Arts & Entertainment

Monday Morning Ethics Calisthenics, 7/19/2020: Fig-Heads!

/ Jack Marshall / 15 Comments

1. Our trustworthy news media, which we can trust to behave like this... From my AOL news feed: “Trump says he may not accept 2020 election results.” From the transcript of the Chris Wallace interview that the headline is referring to:

WALLACE: Are you suggesting that you might not accept the results of the election?

TRUMP: No.

What the President would not do is promise to accept the results if there were a  valid reason not to accept the results. Once Al Gore challenged the Florida vote count after Bush had been declared the winner in 2000, the long standing precedent, followed by election losers like Andrew Jackson, Samuel Tilden and Richard Nixon, all of which had reasons to question the results in their contests, of accepting defeat without a challenge was erased. If any of it remained at all, Hilary Clinton’s pursuit of some way of reversing the Electoral College tally in 2016 completed the job. Trump’s refusal to promise a return to the old tradition is reasonable,  especially with the chicanery enabled by mail-in ballots. What Joe Biden has suggested, despicably, is that Trump will not give up the Presidency even if he is defeated unequivocally and fairly. There is no justification for suggesting this. There is far more reason to believe that any Trump victory, even a resounding one, will send angry and frustrated Democrats into the streets

Trump, as usual, was trolling with his coy response here…

WALLACE: There is a tradition in this country — in fact, one of the prides of this country — is the peaceful transition of power and that no matter how hard-fought a campaign is, that at the end of the campaign that the loser concedes to the winner. Not saying that you’re necessarily going to be the loser or the winner, but that the loser concedes to the winner and that the country comes together in part for the good of the country. Are you saying you’re not prepared now to commit to that principle?

TRUMP: What I’m saying is that I will tell you at the time. I’ll keep you in suspense. OK?

TRUMP: And you know what? She’s the one that never accepted it.

WALLACE: I agree.

TRUMP: She never accepted her loss and she looks like a fool.

This isn’t a topic he should be playing with, because the Democrats and the news media will claim that something sinister is in the works. Trump gives a strong hint of his real meaning: if Hillary looked like a fool by refusing to accept the election results, he wouldn’t want to behave like Hillary. But the President should have simply said, “If I lose, fair and square, of course I will accept the results.”

He also should have answered Wallace’s question as I would have, by saying, “Chris, the tradition you speak of has been rejected twice by losing Democratic candidates since 2000.”

2. There’s no excuse for this in 2020. I could not believe my ears as I watched “Three Billboards Outside Ebbing, Missouri”last night.

I thought that a TV version of “The Hard Way” (1991)  I watched a bit of until I couldn’t stand any more had wrapped up the all-time prize for idiotic Bowdlerization of movie dialogue with such substitutions as “slug in a ditch” for “son of a bitch.”  I mistakenly assumed that the days of red-penciling movie dialogue on the theory that a film’s audiences would be made up of six-year-old Mennonites and 88-year old nuns were long gone. But here was a a 2017 movie with a lot of rough language being made ridiculous by word censorship. “Fuck” was alternately represented by “flock,” “flip,” and “freak.” “Mother-fucker” became “flipper”—in a bar scene, I at first thought a fight started because one character called another a dolphin. “Bitch” for some reason was removed in favor of the word “cuck,” except it was pronounced like “cook.” A character complained about there being “too many cucks in here,” and for a second I thought I was watching “The Great British Baking Show.” All of these strange words ruined the movie, first because the silly replacements turned a smart and moving drama into a absurdist Monty Python skit, and second because the word substitution was so eccentric that I was constantly taken out of the story by wondering, “What word was supposed to be in there?”

In one scene, the protagonist played by Frances McDormand burst  into the police station calling the officer played by Sam Rockwell a “fig-head.” Another officer indignantly shouts at her, “You can’t come in here and call a law enforcement officer a fig-head!” Wait–what the hell is a fig head?

This is incompetent and unfair to the film, the artists who made it, and the audience.

3. OK, I admit it, I have no idea what Kanye West is doing. And I don’t care. After announcing he was running for President, then implying that he wasn’t, the mentally ill rapper held a campaign event yesterday highlighted by his criticism of Harriet Tubman on the grounds that she “never actually freed the slaves, she just had them work for other white people.”

This is gallactically stupid, but it’s still smarter than Candidate Trump’s criticism of John McCain’s war heroism. At least Tubman, her family and friends aren’t alive to exact their revenge on West should he get elected.

