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Digital Archive Review – Más de 72

by Ashley Nelcy García, Department of Spanish and Portuguese

An earlier version of this review was published on halperta.com.

What is a digital archive? I asked myself this question in the weeks before submitting this review. While digital archives are typically defined as a coherent set of digital objects that have been put online by a library or an official archival institution, Más de 72 challenges the notion of what we can identify as a digital collection of records.

Screenshot of Más de 72

Más de 72 is a digital project that collects primary sources pertaining to the massacre of 72 migrants from Central and South America and India. The documents and media shared on this site shed some light on the mass murder that occurred in San Fernando, Tamaulipas, Mexico in 2010, under the administration of Felipe Calderón. The collection was created by Periodistas de a Pie, an organization of active journalists that seeks to raise the quality of journalism in Mexico. The International Center for Journalists (ICFJ), CONNECTAS, and journalists who were invited to participate in the project supported the development and completion of this project.

The collection is a valuable resource for individuals interested in Mexico’s recent history, memory, and human rights issues. Visitors can access primary sources such as official documents from Mexico and the United States, including some judicial records and declassified files. Testimonies from surviving family members recorded in video and audio by journalists, as well as photographs and maps are also available. Additionally, journalistic investigations and reports published by human rights entities provide context to users unfamiliar with the case.

via Más de 72

Más de 72’s primary strength is its presentation. The site contains six different tabs or capítulos (chapters) that provide different types of information. For instance, the sections titled “La Masacre” (The Massacre) and “Después de la Masacre” (After the Massacre) include official and visual documents associated the mass murder of the 72 migrants. Under these tabs, visitors can access documents like the press release from the Secretaría de Marina (Secretary of Marine) and the diplomatic cable that the U.S. Embassy sent to the Department of State. Online browsers with an interest in the role of official documents can also download more than 50 files under the tab titled “Transparencia” (Transparency). On the other hand, users interested in criminal records and procedures and migration studies can access a list of objects found in the location where the massacre occurred and the names of the victims under “Después de la Masacre.” In regard to organization, it is important to note that the names of the victims are listed under their country of citizenship and under the month and the year they were identified.

On the other hand, the tabs titled “Las Víctimas” (The Victims), “Los Culpables” (The Culprits), and “Sobre San Fernando” (About San Fernando) provide more detailed information regarding people and location. These sections can benefit visitors interested in oral history, memory, gender studies, and digital cartography. Under “Las Víctmas”, users can listen to four testimonies provided by victims’ surviving family members. “Los Culpables” has a list of the men and women involved in the mass murder; this section includes the names, the photos, the list of crimes they committed, and external links that provide additional information. The section titled “San Fernando” includes a digital map from Time Mapper that helps users identify the mass graves and the people that have been disappeared in Tamaulipas by geographic location.

Overall, the site benefits users who cannot visit Mexico or Tamaulipas. Aside from scholars, people who can potentially benefit from this repository include but are not limited to: family members of migrants and people who have been disappeared, residents from the state of Tamaulipas, people with relatives in the northern part of the Mexico, journalists, lawyers, and activists. Although the project is not affiliated with libraries, governmental, or academic institutions, Periodistas de Pie is open to working with community members. As stated in “Creditos” (Credits), users can share documents or materials by sending an email to the listed email address. In addition, the organization invites visitors to collaborate–either with skills or donations–to continue developing the site.

The website has some technical problems. It would be difficult for someone who is unable to read Spanish to understand the majority of the information included on the platform. Additionally, some links, hyperlinks, and images need to be updated. More descriptive metadata would also benefit the project and there is a need to assist with the second part of the collection titled, “Segunda Entrega: Fosas de San Fernando” (Second Delivery: San Fernando’s graves). While these are minor setbacks, they also provide an opportunity for archivists, scholars, and web developers to get involved with the project.

Capítulo 5: Sobre San Fernando (Chapter 5: About San Fernando) via Más de 72

Even though Más de 72 is not described as a “digital archive” by the journalists at Periodistas de Pie, this platform serves as a repository of digitized primary documents associated with an historical event. In this regard, it is important to consider how the digital humanities field can be co-opted by elites to control historically politicized spaces. We need to be thinking about what is at stake when the term “archive” is used to control information. The politics of archiving is especially important where journalists–the authors of many of the documents in Mas de 72–find themselves in a violent climate and are rarely protected by institutions of power.

