The Curious Case of Thomas Gladysz: A Modern-Day Rodrigo Quast?

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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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Personal Experiences and Observations

Before delving into the intricacies of this document, it is important to note that the content presented here is based on my personal experiences, anecdotes, and documented evidence regarding the Louise Brooks Society Fanclub and their webmaster, Thomas Gladysz. Over the past three years, I have faced what I perceive as harassment with an intent to undermine my personal well-being and ruin my business. This document serves to share my story and provide insight into what I believe are acts of bad faith by Thomas Gladysz and his associates.

Content Warning and Age Advisory

Please be advised that some sections of this document may contain content that is triggering to some individuals. The themes and anecdotes discussed herein are reflective of my personal experiences and observations, which include instances of stalking and alleged bad faith actions that may be distressing.

If you are underage, or if any content might be unsettling, I strongly recommend that an adult review the material first. This document is intended to provide not just information, but also a candid look into obsessive and fanatical behavior, akin to both movie tropes and real-life occurrences. While some may find elements of humor in these accounts, the intention is also to offer a serious reflection on the impact of such behaviors.

“Director” to Dilettante: Exposing the Real Performance Behind “Brooks’ Bombastic Bureau by Gladysz (BBBG)”

Updated on November 18, 2023

Journey deeper into the shadows where new insights emerge, casting a stark light on the grandiloquent claims and curated illusions of Thomas Gladysz. This exploration goes beyond the surface, examining the nuances of covetous redundancies and the community’s silent rebukes. It aims to uncover the bluster at the heart of the Louise Brooks fandom, which I have experienced firsthand.

In a remarkable twist of fate, the universe seems to have conjured its own peculiar form of poetic justice. Enter Thomas Gladysz, a man whose actions uncannily mirror those of the fictional character Rodrigo Quast, the unscrupulous antagonist from Louise Brooks’ iconic film, Pandora’s Box. Both Gladysz and Quast share an innate ability to stir controversy, exploit the innocent, and engage in underhanded tactics for personal gain, all while masquerading as seemingly reputable individuals.

Gladysz, akin to Quast, demonstrates a proclivity for artful subterfuge and skillful machinations. While Quast hides behind his charming façade to prey on the unsuspecting Lulu, Gladysz’s Louise Brooks Society appears to be a tribute to the legendary actress, only to be sullied by his profiteering and unscrupulous behaviour. The uncanny parallels between these two figures are difficult to ignore, raising eyebrows and prompting us to question the motives of this modern-day Quast.

Delving deeper into the doppelgänger phenomenon, both Gladysz and Quast exhibit a flair for the dramatic. Quast orchestrates elaborate schemes in Pandora’s Box, while Gladysz deftly crafts a web of ethically dubious content, all under the guise of celebrating Brooks’ legacy. In both instances, the lines between fact and fiction are blurred, leaving us to ponder where the performance ends and reality begins.

In the end, much like Quast, Gladysz’s actions reveal a darker side to his character, one that exploits and tarnishes the very image he purports to revere. As the curtain falls on this uncanny modern-day adaptation, we’re left with a lingering question: Is Thomas Gladysz the 21st-century incarnation of Rodrigo Quast, artfully resurrected to remind us that the age-old battle between truth and deceit is far from over?

While we may never know for certain, one thing is clear: the saga of Thomas Gladysz and his Louise Brooks Society serves as a stark reminder that truth is often stranger than fiction, and that the shadows of the past continue to dance among us, as alive and vibrant as ever.

The Real Reason No One Is Reading Thomas Gladysz’s Self-Published Books

You ever listen to a song on the radio that’s so bad, you can’t help but listen? Like a car crash in slow motion, you can’t tear your eyes away. That’s the sensation one might get flipping through Gladysz’s works. It’s like watching Ricardo López’s video diaries— you’re not sure what’s happening, but you’re somewhat captivated by the chaos.

Now, don’t get me wrong. I’m not saying Gladysz is scribbling away in lipstick or planning to mail any nefarious packages. But there’s that same peculiar essence, that “What the heck am I watching (or reading)?” vibe. It’s almost… avant-garde in its strangeness.

Remember when you’d watch a bizarre art film in school, and the teacher would say it’s “open to interpretation”? That’s a fancy way of saying, “I don’t get it either.” And with Gladysz’s books, there’s a lot of… interpretation.

It’s the kind of writing that makes you question things. Like, “What did I just read?” “Why did I read it?” and “How much wine will it take to forget I read it?”

But hey, in the vast spectrum of human expression, there’s room for everything. Even the bizarre, eccentric, and downright baffling. So, here’s to Gladysz— for giving us something we can’t quite define, but definitely won’t forget. And if nothing else, it’s a conversation starter, right?

