1. First candidate for “Incompetent Elected Official Of 2019”! The Troy New York City Council president got drunk and then went behind the wheel to chased another motorist at high speeds for nearly 30 miles last week . State police arrested Carmella R. Mantello, 53, after troopers received a call from a terrified driver who told dispatchers that some crazy person was tailgating him and driving erratically. When troopers pulled Mantello over, she denied following the man and claimed he was following her—interesting, since troopers stopped her when she was behind the complaining motorist. She also refused to take a breathalizer test.
Later, Mantello issued this statement:
“I understand the severity of my actions and take full responsibility. I apologize to my family, friends and constituents and am deeply sorry that I let you down,” she said. “I expect more from myself. Finally, I would like to personally thank the New York State Troopers for their professionalism in this matter and the service they render every day to keep our communities safe.”
The best way for her to honor professionalism and keep communities safe is to resign immediately.
Oh—I assumed that Mantello was a Democrat, since the news story didn’t mention her party affiliation. Nope! She’s a Republican.
2. You ain’t seen nothin’ yet!—get a load of THIS! Also, KABOOM! My head just exploded. Some ethics stories don’t need any analysis; they are res ipsa loquitur. I generally don’t devote pots stories when the despicable conduct is so obvious, but this one needs to be widely disseminated. From the New York Post:Continue reading →
The effort to prompt some input into the 2018 Ethics Alarms Awards will obviously continue for another day or two, as my promise to “be posting these periodically during the day and evening” was foiled by intervening priorities yesterday. There are two polls this time (here was the first, still open), and again, please don’t hesitate to expand on your votes.
Nominations for “Unethical Profession Of The Year”
Once, there was never any question about the “winner” of this category: it was inevitably educators or, more often, journalists. One of the horrible consequences the 2016 Post Election Ethics Train Wreck, however, is that almost all the professions dived into the muck, sought headlines by making the kind of biased and irresponsible statements that society depends on professionals to eschew, and they have continued their self-debasement ever since. While journalists and educators—in this I include all academics as well as teachers and administrators, have still disgraced themselves beyond debate—they have real competition now. Each profession nominated will be linked to a representative Ethics Alarms post. The nominees are…Continue reading →
38-year-old Jose Calderon Arana suffered a fatal heart attack two years ago after taking the “Skull Island: Reign of Kong” ride at Universal Orlando Resort. He had heart problems, didn’t speak or read English, and now his family has filed a wrongful death lawsuit, arguing that Universal was negligent by not displaying warning signs in Spanish, since it knew that many tourist were non-English speakers.
Skull Island employs animatronics and 3D screens to simulate a truck expedition through the monster-filled island depicted in the “King Kong” movies. (If those icky giant bugs are on the ride, I might have a heart attack.) A very large sign at the entrance says, in English, “Warning! This ride is an expedition through the rough terrain of King Kong’s natural habitat. The movement of the truck is dynamic with sudden accelerations, dramatic tilting and jarring actions.” It goes on to warn that people with heart conditions or abnormal blood pressure, back or neck conditions, and expectant mothers shouldn’t go on the ride. Graphics accompany the warnings:
What do we make of this, released by actor Kevin Spacey lastweek almost at the same time as he was being indicted for sexual assault?
Yikes.
The much-acclaimed actor career collapsed in 2017 as more than 30 people claimed that Spacey had sexually assaulted them. Now he is speaking in the persona—with accent!— of his Netflix series villain, Frank Underwood, the central character of “House of Cards.” Or is he? Much of the speech seems to refer to Spacey’s own plight, and suggests that the actor is being unfairly convicted in the court of public opinion. By using the voice and character of an unequivocal miscreant however, for Frank is a liar, a cheat, a sociopath, indeed a murderer, such protests are automatically incredible.
Or is Spacey making a legitimate argument that an artist’s personal flaws should be irrelevant to the appreciation of his art, especially in a case like “House of Cards,” where the actor’s role can’t possibly be undermined by the actor’s own misdeeds: whatever one says or thinks about Spacey, he can’t be as bad as Frank Underwood. If you enjoyed watching Underwood destroy lives on his way to power, why should Spacey’s conduct, even if it was criminal, make you give up the pleasure of observing his vivid and diverting fictional creation? This isn’t like Bill Cosby, serially drugging and raping women while playing a wise, moral and funny father-figure. Spacey seems to be arguing that there should be no cognitive dissonance between him and Underwood at all. Who better to play a cur like Frank than an actor who shares his some of his darkness? Continue reading →
1. One more time...I’m really going to try to get a year-end ethics review up for 2018. In both of the last two years, I failed miserably, and The Ethics Alarms Best and Worst of Ethics Awards never posted. It is a very time-intensive exercise, and the traffic for the posts have never been substantially more than an average entry that is a tenth as long.
