How to Know if Your Boss is A” Douchebag”: Lessons from the Fyre Festival

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Spoiler Alert: This post contains spoilers for the Netflix documentary Fyre: The Greatest Party That Never Happened.

Plenty of us have supervisors we hate. Some of us work for douchebags. This distinction is significant because plenty of people are inconsiderate, immature, selfish, competitive, and dishonest. But we’re not entitled to a workplace free from unethical ineffective people. We are, however, entitled to employment free from the douchey.

According to the viral blog post by my friend Professor Michael Mark Cohen, a douchebag is not only an asshole, but a subset of asshole who is primarily concerned with increasing and asserting his White wealthy male heterosexual privilege. He is a one-percenter (or more often an aspiring one-percenter) who engages in amoral and abhorrent behavior to achieve discriminatory goals. Because the douchebag prefers to rely on entitlements assigned to his Whiteness, maleness, straightness, and wealth

more than anything else to advance professionally, he is usually fatally toxic to any endeavor. The douchebag is merit’s enemy and mediocrity’s whore.

To be crystal clear for the #AllLivesMatter folks, according to Professor Cohen anyone can of course be an asshole. And all straight white wealthy men are not douchebags. The term should only be applied based on an individual’s known bigoted behavior that is concurrent with his rich straight white maleness. For example, R. Kelly is clearly an asshole. Well-known douchebags include former media mogul Harvey Weinstein, former professor Emanuele Castano, Supreme Court Justice Brett Kavanaugh, and the 45th President of the United States.

We can also add Billy McFarland, former CEO of Fyre Media, Inc. and orchestrator of the Fyre Festival fiasco to this list. I expected the Netflix documentary, Fyre: The Greatest Party That Never Happened, to make a statement about our overreliance on image in the social media era or how music festival culture has officially jumped the shark (Beyoncé can’t save all of them). In fact, this is a gripping tale about douchebaggery in the workplace, and how it makes employees and contractors who are people of color, women, LGBTQ, youth, and/or from developing countries particularly vulnerable.

Based on the Fyre Festival example, here is a quiz with three questions that can help you determine whether or not your boss is a douchebag. Don’t despair, at the end there’s also tips on how to overcome him. If your boss is just an asshole, I’m sorry. Tell me about it in the comments.

1. Does He Put Models Over Merchandise?

Bella Hadid. Courtesy Fyre Media, Inc.

I was stunned to learn from the Fyre documentary that the music festival was intended initially to be a tool for marketing the Fyre app. This app aimed to provide everyday event organizers with a reliable and efficient way to book celebrities. As a producer, activist, professor and event planner, who has faced the hurdles of hunting down talent, I think this is an excellent and useful idea. Also, public events are a tried-and-true marketing method that allows brands to build community with their consumers and demonstrate how they are problem solvers. Talent exhibition for a talent booking app? Great business thinking.

But the documentary illuminates how almost immediately McFarland shifted the focus away from promoting the app through the festival to glorifying his ability to access young women who were professionally charming and attractive. He hired a production company and crew of supermodels including Chanel Iman and Bella Hadid to shoot a commercial for the event featuring himself and his business partner Ja Rule. The commercial itself does not show the app, or confirm whether the models were booked using the Fyre app, or explain the relationship between any of the festival’s features and the app’s functionality. The takeaway from this lovely short film is that these women are beautiful, McFarland knows them, and they were all playing on the beach in the Bahamas.

America’s culture and court system are pretty forgiving when it comes to exaggeration, or “puffery,” in marketing. However, the douchebaggery is evident in McFarland’s preference to create a commercial that showcased him as a straight, White, wealthy man that dominated nature, women, and his best complicit Black friend Ja Rule. There are stomach churning scenes in the documentary in which Ja Rule, more than a decade past the peak of his cultural relevance, serves as McFarland’s oppression hype man by declaring their entitlement to bother the islands’ turtles and force women employees to swim against their will. The finished product was not a vehicle for promoting the app, which was being developed by earnest hard-workers in New York. It was a siren call to other douchebags that promised, “if you come to the Fyre Festival, you can flaunt your entitlement, too.”

