Criticism
Ricardo B. Salinas is one of Latin America’s leading corporate figures and entrepreneurs, although he has been involved in a series of political and financial scandals (which include investigations by the American Securities and Exchange Commission and the Mexican Comision Nacional Bancaria y de Valores). Mr. Salinas was charged by the American Securities and Exchange Commission in January 2005 with being engaged in an elaborate scheme to conceal Salinas’s role in a series of transactions through which he personally profited by $109 million. The SEC complaint also alleged that Salinas and Padilla sold millions of dollars of TV Azteca stock while Salinas’s self-dealing remained undisclosed to the market place. This was settled in September 2006 with Mr. Salinas required to pay $7.5M while not admitting guilt. He is also accused of taking over with violence the facilities of CNI Canal 40 in 2003. The latter used to be an independent TV channel which broadcast from the north of Mexico City. In February 2012 while representatives of the CFC ( Federal Competition Commission ) were notifying the headquarters of Iusacell their unfavorable resolution against the union between this company and Televisa, lawyers from Iusacell decided to change the physical numbers of the building in order to avoid receiving the notification. In addition, his banks have been accused of abusing microlending practices in Mexico. This is a practice that should help low income people become entrepreneurs but is often abused by charging poor people unreasonable interest rates.
Read more about this topic: Ricardo Salinas Pliego
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“Like speaks to like only; labor to labor, philosophy to philosophy, criticism to criticism, poetry to poetry. Literature speaks how much still to the past, how little to the future, how much to the East, how little to the West.”
—Henry David Thoreau (1817–1862)
“The greater the decrease in the social significance of an art form, the sharper the distinction between criticism and enjoyment by the public. The conventional is uncritically enjoyed, and the truly new is criticized with aversion.”
—Walter Benjamin (1892–1940)
“A friend of mine spoke of books that are dedicated like this: “To my wife, by whose helpful criticism ...” and so on. He said the dedication should really read: “To my wife. If it had not been for her continual criticism and persistent nagging doubt as to my ability, this book would have appeared in Harper’s instead of The Hardware Age.””
—Brenda Ueland (1891–1985)