A Sunday Morning Ethics Quiz: “Ass and Boobs” vs. “The Camel’s Toe” [Corrected]

/ Jack Marshall / 16 Comments

Roenick, Lipinski and Weir. Wait…Johnny Weir is gay?

Ex- pro hockey star Jeremy Roenick has sued NBC Sports for wrongful termination, claiming the network discriminated against him as a heterosexual. At issue is his firing in February of this year for saying,  during a Barstool Sports podcast called “Spittin’ Chiclets”, while discussing his wife and Kathryn Tappen, a coworker,

“I’m swimming with my wife and Kathryn, and they’ve got their bikinis on, and they look fuckin’ smokin. Ass and boobs everywhere. It’s great.”

I suppose I should mention by way of context that sports fans do not listen to ex-hockey players  blather on “Barstool Sports” to be enlightened on the writings of Marcel Proust. Nonetheless, NBC quickly suspended Roenick, and though he issued an apology, his NBC supervisor, Sam Flood, subsequently informed him that he was fired.

[Notice of Correction: I originally wrote that Barstool Sports was an NBC production, It isn’t. So Roenick was fired for comments made when he was not under the auspices of NBC.]

What sparked the lawsuit now was the absence of any discipline levied by NBC sports after NBC Sports commentators Tara Lipinski and Johnny Weir participated this May in a leering promotional video for the At-Home Variety Show on the Peacock streaming service, joined by “Pitch Perfect” actors Elizabeth Banks and John Michael Higgins. Continue reading →

Ingratitude, Racism And Statue Toppling At The Asian Art Museum

/ Jack Marshall / 6 Comments

I’ll begin with the ethics conclusion, and show how we get there.

If your organization, institution, or nation owes its existence to an individual that hindsight-wielding critics want to erase, your choice is to tell them to get lost while continuing to officially recognize the debt such organization, institution, or nation  owes to that individual, or to dissolve the entity. Recognizing in some form the fact that a founder has blemishes on his or her past may be justified and practical. Continuing to benefit from that founder’s actions while metaphorically kicking him or her in the teeth, however, is unethical and, in fact, despicable.

Thus we arrive at the current controversy at the Asian Art Museum  in San Francisco. The focus of the mess is the bust of Adrian Brundage you see above. Brundage is most remembered as the long-time (twenty years) President of the International Olympic Committee (IOC), and most reviled for his decision not to cancel the Munich Games in 1972 after the terrorist attack on the Israeli team in 1972. (I agreed with him then, incidentally, and still believe that he was correct, and courageous, in his decision.) Brundage also, however, created the Asian Art Museum, which is the centerpiece of San Francisco’s Civic Center Plaza, and which Brundage gave to the city in 1966 to house his fabulous personal collection of approximately 8,000 art pieces.

The New York Times story about the emerging controversy at the museum begins, “For 48 years, visitors to this city’s Asian Art Museum have had to pass the bust of Avery Brundage.” That’s right, they “had” to pass that bust because what they were coming to see belonged to Avery Brundage, the museum’s collection was his gift, and it was and is appropriate for that to be respected and acknowledged.

Given an opportunity by the zeitgeist of the George Floyd Freakout, however, the museum’s director and chief executive, Jay Xu, announced to a meeting of the board and commissioners in June that he was having Brundage’s bust  removed. There are two reasons given in the article. One is that Brundage was accused of being a Nazi sympathizer and anti-Semitic (with the decision not to stop the 1972 Olympics being cited as a prime piece of evidence for the latter), and that the museum he created “presents Asian art from a mostly white perspective.”

As for the last complaint, I will characterize it this way: it’s racism, pure and straight.

The George Floyd Freakout is being used to justify a national effort to “Get whitey,” and this disgusting outbreak of anti-white hatred (that so many white Americans are accepting with the meek submission and hollowed out character of post rats-in-his-face Winston Smith) will not end until sufficient numbers of the rational label it what it is: opportunistic hate and racism.

The museum presents Asian art from a “mostly white perspective”  because the museum’s collection was originally created by a  collector of Asian Art who was white. That does not justify an indictment of the collection, and if an Asian-American wants to establish a museum that reflects Asian art from a mostly Asian-American  perspective—not an Asian perspective now, be consistent, you racists!—then that Asian-American is welcome to spend millions on his or her own collection,  give it to the city, and see if anybody wants to see it. Continue reading →

Morning Ethics Warm-Up, 7/16/2020: Dreadlocks, Kareem, Scrabble And “Political Slogan? What Political Slogan?”

