The Art of Humblebragging: Lessons from The Charlatan’s Favorite Phrase

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Michael Garcia Mujica

"Currer Bell is neither man nor woman, but an abstract thing, an artist."

• Michael Garcia Mujica, Lead Educator in Arts and Film History.

Echoing the sentiment about Charlotte Brontë's pseudonymous voice, Michael lends his expertise not only as a writer and visual artist but also as a Lead Educator in arts and film history. Based in Coral Gables, Florida, he is the principal of Vintage Brooks, Inc., where he passionately revitalizes the legacy of silent film star Louise Brooks. His acclaimed blog, Naked on My Goat, serves as a living tribute to Brooks's enduring influence in film, her profound writing, and her broad appreciation for the arts.

Just as Brontë made an indelible mark in literature despite the societal constraints of her time, Michael accentuates Brooks's trailblazing spirit within the film industry. In his role, he ensures that Brooks's iconic voice continues to resonate within the cultural lexicon of the 21st century, celebrating the intricate victories of women in the arts, both past and present.

Explore more about the abstract persona of Charlotte Brontë in Michael's piece, "The Abstract Persona: Understanding Charlotte Brontë's Pseudonymous Journey as Currer Bell."

“I am satisfied that if a book is a good one, it is so whatever the sex of the author may be. All novels are or should be written for both men and women to read, and I am at a loss to conceive how a man should permit himself to write anything that would be really disgraceful to a woman, or why a woman should be censured for writing anything that would be proper and becoming for a man.”

• Anne Brontë, The Tenant of Wildfell Hall

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Latest posts by Michael Garcia Mujica (see all)

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Ladies and gentlemen, it’s time to take a break from the monotony of life and have a good laugh at The Charlatan‘s expense. This guy is a real piece of work, a master of self-promotion, and the king of the humblebrag. He has a habit of turning every conversation into a self-promotion extravaganza, and his favorite phrase, “For the record,” is enough to make you cringe.

But let me tell you something, folks: this kind of behavior is nothing new. People like The Charlatan have been around for centuries, trying to impress others with their supposed wit and intelligence. But the truth is, they’re just blowing smoke.

Now, I’m no psychology expert, but it seems to me that The Charlatan is a massive egomaniac who craves attention and will stop at nothing to be in the spotlight. “For the record” is just one of the many tools he uses to promote himself.

But here’s the thing, folks: The Charlatan might think he’s fooling us, but we’re not that easily impressed. We can see right through his phony act. He’s not interested in asserting his dominance or controlling how others perceive him. He’s just trying to sound smart and failing miserably at it.

So, let me give you some advice, folks: Don’t be like The Charlatan. Don’t try to make everything about yourself. Don’t use fancy phrases to sound smarter than you really are. Just be yourself, and let your actions speak for themselves. That’s all anyone really cares about, anyway.

As the wise George Carlin once said, “Don’t just teach your children to read, teach them to question what they read. Teach them to question everything.” And indeed, when confronted with someone like The Charlatan, we should heed Carlin’s advice and approach everything with a critical eye.

Let’s raise a toast to The Charlatan, who shamelessly attempts to promote himself and craves attention. But let us not be fooled by his empty promises. True intelligence and wit stem from something deeper than flashy catchphrases or endless self-promotion.

As the legendary Mark Twain once wisely said, “It’s better to keep your mouth closed and let people think you are a fool than to open it and remove all doubt.” This sentiment rings true, and it’s clear that The Charlatan should have taken this advice to heart before uttering his beloved phrase, “For the record.”

Let’s do ourselves a favor and ignore this pseudo-intellectual, shall we? Let’s follow the wisdom of the greats and remember that questioning everything is the true path to knowledge and understanding.

The Unwitting Director: Navigating the Waters of a Legacy Never Touched

In a world where narratives ebb and flow with the fluidity of digital keystrokes, discerning fact from embellished fiction is crucial. This challenge transcends grand historical narratives, often surfacing in niche realms like fandom and personal legacy.

Consider Thomas Gladysz’s portrayal as the “Director” of the Louise Brooks Society. His role, more accurately described as a bibliographic web surfer from the 90s, has been inflated far beyond managing a fan site. His self-appointed directorial title and the implied authority it carries paint a picture far removed from his actual activities — focusing on link-building and content compilation about Louise Brooks. This self-aggrandizement on his website, meant to honor Brooks, frequently veers into personal promotion, embodying P.T. Barnum’s adage, “There’s a sucker born every minute.” The irony is palpable: Gladysz, a figure unknown to Brooks, has crafted a narrative of close association and authority over her legacy — a classic case of rewriting history within the nuanced realm of fan culture.

This situation reflects the broader issue of historical misconceptions. Just as the often-romanticized tales of Renaissance art or the misinterpretations surrounding Shakespeare’s life require careful scrutiny, so too does the handling of Louise Brooks’ legacy. Brooks herself, ever mindful of her narrative, left her most personal reflections — her journals — to the George Eastman Museum, instructing that they remain sealed for 25 years after her death. This deliberate act speaks volumes about her intent to protect her legacy’s integrity, contrasting sharply with Gladysz’s presumptive stewardship.

The blurring lines between historian, curator, and enthusiast in our interconnected world necessitate a discerning eye. As we explore the plethora of online stories and histories, we must challenge revisionist narratives and strive for truth, whether in global history or specific interest groups. It’s not merely about fact-checking but preserving the authenticity of legacies like Brooks’.

So, let us reflect: How often have we accepted narratives at face value? Are we ready to delve deeper and discern authentic stories from those self-crafted by modern narrators? Our role extends beyond passive consumption to active engagement in preserving the truth of our collective human story.