Ethics Observations On A Massacre Averted

Another day, another psycho tries to mow down strangers! In Springfield, Missouri, a man appearing to be in his 20s  pulled up to a Walmart, and put on body armor. He walked into the store and began pushing a cart around the store, recording himself on his cell phone.  An alert store manager saw a threat and triggered a fire alarm; the Springfield police  responded within three minutes of the call. Police say that the man had tactical weapons  and more than 100 rounds of ammunition When the would-be shooter left through an emergency exit an off-duty firefighter carrying a legally concealed weapon held the man at gunpoint until police arrived. Observations:

  • It won’t be, but this should be regarded as another mass shooting. Only moral luck made it different from El Paso or Dayton. Sometimes the store managers won’t react quickly enough. Sometimes there won’t be a bystander with a gun and the guts and skill to use it.

The important fact is that a crazy individual entered a public place with the intent to commit murder and the means to so it. Whether a particular attempt was or was not successful is irrelevant from a policy perspective.

  • The lesson of this near-miss is not that everyone should have guns. Resorting to the culture of the Old West is not in anyone’s best interests.

Second Amendment advocates make themselves look foolish by constantly falling back on this”solution.”

  • The hysteria-driven blanket coverage of the latest shootings makes mass shootings more likely.

Censoring the facts and basic reporting, as they did in New Zealand, is not an option here, nor should it be, Some basic restraint from cable news, talking heads and politicians, however, is both reasonable and necessary.

  • This isn’t a video-game driven phenomenon, nor a political divide-driven phenomenon, nor even a “too many guns” problem. It is a problem driven by a culture that now elevates mere attention to the equivalent of self-worth, in a nation that holds—and correctly and importantly so— that each individual, in the end, is responsible for his or her own success or failure.

We have discussed this phenomenon in many contexts on Ethics Alarms, ranging from the movie “Fame’s” warped message that the goal of young lives should be to “live forever” through becoming famous, to the reality-show driven delusion that merely being famous signifies anything but luck, and certainly not societal worth. The Sondheim musical “Assassins” posited that Presidential assassins were desperate, shadowy failures in a success-obsessed culture, who not unreasonably determined that murdering a President was the perfect way to rescue their lives from powerlessness and obscurity. The problem with thesis, though it spawned some good songs and thought-provoking drama, is that history doesn’t back it up at all, and the number of assassins and attempted assassins is too small a sample to make any valid generalizations.

  • In today’s hyped  media and information-glutted society, however, the theory makes more sense, except that it is infinitely easier to shoot up a church than kill a President, and social media makes a killer’s manifesto easy to disseminate for maximum news fodder. The Unabomber had to bargain to get his declaration published in the press.

Today a single social media post will do the trick, with fame (infamy, fame, what’s the difference?) to follow,

Fake History On Stage, Or “Why I Detest Sondheim’s ‘Assassins'”

Here are some of the things audience members unfamiliar with American history and its dark corner containing Presidential assassins will learn as they watch the much-acclaimed Stephen Sondheim/John Weidman musical “Assassins,” a very fine production of which I saw over the weekend:

…Nobody knows why actor John Wilkes Booth shot Lincoln. It may have been “bad reviews.”

...Lee Harvey Oswald worked in the Dallas book depository, and and was originally going to shoot himself, not President Kennedy.

…Giuseppe Zangara was attempting to assassinate President Franklin Delano Roosevelt when he killed the Mayor of Chicago and wounded five bystanders in 1933, but didn’t really care which, because both of them “controlled the money.”

…Sarah Jane Moore was a quirky, whacky, Lucy Riccardo-like  housewife who just wanted to kill President Ford for no particular reason.

…Moore and Lynnette “Squeaky’ Fromme knew each other and jointly attacked Ford.

…President Garfield “succeeded Grant.”

…Presidential assassins are all cut from the same psychological cloth, desperate Americans living on the margins of a cold-hearted nation that ignores them, who decide to become important by killing a President of the United States.

None of the above is true, and that just scratches the surface of the elaborate, anti-America conceit that is “Assassins.”  It is conceived as a cynical carnival game underlying a time-warping portrait of some of the men and women, far from all, who have tried, successfully or not, to murder a President of the United States.

I have seen the show multiple times, and it has always been (mostly) well-produced, directed, and acted, although if you set out to drive someone like me crazy, having Booth shoot at Lincoln with a revolver and having Oswald fire just one shot at Kennedy are good ways to do it. The show is also infuriating in its deliberate defiance of history to execute what a couple of artists think is a cool concept and a strong political statement that amounts to an evening’s worth of disinformation. The idea about assassins being a callous society’s losers and outcasts just doesn’t work, and should have signaled that it doesn’t work from the start: Booth, the leader of the time-traveling murderers—they all show up in the book depository to persuade Oswald to kill JFK—disproves the thesis in the first 10 minutes. Booth was no outcast or loser. He was a celebrity. He was successful, famous, and relatively wealthy. He was healthy, relatively sane, and in good shape. Booth was a Confederate fanatic, and determined to do what he could to pull victory out of defeat for the South by killing Lincoln, but he was hardly in the same class as, for example, Charles Guiteau, a certifiable loon, or John Hinckley.  Leon Czolgosz , who shot McKinley, was no crazier than Booth. He was a political radical as well, an anarchist like Sacco and Vanzetti, and was convinced that the government had to be brought down in the interests of justice.

Oh, whatever. Details, details. Continue reading