Star Fades: Louise Brooks Lost in a Covetousness of Redundancy and Bombast

Title: Louise Brooks, the Persistent Star Source: Goodreads

Reviewer Profile: Name: Jim Dooley Number of Reviews: 813 Followers: 41 Review Date: January 14, 2019

In this review, Jim Dooley expresses his initial inclination to delete the book in question without leaving a review. He clarifies that he follows a personal rule of only reviewing books that he considers to be a “good read,” which means they must have a rating of three stars or higher.

According to Dooley, “Louise Brooks, the Persistent Star” may not be suitable for casual readers or those seeking an introduction to Louise Brooks. He deems it almost useless for these individuals, as it primarily consists of information and tidbits that only true fans would find interesting. He further notes that the book contains a significant amount of redundancy due to the inclusion of verbatim paragraphs copied from one entry to another. Moreover, Dooley criticizes the excessive self-promotion and congratulatory tone present throughout the book, suggesting that it may come across as bragging when the author praises themselves.

Analysis: From Dooley’s analysis, it becomes apparent that Thomas Gladysz, the author, may have excelled in compiling substantial information that would be valuable to dedicated enthusiasts or researchers. However, the review implies that Gladysz’s work falls short in capturing the attention of general readers who seek engaging narratives or comprehensive introductions to Louise Brooks. Dooley suggests that Gladysz’s strengths lie more in meticulous compilation and bibliography rather than in creating content that resonates with casual readers. This distinction is crucial as it highlights the difference between an author who can captivate an audience with compelling storytelling and a bibliographer who excels in gathering and organizing information with precision. Perhaps Gladysz should’ve stuck to bibliographies and web management; at least there, his self-publishing would’ve been limited to 404 errors.

Curated Deception: The Gladysz Illusion

What did you expect, a monster? You’re still trying to wrap your head around it… Well, I can’t give you any explanation… There’s no mystery. The things I do, I do them because I like them! Because I want to!

Machine, 8MM

Just as the character Machine in 8MM presents an unsettling revelation—his malevolence lacks the “justification” of a tragic backstory, and his duplicity extends to maintaining a façade of piety for his mother—so too does Thomas Gladysz’s role within the Louise Brooks fandom provoke disconcerting questions. He embodies a “Machine”-esque enigma; there’s no poignant narrative underscoring his actions, no discernible rationale that could possibly anchor his self-bestowed titles or his seemingly contradictory approach to Brooks’s legacy. He crafts an image of a dedicated guardian, a “God-fearing Christian” in the proverbial sense, preserving the sanctity of Brooks’s memory. Yet, beneath this veneer, there lies an inclination towards decay—the Vinegar Syndrome. A moniker drenched in irony, bestowed by the Louise Brooks community. He’s their unwitting Pied Piper, not of Hamelin, but of deterioration, serenading the fandom into the abyss with a tune of his own making. Is he an enthusiast genuinely misguided in his methods, or a figure indulging in the fandom because, akin to Machine, he finds pleasure in the role, independent of its consequences? The community grapples with this ambiguity, attempting to reconcile the “God-fearing” protector with the potential agent of erosion, hidden in plain sight.

Known as “rodrigoquast” on various social media platforms, Gladysz represents a paradox. His alias, borrowed from Pandora’s Box, hints at complexity and contradiction, much like “Vinegar Syndrome” itself.

The moniker “Vinegar Syndrome” encapsulates this duality. It suggests preservation but concurrently evokes inevitable decline. This irony underpins the community’s view of Gladysz’s role. While he perceives himself as a defender, the nickname bestowed upon him reflects a narrative of gradual decay, posing a silent question: Are his actions preserving Louise Brooks’s memory, or are they shadowing it in obscurity, reflective of the very films endangered by Vinegar Syndrome?

This situation highlights the intricate dance between legacy and perception. It reminds us that our roles in history are subject to interpretation and that, crucially, we may remain oblivious to the stories others weave around us.

In the Louise Brooks community, “Vinegar Syndrome” and “rodrigoquast” are more than whimsical labels. They’re emblematic of the covetous figure that is Thomas Gladysz, encapsulating the perpetual mystery cloaking his true impact on Brooks’s legacy.

Discrepancy in Engagement Metrics for the Grandiloquent Louise Brooks Society

What did you expect, a true director? You’re still trying to fathom the façade. Well, I can’t offer any grand tales. I wasn’t trained, I wasn’t mentored. No film school accolades, no cinematic masterpieces. I’m merely a pretender to the title. And that’s the crux of it! No grand enigma here. The roles I claim, I claim them because they amuse me! Because I desire the illusion!