/ Jack Marshall / 22 Comments

1. This Morning’s Grovel: A white Seattle hairdresser apologized profusely for daring to wear dreadlocks. The key quote: “I have come to understand—far too belatedly—that my hairstyle is harmful.”

To lightly paraphrase Orwell: ‘She loved Big Brother.’

It’s hard to work up any sympathy for people like Irene—weak, ignorant, unwilling to stand up for basic  human rights, like being able to wear your hair any damn way you want to. This is yet another of the one-way “rules” that are being delivered by edict as an alleged remedy for “systemic racism”: Blacks can do anything they want to, whites are severely limited. The hair rules: black women can straighten their hair, dye it blonde, adopt any style the choose as a method of self expression, but a white woman who chooses dreadlocks has “harmful hair.”

Those who won’t stand up for their own liberties deserve to lose them. Irene is a fool, and betraying the values of her country. Continue reading →

Ethics Observations On The Nick Cannon Meltdown

/ Jack Marshall / 34 Comments

This is the kind of story that makes me doubt my own cultural literacy. Until the controversy involving Nick Cannon, I had never heard of the guy, and wouldn’t recognize him if he walked into my living room.  Yet he’s been around for 20 years as a juvenile TV star, a rapper, comic, actor, producer, director, the TV host of all sorts of shows I didn’t watch, and since 2012 he’s had his own show on MTV called “Wild and Out.” He also has a podcast.

The news that ViacomCBS had fired Cannon resonated throughout the popular media, and qualifies, apparently, as a Big Deal. In the June 30 installment of Cannon’s podcast, “Cannon’s Class,” he interviewed Professor Griff, a rapper who was a part of the group Public Enemy before being forced out after he said in an interview with The Washington Times, “The Jews are wicked. And we can prove this.” He also said that Jews were responsible for “the majority of wickedness that goes on across the globe.”

“I’m hated now because I told the truth,” Griffin told Cannon, who was immediately sympathetic. “You’re speaking facts,!”  Cannon said. “There’s no reason to be scared of anything when you’re speaking the truth.”

After referring to Dr. Griff as a “legend,” Cannon said he wished that Louis Farrakhan, the anti-white demagogue with a long history of anti-Semitic comments, had not been blocked by Facebook.

Then Cannon endorsed Griffin’s contention that six dominant media companies were controlled by Jews, comparing it to the power of the Rothschilds, the banking family at the center  of various  anti-Semitic conspiracy theories. “I find myself wanting to debate this idea and it gets real wishy and washy and unclear for me when we give so much power to the ‘theys,’ and ‘theys’ then turn into illuminati, the Zionists, the Rothschilds,”  Cannon said later in the podcast.

Got it. He’s an anti-Semite. Continue reading →

Ethics Dunce: Gary Garrels

/ Jack Marshall / 7 Comments

The carnage of the George Floyd Terror, aka George Floyd Freakout, aka George Floyd Ethics Train Wreck, claimed another victim yesterday, and Ethics Alarms is designating him the Ethics Dunce. We really need a new category for people like Gary Gerrels, the now ex-senior curator of painting and sculpture at the San Francisco Museum of Modern Art (SFMOMA). Placed in a position where he could take a strong  position against unhinged woke bullying, when every element of common sense, integrity, fairness and reality was aligned in his favor, he prostrated himself to the mob. “Ethics Coward,” perhaps? “Ethics Weenie”? “Ethics Fool”? “Useful Ethics Idiot”?

Garrels  triggered the process of his cancellation by concluding a presentation on how to diversify the museum’s holdings by saying, “don’t worry, we will definitely still continue to collect white artists.” In a ZOOM meeting of museum employees, Garrels  voiced a similar position, saying  that the museum could not avoid collecting the work of white men, which he described as “reverse discrimination.” Shortly thereafter employees created and began signing an online petition demanding that he leave the museum.
Continue reading →

High Noon Ethics Showdown, 7/14/2020

/ Jack Marshall / 11 Comments

“High Noon” is an ethics movie to be sure, but a very strange one. I put it on a list of ethics movies in 2016, but as I wrote then,

“High Noon” is a Western that shows the American people at their worst, refusing to help a single law man threatened on his wedding day, and cringing in fear and denial when their values need to be fought for.