McFarland’s obsession with featuring models to promote an app for event organizers is particularly telling. The model’s job is to be a vessel for a creative vision, logo, or other abstract concept. For the most part women models are charged with doing this while also conforming to the mainstream’s ideal of femininity by appearing young, thin, and fun. In contrast, organizers are leaders who transform a vision into a reality. They are usually assertive, uncompromising, and dead serious. Douchebags are only comfortable in scenarios where they can dominate and exploit, so   McFarland could never truly connect with Fyre app’s target audience of organizers. True leaders rarely fan the flames of anyone’s ego.

If your boss puts models or other avatars of straight wealthy white male dominance above the actual product your organization offers, he might be a douchebag.

2. Does He Terrorize Truth Tellers?

After the American cheese sandwich tweet seen around the world (left), McFarland and some of his inner circle attempted to blame unforeseeable circumstances for this catastrophe. “Do not lie!” an employee reportedly exclaimed as McFarland and his crew prepared a public statement at the festival site. The fact was McFarland’s faithful hardworking employees had repeatedly warned him that he “was selling a pipe dream” to ticket holders due to the logistical realities on the ground. McFarland chose to terminate or ignore the truth tellers to indulge his fantasy.

McFarland launched the Fyre Festival on a classic douchey premise: colonialism. His branding of Norman’s Cay in the Bahamas, the original site of the festival, as “Pablo Escobar’s private island” in unspoiled paradise was inaccurate. According to Frontline, between 1978 and 1982 only part of the Cay was owned by Medellin cocaine cartel’s leader Carlos Lehder. He organized the use of the island’s private airstrip as a layover point for small private planes smuggling narcotics from Columbia to the US. Eventually, the Bahamian government shut down his operation and Lehder was incarcerated. I could find no evidence Escobar ever went to Norman’s Cay or personally owned any property there.

By providing this tantalizing fictional tidbit about the festival’s locale, McFarland sought to capitalize on decrepit stereotypes about the lawlessness and exploitability of the Caribbean and Latin America. Pablo Escobar, the Latinx caricature not the actual human being, looms large in the douchebag's imagination as a symbol of the hypermasculine indulgent criminality he believes his straight White male privilege entitles him to enjoy. However, the douchebag does not expect to suffer the same consequences as Escobar—imprisonment and death—because he is not Latino or from the developing world. McFarland felt free to deploy Escobar’s legacy and the idea that Norman’s Cay was available to use with abandon. That is how douchebags have treated the region and its residents since 1492.

Unsurprisingly, McFarland’s puffery was soon poked by reality. The Bahamas is a very real wealthy majority Black country with immigration, customs, taxes and a booming tourism industry. The festival’s ticket holders were quite nonfictional people who needed food, water, and bathrooms. Norman’s Cay was owned by a multinational consortium of developers who expected to get paid in actual dollars.

Just as Christopher Columbus refused to listen to the Arawak and Taino when they informed him they were not in India and instead began burning them alive, McFarland “would not take advice” from his employees that the Fyre Festival would not be the luxury bacchanal he had sold to thousands of ticket holders. The employee that advocated for docking a cruise ship near Norman’s Cay for guests because the island lacked electricity, internet access, and plumbing was fired. Another employee who advised it was impossible to find the dozens of luxury seaside villas McFarland had promised nonpaying influencers was chastised for not being solution-oriented. Andy King, the gay employee who expressed concerns about McFarland’s inability to pay taxes for imported water, was charged with bribing a local official with fellatio.


In Fyre, McFarland’s sincere former employees expressed how they were flabbergasted by his unwillingness to respond to facts. The douchebag’s aversion to the truth should never stupefy.  He is, after all, propelled by the most enduring fiction in human history. The fantasy that whiteness, maleness, heterosexuality, and wealth entitles anyone to dominance over anyone else. If your boss is allergic to the truth, he might be a douchebag.

3. Does He Generate Actual Profits or Just Fit the Entrepreneur Profile?

Supermodel Chanel Iman and friends on a private jet hired by McFarland and paid for by investors and employees. Courtesy BravoTV.