We shall see.
2. The Bad Guys, Redux. It’s a problem: one wants to curb the trend of demonizing political adversaries, and yet we keep seeing escalating examples of unequivocally despicable behavior that deserves to be demonized, because it is constant, self-righteous, and indefensible.
This is not encouraging. [Correction notice: I originally wrote “Facebook does not use a “blue check,” though Twitter and Instagram do, (and abuse it.)” I checked this, but my source was wrong. Facebook does give public figures “blue checks.”] I guess Kolfage is sort of a public figure. He is also a controversial one who has pushed extreme right-wing conspiracy theories. When asked why he doesn’t mention any of his controversial crusades and advocacy in promoting his crowdfunding effort, he has responded, “My personal issues have nothing to do with building the wall.” Fine: what do his war wounds have to do with building a wall?
Never mind: the appeal has raised over 18 million dollars to date, although the contributions have slowed considerably. It’s a futile effort; I suppose it has some value to show public support for enforcing immigration laws. If people want to donate their money to such a cause, it’s their money to give, though they might as well be making little green paper airplanes out of hundred dollar bills and sailing them into the wind.
Megan Fox reports, however, that someone who wants to punish anyone who doesn’t support open borders is taking names and doxxing contributors. She writes,
Did you donate money to the GoFundMe page to build the border wall? If you did, there’s a good chance this guy/gal or otherkin has doxxed your Facebook profile to millions of other nasty trolls who will now make it their business to harass and punish you with anonymous online mobs. Get ready, because your life is about to get more interesting. Based on my personal experience, once these monsters get your information and the directive to destroy you, the death threats, vandalism, obscene pornography, and harassment at work are not far behind. And the worst part is, no one will help you — not the police or the FBI or anyone else whose job it should be to stop intimidation and harassment.
It looked like it was going to be a bloody Christmas tragedy. Nathaniel R. Lewis, 34, of East Vincent Township in Pennsylvania, had snapped on Christmas night.
He barricaded himself inside his home, about 42 miles west of Philadelphia, and fired shots at eleven police officers with his rifle during a 10-hour standoff. Lewis was distraught after separating from his wife before Christmas. Nobody had been hurt in the exchange of gunfire, but the tense confrontation lasted from approximately 7:30 p.m. on Christmas until 7:00 am the next morning, and a peaceful ending was hardly a certainty. Then Lewis told the SWAT team that he might calm down and surrender if the negotiator would sing “Nat King Cole’s version” of “White Christmas” for him.
So the officer sang “White Christmas,” not quite like Nat, presumably—nobody sang like Nat—but close enough. Lewis came out of the house and surrendered to police. He now faces 11 charges of attempted homicide of a police officer. Continue reading →
Happy inevitably confusing and disorienting period between Christmas and New Years!
1.. Is this a racially problematic TV ad, or an encouraging one that signals progress?
For me, the commercial raises the question: Have we reached a point when depicting an entire black family acting as moronic as white people are routinely depicted on TV is permissible and white people are allowed to laugh at it?
It made me uncomfortable. Am I alone?
2. Charley Parkhurst. The New York Times project to catch up on all the significant and remarkable women who never received the recognition of an obituary in its pages has been fascinating, and there has been no more interesting entry than this month’s remembrance of Charley Parkhurst, 1812-1879. Parkhurst was a famous driver of six-horse stagecoaches during California’s Gold Rush, a challenging job requiring strength, skill, and unusual honesty. Parkhurst was described as “short and stocky,” a hard-living whiskey drinker, cigar smoker and tobacco chewer, who wore a patch over the empty eye-socket where a horse had kicked out the eyeball. Charley was also universally regarded as male until a doctor discovered, post mortem, that she wasn’t. At a time when a women’s options were severely limited, Parkhurst decided at a young age to live as a man, and was mighty good at it. She even registered to vote in 1868, and some give her the distinction as the first woman to vote in a Presidential election, though there is scant proof of it.
Looking at and thinking about a women “identifying a male” in a different cultural context is fascinating. Was Charley a woman, a male, trans, gay, a fraud, a hero (a heroine?), or just an opportunist and a gutsy realist who did what she wanted to do the only way it was possible for her to do it?
And does it matter? Should it matter?
We are told that Charley also was a lumberjack for a time. I wonder what she would have thought of the Monty Python song?
1. Quotation ethics. The church next door has a message out front this week that says, “The time is right to always do the right thing”—Martin Luther King.
That’s not the quote. Misquotes get into the public lexicon that way; it’s unethical to go around posting sloppy versions of quotes on message boards. Stated like that, the quote is a tautology: if you always do the right thing, of course the time is right to do what you do anyway. Not that King’s actual quote is one of his best. The actual quote—“The time is always right to do the right thing” is pretty fatuous, and incorporates Rationalization #60. The Ironic Rationalization, or “It’s The Right Thing To Do” by assuming that what is the right thing to do is intrinsically obvious. Sometimes the right thing is to wait. Sometimes the right thing is yo be sure what you think is the right thing really is. King was dangerously arming ideologues and the self-righteous who think they are the ultimate arbiters of what is “right.”