I have long felt that the movie is like a “Twilight Zone” episode, or a Western version of “Invasion of the Body-Snatchers.” What’s wrong with those people? However, it feels less like a Rod Serling parable now, when I find myself thinking “What’s wrong with those people?” several times a day as I surf the news feeds.

It is reported that John Wayne was offered the role of the desperate law man, eventually played by the Duke’s friend, Gary Cooper. Wayne, who was always protective of the heroic character he had created over the course of his career, hated the script, and turned it down. I cannot imagine John Wayne running around a town begging for help as four gunfighters are on the way to seek revenge, and apparently neither could he. In response to “High Noon,” Wayne and Howard Hawks made “Rio Bravo,” about a sheriff who keeps refusing assistance as a rancher hires gunfighters to free the sheriff’s prisoner, his brother.  At every turn, people keep saving the sheriff anyway.

I think one reason Wayne wanted to star in “True Grit” so much is that Rooster Cogburn, old and fat, takes on four villains by himself, charging them on horseback with the reins in his teeth and guns blazing.

1. It’s amazing that everyone isn’t sick of this yet. The latest Times “fact check” of President Trump, like so many others, relies on an interpretations of the notoriously sloppy-speaking POTUS that nobody fair and attentive could possible  think was his intended meaning. The statement at issue was that “99% of which are totally harmless.”

By “totally harmless,” the hyperbole addicted President meant “aren’t fatal.” The game, however, is to pretend the Presidents words, whatever they are, are lies. (The Washington Post just updated its hilarious Trump lie database. I challenge anyone to pick ten entries at random that even include a majority of “lies.”)

The Times even writes, “Studies that have calculated the death rate based on broader antibody testing that takes these silent cases into consideration suggest an infection death rate of less than 1 percent, said Dr. Ashish K. Jha, the faculty director of the Harvard Global Health Institute.” Continue reading →

Guest Post: Who Are The Greatest Americans?

/ Jack Marshall / 104 Comments

by Valkygrrl

[Introduction: Ethics Alarms opined that the President’s proposed “Garden of American Heroes” was badly conceived, and his initial nominations for inclusion proved the point. Mercurial commenter Valkygrrl  took the initiative to devise a process for Ethics Alarms readers to compile a better list, and also to organize the results, which I found fascinating. Any further reactions will be confined to the comments.]

The Rules:

1: No presidents, always some controversy, we have other ways of honoring them.
2: Any person who held office must be chosen for something they did outside of said office, no honoring for using the mechanisms of the state no matter how beneficial to society.
3: No Confederates (obvious divisiveness.)
4: You may have only one living person on your list.
5: Your list must be made in good faith. You may not choose anyone you believe will upset or anger me; no “owning the libs”. Honest mistakes accepted.
6: Do not remove someone from your list because they were mentioned by someone else. I want to see if we can find some consensus. That means people Trump or Jack mentioned are allowed.

Here’s the list of nominees as submitted by participants (editorial descriptions mine);

Marian Anderson: Singer, Civil rights activist, Medal of Freedom recipient.

Neil Armstrong: Aviator, Astronaut, First human to set foot on Luna

Isaac Asimov: Teacher, Author of the Foundation series; Seven-time Hugo Award winner (Plus one Retro-Hugo awarded in 2016), Democratic party activist, serial sexual harasser

Irving Berlin: Composer of famous patriotic music

John Brown: Hero, undaunted, true and brave, And Kansas knows his valor when he fought her rights to save; Now, tho the grass grows green above his grave. Popular legend holds that his soul continues to march.

John Moses Browning: Industrialist, Firearms designer.

George Carlin: Humorist, Mentor to time-traveling Gen-Xers.

Andrew Carnegie: Industrialist, Philanthropist, Union buster.

Joshua L. Chamberlain: Union General, Medal of Honor recipient.

Meriwether Lewis  and  William Clark: Explorers, Naturalists. Two very different people presumably nominated for a single achievement alone. Clark was a bit of a bastard.

Samuel Colt: Firearms manufacturer, used assembly line principals before Henry Ford.

Clarence Darrow : Country lawyer, Civil libertarian, Attention whore, Cigar aficionado. Continue reading →

Waning Sunday Ethics Reveries, 7/12/2020: You Know, Ethics Isn’t Fun For Me When Everyone’s Acting Irrationally

/ Jack Marshall / 17 Comments

Let’s see what we have today…

1. Oh. The art made some people uncomfortable. Well that’s a good reason to destroy it… Vermont Law School is going to paint over a mural in its student center that celebrates Vermont’s role in the Underground Railroad and the abolitionist movement. Several students and alumni had recently objected to its depictions of African Americans and said it made some people uncomfortable.

