Hello, Ethics Alarms, Good-bye January…
Between the nauseating impeachment charade and baseball’s cheating scandal (and the largely ethically ignorant commentary regarding it), the bias of the mainsteam media reaching critical mass in episodes like this and the Don Lemon panel’s mean girls mockery of those dumber than dumb Trump supporters, mounting evidence that Democrats are going nuts based on the rise of a superannuated Communism fan in the race for the party’s Presidential nomination, and, of course, my wife doing a face-plant into some asphalt, it was a not a happy 31 days at The House of Ethics.
Amazingly, it has been a very good month for the President, becoming the first POTUS to unequivocally endorse the anti-abortion movement by appearing at the March for Life, cutting a partial deal with China, ridding the world of Qasem Soleimani (and in doing so, prompting his domestic foes, including the news media, to publicly sympathize with a terrorist and a nation that habitually calls for America’s destruction), releasing a Mid-East peace plan that is garnering support everywhere but from Iran, the Palestinians, and, of course, the U.S. media, and seeing economic figures so good even the New York Times has been forced to acknowledge them, all while being called every name in the book and an existential threat to democracy on C-Span by the Democratic House impeachment managers.
1. “Dolemite Is My Name” We finally watched “Dolemite Is My Name,” (on Netflix), Eddie Murphy’s homage to comic Rudy Ray Moore and his 70s Blaxploitation film “Dolemite.” So much for my proud claims of cultural literacy: I never heard of Moore or his film, which is apparently a genre classic. Moore is regarded as the Father of Rap; how did I miss this for so long? Murphy’s movie tells the mostly true story about how a group of complete novices, led by Moore, made an exuberantly idiotic movie (faithful to Moore’s formula for success with black audiences: “Titties, funny, and Kung-Fu”) for $100,000 that grossed 10 million.
The movie is fun as a black version of “Ed Wood” (same screenwriters, I discovered later) and won some awards. For it to be make any 2019 Ten Best lists, however, is blatant race pandering by critics. Continue reading