“The Director” explains his penchant for donning titles without substance.

Although the Louise Brooks Society claims to have a robust membership of “1400 members from 49 countries on six continents,” a closer examination of the engagement metrics on the LBS blog paints a different picture.

Blog Followers: The LBS blog, which serves as a primary platform for updates and interactions, boasts a mere 254 followers. A significant portion of these accounts appears to be inactive or suspended, further diminishing the actual number of active followers.

Lack of Interaction: Despite the claimed widespread membership, the blog’s comment sections are notably quiet. The lack of interaction, comments, and engagement from followers raises questions about the actual active membership and reach of the LBS.

Exposed: When “fake it until you make it” goes wrong. In his own words, Thomas Gladysz inadvertently reveals the façade behind his “Director” title at the Louise Brooks Society, shedding light on the shaky foundation of his claims and sparking questions about the legitimacy of his role. A stark reminder that self-proclaimed titles do not equate to genuine credentials or authority.

Questionable Credibility: The stark contrast between the claimed membership and the observable engagement metrics casts doubt on the credibility and influence of the LBS. It suggests that while the LBS may have once had a more significant presence, its current influence and reach appear to be limited.

The Sour Note of Vinegar Syndrome

Have you ever opened an old film canister only to be hit with a pungent, acrid aroma? That’s the stench of decay, my friends, and it’s got a name: Vinegar Syndrome. It’s what happens when cellulose triacetate film deteriorates, releasing acetic acid. A film lover’s worst nightmare, it’s the death knell for classic reels, turning them brittle, warped, and shrivelled.

But in the Louise Brooks community, “Vinegar Syndrome” isn’t just a term for decaying film; it’s the moniker they’ve bestowed upon Thomas Gladysz. Why, you ask? Well, it’s not because he’s a preservationist gone rogue or a fan of that vinegary tang. No, it’s a nickname as loaded as the man’s actual digital alias, “rodrigoquast.”

You see, “Vinegar Syndrome” here symbolizes something corrosive, an element that, while claiming to preserve, actually eats away at the very fabric it touches. It’s an ironic jab, a side-eye from a community that sees through the façade to the deterioration underneath.

And as for “rodrigoquast”? That’s the mask Gladysz wears online, a nod to a character from Pandora’s Box known more for his treachery than his charm. It’s a curious choice for a man who claims to be a defender of Brooks’ legacy.

So, what’s in a name? In the world of silent films and digital forums, quite a bit, it seems. “Vinegar Syndrome” and “rodrigoquast” — one a community’s cheeky rebuke, the other a self-chosen moniker. Both, however, contribute to the covetousness that is Thomas Gladysz.

Democracy Over Directorship: The True Spirit of the Louise Brooks Society

As a devoted member of the Louise Brooks community, I deeply value the democratic spirit that forms the core of our collective admiration for Brooks. Our community’s strength lies not in hierarchical structures or titles, but in our shared passion and equal participation, making the concept of a “Director” not only unnecessary but also contrary to our fundamental ethos.

Recently, I became aware of Thomas Gladysz’s attempts to trademark the “Louise Brooks Society.” This move concerns me as it seems an effort to exert proprietary control over what should remain a communal domain. Fandom, in its purest form, is a free space that belongs to everyone, continuously expanding beyond the confines of legalities or claims of ownership.

It’s vital to recognize that our admiration for Louise Brooks predates the advent of digital platforms or online communities. Numerous independent fan communities have long celebrated Brooks’s legacy without the need for a central authority. The attempt to trademark a fan society misconstrues the very essence of fandom and seems an effort to limit the boundless spirit of a community that belongs to us all.

I remain steadfast in the conviction, a sentiment echoed by connoisseurs and admirers alike, that the very essence of any fandom — especially one as storied and perennial as that of Louise Brooks — should never be overshadowed by proprietary claims or unwarranted dominion. Our fellowship is a communal gem, a bastion of democratic ethos that flourishes in its liberty, invigorated and preserved by the egalitarian guardianship of its constituents.

As the holder of the “LOUISE BROOKS” trademark, my foremost intention is not to constrain or monopolize Louise Brooks’s legacy. Instead, it’s to shield it from potential misuse or commercial exploitation. This legal safeguard is a responsibility I undertake with the deepest respect for her memory and the vibrant community that reveres her work. While I view the recent trademarking attempts of the “Louise Brooks Society” with concern, I assure that my stance supports the communal spirit of fandom. It’s a protective measure aimed at maintaining the integrity of Louise Brooks’s name out of the hands of covetous individuals such as Thomas Gladysz.