In McFarland’s defense, according to the documentary he appeared to be taking a lot of cues from The Silicon Valley Entrepreneur’s Handbook composed by the examples of Mark Zuckerberg, Elon Musk, and Elizabeth Holmes. He did whatever he could to fit the profile of the Next Big Thing for venture capitalists. He was a lower upper class college dropout with a baby face, winning smile, and millennial white American voice that connoted youth and tech wizardry. The Maserati and private plane rides conveyed existing billionaire support. The rapper accessory in Ja Rule broadcasted cool and cultural insider-ship. Wealthy people stay wealthy through value investing—buying low and selling high. VCs wish they had a time machine to meet Jeff Bezos in 1994 or Zuckerberg in 2004. McFarland began convincing some investors the Fyre app might be their Facebook.

As employees and contractors, we also engage in this kind of professional profiling. After a lifetime of receiving images and messages from schools and the mainstream media that people with great business ideas never look like us and always look like douchebags, we believe it. MaryAnn Rolle, a Black Bahamian woman who is owner of the Exuma Point Bar and Grille, explained that she agreed to work with the Fyre Festival because they seemed to “have a lot of money” and promised the Festival would be an annual event on the island for the next five years. It is quite possible that, to Rolle and the other contractors and Fyre employees, McFarland fit their profile of a successful White foreign businessman. Hungry for opportunity and eager to demonstrate their hard work and competency—as many of us are—they did not do their homework on McFarland. As a result, they suffered grave consequences.

The problem with profiling is that in a society still very much influenced by racism, sexism, homophobia and other forms of marginalization, shorthands for success always benefit the douchebag. Fitting the shallow profile of “successful entrepreneur” has little to do with whether or not one is generating actual profits. For example, according to the Netflix documentary McFarland was running his company more like a pyramid scheme than a business. He spent millions of dollars keeping up the facade of success. Neither the app or his earlier project Magnises were generating sufficient revenue to sustain these expenses. So he solicited more and more investment, and helped himself to employees’ credit lines, to keep the charade going—without ever increasing profits.

Once the pyramid collapsed and the Festival fiasco went viral, McFarland attempted to make himself scarce. His employees and contractors were left in financial and reputational debt because of his fraud. Ms. Rolle, who helped cater the Festival, claims in the documentary while fighting back tears she lost $50,000 of her savings to wages and supplies that were supposed to be paid through her contract with McFarland’s company. Others claimed to have lost hundreds of thousands of dollars or weeks of wages. Ironically Ms. Rolle, who runs her business with her husband Elvis, provided the true sterling example of entrepreneurship by taking responsibility for her decision to work with McFarland and not passing on her losses to her workers.

In sum, if your boss puts more money into looking like a success than generating actual revenue, he might be a douchebag.


The Takeaways


MaryAnn Rolle in Her Still Successful Business Courtesy Scott McIntyre/New York Times

If you've answered yes to 2 or more out of the three above questions about a supervisor who is a straight White man, I’m sorry but your boss is a douchebag.

The good news is there are a few tips we can remember to help us overcome the toxicity of douchebaggery in the workplace.

First, know the difference between avatars and actuality. McFarland’s work as an “operational sociopath,” as one of his employees described him, shows how douchebag’s rely on our belief in avatars for success and achievement. Look past models, bottles, and Maseratis, or whatever the eqiuvalent is in your field, and evaluate your boss’s demonstrated outcomes and achievements. If there’s no there there, there probably never will be.

Second, if he lives on lies then leave. By leave, I mean actually change jobs as soon as you can. In the meantime, withdraw your emotional, financial, and time investment as much as possible. As we see with McFarland, douchebags adore exploiting the diligent and capable while making us bash our heads against a wall of frustration. Save your emotional investment for a boss who deserves it.

Third, make him show you the money. If you took this quiz, chances are you are suspicious your boss is not what he claims to be. Trust your instincts and seek proof that he can pay his bills as soon as possible. If you’re at the beginning of the relationship, try to negotiate established intervals for payments of salary or invoices. If he misses one, stop work until it is resolved and don’t be afraid to cut your losses. Although MaryAnn Rolle pointed out in a New York Times interview: “be careful of strangers,” which is good advice, a Go Fund Me campaign replenished her losses and provided a surplus she pledges to share with her community. Lost money is not your last money. But don’t put the good investment of your time and mental health where you know it will not pay off.

