Arts & Entertainment

Return To”Field Of Dreams”

/ Jack Marshall / 11 Comments

Field of Dreams2

Baseball had a rare PR triumph earlier this month when it held a regular season game between the New York Yankees and the Chicago White Sox in the Iowa cornfield diamond that was the setting for the cult movie favorite “Field of Dreams.” The TV ratings were the best for any regular season broadcast in 16 years. That’s amazing, but maybe it shouldn’t be. Despite rumors of its demise, baseball still has a cultural bedrock of tradition, nostalgia and history unmatched by any other sport, professional or amateur. So many Americans would not tune in to a baseball game if they didn’t still have a flicker of affection for the sport, and if your argument is, “Yeah, but that’s just because of the movie,” the movie wouldn’t have become iconic if a lot of people didn’t care about baseball. As Terrence Mann said,

Now my confession: I’m not a wild fan of the film, nor that scene. The scene in particular is unforgivably stagey and artificial: it’s right out of the (much better) book, “Shoeless Joe,” and not even the great James Earl Jones could make it sound like anything but a recitation. I got annoyed, during the hype for the game broadcast, with “Field of Dreams” being repeatedly called “The greatest baseball movie.” I don’t regard it as that; I think it just barely makes the top five, and I could be talked out of ranking it that high.

For good reasons, many baseball writers, fans and bloggers have criticized the film over the years, and not just because it is shamelessly manipulative. But it is that. Baseball writer Craig Calcaterra, a vocal debunker of the film, writes,

“I will fully admit that a story about a father and son repairing a longstanding rift over a game of catch — with or without the magical realism elements — could form the basis of a MAJOR chills moment in an absolutely fantastic movie. The problem, as I’ve said in the past, is that “Field of Dreams” does not earn its chills moment. It is lazy in that it does not sketch out the dispute between Ray and his dad in anything approaching realistic terms — it’s dashed off in the rushed intro with almost no details — and it does nothing to explain why Ray’s moving the Earth and the Heavens to bring his dad back to that ball field is so important or why it serves as the “penance” Ray must pay for whatever reason. With no buildup or backstory, there’s no payoff.”

But worse, for me and others, is the slipshod handling of baseball history. “Shoeless Joe” Jackson was not innocent of taking a bribe to throw the 1919 World Series, he was guilty. He was not a thoughtful, wise-cracking Ray Liotta, he was just north of being a moron. He batted left-handed, and famously so, not right-handed like Liotta. When Frank Walley’s character, a magically reincarnated and youthened old ballplayer named Archie “Moonlight” Graham, whose single appearance in the major leagues was in 1905, is nearly beaned by a close pitch, he says “Hey ump, how about a warning?” Umpires didn’t warn pitchers for throwing at batters in 1905, and not for more than a half-century after that. Sloppy.

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Evening Ethics, 8/19/2021: Those Were The Days…

/ Jack Marshall / 11 Comments

Ah, those heady days when the U.S. felt ethically justified in toppling governments it didn’t approve of, and “nation building” was still considered practical and virtuous. Today marks the anniversary of the U.S. overthrowing the government of Premier Mohammad Mosaddeq and reinstalling the Shah of Iran in 1953, The Shah was a torturing, oppressive autocrat, but he was our torturing, oppressive autocrat for 26 years, a dependable anti-Communist ally of the United States until a revolution ended his rule in 1979. You should know the rest. Wonder why Iranians aren’t crazy about the U.S.? Today is one big reason. Also on the ethics regrets list is the release of the West Memphis Three on this date in 2011. I wrote about that one here. An excerpt:

“In an ethical system, prosecutors would have made certain the wrongfully convicted men were freed, without any further adversary action. But this was not an ethical system. Instead, prosecutors insisted on a bizarre plea deal in which the Memphis Three agreed to take an Alford plea, a strange, dishonest and much criticized guilty plea in which a defendant essentially lies to avoid an otherwise unavoidable unjust punishment. With an Alford plea,  the prisoner or defendant asserts he or she is innocent, but acknowledges that the prosecution has sufficient evidence to prove guilt beyond a reasonable doubt, and thus acknowledges legal, though not actual, guilt.   Prosecutors insisted that all three men plead “guilty” in this fashion in order to agree to release them with time served. The judge accepted the deal. Now Echols, Baldwin and Misskelley are free, their lives all but ruined by 18 lost years, thanks to a rotten system. The news media for the most part didn’t bother to explain why the terms of their release was just one more gratuitous assault on their existence by Arkansas legal hacks.”

I’m sorry today reminded me of this case. It still upsets me to think about it.

1. Here’s evidence that the current complaints of antiracism propagandists is a crock: Denzel Washington. I’ve been watching a lot of his movies lately, and a comparison with Sidney Poitier is unavoidable. Poitier was the ground-breaker, the black man who became a genuine movie star in a majority white market, and more than that, did it by holding up the racism and discrimination in American culture for all to see. Nonetheless, he was limited by his race. Poitier always played character’s whose race was central to their roles in the plot. He never played a villain: like many stars, like John Wayne, Cary Grant and Clark Gable, he regarded his career as a continuous work exploring a particular archetype in all of its facets. For Poitier, it was that of the outstanding black man as an outsider in American society. In Poitier’s amazing year of 1967, he was in three hit movies: “In the Heat of the Night,” “Guess Who’s Coming to Dinner?,” and “To Sir, With Love.” All three featured Poitier as a black man thrust into a biased white environment, and gradually earning respect and some measure of equality. Today the #1 black star is Denzel, and he doesn’t have to play such sanctimonious roles. Race plays a part in many of his movies; he has even played black civil rights activists, like Malcolm X and Hurricane Carter. Washington, however, in part because of Poitier’s work, often plays parts that were written for white actors, and nobody cares. He isn’t afraid to play flawed characters and even brutal ones, like in “The Equalizer.” Washington’s success, and the versatility and range he is allowed to explore in his movies, would have been impossible in Poitier’s prime years. His body of work is proof of how far American attitudes toward race have advances and how unfair and dishonest the Black Lives Matter/ Critical Race Theory narrative is holding that the Jim Crow culture still rules America.

Denzel is also better than Poitier, although it is fair to say that Poitier never had the option of being as versatile as Washington. If Sidney Poitier is cinema’s Jackie Robinson, Denzel Washington is its Willie Mays.

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Noontime Ethics, 8/18/2021: The Segue Edition

/ Jack Marshall / 16 Comments

Segue

1. Combine mental health with unaccountable female superstar athletes and you get.…another “How dare you expect me to answer questions like any other pro athlete, you sexists racist!” moment from Naomi Osaka. Ahead of the Western & Southern Open in Mason, Ohio, tennis’s reigning queen finally agreed to sit down for questions from the press on a Zoom call. You will recall that at the French Open in May, she said she would decline to do pretournament or post-match news conferences, even though they are required of all players. When Osaka was fined $15,000 for skipping her press commitments after her first-round victory, she withdrew before her second-round match in Paris, for the first time playing the mental health card., later used so effectively by Simone Biles at the Olympics. At the session in Mason, Paul Daugherty, a sports columnist for The Cincinnati Enquirer, asked ,“You are not crazy about dealing with us, especially in this format. Yet you have a lot of outside interests that are served by having a media platform. I guess my question is, How do you balance the two?” Osaka, after an attempt at an answer that wasn’t an answer, ran out of the room in tears. Her agent, Stuart Duguid, said via text message, “The bully at The Cincinnati Enquirer is the epitome of why player/media relations are so fraught right now. Everyone on that Zoom will agree that his tone was all wrong, and his sole purpose was to intimidate.”