In Defense of the Crime Story

By Diego A. Godoy

Judicial records usually provide the empirical grist underpinning historical studies of crime, but journalism is the lifeblood of the field. The efforts of reporters, editors, photographers and illustrators have allowed researchers to resurrect bygone crimes, often in forensic detail. In the more recent Latin American past, for instance, the intrepid sleuthing of journalists—whose “narco libros” populate the Spanish-language shelves of book retailers—has spared academics from treading on paths far more perilous than graduate school could have ever prepared them for. Their revelations pertaining to the inner-workings of criminal syndicates and their state cohorts have deepened our information trove, making it possible for researchers to formulate more comprehensive analyses of the underworld.

It would be unwise, however, to pigeonhole the crime story as a mere chronicle of events, as recourse when police or judicial files are sanitized or inaccessible (as can often be the case in Latin America), or as an aid for imbuing one’s work with the narrative thrust facilitated by the beat reporter’s proclivity for anecdote and imagery. Rather than treating the crime story strictly as a source detailing the particulars of an incident, one would do well to recognize its potential to elucidate a broader range of phenomena, too.

Carlos Monsiváis author of Mexican Postcards (via wikipedia)

Excessively graphic, littered with inaccuracies, and saturated with classist and racist and other biases, Latin American crime papers were once considered little more than pulp trash, and thus beneath serious scholarly engagement. Thankfully, this prejudice seems to be receding. In recent years, a handful of Latin Americanist intellectuals have demonstrated how a rigorous analysis of these sources can yield highly original insights.

Readers could always count on the late Carlos Monsiváis for incisive takes on Mexican life including crime related affairs. In his essay collection on modern culture, Mexican Postcards, Monsiváis asserts that the content and presentation of crime news was profoundly altered after the Revolution (1910-1920). His survey of notas rojas (lit. “red notes/news”)—a popular variety of tabloid showcasing the violence occasioned by robberies, accidents, and crimes of passion—leads him to the conclusion that the press’ crime coverage required a substantial makeover to pique interest and sell papers in the post-revolutionary era. After a decade of storied military feats and charismatic protagonists, standard crime reporting proved forgettable. Striving to provoke visceral reactions and satiate morbid curiosities, nota roja journalists settled on the perfect sensationalist formula: obscenely gory visuals—think severed heads and flayed corpses—plus brief, melodramatic narration devoid of commentary, and crude, often facetious, captions. By the 1960s, entire newspapers adhered to this style, and some even sold in the United States, including ¡Alarma!, the genre’s quintessential publication. Today, many tabloid journalists still bank on the blood of butchered spouses, but they have also mixed drug trafficking stories into their repertoires.

The consolidation of the Mexican drug trade in the 1970s provided an opportunity for certain segments of the press to traffic in a distinct variety of crime story. In the media coverage of the narcotics business, Monsiváis discovered a cult of celebrity built on illusory images of criminality. Rather than minor thievery rings or homicidally jealous lovers, the protagonists of these stories were a different class of criminal who were accorded “the notoriety once reserved for politicians, sports personalities, and film stars.” Their exploits and life stories were related in prose that was reminiscent of early modern picaresque tales. Often, the most unsavory aspects of the criminal experience were omitted, or at least obfuscated by the glamour conferred by power and fortune.

Monsiváis meditates on the case of Rafael Caro Quintero, co-founder of the defunct Guadalajara Cartel. Many tabloids aided in the cultivation of Caro Quintero’s “social bandit” image, despite his being motivated by personal gain. His archetypal rags-to-riches story and supposed beneficence to the Sinaloan backwater from which he emerged were artfully tapped by writers. Seldom did these outlets delve into his organization’s brutal exploitation of poor poppy-farming communities, the effects of their sticky brown product in U.S. cities, or his elbow rubbing with members of Jalisco’s business elite.

Those familiar with the history of the Mexican drug trade will recall that Caro Quintero’s ascendancy was short-lived. On April 4, 1985, he was arrested for his involvement in the prolonged torture and murder of DEA Agent Enrique Camarena. Mexican television broadcast the moment when Caro Quintero and associates were escorted into Interpol’s Mexico City headquarters. Hordes of people tailed the group and shouted “Caro, reveal the corrupt!” “Unmask them all, Caro!” “Names, Caro, names!” Monsiváis likens this scene to that of a revolutionary hero riding into the main plaza of a town, being greeted by a hopeful peasantry awaiting the dissolution of an unjust government. Images of the purported social bandit and anticipated whistleblower beamed across the country.