Remember, the era of the douchebag is clearly in decline. Billy McFarland probably never expected to endure consequences like his hero Pablo Escobar. Convicted of mail and wire fraud, McFarland is federal inmate #91186-054,


-- Robin J. Hayes, PhD

Cardi B for Congress

Posted Leave a commentPosted in Artists, Field Notes

5 Reasons Why the Reina of Hip Hop is a Political Mastermind

Since she started lighting up Instagram with content about her life as a stripper four and a half years ago, the AfroLatinx, first generation American rapper born Belcalis Almánzar and known as Cardi B has become a fixture in mainstream pop culture. Whether she’s chatting on Ellen or Carpool Karaoke-ing, Cardi unapologetically rejects respectability politics with her signature booty clapping choreography and Spanglish ghetto patois. She does not use a White voice. She makes no effort to comfort bougie people of color about her visibility or sway over forty+ million followers.

But don’t let Cardi B’s hood style fool you. In her work, which includes rap songs, music videos, interviews, and social media content, she consistently articulates sharp insights about how racism, sexism, and poverty intersect to create specific obstacles for women of color. She also inspires a multitude of young voters with her savage hilarious critiques of the Trump administration and its racist supporters. Here are just five of the reasons I would thoroughly endorse Ms. Almánzar for Congress.


1. Cardi Thoroughly Enjoys Her Sexuality (With Other Women)

"This pu**sy wild, they should throw it in a cage"

Cardi appears as a featured performer in the music video for the hip hop duo City Girls’ single Twerk. This dance form has been repeatedly misappropriated by the mainstream as a a hypersexual method of pleasing the masculine gaze, since it broke through with the legendary video for “Back That Ass Up” by New Orleans rapper Juvenile in 1999. Twerk returns the dance to its African and New Orleans origins. Cardi, the City Girls, and dozens of Black women of all sizes create a festive feminist cipher in which everybody’s jelly is thoroughly celebrated.

2. She’s a rich person who thinks taxes should be used for social services.

“I will dog walk you”



During the Trump orchestrated government shutdown, White conservatives who are clearly not from the Bronx or rappers made the mistake of attacking Ms. Almánzar on Twitter for her concerns about President Trump’s leadership and obsession with building a staggeringly expensive unnecessary border wall. These conservatives made some thinly veiled racist, sexist, and classist remarks that somehow Cardi, as a citizen, was not qualified to critique Trump. She responded that the millions of dollars she will pay in taxes not only qualifies her to be outspoken but will be used to fund social services like health insurance—even for Trump supporters. Unlike many Republican one percenters, Cardi does not seek tax reductions. Instead, she supports transparency in government funding and increased public expenditures on public transportation and services for prisoners.


3. She empathizes with the struggles of women of color at work.

"Your self-esteem always goes down"

Although she was a full-time stripper for only a year, Cardi is very open about how that experience impacted her. She is rightfully unashamed of her prior career and frequently extolls the work ethic and street smarts of women who make their living on the pole. In her song, “Stripper Hoe,” she proclaims:

Yo, some people know me as a stripper hoe

But stripper hoes get the money and blow digits though

A lot of bi***es talkin' down on me like I'm a joke

Talk sh*t, I'll f*ck your man, send him back hella broke”

However, Cardi is also candid about the challenges that strippers of color face. In a 2017 interview with DJ Vlad, she described how she earned less than White women at “White clubs,” and less than “thicker” girls with more Kardashian-like bottoms in “urban clubs.” Cardi also poignantly describes the humiliation of being subjected to the whims of male customers who were not more educated than she was and earning less than more conventionally beautiful co-workers who were not smarter or more talented than her. Of course, women of color in all professions experience colorism, bodyshaming, sexism, unequal compensation, and being judged on their looks. When she proudly stated in her international hit “Bodak Yellow,”  “I don’t dance, now I make money moves,” she pointed out how women of color with smaller incomes might only overcome the steep obstacles they face at work by becoming their own bosses.


4. She does not tolerate toxic masculinity.

“We are not seeing eye to eye.”

While Cardi was touring in support of her platinum album “Invasion of Privacy,” her marriage to Offset of the grammy-nominated rap trip Migos was unraveling. During her performance at the Rolling Loud festival, where she was breaking a glass ceiling as the first female headliner of the event, Offset pulled a classic toxic masculinity stunt. He interrupted her at work with a grand gesture of flowers and a loud public statement of love and contrition. Rather than giving in to her husband’s pressure, Cardi ordered him and his flowers off stage. When her followers erupted in outrage online, she also refused to be cast as a damsel in distress.