Imagine that response from a male athlete to a legitimate if tough question. Imagine an agent for such a male athlete calling the questioner a “bully.” Female athletes cannot protest that they must be treated equally with male jocks and still reserve the right to revert to delicate flowers when it serves their purposes.

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Sunday Ethics Picnic, 8/15/2021: Afghanistan Accountability And Suicide Ethics [Corrected!]

/ Jack Marshall / 19 Comments

Vessel I

1. Giving credit where credit is due, at least some of the mainstream media isn’t avoiding calling attention to the Biden Administration’s epic debacle in Afghanistan. This is only a half IIPTDXTTNMIAFB: if Trump had done something even close to this incompetent, the news media would have been in full-fledged meltdown. In fact, there are enough harsh assessments coming from places that are not conservative mouthpieces that maybe Biden will face actual accountability for a change. (Nah, what am I saying?) CNN’s Jake Tapper, who occasionally has flashbacks to his pre-CNN days when he was a fairand trustworthy journalist, grilled Secretary of State Antony Blinken regarding Biden’s comments from last month, when he declared that it was “highly unlikely” the Taliban would overrun Afghanistan. That’s some intelligence work there, Joe! After some awkward huminahumina-ing, Blinken, kept trying to change the subject, defaulting to how everything was Trump’s fault. Amazingly, Tapper wouldn’t let him get away with it.

“You keep changing the subject to whether or not we should be there forever. And I’m not talking about that,” Tapper told Blinken. “I’m talking about whether or not this exit was done properly, taking out all the service members before those Americans and those Afghan translators could get out. That’s what I’m talking about. And then you have to send people back in. That’s the definition of, ‘Oh, we shouldn’t have taken those troops out, because now we have to send twice as many back in.'”

On Medium, political analyst John Ellis was on fire, writing in part,

“Handing over Afghanistan to the Taliban is President Biden’s idea, if that’s the right word, and his alone. It is terrible policy, on any number of levels. “Worse than a crime, a mistake” (Talleyrand’s phrase) describes it best. Axios reports that the Administration “derives comfort from the fact that the American public is behind them — an overwhelming majority support withdrawal from Afghanistan — and they bet they won’t be punished politically for executing a withdrawal.” Given events and the likely consequences, the fact that the Administration “derives comfort” from anything regarding its decision to hand over Afghanistan to the Taliban is nauseous. That they’re “betting” they will escape political punishment is perhaps more so….”

But that’s the routine, now. The Democrats count on the news media to minimize or hide their worst botches, so the public won’t know what’s going on and will keep on voting like good littel lambs. Other notes from Ellis:

  • “Abandoning the Kurds under Trump was bad enough. But this makes that look like home leave. This is an epic betrayal and strategically foolish to boot….
  • “…If you’re President Xi, you see Afghanistan, clearly, for what it is: a humiliating defeat for the United States. He might call it “flexible humiliation.” And what he knows from history is that defeated nations have little appetite for war in the immediate aftermath of losing one. Taiwan is there for the taking….
  • “When President Biden first announced that the US would be “leaving” Afghanistan, he set September 11, 2021 as the date when every last one of our people would be out. The announcement was greeted with astonished disbelief around the world. Could it really be possible that the US would officially hand over Afghanistan to the people who made it possible for Al Qaeda to attack it 20 years ago………on the very day of that attack? The answer was “yes,” although the Administration subsequently tried to walk it back without bringing attention to the fact that they were trying to walk it back.”

Ellis concludes, “Remarkably, the American press gave the president a pass on this, which seems to be its default setting when it comes to the Biden administration. “Trump was so much worse,” is the always-applicable rationale. Not in this case. Not by a long shot.”

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Oh, Good…A Non-Political Reason To Avoid Saturday Night Live

/ Jack Marshall / 9 Comments

Sanz and Fallon

It’s a sad truth, at least for me: the more you know about comedians and comics, the harder it is to laugh at them. There are notable exceptions of course (and as always): Martin Short, John Candy, Carol Burnett and a few more apparently are or were genuinely nice and relatively normal human beings. As a rule, however, extraordinary comedy talent is nourished by misery and emotional pain, and misery and emotional pain have a strong tendency to produce broken, sick, untrustworthy people.

