United States of Entertainment

amendment

Just an update to my previous article on 102-year-old actress Olivia de Havilland’s petition to the Supreme Court (see Speaking Truth to Power in Tinseltown): Our less-than-Supreme Court has decided it will not hear her case. This means that companies like FX Networks are permitted to transform living people in an untruthful manner in their pursuit of profit, under First Amendment freedom protection. Essentially, Miss de Havilland’s fight for her freedom from character slander is trumped by the right of the people to be entertained, and the right of corporations to profit off that entertainment.

I wonder what James Madison is thinking.

cartoon

(Tony Auth, Philadelphia Inquirer)

Mahalo, Maui!

waianapanapa

Anyone have experience with GoFundMe pages? My wife and I would like to start one to raise money for a retirement in Hawai’i.

Our daughter, Holly, honeymooned in Maui, one of Hawai’i’s eight magical islands, several years ago. Not to be outdone, we visited for two weeks in early December, our first trip to America’s 50th state. Well, Hawai’i captured our hearts as well as our money. The balmy weather and breathtaking flora and fauna are legendary, but there’s also an Aloha factor. I’ll discuss Aloha at the end. First, here are some trip highlights:

Kamaole II beach

Kamaole II Beach, with distant West Maui

With Holly’s guidance, we rented a one-bedroom condo in Kamaole (pronounced “Comma-OH-lay”) on the South Shore of Maui. The location was ideal: the leeward, sunny side of the isle, just north of the posh resorts of Wailua, just south of the shopping and nightlife of Kihei (“KEY-hay”), and it encompasses three golden-sand beaches (Kam I, II, and III).

Lahaina is a bustling harbor town in West Maui, and preceded Honolulu as the first capital of Hawai’i. Before our trip, I read a history of Hawai’i, and learned that Lahaina once teemed with pious whalers and drunken Christian missionaries. (Yikes, did I confuse that?). Today, it teems with tourists. Lahaina has interesting historical sites, such as its Old Courthouse and ancient banyan tree, but many tourists flock to the shops and restaurants, including Fleetwood’s, owned by drummer/bandleader Mick Fleetwood.

Mai Tai 2

Lynn with Mai Tai at luau. Those lei blossoms ain’t fake!

Lynn and I attended the Old Lahaina Luau, which offered a pig roast, Hawai’ian band, buffet with 30 native dishes, unlimited bar drinks, and lavish hula show-cum-Hawai’ian history lesson. (The lesson was a very compressed song and dance version of the book I spent two months reading.)

Justly famous is the “Road to Hana,” a narrow, looping road that weaves along the windward North Shore between trendy Pa’ia, and sleepy, isolated Hana. Along this route are dense bamboo groves, hidden waterfalls, “lava tubes” (black lava-rock caverns and tunnels), roadside stands of fresh local fruits and coconut ice cream, and stunning views of the lush coastline and broad, blue Pacific (see header photo, which shows Wai’anapanapa State Park along the Road).

Beyond Hana, along the southern shore of Maui, the narrow road becomes even more treacherous…but the scenery is even more stunning. This part of the island is sparsely populated and prized by locals for its “Old Maui” character. To the right is the “rear” side of Haleakala ridge, whose ribboned, brown slopes and buttery pastures reminded me of Wyoming. To the left is a sprawling plain of cobalt water against turquoise sky, rimmed by jagged ebony rock and the ocean’s white foam. I rounded the southwest bend just as a brilliant sun was dipping over unpeopled Kaho’olawe Island.

Near Kaupo

Back side of Haleakala, west of Kaupo

Lynn gave me permission to hike alone into the erosive valleys of Haleakala Volcano. Here, I met Gabriel (from Québec) and Peggy and Tom (from Michigan), and we did a 12-mile odyssey above the clouds, between volcanic cones and across sprawling cinder deserts. Near 10,000 feet, this “crater” is supposedly one of the quietest places on earth. Camping is allowed in designated areas, but an advance permit is required. (Note to Lynn: my next hike here will be a solo overnighter. Don’t worry, no bears.)

Along with Haleakala, another impressive Maui geologic formation is the ‘Iao Needle. It’s a green, spire-like lava mountain in rain-forested West Maui. Here, King Kamehameha I from the Big Island prevailed over Maui defenders in a bloody 1790 battle, ultimately uniting and ruling all the islands.