Rafeal Quintero identification picture (via FBI)

Comparable transformations in crime coverage occurred in Buenos Aires during the interwar period. In While the City Sleeps: A History of Pistoleros, Policemen, and the Crime Beat in Buenos Aires Before Perón, historian Lila Caimari lays the shift in crime reporting at the feet of an array of factors related to “modernity,” namely, technological advances and the importation of U.S. tabloid journalism and Hollywood cinema. This onslaught of variables coalesced to generate what she dubs the new “languages of crime.”

Caimari recounts how in the late 19th century the Buenos Aires press wrote about crime in “natural-scientificist” language that borrowed terminology from medicine, criminal anthropology, and psychiatry. Taking cues from English and French journalists, Argentine reporters played detective by attempting to decipher the cause of a perpetrator’s criminality. But toward the 1930’s, these European influences could no longer compete with the flashier of American tabloids. Argentine editors, cognizant of the public’s insatiable appetite for detective novels and U.S. gangster cinema, quickly adopted a highly stylized, entertainment-driven approach.

The most prominent national media outlets spearheaded what the author calls the “cinematization of crime reporting” by deploying a vibrant assortment of visual and verbal tools. Popular newspapers La Razón, Última Hora, Crítica, and the illustrated Caras y Caretas employed melodramatic language, references to films, theatricalized reconstructions, photographic staging, and comic strips to accompany their narration. Stories were chosen for their similarity to contemporary U.S. criminal practices and featured a new protagonist: the pistolero (lit. “gunman”)—a Capone-esque gangster with the latest technological resources at his disposal. The elements of the criminal performance—weapons, automobiles, attire, and argot—became the main focus for writers, illustrators, and photographers. In stark contrast to the previous century, the question underlying press accounts of the criminal was no longer why he committed his crime, but how. And much like in Mexico, many publications contributed to the legends that shrouded criminals’ careers. Ahora’s stories on the train and bank robber David Segundo Peralta, a.k.a. “Mate Cosido,” were part of a trend in which certain outlets gave organized crime figures the matinee idol treatment.

Following a string of kidnappings—most notably the 1932 abduction and slaying of Abel Ayerza, the son of an affluent family, by Sicilian-Argentine Mafioso Juan Galiffi, a.k.a. “Chicho Grande”—journalists shifted their attention to these protracted dramas. Now, the victims’ families became the main protagonists, and their visible agony instigated a renewed debate over the proper administration of justice. Both the public and media voiced their desire for more stringent laws, heightened police presence on the streets, and the reinstatement of capital punishment.

A few decades later, back in Mexico, an analogous phenomenon transpired as the nota roja assumed the role of bastion of the public sphere. In his latest book, A History of Infamy: Crime, Truth, and Justice in Mexico, Pablo Piccato (UT History Ph.D., 1997), explores civil society’s efforts to mend the ruptured nexus between crime, truth, and justice that emerged during the post-revolutionary era. The inefficiency and corruption of the authorities, coupled with the wiliness of certain criminals, often made it impossible for truth and justice to prevail. Consequently, citizens sought the facts of a case and proper application of the law by engaging in debates in both courtrooms and the press. Jury trials, in which ordinary people attended proceedings to discuss the full gamut of criminal behavior and settle on truths, were a novelty in the country’s legal history. But after their abolition in 1929, the nota roja took over as civil society’s primary marketplace of ideas for crime-related issues.

Unlike Mexico’s leading newspapers, many of which counted on government subsidies to stay afloat, tabloids like ¡Alarma! and Detectives were free to lay bare the collusion between state officials and underworld figures. For readers, these publications came to represent unparalleled sources of important information. Many even made a habit of writing in to opine on a variety of topics, from how police should go about their job, the likely motives of serial killers, and most commonly, to suggest the rectification of heinous crimes via extrajudicial methods. Columnists generally concurred with the latter point, arguing that since capital punishment was no longer an option (it was abolished for civil cases in 1937), jailers should be given carte blanche to dispose of those convicted of the most despicable crimes. Torture, lynching, or a quick and easy bullet to the brain were all deemed fitting punishments. Some favored the so-called ley fuga, or law of flight, a Porfirian-era extrajudicial punishment that empowered police to shoot fleeing prisoners. In practice, however, the police themselves would often set the prisoner free in order to apply the penalty.

At the heart of Piccato’s study is what he describes as “criminal literacy.” Rooted in lessons from both notas rojas and fictional narratives, criminally literacy refers to specific knowledge that was essential to safely navigate the dangers of contemporary Mexico City. It comprised an eclectic mix of information, such as knowing which neighborhoods to avoid, the standard ruses of thieves and con artists, and the potential perils of nightlife. All of this was certainly helpful in staving off victimization, but it undoubtedly reinforced anachronistic ideas about the perceived differences between good, lawful citizens and bad, unlawful ones.

