Tag Archives: songs

First They Came For Dean Martin, And I Did Nothing. Then They Came For Sebastian The Crab…

 

Apparently more radio stations are considering banning Frank Loesser’s classic winter seduction song “Baby It’s Cold Outside” after one Ohio station did so in response to social justice warrior lobbying. This is where progressiveness is heading: are Americans really unaware of this? Well, if the public and society want a restrictive culture in which political and ideological viewpoints are advanced using censorship, social media bullying, boycotts and indoctrination, that’s their choice, but someone other than me should at least keep reminding them that they are embracing totalitarianism in all but name. I don’t even like the damn song, but this is one more bad slippery slope that slides away from liberty.

Now the Tigertones, an all-male Princeton University a cappella group, has capitulated to similar attacks on  “Kiss the Girl,”  a song from Disney’s “The Little Mermaid.” Students complained that the song and their performance of it promoted misogyny and “toxic masculinity” and violated the principle of consent. In the movie, one of my favorite of the old fashioned Disney non-computer animated films, the character Sebastian the Crab and a chorus of creatures try to give subliminal support to shy Prince Eric, who is in a romantic setting with ex-mermaid Ariel, rendered mute by a bad trade with the Sea-Hag, in which she gained legs at the cost of her voice. Only true love’s kiss can restore her ability to talk (and sing), but Eric is hestitant.Here’s the song:

The singers, known as the Tigertones, have for years performed the song “Kiss the Girl” by yanking a heterosexual couple from the audience and encouraging them to smooch on the cheek, according to Inside Higher Ed.

“[It’s] more misogynistic and dismissive of consent than cute,” sophomore Noa Wollstein wrote in the Daily Princetonian :

“By performing the song multiple times each semester, the Tigertones elevate it to an offensive and violating ritual,” the piece, titled “Dear Tigertones, please stop singing ‘Kiss the Girl’”…“[The song lyrics]s imply that not using aggressive physical action to secure Ariel’s sexual submission makes Eric weak — an irrefutable scaredy-cat…These statements suggest that masculinity is contingent on domination of women. This attitude can catalyze violent tendencies toward, and assault against, women.”

The criticism of the performance bit has some validity. The criticism of the song itself has none. Continue reading

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Filed under "bias makes you stupid", Arts & Entertainment, Ethics Alarms Award Nominee, Etiquette and manners, Gender and Sex, Government & Politics, Romance and Relationships

Morning Ethics Warm-Up, 8/31/18: Labor Day Weekend Edition

Good Morning.

This was in some respects the worst month in Ethics Alarms history, and I won’t be sorry to see it go. This weekend I will be spending more hours trying to cover ethics issues and developments while  knowing that an even smaller group of readers will bother to consider them, as they will off at beaches and mountain retreats, or sweltering at backyard barbecues. I have to admit it’s discouraging, and makes what needs to feel important and stimulating feel like an unsatisfying slog instead. Well, if you’re reading this, it’s not your fault.

1. Ethics estoppel. I couldn’t believe I read more than one local account of last night’s Detroit-Yankee game, a crushing loss for New York, complaining that Tigers DH Victor Martinez’s game-tying homer in the 9th “wouldn’t have been a home run in any of the other 29 Major League stadiums.”  Wow. The unmatched dominance of the New York Yankees over all of baseball has been significantly aided by its uniquely short right field fence ever since the original Yankee Stadium was built to provide cheap right field home runs to Babe Ruth, who hardly needed any help. Even though the shot to right isn’t as easy as it used to be (those old Yankee Stadium dimensions are illegal now), the Yankees still build their offense around that fence, and it is substantially responsible for the fact that the team leads all of baseball in home runs, and games won by cheap home runs.

Yankee fans and media are estopped from complaining when an opposing player benefits for a change. What utter gall!

2. Worst management ethics ever. President Trump is again tweeting about what a lousy job Attorney General Jeff Sessions is doing. Is he trying to make Sessions resign? Why? Why doesn’t he just fire him? This is a guy who became famous using “You’re fired!” as a trademark. Undermining a subordinate in public can’t possible make him or her perform better. It also signifies a dysfunctional organization and chain of command. In Sessions’ case, it makes the target look like a pathetic weenie devoid of self- respect. If my boss complained in public about me, I would resign that very day, with a brief statement that no professional should have to endure such gratuitous abuse from a superior, and that I would not. Continue reading

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Sunday Ethics Revelations, 8/26/18: The B List [Updated]

Hi!

The death of John McCain is  one of many important ethics stories that came on the radar screen today, and several of them warrant solo posts. At the risk of not having time to get them up today at all—this is a work day at ProEthics, for ethics never sleeps—I’m going to keep the warm-up to the lesser stories, and keep my fingers crossed.

