Arts & Entertainment

The Gap Kids Ad

/ Jack Marshall / 35 Comments

gapkids

The photo above was part of a recent ad campaign for Gap Kids. The campaign, which launched last week, is in collaboration with Ellen DeGeneres’ lifestyle brand ED. Gap is donating $250,000 to the charity Girls Inc. to support its economic literacy program.

Criticism erupted on social media and elsewhere that the ad gave a message of “passive racism.”

Nathalie Yves Gaulthier, founder of Le Petit Cirque, the youth performance group whose members are seen in the ad, tried to explain, saying in part:

“The child in the ad is not an ‘armrest,’ she’s the other girl’s little sister. They are a very close family. The child is a very young (junior) member with Le Petit Cirque, a humanitarian cirque company, and therefore a wee shyer than the more seasoned older outgoing girls. Our company is deeply saddened by some people misconstruing this as racist, and are keeping the children out if this at the moment to protect their beautiful feelings , but we are extremely supportive of dialogue in our country to move past any racial barriers…”

Gap decided that discretion was the better part of valor, and replaced the image in the campaign. It apologized to critics last week, saying:

“As a brand with a proud 46-year history of championing diversity and inclusivity, we appreciate the conversation that has taken place and are sorry to anyone we’ve offended. This GapKids campaign highlights true stories of talented girls who are celebrating creative self-expression and sharing their messages of empowerment. We are replacing the image with a different shot from the campaign, which encourages girls (and boys) everywhere to be themselves and feel pride in what makes them unique.”

It’s a non-apology apology, of course, a clear #8 on the Ethics Alarms Apology Scale:

“A forced apology for a rightful or legitimate act, in capitulation to bullying, fear, threats, desperation or other coercion.”

Corporations are more or less forced to capitulate to “gotcha!” accusations like this, because there is no up-side in fighting them, and the companies’ job is to make money while alienating as few people as possible. If Social Justice Warriors and aggressive race-baiters are determined to claim that an ad intentionally denigrates a black child as subordinate to white children, then that message will overwhelm the ad no matter what is said or seen. Continue reading →

Ethics Dunce: Bruce Springsteen

/ Jack Marshall / 16 Comments
Dear Loyal Fans: I'm mad at your state, so I'll take it out on you. Love, Bruce.

Dear Loyal Fans: I’m mad at your state, so I’ll take it out on you. Love, Bruce.

I want to express my appreciation to “The Boss” for beautifully illustrating why so many boycotts are unethical, and frequently stupid as well.

First, Springstein’s statement:

springsteen-statement

Continue reading →

Yet More Casting Ethics: “Hamilton’s” ‘No Whites Need Apply’ Open Casting Call

/ Jack Marshall / 11 Comments

_hamilton

[ I am back from a speaking engagement that required over eight hours of driving, being in a supposedly “luxury resort” hotel room that had no Wi-Fi for most of my stay and no functioning TV for any of it,  and various other distractions and misadventures that prevented me from posting so far today. I apologize, though it is really the famous Omni Homestead in Hot Springs, VA. that should apologize. The good news is that my seminar was well-received, and that the disappointing trip–this time I was paid only with the supposedly sumptuous two-day  Homestead experience for myself and my long-suffering spouse, including outdoor activities that were impossible due to constant rain and a room with more things in poor repair than a Motel 6—is over.]

 

Broadway’s biggest hit, the Tony-winning  “Hamilton,” is under attack for, of all things, racism.

An open casting announcement on the show’s website read…

“Hamilton” is “seeking NON-WHITE men and women, ages 20s to 30s, for Broadway and upcoming Tours.”

Whaaaat? This joyous musical celebration of America’s founding and its Founders’ inspiration…engaging in racial discrimination? How could this be? Sniffed Actors Equity spokeswoman Maria Somma “The language … is inconsistent with Equity’s policy.”

Yes, this would be because Actor’s Equity has a lot of dumb policies, and like all unions, doesn’t really care about keeping the industry its members work in healthy, productive and profitable, only  making sure as many members as possible have jobs or at least shots at them. There is nothing whatsoever racist or discriminatory about a show that relies on the concept of non-white actors playing the very white Founding Fathers announcing that only actors who can fulfill that conceptual requirement will be considered for roles.

Civil rights attorney Ron Kuby, in an interview with the NY Daily News,  agreed the advertisement might technically violate the city’s human rights law, but that this is because casting is an anomaly. “It’s almost always illegal to advertise on the basis of race, but when you’re casting … it can be a bona fide occupational requirement,” he said. Continue reading →

Documentary Ethics: Is Pulling An Anti-Vaxx Documentary A Freedom of Expression Breach Or Simply Responsible?