These and a small number of other authors have been wise to treat the crime story with greater seriousness. Consequential narratives about certain types of crimes, malefactors and victims, whether accurate or not, are disseminated through newspapers, magazines, radio and television broadcasts, and even literary works. Unsurprisingly, popular perceptions (as opposed to reality) offer an important indicator of the public’s knowledge. And frankly, sometimes what people believed is more interesting than what actually occurred. Cultural histories of crime writing or criminal archetypes as fostered by the languages of mass communication constitute an alluring new research frontier—a sort of history of popular criminological thought—that have the potential to flourish alongside the more traditional scientific and legal historiographies.

Books Discussed:

Carlos Monsivais. Mexican Postcards. Translated and Introduced by John Kraniauskas (1997)

Lila Caimari. While the City Sleeps: A History of Pistoleros, Policemen, and the Crime Beat in Buenos Aires Before Perón (2016)

Pablo Piccato. A History of Infamy: Crime, Truth, and Justice in Mexico (2017)

Fear and Loathing on the Campaign Trail ’72 by Hunter S. Thompson (1973)

“How low do you have to stoop in this country to be President?”

Forty years on, that question still haunts the pages of Hunter S. Thompson’s Fear and Loathing on the Campaign Trail ’72 like the ghost of Boss Tweed. First appearing as a series of articles in Rolling Stone Magazine, Thompson’s coverage of the 1972 presidential election shines light on the darker side of the democratic process. Thompson, author of Hell’s Angels and Fear and Loathing in Las Vegas, has the right kind of eyes to see the corruption, the lunacy, and the sheer depravity of choosing a chief executive in modern America. In his landmark work of Gonzo journalism, Thompson chronicles the Democratic Party’s struggle to mount a viable challenge to Richard Nixon as the Vietnam War raged on with no end in sight.

book cover for Fear and Loathing on the Campaign Trail ’72

Thompson powerfully sets the stage for the 1972 Democratic primary contest – a party divided, old coalitions fragmenting, and the chaos of the 1968 election looming over the process. For the first time, the Democrats would choose their nominee exclusively through state primaries rather than a combination of elections and back-room deals. The list of candidates – including Sen. Ed Muskie of Maine, Sen. Hubert Humphrey of Minnesota, Sen. Henry “Scoop” Jackson of Washington, and Gov. George Wallace of Alabama – proved familiar but uninspiring. In the midst of this drab battle for the soul of the Democratic Party, Thompson spots an honest man in a pack of party hacks: Sen. George McGovern of South Dakota.

McGovern, who died last weekend at the age of 90, emerged in 1972 as the Democratic Party’s unlikely presidential nominee. As a rare liberal spokesman from a conservative state, McGovern championed the anti-war movement in the U.S.

Senate. McGovern, a former history professor and decorated World War II bomber pilot, passionately protested the Vietnam War on the Senate floor, lamenting: “I am sick and tired of old men dreaming up wars for young men to die in.” McGovern’s fledgling campaign picked up steam through the primaries of 1972, and Hunter S. Thompson went along for the ride.

Hunter S. Thompson (left) and Sen. George McGovern on the campaign trail, 1972. Source: Wikimedia Commons.

As a sort of embedded journalist with the McGovern campaign, Thompson shunned the idea of impartial reporting. Objective journalism, he argued, is a “pompous contradiction in terms.” After all, selecting sources and choosing verbs are subjective activities. Besides, Thompson reasoned, artificial objectivity blinded most journalists to the dishonesty of politicians like Richard Nixon, his main antagonist. By this reasoning, Thompson publicly declared his support for McGovern early in the primaries.

At times, Thompson’s irreverent style (which he termed “Gonzo journalism”) also blurs the line between fiction and reality. On the campaign trail, he reported that a rumor was circulating that frontrunner Ed Muskie had been treated with a powerful psychoactive drug called Ibogaine. His report was true. There was indeed a rumor, but Thompson had started it himself. Similarly, Thompson sets his sights on derailing Hubert Humphrey’s nomination bid. Over the course of a brutal series of primary battles between Humphrey and McGovern, Thompson tells of suspected election fraud and attempts to circumvent the newly-instated primary system by the “old ward heeler” from Minnesota.