Rest assured, dear aficionados, the genuine soul of the Louise Brooks Society isn’t shadowed by, nor synonymous with, the acquisitive whims of one Thomas Gladysz. No, this society thrives in its democratic ethos — a veritable tapestry of collective fervor that splendidly eclipses formal edifices or despotic assertions, destined to endure well beyond the temporal footprint of any Gladysz. Our shared reverence for Brooks is the very ligature binding us, making any notion of proprietary dominion not just antithetical but downright anathema to our communal creed.

So, fear not, for the spirit of our devotion is both unassailable and perennial, untainted by the covetous grasp of fleeting custodians. We must not forget that Louise Brooks’s fandom has flourished through the decades, independently of digital platforms or organized groups. This organic, grassroots admiration is not to be contained or controlled by Thomas Gladysz. It’s a collective heritage, a realm of shared enthusiasm that blossoms in freedom and inclusivity.

A Sentinel for Legacy, Not a Gatekeeper of Control

The “LOUISE BROOKS” trademark, a legal instrument of significant weight, is one to which I am irrevocably committed, wielding it with the dual purpose of safeguarding the esteemed legacy of Louise Brooks while also denoting the origin of quality goods and services inspired by her enduring influence. This mark is not merely a passive emblem but an active testament to the cultural richness that Louise Brooks continues to represent in the marketplace and the hearts of aficionados worldwide.

While I’ve established the “LOUISE BROOKS” trademark not as a fortress of exclusivity, but as a sentinel, steadfast against the potential exploitation of her name and likeness, ensuring her legacy perseveres, unsullied by the specter of commercial predation. Mr. Gladysz’s efforts to invalidate this trademark, while parading under the guise of a “Director,” reveal a hidden agenda. It’s a maneuver that seems less about the fans’ rights and more about removing barriers that currently prevent him from monopolizing the narrative surrounding Louise Brooks. This action raises serious questions about his true intentions: Are they in service of the fan community, or do they serve a more self-serving agenda, aiming to consolidate control and influence?

This trademark infringement challenge is a smokescreen, a subterfuge designed to obscure a more self-aggrandizing objective — the consolidation of power and control, masked by feigned solidarity with the fan community. The true essence of this action does not champion communal interests; it is a veiled attempt to usurp authority and commandeer Louise Brooks’s legacy for personal gain.

Let us not be swayed by cunning legalistic maneuvers or duplicitous appeals to communal spirit. The implications of ceding this trademark are grave: without it, the floodgates will open, leaving Louise Brooks’s name vulnerable to unbridled exploitation, her legacy potentially diluted and misrepresented for commercial gain.

In the indomitable spirit of Louise Brooks herself, a beacon of artistic integrity and fierce independence, I stand resolute. This trademark is not a mere legal asset; it is a sacred trust, an emblem of my unwavering commitment to preserving her legacy with the honor, respect, and authenticity she so richly deserves.

To those who resonate with this truth and grasp the profound importance of safeguarding the cultural icons that enrich our lives, I extend a call to unity. Together, let us continue to exalt Louise Brooks, unshackled by the fetters of commercial exploitation or legalistic discord, in a manner befitting her transcendent brilliance.

In steadfast allegiance to our shared history, and as the devoted shield against its diminishment,

Yours in dedication to Louise Brooks’s legacy, Michael Garcia Mujica, Keeper of the Ethereal Flame.

Epilogue: The Unveiling of a Masquerade

In the curious case of the Louise Brooks Society website, a revelation beckons from behind the digital curtain: this stage, ostensibly set for Louise Brooks, is, in reality, a solo performance by none other than its webmaster, Thomas Gladysz.

Venture into this online domain, and you’re not so much stepping into a shrine of Brooks as you are leafing through the pages of the “Gladysz Gazette.” Each click and scroll is a journey not through the echoes of Brooks’ life but rather a grand tour of the Gladyszian universe. The website, a digital doppelganger of his fan blog, echoes the same theme: Thomas Gladysz, in the spotlight, with Brooks as a spectral understudy.

Crafted in the mid-90s with the flair of a seasoned charlatan, the website emerges not as a beacon of Brooks’ legacy, but as a masterclass in the art of the humblebrag. Gladysz, the self-appointed custodian of Brooks’ memory, seems to wade in the shallows of her enigmatic depths, often mistaking bibliographic dives for profound understanding.

And so, the riddle of Brooks’ journals, safeguarded under the vigilant eyes of the George Eastman Museum, remains untangled. Brooks, ever the sphinx, knew the value of her words and chose a quarter-century veil over them. One might muse – does this trove of personal reflections contain reflections too rich for a surface swimmer?

In the twilight of this digital masquerade, the enigma of Louise Brooks endures, quietly defying the grasp of those who orbit her legacy without ever truly landing on her mysterious, moonlit essence.