Canadian progressive rock star and Canadian Prime Minister Justin Trudeau is now dealing with his own #MeToo crisis, and, as you will see, not that well. These are old allegations, first appearing in a tiny community paper called the Creston Valley Advance in 2000 An unsigned editorial related that Trudeau, then a 28-year-old teacher, groped a young, female Advance reporter covering the Kokanee Summit Festival in Creston, British Columbia. The Creston editorial did not include details of the alleged groping incident, but wrote that the reporter involved felt “blatantly disrespected” and that Trudeau allegedly apologized a day later for “inappropriately handling” her.
Nobody cared. After all, Bill Clinton had just ducked impeachment because American Democrats and the news media successfully sold the narrative that a President using his intern as a personal sex-toy was “private, personal, consensual conduct.” The story was quickly forgotten.
Then came the Harvey Weinstein Ethics Train Wreck, and suddenly any male in power is vulnerable to having their career and reputation undone because of a recovered or re-evaluated memory they did that everyone winked at decades ago, but is now proof positive of a dark and irredeemable soul, or something. (This is the point where, if you are Prof. Paul Butler, you shout “Oh come ON!”) The episode resurfaced recently when popular political commentator and Trudeau critic Warren Kinsella tweeted a picture of the editorial last month with the hashtag #MeToo. His tweet was later picked up by various conservative outlets. This is suddenly a problem for liberal leader who has proclaimed his feminist credentials. He has said that he has no tolerance for any kind of sexual harassment or unwanted touching.
And now this. Observations:
- Here was Trudeau’s response to the allegations: he initially said that he did not recall the event. Then he said, well, he remembered the event, but not the incident. “I remember that day in Creston well. It was an Avalanche Foundation event to support avalanche safety. I had a good day that day. I don’t remember any negative interactions that day at all,” he said. The next day, he told reporters that he apologized to the alleged victim for the incident he doesn’t remember “in the moment,” but said he is confident he “did not act inappropriately”…but respects ” the fact that someone else might have experienced this differently.”
Translation of this self-contradicting double-talk:
Let’s see now: He doesn’t remember the event, which he remembers well, but not the incident, though he remembers that he apologized for it, though he is certain he did nothing that required an apology, but he can certainly understand how someone might see it differently.
All righty then! Continue reading
Another perspective on the question of how the personal and professional misconduct of artists should affect our regard for their art comes from Curmie, a drama teacher, director and blogger who has as deep credentials for this topic as anyone.
Here is his Comment of the Day on the post, THAT’S The Concept I Was Looking For—“Cultural Vandalism”!…
Back in graduate school, I worked as a teaching assistant to a brilliant professor, Ron Willis, in his Introduction to Theatre class. Seitz’s commentary intersects with two of the concepts Ron highlighted in his course. The first of those is what Ron called para-aesthetics: those elements which affect an audience’s reception of an aesthetic event without being the aesthetic event.
These can be entirely coincidental (it’s pouring rain) or created specifically by the production company (the poster). The company many have had some, but not complete, control over the influence (there’s insufficient parking, in part because of another event in the area). The para-aesthetic influence could apply to the entire audience (the leading actor is a big star, the auditorium is freezing) or to an individual (the leading actor is your best friend, the person next to you thinks that showers are for other people, you’ve had a couple glasses of wine before the show).
The fact that a Bill Cosby’s off-camera life has been considerably short of exemplary matters in a para-aesthetic way. But each individual spectator will respond differently to each impulse. That leading actor—my best friend—is someone else’s ex. Facebook tells me that a year and a day ago I saw a play in London with a young movie star in the title role. His presence mattered to me not a bit, but there were dozens if not hundreds of his fans in the house: people who were there specifically to see him. That play was an adaptation of a script I adore and indeed directed a few years ago. The fact that the play as presented bore little if any resemblance to the original bothered me a lot; those who didn’t know the 19th-century version were far more able to accept the 21st-century revision on its own terms. Continue reading
Does he still seem like God to you?
Perfect! That’s the ideal description of what artists, especially performing artists, do when they engage in such revolting conduct that it becomes difficult or impossible for us to enjoy their work the way we could before we knew they were disgusting human beings.
We owe Vulture writerThe Cultural Vandalism of Jeffrey Tambor,
He writes in part,
Once I know something like this, it makes it impossible for me to look at the actor and not think of the horrible things they’ve allegedly done. I don’t care to argue whether this is rational or not (I think it is), or whether I hold inconsistent opinions of works that are problematic for whatever reason (everyone does). The repulsed feeling is still there, and it makes a difference in how I react as a spectator…This sort of thing seems categorically different from, say, watching a film starring an actor whose political beliefs are different from yours (though there, too, a line could be irrevocably crossed). Once you believe that a particular actor or filmmaker or screenwriter is a predator or abuser, you’re aware that the environment that produced your entertainment — the film set — was engaged in a conscious or reflexive cover-up, in the name of protecting an investment. You can still be passionately interested in the thing as a historical or aesthetic document — seeing it through the eyes of, say, an art historian who can contextualize Paul Gauguin within the totality of 19th-century painting, or an African-American studies professor who’s fascinated by Gone With the Wind — but you can’t lose yourself in it anymore. You can’t be in love with it. You can’t really enjoy it in the most basic sense, not without playing dumb.