For a lot of audience members, this isn’t a problem. For me, it is. I love great comedy, I’ve directed comedies, I’ve written comic scripts, revues, parodies and essays, and I’ve performed comedy. But once I learn that a comedy genius was or is a horrible human being, or acts like one sufficiently frequently not to be trusted, I just don’t enjoy watching and listening to that performer any more. The list of those who have landed on my “Can’t Make Me Laugh List” is too long to compile, and I really don’t care to encourage debates about whether it should matter that Charlie Chaplin was sexually attracted to little girls, or that Danny Kaye was a cruel misanthrope. It matters to me.

There are a few compensating advantages of this mindset, though. I haven’t watched a single minute of Saturday Night Live for so long I don’t even remember exactly when I started finding the show repugnant after years of never missing an episode. The reason I stopped watching was the show’s increasingly smug political bias that began to swallow the satire whole. I know it was somewhere around the George W. Bush presidency. (I had a similar experience then with David Letterman and The Daily Show.) SNL’s conversion into a full-time shill for progressives and Democrats became especially nauseating when it became addicted to using left-wing thug Alec Baldwin as a guest. There is no one on Earth I hate enough to find Alec Baldwin mocking him or her funny, and when it comes to Baldwin’s Trump impression, only the biases of Saturday Night Live directors and audiences can explain its popularity. As a director, I’d consider his amateurish routine unacceptable in a Cub Scout skit.

Fortunately, a recent emerging scandal looks like it will give me a new reason to detest the show that has nothing to do with politics.

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The Category Is “Jeopardy Ethics”! And The Question Is: “Who Is Mike Richards?”

/ Jack Marshall / 14 Comments

Mike Richards

If you need another bit of evidence about how social media wastes our time—and why would you?—consider the uproar over the search for a replacement for Alex Trebek. The original “Jeopardy!” host, Art Fleming, was popular too, and he hung around for 11 years. That was sufficiently long to be briefly legendary; the “Jeopardy!” announcer, Don Pardo, was familiar enough that Saturday Night Live! used him and his unique voice as a running joke for decades. But when Fleming retired, there was no controversy over his replacement, because, seriously, who cares who reads the questions and answers in a quiz show, unless they have a speech impediment or sexually harass the contestants, like Richard Dawson on “Family Feud”? But in the Age of The Great Stupid, everything is a big deal.

After months of celebrity tryouts, kind of like Presidential primary debates, “Jeopardy!” has finally chosen two replacements for the late Alex Trebek. The actress formerly known as “Blossom” and later as Sheldon’s girlfriend on “Big Bang Theory,” Mayim Bialik, will host the prime time version and its spinoffs. Can’t wait for those spin-offs! Bialik is legitimately smart and knowledgeable, and not just compared to other performers: she has a PhD in neuroscience from UCLA. She also, like most successful TV actors, projects a likable personality. And, of course, she’s a woman. I assumed a black host would be found, but Steve Harvey’s already taken.

The kerfuffle is over Trebek’s replacement for the main, daily syndicated edition, which has been around since 1984. The show’s current executive producer, Mike Richards got the job. Richards was not one of the more popular auditioners, but he had one thing the rest didn’t have: the power to choose who got hired. He thought, and thought, and chose…himself! This suggests that the process was rigged.

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Time Travel Ethics: The 1961 ABC TV Schedule

/ Jack Marshall / 25 Comments

I owe Ann Althouse for finding this; I never would have, especially since I’m disgusted with YouTube.

Above is a montage of all of the TV series offered to the public by ABC in the Fall of 1961. It’s worth noting that in 1961 the Fifties culture was still going strong, though JFK had replaced Ike as President. What we think of as the cultural Sixties didn’t really start until after Kennedy’s assassination in November of 1963. Also worth noting: ABC was the perennial least watched network on 1961. That meant they took the most risks, but ’61 was not a good year for ABC.