1. Miracle Whip, Florida. The town of Mayo, in Florida’s Panhandle, secretly made a deal with the Kraft-Heinz mayonnaise  alternative  Miracle Whip to change the hamlet’s name so videographers could capture the residents’ shock when they hear that the name of their town is now a corporate brand. The plan was for ad-makers to film faux efforts to get residents to remove mayonnaise from their homes. Street signs and the name on the water tower had been changed and the mayor lied in an interview with the Associated Press, insisting it would be a good idea to make the name change permanent, before residents were let in on the joke.

Mayo will get between $15,000 and $25,000 to con its own citizens. The money will be used for city beautification measures, so I guess that makes it OK.

The town should impeach the mayor and everyone involved with the scheme, which was almost certainly illegal, and clearly unethical.

But funny!

2. First Ma’amophobia, and nowThe Atlantic explores the controversy over using “guys” as a generic term for a group of mixed gender members, as in “hey, guys!” It’s an artificial controversy, and women who take offense when a boss says “you guys” when addressing the group knowing very well that no adverse intent was behind the wording should not be indulged, tolerated or “heard.” The problem is that overly sensitive superiors and others have given undo weight to similar contrived complaints through the years, with innocent and innocuous uses of  a whole dictionary of collective nouns and pronouns being declared near equivalents of racial or gender slurs.The confounding factor is that there are terms that need to be retired. The use of “girls” to describe adult women was part of societal marginalization, just as the use of “boy” for adult African American men was demeaning.  Eliminating the descriptive  distinction between “actors” and “actresses,” on the other hand, is based on a contrived offense.

What is objectionable is that any argument for declaring a term offensive is supposed to be per se decisive, without debate or analysis, if it’s offered by a so-called oppressed group. No group should have the privilege of not having to make its case. I will, for one, eat my foot before I submit to the rhetorical abortion that is “person of color.”

There is nothing necessarily wrong with calling a mixed group by the jocular “guys.” The alternatives all stink, in different ways. I will not use “y’all” and sound like a refugee from “Hee Haw.” “People” is imperious, and actually annoys me (though I would never complain about it). “Folks” is more informal (good) but rings phony (bad). “Friends” is presumptuous, speaking of John McCain, whose habit of addressing every group as “my friends” probably lost him a million votes in the 2008 election.

Communication shouldn’t be that hard, and definitely should not be dangerous. A little Golden Rule would go a long way toward eliminating this problem, guys. Continue reading

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A Musical Ethics Quiz: “The Wanderer”

Here is Dion’s signature hit, 1961’s “The Wanderer”…

The song is ranked #243 on the Rolling Stone magazine’s list of The 500 Greatest Songs of All Time.The lyrics (the song was written by Ernie Maresca) , for those of you who are lyrically challenged, are as follows… Continue reading

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Filed under Arts & Entertainment, Gender and Sex, History, Romance and Relationships, U.S. Society

Comments Of The Day (2): “Desperate Ethics Quote Of The Week: Louis C.K.”

There were two Comments of the Day  on this post.

The first is a lovely and compassionate one from Charlie Green regarding Louis C.K.’s eloquent admission of misconduct and appeal for forgiveness; the second, a reminder of the importance of forgiveness from Zoltar Speaks!, often at sword-points with Charles on other issues. Both are worthy of separate posts, and I hope Charles and Zoltar don’t feel slighted by being asked to share. In this case, I felt that the pairing was complementary.

First, here is the Comment of the Day by Charles Green on the post, Desperate Ethics Quote Of The Week: Louis C.K.

A friend said, and it rings true, “to be a comedian, you have to be afraid, confused, and conflicted; and all of them are very angry.” Indeed, it’s their confusion and anguished conflict that makes them so interesting to us.

The best thing Louis CK said in his response was, “It’s now time for me to listen.” Contrast that with Michael Richards’ anguished attempt to continually go public with his attempts at self-analysis and self-justification – an abject failure. When “there’s something happening here, and you don’t know what it is…” – apparently the case in for Louis CK – the one smart thing for him to do is shut up and listen. Deeply.

When you’re faced with a situation you honestly don’t understand, and your career depends on your continued inability to make sense of it, the dumbest thing you can do is to suddenly attempt public self-psychoanalysis.

Most comedians – think Joan Rivers, or Redd Foxx, Kathy Griffin or Sarah Silverman – have crossed the line a few times, and not just in jokes falling flat. That’s why they work out material in small late-night dive joints. We depend on, thrive on, their ability to walk just up to the line, and not cross over it. And some of them cross the line in their lives off-stage as well.

