (Part 1)

Boy, where do I start with this one? (Sighs in frustration.) Apparently, Florida [District-18] Rep. Ileana Ros-Lehtinen has a problem with a book. It seems that she has not read the book, and is not interested in reading it. But, she's confident that it is a bad book, and is now complaining to Sec. of State Hillary Clinton about it, and gathering signatures on Capitol Hill to make sure the book is not associated in any way with the U.S. government.

The book sounds terrifying huh?

Well, the book in question has been getting excellent reviews, including by Michiko Kakutani, the New York Times, Pulitzer Prize-winning, and ruthless book critic. To some, Katutani is considered "the most powerful book critic in America," and last week she gave praise to Michael Casey's new book "Che's Afterlife." She described Casey's new book as "fascinating... bracing and keenly observed."

Some of you may be baffled, but regular readers of Mambi Watch, and residents of Miami, may have already noticed the problem: someone uttered the word "Che" and all reason has already gone out the window. Here's what happened.

Last week, the International Book Fair of Buenos Aires, perhaps the largest book fair in South America, opened its doors to the public. The fair is huge, with hundreds of booths and over a thousand presenters. Given that Buenos Aires also happens to be a city that loves books, its clear why the U.S. Embassy in Argentina, since 2007, has been participating in the fair, providing various workshops, presentations and lectures. Last year, the Embassy invited famed author Tom Wolfe to speak at their booth. And, this year the Embassy was again able to invite several authors and writers to give presentations at their booth.

Among them was Michael Casey, who happens to live in Buenos Aires writing occasionally for the Wall Street Journal, working as the bureau chief for Dow Jones, and has now authored a book. His invitation was only natural, as was the invitation of novelist Donagan Merritt, who also happens to live in Buenos Aires. But, the main attractions at the U.S. Embassy booth were the Pulitzer Prize winners, Annie Proulx and Junot Diaz.

Anyway, after the first day's presentations at the booth last week, reporter Vinod Sreeharsha wrote a "special" report for the Miami Herald. The first sentence goes like this:

"The U.S. charm offensive in Latin America took a small but provocative step forward on Friday when the U.S. Embassy in Buenos Aires sponsored two readings of a new book that explains the enduring iconic power of Ernesto 'Che' Guevara."

The sentence alone is controversial and inaccurate. How is it that Casey's presentation alone a "charm offensive" by the U.S. government? Do the other book presentations (by Proulx and Diaz) at the Embassy booth also seperate "charm offensives" in Latin America? And what makes this one "provocative"?

Sreeharsha doesn't directly answer these questions, but instead leaves the reader misinformed at the start before getting into the details. But, Rep. Ileana Ros-Lehtinen had probably read enough by then to begin writing her letter to the U.S. Secretary of State.

[Part 2]

"Respect Our Suffering" [Updated]

El Nuevo Herald has a gallery of photos of tonight's protest at the Carlyle Theater in Miami Beach. According to the captions, the film screening about the life of Ernesto 'Che' Guevara was private and invited the director, Steven Soderbergh, and other main actors, including Benicio Del Toro.

[Update: Juan Carlos Chavez of El Nuevo Herald reports on the protest and finds that among those he interviewed, no one had seen the "Che" film. About 100 protesters were reported to have attended. Video of the protest is included.]

[Update: Video and photo journalist Carlos Miller has more on the protest, and discusses the real number of protesters who attended.]

Who's Silencing Who? [Updated]

Earlier today, the Babalu Blog (Alberto De la Cruz) posted information about Thursday's protest at the Carlyle Theater, Miami Beach. De la Cruz links to a Spanish news website (Net for Cuba) with an official press release by "The Cuban Committee in Exile," and provides an English translation. The link also directs readers to a series of videos showing a Spanish-language documentary called "Guevera: Anatomy of a Myth."

According to De la Cruz: "We encourage all who can attend to do so. We cannot allow revisionists to silence our voices and insult the memories of the tens of thousands that died at the hands of this assassin and his thugs."

Who's silencing Thursday's protest?

On the contrary, the current letter campaign targeting city and county officials in South Florida (which I posted about yesterday) is aimed to STOP the screening of this supposed "Che" film in Miami Beach. As Ruby Feria described it, the film screening would amount to a form of "terrorism." And, most likely, this means that some Cuban exiles hope that the film NEVER screens anywhere in South Florida because, as the Cuban Committee in Exile put it, "premiering such a movie in a city like Miami, full of victims of this black chapter suffered by our community under the bloody dictatorship of the Castros is a repugnant offense and a show of utter disrespect to the Cuban-American community."

So, who's trying to silence who?

In fact, De la Cruz also links to an earlier post by Humberto Fontova, Babalu Blog's favorite author, where Fontova suggests that perhaps banning the film in Miami wouldn't be a bad idea. He wrote:

"John Cusacks movie 'Max' about the young Hitler was due for release when the Jewish Defense League and Anti-Defamation League campaigned to have it banned from private venues.... Given the local demographics, can you imagine a 'Max' showing at this same The Carlyle Theater?"