What can we learn from the montage? Culture is ethics and ethics is culture; this is a snapshot that shows what a large percentage of Americans watched at night, and what contributed to their worldview. It is fair to say, I think, that nothing in popular culture today influences an many people as even ABC’s prime time schedule did. The snap shot reveals where the nation has progressed, and what it has lost. In 60 years, there is a lot to consider.

Some Observations:

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Comment Of The Day: “‘Kill A Western Cultural Institution, Wear Its Skin’: The Case of Classical Music”

/ Jack Marshall / 14 Comments

Orchestra2

Ethics Alarms’ resident musician has a fascinating Comment of the Day humming with informative observations, and best of all, it has nothing to do with the Wuhan Virus vaccine

Here is David Rohde on the post “‘Kill A Western Cultural Institution, Wear Its Skin: The Case of Classical Music”…

***

Jack, it makes perfect sense that you bring Heather Mac Donald’s very long, two-part screed to your readers’ attention. It’s gotten a lot of notice in the music world. Personally I respect Ms. Mac Donald’s place in the overall cultural and political discussion, whether I agree with her writings or not. I’ve noted either her research or simply her references to the variables of two-parent families and basic levels of educational attainment as fundamental explainers of personal achievement, independent of ethnic background. Her views are part of the overall discussion in America today, or should be.

All that said, her big article about classical music is flawed in at least three ways. Here are those issues:

1. A lot of the article confuses music with musicology. The latter field has been kind of nuts for a while, extending way back before last year. The principal educators of today’s and tomorrow’s performing artists are not theoretical musicologists. They’re a combination of distinguished performers themselves and effective pedagogues, often combined in the same person. I’m not going to excuse some of the crazier things that have recently come out of Juilliard and elsewhere, but conservatory education remains very rigorous and performance-focused, indeed arguably too much so given the supply-demand imbalance for classical music talent.

2. The article is not really fair to the Sphinx Organization. One of the things that Sphinx does is to deal with the same overwhelming problem of expenses for families of limited means that you see in sports such as baseball and soccer. This time of year they bring in, for example, string players – yes “black and brown” ones – to top schools and institutions for intensive education and opportunity for rehearsal and performance experience. An example of someone who came out of the Sphinx Organization is the fantastic violinist Melissa White – yes that’s her name. Melissa has performed in our region at the Phillips Collection in D.C. and the Richmond Symphony, and she has numerous recordings to her name with the Harlem Quartet (which actually performs a huge range of traditional classical and other, adventurous music). And as you know, I believe it is completely valid to assert that, just as in other fields of employment, classical music employers should assess the whole person and what they can bring to an institution, even if their performance chops are obviously the primary criterion.

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Sounds Fun, But Is It Shakespeare?

/ Jack Marshall / 10 Comments

“The Merry Wives of Windsor” in Central Park is a “Critic’s Pick” by the Times theater reviewer Jesse Green. We learn that William Shakespeare’s “comedy of clever women, frail men and harsh revenge” has been “shaped” into one of “love and forgiveness.” We are informed that a drummer from Zimbabwe leads the audience in a call and response chorus of vernacular African salutations: “Asé” (Nigeria), “Yebo” (South Africa) and “Wau-Wau” (Senegal) among them. We are informed that the adapter has cut the number of characters in “The Merry Wives of Windsor” nearly in half, and that the running time is more than a third shorter than the Bard’s 1597 comedy.

Yes, and the “adaptation” apparently eliminates much of Shakespeare’s wordplay, including politically incorrect words like “master” and “mistress,” which Green says have “buzzkill implications.” Gone too are “misogynist references.” Predictably the setting is no longer England, or Windsor, but Harlem: it is difficult to find a a production of any Shakespeare play today that has any connection to the original in time or space.