VLS President and Dean Thomas McHenry said in a campus-wide email last week that the mural in the Chase Community Center  painted by Vermont-based artist Sam Kerson in 1993 had to go because “the depictions of the African-Americans on the mural are offensive to many in our community and, upon reflection and consultation, we have determined that the mural is not consistent with our School’s commitment to fairness, inclusion, diversity, and social justice. Accordingly, we have decided to paint over the mural.”

Translation: ‘Some of our African American students and alumni as well as supporters of the George Floyd Freakout thought this was an ideal time to show what they could  do by crying “racism” in an institution that could be counted upon to cave to just about any demands in order to avoid being called “unwoke” and be swarmed by social media mobs. And they were right!’

The mural is titled “The Underground Railroad, Vermont and the Fugitive Slave” and has two 8-by-24-foot panels, with four scenes in each panel intended to“celebrate the efforts of black and white Americans in Vermont and throughout the United States to achieve freedom and justice,” the artist’s website says.

The first panel includes half-naked Africans being forced into slavery and sold at auction, as well as resistance symbolized, in part, by “the resurgence of African culture via drums, masks and costumes.”

The second panel includes images of John Brown, Frederick Douglass and Harriet Beecher Stowe, as well as a scene where a blonde Vermont woman tries to block the view of a bounty hunter bearing down on fugitives trying to escape slavery on the Underground Railroad. Here it is…

VLS students Jameson Davis and April Urbanowski resembled yahoos at a modern art exhibit complaining that “them dang Picasso people look like freaks!,” writing “One issue of many, is the fact that the depictions of Black people are completely inaccurate. Regardless of what story is being told over-exaggerating Black features is not OK and should not be tolerated.”

The artist is not happy. “This is a monument to abolition in Vermont and a description of the people who struggled against slavery, and it is important to our culture,” Kerson said of his mural. “To paint it over is outlandish — it’s like burning books. It’s so inflammatory, I can’t believe it’s actually happening.”

Forget it, Sam. It’s George Floyd Freakout Town… Continue reading →

Common Sense Doesn’t Matter Either: The “Woke” Acting Profession Is Betraying Audiences And Dooming Itself (Part 2: Give My Demands To Broadway…)

/ Jack Marshall / 22 Comments

Upon careful consideration, I think this clip is the fairest representation of what black theater activists on Broadway are advocating:

In Part I of this series, we discussed the dead-end strategy recently pursued by the performing woke of imposing one-way limitations on which actors could portray what roles. Across the full range of group grievance activism, everyone is rushing to try to exploit and capitalize upon the George Floyd Freakout, perhaps recognizing that the present state of self-flagellation and submissiveness by white decision-makers, governments, businesses and other institutions won’t last forever. In their haste, many groups—in this I would include the “resistance,” Democrats and the news media among others—are metaphorically cutting their own throats. This is especially true of the theater community.

A coalition of theater artists called “We See You, White American Theater” has posted online a 29-page set of demands that if adopted, the New York Times opines, “would amount to a sweeping restructuring of the theater ecosystem in America.”

Wrong, Bias Breath! If adopted, the demands would kill commercial live theater, and it is more than half dead already, though most theater community members are in denial.

The list reminded me of the bad old days of the 1960s, when student anarchists, protesting the war in Vietnam, would take over university buildings and then, thinking that they had the upper hand, would submit a list of demands including the Moon and the kitchen sink, many of which had nothing to do with the war at all.  This list of demands makes those look reasonable, one reason being that simply reading the 29 pages of arrogant woke-speak is a task few will have the patience to undertake.

I’ll just focus on some highlights. (By the way, you need to know that BIPOC means “Black, Indigenous and People of Color”):

  • “We demand the naming and acknowledgement of American Indian, Alaska Native and Native Hawaiian tribal land and its Native peoples who have lived, currently live, and will live on the land where any theatre activity happens.”

I hate to keep having to break it to these naifs, but theater is just not that important to most people, particularly those in power. “We have to rename Indianapolis to have theater here? OK—we won’t have any theater then! Problem solved!”

This one is worth repeating in full: Continue reading →