*Hunter S. Thompson, 1971. Source: Wikimedia Commons*

From the primaries to the convention, Thompson’s colorful prose proves both gripping and darkly humorous. The unprecedented access he gained to McGovern campaign staffers and Democratic Party chiefs enabled him to document every day of the historic contest in graphic detail. Thompson does not simply regurgitate press releases and the transcripts of pool interviews. He vividly relates the feel of life on the campaign trail – the blind euphoria, the hopeless despair, the money, the loneliness, the alcohol, and all. Thompson’s clarity and wit have firmly established Fear and Loathing as a celebrated work of political journalism and its author as an icon of American literature.

But what of the hero? What of George McGovern?

McGovern lost every state in the Union, save for Massachusetts and the District of Columbia. Nixon’s landslide victory represented the first time a Republican carried every Southern state and delivered the incumbent a then-record 520 electoral votes. Thompson rattles with contempt in his reflections on the Nixon landslide but maintains enough composure to analyze the reasons for McGovern’s devastating loss. First, the ugly primary fights with Humphrey left the liberal McGovern labeled as the candidate of “Amnesty, Acid, and Abortion.” Second, the fractured Democratic establishment never fully united behind its nominee.

*Senator McGovern, 1972. Source: Wikimedia Commons*

Perhaps most significantly, McGovern’s running mate, Sen. Tom Eagleton of Missouri, was revealed to have undergone electroconvulsive therapy for depression. After waffling for days, McGovern asked Eagleton to step down to be replaced by former Peace Corps director Sargent Shriver. Through these debacles, Thompson portrays McGovern as an honest man making foolish mistakes. These political errors undermined public confidence in McGovern’s judgment and reinforced his image as “too liberal” for the country.

While the American public rejected McGovern in 1972, Thompson viewed him as the last best hope for America. As he writes: “The tragedy of all this is that George McGovern, for all his mistakes […] is one of the few men who’ve run for President of the United States in this century who really understands what a fantastic monument to all the best instincts of the human race this country might have been.”

*Nixon at a campaign event. Source: Wikimedia Commons.*

In light of the social upheaval of the 1960s and the persistent trauma of war in Vietnam, McGovern’s grassroots campaign provided a powerful contrast to the heavy-handed and often secretive Nixon Administration. Indeed, as Thompson tracked McGovern’s campaign for Rolling Stone, Bob Woodward and Carl Bernstein diligently investigated the June 17, 1972, Watergate burglary in the pages of the Washington Post. To avoid a probable impeachment, Nixon resigned the presidency just over two years later. As Fear and Loathing on the Campaign Trail ’72 brilliantly reveals, George McGovern inspired many with a vision of an honest and humane government intent on building peace at home and abroad. It is a vision that has been eroding ever since.

The views and opinions expressed in this article or video are those of the individual author(s) or presenter(s) and do not necessarily reflect the policy or views of the editors at Not Even Past, the UT Department of History, the University of Texas at Austin, or the UT System Board of Regents. Not Even Past is an online public history magazine rather than a peer-reviewed academic journal. While we make efforts to ensure that factual information in articles was obtained from reliable sources, Not Even Past is not responsible for any errors or omissions.

Rise of the Vulcans: The History of Bush’s War Cabinet by James Mann (2004)

by Aragorn Storm Miller

James Mann provides a lively and comprehensive study of the advisers who would guide George W. Bush as he sought to make the world safer for U.S. interests. Mann argues that Bush’s inexperience led him to rely on—as well as greatly empower—a cohort including some of the most experienced and respected members of the conservative foreign policy making community. This cohort—Cheney, Rumsfeld, Powell, Wolfowitz, Armitage, and Rice—came up in the ranks together, devoting much thought to altering the means and ends of U.S. foreign policy in order to avoid what they considered to be the errors of previous liberal and conservative administrations. The Bush administration’s abandonment of realpolitik and judicious use of force, to embrace of ambitious unilateralism and export of U.S. institutions, was thus not as sudden or unprecedented as many contemporary observers suggested. Such a new way forward had been brewing for decades.

As a journalist, Mr. Mann performs his role of “providing the first draft of history” admirably. Professional historians will appreciate his effort to position Bush’s “Vulcans”—the nickname his advisors used to convey their devotion to toughness and power—as the intellectual fulcrum between U.S. Cold War and post-Cold War conceptions of foreign relations. The more casual reader will also appreciate Mann’s ability to make these policymakers come alive as human beings who, like anyone, consist of a lifetime of personal dreams, disappointments, goals, and agendas. Indeed, as historians are becoming increasingly aware, men and women who toil on a specific problem or issue for decades often come to exercise far more influence on national policy than the given president who simply does not have the time to master every foreign policy question.

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