The director and adapter have also “made several adjustments to embrace queerness where the original used it merely for humor.” Of course.

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Saturday Ethics Booster, 8/7/2021: Looking For A Hero…

/ Jack Marshall / 4 Comments

I hate to inflict that song on you (the singer/composer was the late Jess Cain, once the most popular disc jockey in Boston) but I have limited options. The 2021 Red Sox, who were sailing all season to what looked like a certain play-off slot , are suddenly in freefall,  with the hitters not hitting and the pitchers not pitching. They face a double-header today, and a double loss would be disastrous. After the 1967 Red Sox “Impossible Dream” season, the best summer of my life, when a team of virtual kids won the closest pennant race in baseball history by a single game after finishing in a tie for last place the year before, WHDH, which then carried Boston’s games, put out the cheesy but wonderful commemorative album above, containing clips from broadcasts of the most memorable games and Cain’s song, tied together by Sox play-by-play announcer Ken Coleman reciting one of the worst pieces of doggerel ever heard by human ears. At one point, Ken recounted a desperate point in the team’s underdog quest, and, having set up the rhyme with “zero,’ intoned, “We have to have a hero.” Cue the Yaz song!

I’ve been thinking about the need for a hero, indeed more than one, quite a bit lately, in matters more consequential than the Red Sox season (well, for normal people anyway.) The Sox sure need one today. If he shows up, maybe it will be an omen…

Incidentally, Yaz deserved the song. Modern metrics show that his Triple Crown, Gold Glove, MVP 1967 season was the second best of all time. (Babe Ruth had #1, naturally.) Anyone who followed that 1967 season knew it before the numbers were crunched.

1. More free speech threats in the Biden Era, but Donald Trump was a threat to democracy…The Baltimore Symphony fired Emily Skala, 59, the orchestra’s principal flutist for more than three decades, because she shared social media posts expressing doubt on the efficacy of vaccines and facemasks. Fellow musicians, audience members and donors complained, so it was bye-bye Emily. Skala, no weenie she, will challenge her dismissal, and accuses the orchestra of creating a hostile environment where she was being attacked for expressing unpopular views. I’d say that is likely. Musicians as a group are about as progressive and open to conservative views as college professors.

Skala angered many of her colleagues for sharing posts questioning the results of the 2020 presidential election—Oooh, can’t have that! She was also criticized for saying that black families needed to do more to support their children’s classical music studies. Wow, this woman is a veritable Nazi! Amusingly, the New York Times cites as among the examples of social media “disinformation” that got her fired were “false theories suggesting that the coronavirus was created in a laboratory in North Carolina” and posts “raising concerns about the safety of vaccines.”

That’s funny: it wasn’t too long ago that suggesting that the virus originated in a Wuhan lab was considered disinformation. And didn’t Joe Biden and other prominent Democrats raise “concerns” about any vaccine produced under the Trump Administration?

I’m just spitballing here, but if only we had some heroic organization that defended free speech, regardless of what side of the political spectrum it came from. It could call itself…let’s see…the National Civil Liberty Protection Alliance, or something like that…

2. Believe it or not, this Russian lawsuit isn’t frivolous, just mind-meltingly stupid. Thanks to Curmie for passing along the saga of Ksenia Ovchinnikova, an Orthodox Christian in Omsk, Russia, who is suing McDonald’s on the theory that its ads made burgers seem so yummy and irresistible that they made her break her fast for Lent in 2019 after years of successfully avoiding meat. She wants 1,000 rubles ($14) as damages for “sustained moral damage.”

The reason this isn’t frivolous (at least not in the US) is because a lawsuit clears the bar if it seeks a new interpretation of existing law, no matter how wacky. Of course, a heroic lawyer would tell the woman, no matter what she offered to pay, “You’re out of your mind, and I’d rather eat my foot than disgrace my profession by taking such a ridiculous case. By the way, would you like this  corndog?” Continue reading →