Inside Haleakala

Moon-like interior of Haleakala crater

On our last night, we visited intimate McCoy Studio Theater in Kahului to see Pat Simmons². Simmons is guitarist and founding member of the Doobie Brothers. He performed with latter-day Doobie John McFee and son Pat Jr., who grew up on Maui. I must say, Junior is a darn talented singer and writer. But the highlights for us were the Doobie classics “Black Water” (a No. 1 hit from 1975, written by Simmons), “Jesus is Just Alright,” “South City Midnight Lady,” “Long Train Runnin’,” and the rousing encore “Listen to the Music,” where all were joined by surprise guest and fellow Maui resident Dave Mason (of Traffic and solo fame). ‘Twas a good time, and nice to mingle with our own species (old fuckers who dig great music).

'Iao Valley portrait

Me and ‘Iao Needle

Other highlights of our vacation included famous Mama’s Fishhouse restaurant in Pa’ia (thanks to the gift certificate from Holly and husband Mike); snorkeling with green sea turtles and parrotfish; visiting Charles Lindbergh’s lonely gravesite at isolated Kipahulu; the tropical plantation tour, where we learned about Hawai’ian fruit and flora; observing migrating, spouting humpback whales off Papawai Point; admiring the surfers at Ho’okipa and Kamaha Beaches, and where I took a clumsy windsurf lesson; and my Maui mentor, Don, who hawked his cowry shells every day from 11 to 2:30 at Kamaole II Beach. Lastly…I reveled in no TV or internet for two weeks! (Yes, folks, it is doable.)

palm tree

I’ll close with my short take on Aloha. Whereas Hawai’i is a politically “blue” state (i.e. Democrat)—partly due to the international flavor, and also a deep regard for the land—most of the news stories I read in local papers concerned local issues, not national. The only political bumper sticker I saw our entire stay was on one of two cars that had non-Hawai’i plates! However, I did see a few stickers that said, “Practice Aloha.”

Simmons

Pat Simmons and son (photo: Maui Arts and Cultural Center)

So, what is Aloha? I once thought it meant “Hello” or “Goodbye.” It’s a salutation, true, but it’s also a spirit, a cultural trait, and a way of life. It can mean “Welcome,” “Peace,” “Take it easy,” “Don’t worry,” “Be kind,” “Show compassion,” “Enjoy life,” “Share love,” and all of it is rolled into one lovely word. It’s a trait that distinguishes Hawai’i from every other state in the union. (I’ve now visited every state except Alaska.) It helps bring native Hawai’ians and others together in a sense of ohana (family). Spoken aloud, the word is always accompanied by a smile, and the combination of soft vowels and consonants give it a warmth and sexiness like no other word. Try saying it: Aloooohaaaa.  Do you feel better?

Here are a few anecdotes about the Aloha spirit:

  • The cop in Hana. Our rental car was at an angle on the roadside, with the hazard lights blinking, because I wanted to snap a picture of a cute little church. Two police cruisers pulled out from a side street. The first cop slowly passed by, barely noticing me. The second cop rolled down his window. I averted my head, and expected him to ask if something was wrong, or tell me to move on. Instead, he simply said “Hi.” Yeah, you heard right. A cop who said “Hi.”
Don the Beachcomer and cowry shells

Don (the Beachcomber), who fled Oxnard, CA for Maui to “sell seashells by the seashore.”  Don had Aloha.

  • The traffic near Pukalani. I was at a red light, and I used the opportunity to prepare my camera for Haleakala. After a few moments, I glanced up and noticed the light was green, and the car in front was 50 yards ahead. But nobody behind me had honked! My Lonely Planet guidebook claimed that honking in Hawai’i is considered impolite, though I didn’t believe it until the Pukalani stoplight.
  • The rental car employee at the airport. We were feeling down because our vacation was over. Time to fly home to chilly, grey, billboard-infested Ohio. We’d already changed into drab mainland clothes. Fumbling with our bulky baggage while digging for paperwork, we realized we were holding up things. Lynn apologized to the Alamo guy. Smiling the whole time, he said “Hey, take as long as you need! You’re still on island time!” We smiled back.
gary the gecko 3

“Gary the Gecko” joined us one morning on our back patio. Gary had Aloha, too.