/ Jack Marshall / 24 Comments

tribeca_film_festival_ny

Until yesterday, “Vaxxed: From Cover-Up to Catastrophe” was an entry in the 2016  Tribeca Film Festival. It was directed and co-written by Andrew Wakefield, the disgraced doctor and researcher whose study purporting to show a link between vaccinations and autism was published in the British medical journal “The Lancet” in 2010 and then retracted. Wakefield subsequently lost his medical license because of undisclosed conflicts of interest and misrepresentations in his paper, and has been wandering the earth wearing the metaphorical sackcloth robe of the outcast ever since.

The decision by the festival and its founder Robert De Niro to screen the film was the focus of a furious controversy. Many consider Wakefield a murderer because his work has convinced parents to eschew vaccinations out of irrational fear sown by his false research conclusions. De Niro insisted that the film deserved a screening to provoke dialogue, but has had a change of heart, mind, or self-preservation instinct. He pulled the film yesterday, writing,

“My intent in screening this film was to provide an opportunity for conversation around an issue that is deeply personal to me and my family. But after reviewing it over the past few days with the Tribeca Film Festival team and others from the scientific community, we do not believe it contributes to or furthers the discussion I had hoped for.”

Translation: “When it comes to standing up for free expression, Andrew Wakefield and the anti-vaxxer delusion is not a hill worth dying for.” Continue reading →

From The “Everybody Does It” Files: “Welcome to Chico’s Bail Bonds Park!”

/ Jack Marshall / 40 Comments

Bad News Bears

The Washington Nationals announced this week that it has partnered with Major League Baseball Advanced Media and the consulting firm Korn Ferry to sell naming rights to Nationals Park, as the team’s home field has been known since it opened in 2008.

After all, the team explains, plastering a corporation’s name on the ballpark could add between ten and twenty million dollars a year to the team’s revenue, and imagine how much better the team will be with another starting pitcher or slugging outfielder. Why wouldn’t a team sell its home’s name, and a large chunk of its identity, to a bank, a website, or a pet supplies company?

I admit it: being a life-time fan of the Boston Red Sox, who play in one of the the ten major league parks ( the others: Angel Stadium of Anaheim, Dodger Stadium, Fenway Park, Kauffman Stadium, Marlins Park, Nationals Park, Oriole Park at Camden Yards, Turner Field, Wrigley Field, and Yankee Stadium ) belonging to teams that have not accepted filthy lucre to mar their stadium entrances with the names of companies Bernie Sanders would hate, I find the idea revolting.  A baseball team represents its community; its lore becomes part of the culture and shared memories passed downfthrough generations.. That has value, and symbolic significance. How much is it worth? It’s priceless, or should be. Continue reading →

Presenting Ethics Alarms’ 67th Rationalization: The Underwood Maneuver or “That’s In The Past”

/ Jack Marshall / 16 Comments

HOUSE-OF-CARDS

The latest addition to the Ethics Alarms Rationalization List is #50 A, The Underwood Maneuver, or “That’s in the past.” It is a sub-rationalization of #50, The Apathy Defense, or “Nobody Cares,” and the 67th dishonest, illogical or otherwise ethics-busting excuse for wrongful conduct on the list.

This rationalization has the honor of being named for a President, though a fictional and sinister one: Frank Underwood, the devious, psychopathic, lying and murdering Chief Executive, played by Kevin Spacey, who leads the den of thieves and blackguards who populate the fictional Washington, D.C. in the Netflix drama, “House of Cards.” I owe the series my gratitude for reminding me of this classic rationalization, which is a favorite not only of  President Underwood and his Lady Macbeth-like First Lady, but also—just coincidentally—of Bill and Hillary Clinton. Indeed, Hillary’s current campaign is built on it.

The Underwood Maneuver is versatile. Frank’s favorite use of it is when he is seeking assistance from one of the gazillion elected officials, appointees and other whom he has lied to or metaphorically stabbed in the back. “Why should I trust you now, when you betrayed me?” these poor souls are always asking. “Oh, but that was in the past!” says Frank, in his gentle South Carolina accent. “This is now. We need each other now. What’s done is done. Let’s move forward.” Continue reading →

Yes, Ethics Dunce Madonna Indeed Engaged in Sexual Assault On Stage In Australia

/ Jack Marshall / 23 Comments

Why would anyone think otherwise?

From the Guardian:

It began when 17-year-old Josephine Georgiou joined the singer [above] on stage during her second evening at the Brisbane Entertainment Centre.

“She’s the kind of girl you just want to slap on the ass,” the singer said admiringly of the barista and would-be model standing next to her. “And pull,” Madonna added, yanking down the girl’s strapless top to briefly reveal one breast, to aghast cheers from the crowd.

Comment of the Day: “Ethic Quiz: ‘Springtime For Hitler’ Ethics”

/ Jack Marshall / 1 Comment

Producers-2

This most recent  ethics thread commentary from Rick Jones (a.k.a. “Curmie,” who chronicles education fiascos, among other matters, during the year on his own blog) involves the recent kerfuffle over a high school production of “The Producers” having its Nazi decorations stripped away. I confess that I specifically requested Rick’s take on this one, knowing him to be a theater colleague as well as a teacher, and he did not disappoint….except that he uses the British spelling of “theatre.”