5. She knows what she does not know.

“We need to take some type of action.”

As federal employees continue to endure weeks without pay, Cardi took to Twitter to encourage her followers to take action. When Cardi admitted she wasn’t sure exactly what kind of action she and her followers should take, “because this is not what I do,” she set an important example for all kinds of leaders. Asking for help is not a sign of weakness. We don’t need all of the directions to a final destination in order to take the first step.

Her politics echo the voices of other progressive women of color working to transform Washington’s status quo, such as new Congresswomen Alexandria Ocasio-Cortez, Ilhan Omar, and Sharice Davids. Like Cardi, these women are also smart enough to realize that they can not be impactful alone. They are all part of a generation which thankfully does not seek permission from straight White male Baby Boomers to speak the truth or lead their communities. They feel no need to hide their hijab or hoop earrings to be taken seriously. Cardi would fit right in with this new crop of legislators who insist on being heard, speaking the truth, and fully realizing all of their power.


Eminem Trump Diss: Woke or Broke?

Posted Leave a commentPosted in Activists, Allies, Artists, Students, Teachers

Eminem offered President Trump a thorough read in a freestyle recorded for the 2017 BET Hip Hop Awards called “The Storm.”

After going in on how Trump has fanned the flames of the national anthem controversy…

But this is his form of distraction
Plus, he gets an enormous reaction
When he attacks the NFL so we focus on that in
-stead of talking Puerto Rico or gun reform for Nevada
All these horrible tragedies and he’s bored and would rather
Cause a Twitter storm with the Packers

The most acclaimed White rapper of all time concluded with:

‘Cause like him in politics, I’m using all of his tricks
‘Cause I’m throwin’ that piece of shit against the wall ’til it sticks
And any fan of mine who’s a supporter of his
I’m drawing in the sand a line: you’re either for or against
And if you can’t decide who you like more and you’re split
On who you should stand beside, I’ll do it for you with this:
“Fuck you!”

Ending with a Beyoncé classic middle finger up.

Since he burst into hip hop with the classic single “Slim Shady,” Eminem has received a lot of blowback from the culture about how his Whiteness allowed him to crossover to the mainstream and stay there despite homophobic and misogynistic lyrics. All while Black rappers were (rightly) excoriated for the same actions.

Pupils, in light of (pun intended) Eminem’s enjoyment of White Privilege is his Trump rant woke or broke?

See the full performance below.

Discover Progressive Pupil’s diversity workshops, documentary screenings and other engaging programs for your campus, nonprofit or corporation here.

A Quick Look at All-Women Rap Trio Las Krudas Cubensi

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Image of Krudas Cubensi courtesy of Hip-Hop Congress.
Image of Krudas Cubensi courtesy of Hip-Hop Congress.

Out of a woman-formed and led artists movement in Cuba comes Las Krudas – a rap trio, formed of 3 Cuban women.

Krudas is a derivation of the Spanish word “cruda” meaning crude, raw, unrefined, real; Cubensis is a Latin word for those of native Cuban descent. Cruda is precisely what these women are: they are raw, unrefined, and real. They celebrate and defend diversity, while actively engaging in a counter culture. Las Krudas practices what they preach.


Icons: The Wu Tang Clan

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Wu Tang Clan founding member Rza, rendered as the Buda by artist Yuko Shimizu.  Image courtesy of
Wu Tang Clan founding member Rza, rendered as the Buda by artist Yuko Shimizu. Image courtesy of

Wu-Tang Clan gained wide-spread notoriety for their unique sound and lyrical skills when their self-produced single “Protect ya Neck” was released in 1992. Shortly after, the group signed with Loud/RCA Records and released the album “Enter the Wu (36 Chambers)” in 1993. The album’s signature style was designed as a complete artistic package inspired by themes from Kung-Fu movies of the ‘70s and 80’s, like the 36th Chamber of Shaolin, and Shaolin and Wu Tang, among others. The album had a mix of samples from these films and their lyricism was humorous, vivid and spoke of some of the hardships faced in Staten Island, NY, which the group nicknamed Shaolin.