There’s no excuse for Louis CK doing what he did, and talented friends like Pamela Adlon will suffer collateral damage. He couldn’t see where the line was, and now he’ll bring down still more victims with him.

Among other things, it’s a shame.

***

Now Comment of the Day #2 on the same post, this time authored by Zoltar Speaks! Continue reading

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Filed under Arts & Entertainment, Character, Comment of the Day, Ethics Alarms Award Nominee, Ethics Train Wrecks

From The Ethics Alarms Harry Truman Files: Applause For “The Wrecking Crew”

 

One of my favorite Presidential quotes of all time is from Harry Truman. He said,

“It is amazing what you can accomplish if you do not care who gets the credit.”

Nonetheless, people deserve credit when they do important things, and trying to encourage the culture to not only give credit but also to remember and honor those deserving it across generations is a frequent theme of this blog.  The Ethics Alarms Heroes Hall of Fame is one expression of this theme. This post is another.

I was reminded of The Wrecking Crew when Glen Campbell died, and recently, when I heard old Monkee Mickey Dolenz in a recent interview.  Cambell was the most famous alumni of the studio band, which had many members over the years. Dolenz was a member of the group that was its most famous beneficiary, although The Byrds were also famously represented by The Wrecking Crew in their first hit record, “Mr. Tambourine Man.”

It has always amazed me how little this loosely organized band of brilliant studio musicians is known outside of the music business and the rock and pop trivia nerds. The Wrecking Crew was significantly involved in much of the greatest pop music recorded from the late 1950s to the mid 1970’s. Their musical contributions are indistinguishable and inseparable from the those of the famous singers and groups they backed, and yet fame and credit, as well as sufficient honors, have been elusive.

If people have heard of them at all, the Wrecking Crew is known for “ghosting” the accompaniments for the Monkees’ first two albums. However, its studio band work was far more extensive than that. They were, for example, the creators of Phil Specter’s “Wall of Sound”: in the early years, they were sometimes credited on Specter discs as occasionally credited as “the Phil Spector Wall of Sound Orchestra.” They played under other names too, or no names at all. The nickname “The Wrecking Crew” became public when it was used by drummer and member drummer and member Hal Blaine in his 1990 memoir, “Hal Blaine and the Wrecking Crew”; they also sometimes called themselves “The Clique.”  Blaine, Campbell and keyboardist Leon Russell are the most famous members; some of the better known studio  musicians that formed the backbone of the Crew’s ranks were drummer Earl Palmer, saxophonist Steve Douglas, guitarist Tommy Tedesco,  and bassist Carol Kaye, as well as versatile Larry Knechtel, later a member of Bread.

I checked Wikipedia for a list of the hits The Wrecking Crew played on and made into the classics they are. Here were some of them. Continue reading

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Filed under Arts & Entertainment, History, Popular Culture, Professions

Casting Ethics And “The Music Man”

A recently closed summer production of “The Music Man” at the Berkshires’ Sharon Playhouse illustrates many of the ethics landmines overly ambitious directors and non-traditional casting can trigger.

New York director Morgan Green was hired to direct Meredith Willson’s  1957 classic. Until “Hamilton” came along, only two Tony winning musicals had a book, lyrics and music all written by one person: “The Music Man” and “Oliver!” “The Music Man” isn’t my favorite musical, but a strong argument can be made that it is the Great American Musical, celebrating small town Americana with Sousa-style marches, barbershop quartets, and the best ending in musical theater history (stolen, with great success, by “School of Rock.”) There is no need to mess with it, since the show is pretty close to perfect. I was taught that a production should be equally satisfying for an audience member who is seeing a show for the first time and for one who is seeing it for the last time.  A version that takes the show out of 1912 and litters the landscape with anachronisms and forced 2017 social and political references isn’t fair to either of these. This was, I presume from based on Jesse Green’s review, a “Music Man” for people sick of “The Music Man” (like Jason Green.) You know what? If a director is sick of a show, she has an ethical obligation to let someone direct who isn’t sick of it.

Naturally, there was the obligatory stunt casting of women in some men’s roles (but never men in women’s roles, of course), and  the non-traditional casting of a black actress as Marion (the Librarian) Paroo, the romantic lead originally created by the recently departed Barbara Cook in the original production.

I see no problem in principle with casting Marion as black. It’s certainly ahistorical, and the hint of a trans-racial romance in 1912 Iowa is unimaginable, but “The Music Man” is, or should be, about kids, romance, parades, sentiment and fun, none of which is impeded by non-traditional casting.

There is a problem, though. One of Marion’s big solos, in which she sings about her ideal man (whom her mother believes is too ideal to be real), is called “My White Knight.”

Oh-oh. Continue reading

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