Here is Rick’s Comment of the Day on the Ethics Quiz: “Springtime for Hitler” Ethics.

Oh, Jack… You couldn’t just let me have a spring break without feeling compelled to reply to one of your posts, could you?

And… as I suspect you may have been expecting if not hoping, I agree with your arguments but disagree with your conclusion.

First, let me confess to ignorance of the stage version of The Producers. I know the film, of course, but being neither a big musical theatre guy nor made of money, I’ve never actually seen the play. Assuming it to be substantially similar to the film, therefore, is for me (but not for those more informed) a risky proposition.

It is not clear whether the school’s administration formally signed off on the choice of play, but de facto they did: the rights and royalties for a musical will cost—depending on a variety of factors such as venue size, number of performances, and ticket prices—hundreds or (more likely) thousands of dollars, and no high school theatre director can just write a check on a school account for that amount of money. Expenditures of that size need approval.

So here’s where I agree with your point that cultural illiteracy was very much at play from the beginning of this saga. I’m not suggesting that every high school administrator should have seen the movie or the play, but certainly the “Springtime for Hitler” shtick has long since passed into the public consciousness. I was too young (in junior high, perhaps?) to have seen the film on its first run, but I knew about the campy production number long before I actually saw the film when I was in high school or college. Similarly, I know that “I will take what is mine with fire and blood” is a ”Game of Thrones” reference without ever having picked up one of the books or tuned in to the television show. A competent administrator would at the very least have known what s/he was signing off on. Or… you know… asked: that’s an option, apparently.

Continue reading →

More Casting Ethics: The Stunt Performer Dilemma

/ Jack Marshall / 12 Comments
Penelope Cruz and her stunt double. Works for me!

Penelope Cruz and her stunt double. Works for me!

To recap: This month, we have already debated a wide range of casting ethics controversies…

The position of Ethics Alarms is identical in all three controversies. The only consideration in casting a role should be the director’s artistic assessment of who will do the best job meeting the artistic and commercial demands of that role, under the constraints of the project, which can include budget, locale and workplace conditions. Ethnicity, race and off-screen appearance should be secondary, and better still, irrelevant. Efforts to substitute political, diversity or affirmative action goals  for artistic ones undermine the integrity of the work, and are unfair to the audience as well as the work itself. Make-up is a tool of the performing arts, and is unrelated to blackface, which was a convention designed to denigrate African Americans. Confounding make-up used to allow a performer to play a character of a different ethnicity, race or skin shade with minstrelsy and blackface is intellectually dishonest or ignorant.

Now comes a new issue in this spectrum: the use of white, male stunt performers to substitute for black or female stars.

This article, in The Telegraph,  begins with the assumption that the practice is inherently unethical:

“For decades, white stunt performers would paint their faces and bodies black to double for black stars. Similarly, it was not uncommon for stuntmen to put on heels and wigs to double for women. This was not happening in a vacuum: all the while, black and female stunt performers were pressing for recognition and the right to work in the jobs for which they were best suited….There is an understanding within the studios that such incidents don’t look good and need to be kept hush-hush.”

If, as the article and the Hollywood activists it interviews assert, the practice of “blacking up” white stunt performers is designed to exclude qualified black stunt performers from working, then of course it is unethical. Given the close-knit stunt performer community, described as a white, male, “old boys network” in the essay, this is certainly possible, even likely. Nevertheless, the assertion that there is anything intrinsically unethical, unfair or wrong with using a disguised white stunt performer to substitute for a black star, a male stunt performer to substitute for a female star, or any other variation imaginable is, as with the Hispanic and Afghan complaints, based on non-existent ethical principles. Continue reading →

Ethic Quiz: “Springtime For Hitler” Ethics

/ Jack Marshall / 47 Comments

And speaking of Donald Trump…

In South Orangetown, New York, the school superintendent stepped in and cut the swastikas from Tappan Zee High School’s student production of “The Producers” less than a week before the production. Of course, the Mel Brooks musical satire based on his film “The Producers” employs swastikas on Nazi flags and armbands during its famous campy “Springtime For Hitler” number and at other points in the show. Before someone posted a picture of the swastikas on the stage on a Facebook page, this aspect of “The Producers” had somehow escaped the attention of school administrators.

Some parents were shocked, and complained. After checking out the stage, the superintendent cut the costume details and set dressing.“There is no context in a public high school where a swastika is appropriate,” South Orangetown Superintendent Bob Pritchard told CBS. Pritchard consulted with local rabbis before making his decision.

Rabbis, of course, would be a natural audience for “The Producers.” (Reports that the rabbis suggested a production of “Fiddler on the Roof” instead have not been confirmed.)

Your spring-is-in-the-air Ethics Alarms Ethics Quiz of the Day is…

Is this example of school censorship of the performing arts fair, responsible and ethical?

Continue reading →