Davey Crockett’s quote is better: “Be sure you are right, and then go ahead.”
2. Is it political correctness to point out that Jeff Dunham’s act is racist? After being told by my wife that I couldn’t watch any more holiday movies or the Mormon Tabernacle Choir, my channel surfing today took me to Comedy Central and Christmas-themed performance by ventriloquist Jeff Dunham. Dunham’s low-brow act makes Charlie McCarthy seem like Oscar Wilde, and I cannot watch him and his howling audiences without thinking about this scene in “Blazing Saddles”…
He began his set with “Walter,” his bitter old curmudgeon dummy, whose face is perpetually scowling and whose arms are crossed in disgust with the world. To my amazement, Walter launched into an extended section ridiculing black speech, black slang, hip-hop, Kwanza and the Black Entertainment Network, and the huge, apparently all-white mid-West audience roared with laughter. How ugly and disturbing. These were jokes of denigration, about people who weren’t there. This was never anything but hate-mongering humor, not in 1948, 1958, 1968, or now. It’s an audience laughing at other people for simply being different than they are.
I kn ow, I know: how is this different from what Stephen Colbert, or Bill Maher, or Samantha Bee does in every performance? It isn’t different, really: it’s just that treating white people who aren’t “woke” as the “other” is considered acceptable, while doing this to minorities, gays or women is considered bigotry, hateful, and cowardly.
3. It annoys me that I should even have to say this, but calling “Die Hard” a Christmas movie is nothing but a cynical way to diminish Christmas and the spirit of kindness and love that the holidays are supposed to foster in order to promote future holiday marathons of a violent action movie. Celebrating the film’s 30 Anniversary, some Grinch at 20th Century Fox decided that it would be cute to promote Bruce Willis’s break-out film as “The Greatest Christmas Story” ever told, according to 20th Century Fox. Right: the movie ends with a strained family brought back together, takes place during a Christmas party, and Bruce’s wife is named “Holly.” It also involves the killing of more than twenty people, including police,l FBI agents, and innocent victims in addition to the bad guys the hero smokes.
And I like “Die Hard.” I even like two of its four vastly inferior sequels. Continue reading →
Bing Crosby memorably introduced this last of the popular Christmas songs to have a religious theme to most Americans in 1963, on this live broadcast of “The Hollywood Palace.” It was written in October of 1962 during the Cuban Missile Crisis, by a married songwriting team that wondered at the time if it would be the last thing they ever did.
Noel Regney, who wrote the lyrics, was born in France and had studied music at the Strasbourg Conservatory and at the Conservatoire National de Paris. When France was overwhelmed by Hitler’s troops in 1940, he was conscripted into the German army. As a Nazi soldier, he secretly joined the French underground and served as a spy, passing information along to the resistance. Once he led German soldiers into a trap where they were massacred by French fighters who cut them down in a crossfire. He was shot too, but survived.
After that traumatic encounter, Regney deserted and worked with the French underground until the end of the war. Continue reading →
Director Gregory Mosher quit the Broadway revival of Arthur Miller’s “All My Sons” (scheduled to open in the Spring) when Miller’s estate, run by his daughter Rebecca Miller, blocked him from casting a black actor to play George Deever, one of the main characters in the classic. Miller objected to the director’s choice of making the Deever family black when the play’s other central family, the Kellers, had already been cast as white. If the Deevers were black, it would introduce the concept of an interracial relationship in the 1940s.
“My concern was that to cast the Deevers as black puts a burden on the play to justify the relationship in the historical context,” Miller said “I was worried that it would whitewash the racism that really was in existence in that period by creating this pretend-Valhalla-special family where no one would mention this.”
Nice attempt to put her position in a politically correct context, I have to admit. The objection really is that the play is a period piece, firmly and unavoidably set in the post-World War II era. It will have period costumes, sets and props, and the audience seeing the story unfold in the proper historical time period is essential to the play’s success. An inter-racial romance shatters that illusion, and unnecessarily so. The play is not about race, so race should not be injected into the plot by reckless casting. Miller had previously approved of a production in which both families were black.
Interestingly, she also was willing to approve the casting of a black actor if his sister were cast as white. You see, then the casting would be “color blind,” meaning that it was just a black actor playing a white character (without white make-up, which would be “white-face,” which would suggest blackface, and—oh, never mind…), and that his family wasn’t really “black.” Got that? Otherwise, it would be “color-conscious” casting, in which the race of the performer necessarily requires a different approach to the material. Continue reading →
