Pop quiz, Ethics Alarmers: if you worked for Nike, and learned that it was about to launch a new campaign promoting the brand’s Trail Running collection with this—“The Lost Cause…Because the lost cause will always be a cause worth supporting”—what would you do? I assume that most of you would immediately recognize that the Lost Cause, in American historical context, refers to the sentimental, romantic and troubling interpretation of the Confederacy’s defeat, in which slavery is recalled as a benevolent institution and the Civil War as a noble effort by the South to protect a civilization now “gone with the wind”—the title of the film which, coincidentally, I am watching as I type this.
Seven hours, one serious needle wound, and 1300 lights later, victory! I’ll finish the decorations when I get back home, IF I get back home…
1. Itinerary…I’m heading to New Jersey via train to hook up with the brilliant Mike Messer, what we call “the talent,” in an encore rendition of the musical legal ethics seminar, “Ethics Rock Extreme,” lyrics by yours truly, musical stylings by Mike, on the guitar. Then it’s back to D.C. by air on Saturday, if I’m lucky. If I’m not lucky, I’ll be taking the New Jersey bar exam in the Spring…
I have no idea how or whether I’ll be able to keep Ethics Alarms on track once I board the train this afternoon. I’m not going to launch a second Open Forum in leas than a week, so please keep working on the current one here, now at 130 entries and counting. I will be reviewing those on the road, and I’m sure there will be some Comments of the Day to post, eventually.
2. In case I am trapped in New Jersey…Let me alert everyone that Peter Jackson’s apparently terrific (based on the reviews) WWI documentary “They Shall Not Grow Old” will be playing in theaters on December 27, and after that, who knows? The American public’s ignorance about that war, perhaps the greatest human catastrophe in modern history, is a failure of education, perspective and culture. If you have kids, take them. Here is the trailer:
3. Speaking of cultural literacy and movies, TCM is offering a limited engagement in theaters for “The Wizard of Oz,” on January 27, 29, and 30.
Is there another film that so many people purport to know and love so well without actually having seen it as it was intended to be seen? When I finally saw the movie in a theater—no breaks or commercials, big screen—I was shocked at how different and, obviously, better, the experience was. It’s an artistic masterpiece and sui generis: we will never see its like again, nor talents like Judy, Ray and Burt, among others. Continue reading
The post about Fred Astaire’s dark-make-up-assisted homage to tap-dancing legend Bill Robinson in “Swing Time” was incomplete, both historically and ethically. This post should remedy that.
The dance number in question, “Bojangles of Harlem,” was, as I wrote in the introduction, Fred’s homage to two great black tap dancers who were teachers and inspirations for him, Bill “Bojangles” Robinson and John Bubbles. The post explained why the salute to Robinson was important, but did not elaborate more on Bubbles. He was not as big a star as Robinson nor as well known, either at the time of the film or ever, and is less remembered today. Nevertheless he was an important cultural figure, and it can be argued that Astaire’s number was really more of a tribute to Bubbles than Robinson, not that many noticed.
First, you need to know about Bubbles. Born John Sublett (1902-1986), he teamed at the age of ten with the six-year-old Ford Lee “Buck” Washington in a decades-lasting act, “Buck and Bubbles.” in which Buck stood and played piano and Bubbles sang and danced. As adults, “Buck and Bubbles” ultimately played at New York’s Palace Theatre, the London Palladium, the Ziegfeld Follies, the Cotton Club, the Apollo, and became the first blacks to perform at Radio City Music Hall. Their popularity allowed them to break the color barriers in theaters across the country. Continue reading
We recently came through the usual Halloween bag of “blackface” controversies, and Ethics Alarms, as it has before, tried to guide the discussion to the material distinctions that social justice warriors, who strategically deal in absolutes when seeking power through real and contrived offense, refuse to acknowledge or are intellectually incapable of doing so. The short version of the Ethics Alarms message: make-up for legitimate theatrical purposes isn’t “blackface,” isn’t “racist,” and shouldn’t be object of knee jerk condemnation based on emotion or ignorance.
Today Turner Movie Classics showed “Swing Time,” the 1936 musical that is probably the high water mark in the Ginger Rogers-Fred Astaire canon. It has the best song (“The Way You Look Tonight”), the best novelty scene (Astaire pretending to be a klutz in a dance lesson with Ginger, then shocking her and her boss—and saving her job— by showing “what a great teacher she is” by dancing, well, like Fred Astaire) and arguably two of the best dances by the two, “Never Gonna Dance” and “Waltz in Swing Time.” The film also contains a controversial “blackface” number, “Bojangles of Harlem,” in which Fred pays homage to two great black tap dancers who were teachers and inspirations for him, Bill “Bojangles” Robinson and John Bubbles. Local TV stations have long been reluctant to show “Swingtime” because of guaranteed complaints that the number is racist, or, if they cut the number (which is unconscionable), complaints pour in from film and Astaire fans that they have defaced a classic out of misplaced political correctness.