I’m not naïve enough to think the Aloha spirit is foolproof. I’m sure there are exceptions. And Hawai’i hasn’t totally turned my personality from Tabasco sauce to pineapple juice. I was on vacation, and feeling good, so sweet-Pete may have been temporary. But after two weeks, it was obvious that Hawai’ians walk the Aloha talk, much more than U.S. mainlanders, and it felt like Aloha was starting to seep into me.

I was just joking about the GoFundMe page. But retirement in Hawai’i? Book it, Dan-O.

Until then, Mahalo (thank you), Maui, for a sweet vacation.

Sunset from Kamaole 2

Sunset from Kamaole, Maui.  The land formation to the left is protected Kaho’olawe Island.

jack lord

“Dan-O, see what you can find on funding their move here. Names, numbers, locations… I want every lead investigated.”
“Sure thing, Steve.”

Melting Pots and Swamps

President Obama sits down for beer with Harvard scholar Gates, police Sergeant Crowley and Vice President Biden in Rose Garden

A few weeks ago, I was bouncing around WordPress, which is my social medium of choice these days…my internet coffee klatch. I plopped “old movies” into the search box. I like old movies, even the black-and-white ones that have newspaper headlines spinning toward you, and where women are “dames” and the actors use cigarettes as fashion accessories.

Several article titles came up, and one in particular caught my eye: reviews of the 1937 and 1954 film versions of the acclaimed A Star is Born (also filmed in 1976, and again this year).

“Cool! Gotta read this,” I thought.

I’d seen the 1954 version starring Judy Garland and James Mason. It’s about a young singer-actress whose star is rising, and whose actor-husband is descending into alcoholism, career suicide, and eventual real suicide. It’s a wrenching story, as well as an awesome musical.

And the WordPress article was also great. This reviewer didn’t just fling around the adjectives “awesome” and “great” …like I did above. She had a robust vocabulary, which is saying something in these days of tweets, texts, emails, and emoticons. She also went into revealing detail about infrequently discussed film topics, like the importance of supporting actors and the use of Technicolor.

She also stated that the 1954 film used “blackface.” Blackface is a popular topic now, ever since the firing of TV personality Megyn Kelly. For younger readers, or those who might live in Indiana, blackface was the practice of white entertainers painting their faces black and pretending to be African-American. The 1920s Jazz Age entertainer Al Jolson was the most well-known practitioner. By the latter 20th century, the practice had fallen out of favor, and is today considered insensitive, with many calling it racist.

jolson

Al Jolson

Anyway, the WordPress reviewer accused the film of having—and I quote verbatim—an “appalling display of racism.” Pretty severe accusation. I’d seen the 1954 version of A Star is Born, and I didn’t remember anything approaching racism. So, I clicked the hyperlink she conveniently provided, which took me to a YouTube clip of Dorothy (Judy Garland) dancing to and singing George Gershwin’s classic “Swanee,” which Jolson had made famous. Although Garland had a chorus of African-American dancers behind her, she was not wearing blackface. Neither was anyone else in the clip…at least, that my strained, macular-degenerative eyes could make out. I didn’t see anything that might remotely be construed as being racist.

I thought, How can a scene with a singer-actress (Garland), portraying a singer-actress (Vicki Lester), who performs a legendary 1950s rendition of a popular song, written in 1919, that was loosely based on a song from the 1850s, be considered an “appalling display of racism”? Is it because the song was once done by a white cat wearing blackface? Isn’t that a sociological and chronological leap? Would Rosa Parks have considered Garland’s innocent dance number racist?

garland

Judy Garland, singing and dancing in “A Star is Born”

Controversy is catnip. So, I submitted a reader comment at the bottom of the article. First, I praised the reviewer for her perceptive and well-written piece. Then, I politely took issue with her claim that inclusion of “Swanee” in the movie was racist, and that the movie included blackface. I went into some junk about Al Jolson, which was probably too much information. But I think I stayed close to topic, and was respectful. In other words, I wasn’t my usual arrogant prick.