In the past, I've described Humberto Fontova as a propagandist, and this quote only further supports that description. In this case, Fontova has intentionally left out what occured AFTER some Jewish organizations protested the "Max" film. Furthermore, what resulted in that case could provide an interesting lesson for Cuban exiles who plan to protest on Thursday.

In 2002, director Menno Meyjes released his film "Max," a fictional story based on a young Adolf Hitler, which soon met protests from prominent Jewish organizations. Humberto Fontova is correct in stating that groups like the Anti-Defamation League (ADL) protested the film, but I cannot find any information that states they wanted the film banned. Anyway, upon the movie's release, the ADL had soon changed their position AFTER they viewed the film.

ADL's national director, Abraham Foxman, wrote:

"While some people will find it offensive, 'Max' does not glorify Hitler in any way, offering an accurate and realistic portrayal of Hitler the monster that certainly does not lend itself to a sympathetic view. The film shows a man strongly influenced and motivated by his anti-Semitism and likewise offers a realistic portrayal of the rampant anti-Semitism of the period."

A few months after, Morris Casudo, regional director of the San Diego Office of the Anti-Defamation League, said:

"Although I said I would not have voluntarily seen this movie, having seen it I think it's a powerful portrayal of a society in extremis being led by the most extremist elements, and so I would encourage people to see that film, it's chilling, frightening, discomforting, disturbing but so is life. I think this film is valuable in showing a society that was being torn apart."

Even one Jewish publication gave a very objective review of the film. But, Humberto Fontova doesn't want these facts to be known. They obviously don't support his goal to advocate anger and distress among the Cuban exile community. And, unfortunately, Alberto de la Cruz is just perpetuating these negative feelings.

While I don't oppose the planned protests for Thursday at the Carlyle, I think all persons planning to demonstrate should be properly informed about the "Che" film before they go. Maybe the film has some value, as the ADL discovered about the film they initially protested. But, banning the "Che" film would have serious consequences for our free society, which depends on the sharing of various points of view.

[Photo above of Miguel Saavedra of Vigilia Mambisa, who attacked counter-protesters in Miami, 2007]

[Update: You can view copies of the letters sent to Miami Beach Mayor Matti Bower here and (in Spanish) here. Both demand city officials to take a position to support or oppose the film screening. ]

"Che" in Miami Beach

Word is that the Byron Carlyle Theater on Miami Beach is screening Steven Soderbergh's new film about Ernesto 'Che' Guevara this Thursday. The film recently picked up a distributor (IFC) which is planning special screenings this month in select cities and preparing a national theatrical release early next year. Some Cuban exile organizations had gotten word of the supposed screening this Thursday and are planning protests.

I couldn't find any information online to confirm this screening, but according to those who are planning the protest, the film is being screened this Thursday around 6pm at the Carlyle. Spanish-language radio station WWFE 670 AM ("La Poderosa") has begun running regular announcements of this protest, telling listeners to stay tuned for official instructions at 10am Thursday.

Earlier today on La Poderosa, radio host Ruby Feria let listeners in on what has been planned so far. Feria is an established activist in local exile politics. This past June, Feria appeared publicly before the press protesting Barack Obama's Presidential campaign advisors (associated with the Elian Gonzalez affair). She told the press:

"Barack Obama represents a very dangerous alliance with the Castro regime."

Today, Feria told listeners that letters of protest have been sent to the Mayor of Miami Beach, Matti Bower, and to all Miami-Dade County Commissioners, including the Mayor, Carlos Alvarez. Feria is hoping to receive responses by Thursday. According to Feria, the letters are asking these government officials for explanations behind Thursday's screening, and if they are aware of the offensive nature of the "Che" film. (In 2002, the Byron Carlyle Theater was bought by the City of Miami Beach for $1.7 million, and re-opened in 2004. The funding came from city and county grants.)

Feria told listeners that the screening of the "Che" film would be a "monumental travesty and represent an insult" to the Cuban exile community. For those that don't know, some Cuban exiles in Miami view Ernesto 'Che' Guevara as a vicious murder and terrorist, or as Val Prieto from the Babalu blog once put it: "a murderous false prophet with a pretty face." But, it is only recent that books have been published in English raising the debate over the brutal nature of Guevara. Some examples being 2006's "The Che Guevara Myth" and 2007's "Exposing the Real Che Guevara."

Thus, Feria is being patient for answers from city and county officials, which she is certain she will receive by Thursday morning. But, she also made it very clear that her hope is that the film will not be shown at the Carlyle. Feria compared the film to a form of terrorism that has the potential to breed hate and destroy the principles that unite the community. "Terrorism has many forms...this is one of them," she said. One source has also posted an e-mail sent out by a local exile organization, UMAP, asking recipients to e-mail the Miami Beach Mayor to stop the screening on Thursday. The Mayor of Miami Beach happens to be Cuban, yet very progressive.