If one argues that the number is “racist” because of Fred’s make-up, then one is necessarily arguing that no white performer can ever offer an admiring salute to an African-American great by emulating him. Astaire’s choreography (by Hermes Pan) contained specific references to trademark steps and gestures by both Bubbles and Robinson, though more of the former than the latter. (Some would say, maybe even Fred, that this was because he didn’t dare set himself up to be compared to Robinson, whom many regard as the greatest tap-dancer of them all.) Blackface, as typified by minstrel shows, was a burlesque of negative black stereotypes. There isn’t a hint of this in Astaire’s number: he wears dark make-up because he is honoring two contemporary black dance stars who he knew, learned from, and respected. The make-up is the epitome of a legitimate theatrical device, and racially demeaning neither in intent nor effect. Those who see it as such are either deliberately misconstruing the number, or don’t know what they are talking about. (There is an unfortunate racially demeaning set piece that appears for a couple of seconds at the start, a large caricature of exaggerated black features. You can take the film out of 1936, but you can’t take 1936 out of the film.)
The ironic part of the effort to quarantine “Bojangles of Harlem” is that the number is one of the few reminders in our culture of who Bill Robinson was, and—here’s Jack on his “duty to remember” and cultural literacy soapbox again–he was an important figure in American theatrical, cultural and civil rights history that should be remembered. Instead, Robinson is almost completely forgotten: I bet most of the NAACP members who get up in arms when TMC shows “Swing Time” have no idea how significant Robinson was, and the contributions he made to art and society. Continue reading
I am increasingly depressed by the widespread cultural illiteracy of the public, and not just the younger generations. I do believe it is an ethics issue, because, as Prof Hersch wrote decades ago, a lack of historical and cultural perspective makes competent citizenship, critical thinking and effective participation in society difficult if not impossible. It is a life skill that we all are ethically obligated to acquire, and that society is obligated to help us acquire for its own health and survival.
In a comment today, slickwilly wrote,
You are both mad.”
“Oh, you can’t help that. We’re all mad here. I’m mad. You’re mad.”
“Why, sometimes I’ve believed as many as six impossible things before breakfast.”
It suddenly occurred to me, with horror, that a majority of the public probably can’t identify the origin of those quotes. I wonder how many Ethics Alarms readers can. Here’s a couple of surveys/poll. No cheating, now. You’re on an ethics blog.
Read this story, please.
Then consider the 10 questions below.
A summary of the main points…
Luke Gibbs’ wife, Rachel, mother of two, was rendered permanently vegetative after a go-kart accident at a Michigan amusement park, the Family Fun Center, near Grand Rapids. A long scarf she was wearing got caught in one of the go-kart’s axles, snapping her windpipe.
She is now in a long-term care center southwest of London. Her husband is certain that this would never have occurred in England, because the country has more regulations. “There’s no agency in the United States that can say to my children, who are American citizens, this is the way in which we worked to protect your mother and keep her safe,” he said. “I’m confident that accident would not have happened here, part because I think we have more stringent regulation,” he added.
- Parks are exempted from federal regulation, leaving supervision to the vagaries of the states, and six have no oversight: Alabama, Mississippi, Montana, Nevada, Wyoming and Utah. In the early 1980s, park operators successfully lobbied to shield amusement parks from federal oversight by the Consumer Product Safety Commission. Starting in 1999, Senator Edward J. Markey sought to mandate federal oversight, but Disney successfully lobbied against it, along with its competitors.
They argued that the federal regulation was not necessary. Industry studies say there is only a one in 17 million chance of injury at fixed-site parks. The safety commission estimates there were 29,400 amusement ride injuries requiring emergency treatment last year at all types of parks, including inflatable attractions and even coin-operated rides at shopping malls.
Mobile parks with rides that can be moved, like carnivals and state fairs, are not exempted from federal regulation.
- When Rachel Gibbs wife was injured, the park appeared unprepared for an emergency. The ride’s operators panicked, and momentarily couldn’t recall the park’s address so emergency vehicles could be called, and could not provide the injured woman with a defibrillator
A 2007 internal memorandum from the park admonished employees to “never admit fault for accidents,” adding, “our common phrase is ‘AJ’s is an at your own risk Fun Park.’” Continue reading