You didn’t do that to the artist. The artist did that to himself…
And it’s awful. People’s lives get ruined, their careers get interrupted or destroyed. The emotional, physical, and financial damage that problematic artists inflict on people in their orbit should always be the first and main subject of discussion…On top of all that, we also have the collateral damage of cultural vandalism. Fun, meaningful, even great works that dozens or hundreds of people labored over, that built careers and fortunes and whole industries, become emotionally contaminated to the point where you can’t watch them anymore…. in recent years, an entire wing of African-American cultural history has been vaporized by the Bill Cosby allegations and his recent felony sexual-assault trial, including the most popular sitcom of the ’80s (The Cosby Show), some of the top-selling comedy albums of all time, the precursor to the R-rated buddy comedy genre (Uptown Saturday Night and its sequels), and the first Saturday morning cartoon with a predominantly black cast (Fat Albert and the Cosby Kids). Predators’ careers are getting raptured, as well they should be. But unfortunately — perhaps inevitably — their work is getting raptured along with it, imploding into dust as the culture moves on to things that aren’t as problematic (or that might have skeezy stuff going on behind the scenes that we don’t know about yet)….
…Nobody is stopping anyone from watching these works (though they’re no longer as easy to find, and you probably have to own a DVD player). We can still talk about them, study them, write about them, contextualize them. But the emotional connection has been severed. The work becomes archival. It loses its present-tense potency, something that significant or great works have always had the privilege of claiming in the past.
That’s all on the predators. It’s not on you. None of us asked for this.
Happy Easter, or April Fools Day,
…whichever you chose, or both.
[My family celebrated Greek Easter (next Sunday, this year), or not, depending on how Greek my mother was feeling. The whole thing left me thoroughly confused. And why no Greek April Fool’s?]
1 Hey, it’s only the Pope carelessly allowing centuries of Catholic teachings to be declared, if informally, null and void. What’s everyone so upset about? Recipe for a fiasco:
- The Pope inexplicably has a meeting with a 93-year-old atheist reporter, Eugenio Scalfari, who has reported on the alleged contents of their private meetings before.
- Scalfari has admitted “on more than one occasion” that he doesn’t take notes or record his conversations with the Pope.
- The Pope either opines, or doesn’t, or sort of does depending on your interpretation, and if you are an atheist confirmation bias comes into play, opine that Hell doesn’t exist, saying, according to his pal, “Hell does not exist…The disappearance of sinful souls exists.”
- Scalfari, presumably without permission or consent, but he’s a journalist, so he’s going to report the news, and the Pope saying that all that stuff in the Bible about Satan is a lot of hooey is, you have to admit, news (although who knows if Matt Pearce would report it as news; I guess it would depend on whether he wanted the public to know there was no Hell, right?), naturally lets the world know that the Pope doesn’t believe what his predecessors and follower have been using to scare the Hell out of sinners all this time.
- The Vatican issued a statement saying:
“What is reported by the author in today’s article is the fruit of his reconstruction, in which the precise words uttered by the Pope are not cited. No quotations in the aforementioned article, then, should be considered as a faithful transcription of the words of the Holy Father.”
That’s called “spin.” Why do we trust these people?
2. Why is NPR taxpayer-funded again? This “correction” actually appeared in the NPR story about the Pope’s Hell problems:
Correction March 30, 2018: An earlier version of this post incorrectly described Easter as “the day celebrating the idea that Jesus did not die and go to hell or purgatory or anywhere at all, but rather arose into heaven.”
Competence? Editors? Basic education? Respect for people’s faith? Knowing something about the predominant religion ins the nation you are reporting on? Hello? Continue reading
Filed under "bias makes you stupid", Around the World, Character, Childhood and children, Citizenship, Education, Ethics Dunces, Gender and Sex, Government & Politics, Journalism & Media, Religion and Philosophy, Workplace
The abuser and his enabler, who is also a devoted champion of protecting women in the workplace for male predators unless the particular predator is useful to her.
Rep. Elizabeth Esty (D-Conn) was quick to demand the Rep. John Conyers resign when the facts surfaced of his habitual sexual harassment of staff and other women. She backed the shaming and eviction of Minnesota Senator Al Franken, another Democrat, based on allegations of sexual misconduct. She has been a vocal champion of the #MeToo movement on Capitol Hill.
But it has all been posturing, for Esty doesn’t embrace the actual principles of It’s Time or #MeToo. Like so many other employers, businesses and cultures, like NBC, CBS, Hollywood, the Weinstein Company, the Metropolitan Opera, the Trump White House, and, of course, the Catholic Church, Esty believes that sexual harassment and sexual abuse are unacceptable and a reason to point fingers and level accusations when someone else does it, enables it or ignores it, but when the abusive employee is your own and is a “high performer,” as in “a star,” it’s different somehow.
When she learned that her own valuable Congressional aide, chief of staff Tony Baker, had engaged in harassment and abuse of Esty’s own female staff members, Esty moved to protect Baker rather than the women. He was not dismissed from his position until three full months after his wrongful and illegal conduct was known to her, continuing to work with the same women he had threatened. Then she signed a non-disclosure agreement and paid him $5000, while also writing a glowing recommendation so he could be free to harass women someplace else. Baker got himself employed by Sandy Hook Promise, a gun control group, which dismissed him after the full story of the reasons behind his leaving Esty’s staff came out last week.
“You better fucking reply to me or I will fucking kill you,” Baker had said in a voice mail message to Estes aide Anna Kain. Kain was granted a restraining order against Baker after she signed a sworn affidavit that the Esty chief of staff punched and threatened to kill her. This and more was still not enough for Rep. Esty to see her way to firing him. Woke is apparently not the same as “awake.” Or sincere. Continue reading