Vigilia Mambisa, who sees the film as a "provocation of the castro-communist tyranny" is already organizing a caravan to leave the Versailles Restaurant in Little Havana and head to the Carlyle one hour before the presentation.

Thursday is looking to be very interesting. The Mayor of Miami Beach, Matti Bower, certainly has a complex matter to consider. Changing venues to a private theater could be difficult on such short notice, and stopping the screening altogether could have serious legal consequences. Ruby Feria at one point proposed a public debate before the showing, and perhaps an exchange of contrasting viewpoints before the film may provide a reasonable outlet.

But, if the city does not become proactive, then the protest can become an unpredictable affair. Vigilia Mambisa and other exile organizations will most certainly show up in significant numbers, and perhaps groups like the Bolivarian Youth will show up as well, as they did in 2005 in defense of another "Che" movie [photos here]. And, things can go downhill from there.

Concerned Miami Beach residents should e-mail Mayor Matti Bower and share your thoughts about how this event could be handled, and if you support or oppose the screening of this "Che" film.

[Recent protests involving Vigilia Mambisa can be read about here and here.]

Here Come the Bullies

Val Prieto and readers of the Babalu blog have yet again surrendered their rationale (harming their efforts to document human rights abuses in Cuba) and begun a ridiculous campaign against the Smithsonian Center for Folklife and Cultural Heritage, a research and educational unit of the Smithsonian Institution.

In this morning's post, Val Prieto has encouraged his readers to deliver a "swift slap upside the head" to the director of the Smithsonian Global Sound website (part of the Center for Folklife and Cultural Heritage), Daniel Sheehy, because of the recent discovery that Global Sound is selling an album called "Che Guevara Speaks" online. Mr. Prieto tells Sheehy:

"You will undoubtedly be recieving [sic] many emails today regarding this as I have written about this heartless affront on Babalu and will be forwarding this information to every single person, media outlet, government official, etc.. that will listen in the hopes that this murderer's words are lifted from your website."

Babalu readers have responded so far with:

- "Somebody's head needs to roll because of this foolishness."

- "These idiots keep pushing, and we need to push them back."

- "We need to put the che worshipers out of business!"

- "[T]he Smithsonian has become another player contributing to public ignorance by stamping a mark of approval on the Che myth, without any challenges."

- "I am sure the Smithsonian is not selling Hitler items or speeches from the Klu Klux Klan. Marketing Che Guevara is equally hateful and offensive. In the name of decency, please remove all items endorsing this mass murdering tyrant."

I hope the Smithsonian Global Sound will do no such thing, and clarify their real intentions and purposes for having the Che Guevara Speaks album on their website. It is pure ignorance to attribute an intentional insult on the part of the Smithsonian. Here's the background that has been ignored.

The album Che Guevara Speaks is but one album out of 50 released by Paredon Records between 1970 and 1985. Paredon Records is the result of "an unflinching commitment to co-founders Barbara Dane’s and Irwin Silber’s vision for social change. They worked tirelessly to release unapologetically partisan, radical, and passionate recordings of singers, activists, and visionaries who dared to dream of a better world."

According to Irwin Silber [PDF]:

"Paredon was a reflection of a period in which ideas of revolutionary upheaval were extremely prominent in the world... the rhetoric of the time, whether it was the Women’s Movement, the Black Movement, the Student Movement, was revolution...So that was the world cultural climate out of which Paredon came... what we were doing was documenting these movements and at the same time our approach was quite partisan, and very often the two were looked at as mutually exclusive categories. Well, if it’s propaganda it can’t be documentary and vice versa. But our view was that so long as the movements were real, their propaganda was also real. And documenting what you might (and I don’t use the word propaganda in a pejorative sense) documenting what was their genuine cultural, ideological expression was a way of undemonizing the so-called enemies of the United States."

In 1991, Barbara Dane and Irwin Silber donated the Paredon Records collection to the Smithsonian, which found its place at the Center for Folklife and Cultural Heritage (CFCH), and then to the Global Sounds website. CFCH's mission is aimed at "promoting the understanding and continuity of diverse, contemporary grassroots cultures in the United States and around the world." Global Sound's mission allows its users to "discover and appreciate other people, other value systems, and other realms of human accomplishment."

"The revenue earned from sales of downloads and subscriptions supports the creation of new educational content and is shared with archival partners, who in turn pass on a portion of those revenues with artists and communities."

You can see the various musical and archival partners that Global Sounds supports on their website, which range from India to Africa, and Peru to Indonesia. And also see the various cultural activities that Global Sounds and the CFCH produce regularly, which include concerts of American, Asian, and Latino folk music, and also include workshops and exhibitions.

The other noble accomplishments of these institutions can be found on their websites, and I encourage readers to look at them if they have doubts about where their revenues go.

The Paredon Records collection belongs to the cultural history of the United States and is an important and valuable archive that rightfully belongs at the Smithsonian. Global Sound has provided the collection with all respect to its outlined mission, and should be encouraged to continue.

I hope readers will take the time to send Global Sound's director, Daniel Sheehy, a letter or e-mail of encouragement and support.