The Financial Times on David Koch: Old Socialist comments

Who can forget this moment in the life of this notorious Oligarch/Hyper-Reactionary? As reported by John Gapper @FT, Gapper’s report in a bold font, and note his use of utterly dismissive characterizations of the audience : “harried Brooklyn moms and salivating balletomanes” !

Headline: Theater Audience Boos Tea Party Billionaire David Koch

David Koch masks his role as one of the top financiers of the Tea Party movement and pro-polluter front groups by loudly tacking his name to more laudable charities, like the New York city ballet. Koch, who has professed his devotion to “The Nutcracker” ballet performance by Alexei Ratmansky, made a matching grant of $2.5 million so that it could go on this season. At a special opening of the performance at the Brooklyn Academy of Music shortly before Christmas, Koch made an appearance to talk about his donation. The Financial Times’ John Gapper was in the audience and witnessed a crowd of “harried Brooklyn moms and salivating balletomanes” erupting in boos at the sight of the Tea Party billionaire:

The excitement started even before the show when David H. Koch, the co-owner of Koch Industries, the largest privately-own industrial conglomerate in the US, came out on stage to talk about his $2.5m sponsorship of the production. Most people applauded but there were also boos from near where I sat in the balcony, followed by an angry debate in the row in front of me, with one of the booers declaring “he’s an evil man” and a couple next to her telling her to “shut up” and to leave the theatre. […] Once Mr Koch had left the stage, the booing stopped and the ballet started.

The defense of Oligarchs is a full time job for the Financial Times ‘reporter/apologist’!

Old Socialist



About stephenkmacksd

Rootless cosmopolitan,down at heels intellectual;would be writer. 'Polemic is a discourse of conflict, whose effect depends on a delicate balance between the requirements of truth and the enticements of anger, the duty to argue and the zest to inflame. Its rhetoric allows, even enforces, a certain figurative licence. Like epitaphs in Johnson’s adage, it is not under oath.'
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