I’m guessing that the writer, who looked fairly young, felt compelled to join the “shaming” chorus that inevitably accompanies our confused country’s frequent identity crises. Although, it’s possible I’m wrong on all this. Maybe I’m a throwback dance number myself, and displaying my own racial insensitivity. Could be I’m a flip-flopper. After all, I’m one who despises the football team nickname “Redskins” (at one time a derogatory term for Native Americans) and supports warehousing of certain inanimate Confederates. But I was anxious to at least hear her viewpoint.

However…she didn’t publish my comment. I was bummed.

Which brings me to this essay’s title. While there are a lot of negatives to instant communication and social media—silliness, egotism, stupidity, rudeness, hostility, encouragement of sloth, real “fake news,” fake “fake news,” bad English, five-letter words beginning with ‘T’—there are a few positives. One of them is strangers of different backgrounds—our vaunted “melting pot”—being able to share an ecosystem of different ideas, which is a characteristic of democracies. Diversity doesn’t just imply race, ethnicity, religion, gender, and sexuality, it also means diversity of thoughts and opinions. But if one party decides there will be lotsa give, but no take, then the melting pot becomes a putrid swamp. Nobody changes, nobody grows.

I’m used to this roaring silence from my elected representatives. But not from a real person.

I would have loved to hash it out with this writer…to participate in a sort of internet “beer summit,” and eventually arrive at a safe haven of consensus after running up the bar tab with ex-President Obama. Perhaps she’d have revealed to me my “whiteness” or “maleness.” Maybe she could have explained to this vintage man what she meant by her being an unapologetic “SJW.” (Does anyone know what an SJW is? I’m assuming it’s an acronym describing her marital status, race, and gender. Like I said, I’m a vintage man, and acronyms trouble me.)

Maybe I could have explained my liberal proclivities, to assure her that, despite our disagreement on this subject, I’m still not one of them. A few pejoratives directed at the hemorrhoid currently in the White House would surely have had us clinking our beer glasses (to Obama’s and sub-bartender Joe Biden’s delight).

Maybe I could have politely explained my theory of pulling back too far on the bowstring, which causes the archer to not only miss the bullseye, but overshoot the entire target. Which can create an ugly backlash like what occurred in Charlottesville, Virginia, or at the polls in November 2016.

Alas, I didn’t get the opportunity. No beer summit with Obama and Biden. So much for the free exchange of ideas I anticipated.

Speaking of free exchange of ideas, does anyone care to, um, add ripples to my putrid swamp with a comment? As tough-guy actor Robert Conrad used to say in those battery commercials: “C’mon. I dare ya.”

Beer_summit_cheers

Peace, brother.

Pearls Before Swine: “Balaklava”

50 years

front cover2

Last February, I wrote an obituary/tribute to a gentleman named Tom Rapp (see A Knowledge of Ashes). Rapp was a singer-songwriter and recording artist from 1965 to 1976 who retired from music to become a civil rights lawyer. He was a musician of uncommon intelligence, with an unyielding commitment to social justice, leavened by the unexpected humorous wink. His music was too cryptic and melancholic to ever earn a listing on the Billboard Hot 100.  So if you’re unfamiliar with him, it’s understandable.

To put it another way, James Taylor or Dan Fogelberg, Tom Rapp was not. But artistic ambiguity and professional obscurity have never prevented longitudes from recognizing someone. In fact, they often indicate a vision too luminous for most of us to process.

Fifty years ago, Rapp released his second, most ambiguous, and arguably best album, credited to his band Pearls Before Swine, on the underground label ESP-Disk.  It’s called Balaklava.

rapp photo

Tom Rapp

Scholars of European history might recognize Balaklava (also spelled with a ‘c’, “Balaclava”) as the name of the place where a famous British cavalry charge occurred in 1854 during the Crimean War. The poet Alfred, Lord Tennyson immortalized it in his poem about valor, The Charge of the Light Brigade. The truth was that this charge was an unnecessary military action, a suicidal maneuver that dissolved 40 percent of an entire brigade. Valor in suicide. Irony, like this, was a Tom Rapp specialty.

The year 1968 had a similarly senseless military action going on, this one in Southeast Asia. More irony: Rapp dedicated his record to WWII soldier Eddie Slovik, the only U.S. soldier executed for desertion since the American Civil War.

“Some people thought (my) songs were hopeless…I was being realistic about the pain that’s out there. If you say life is wonderful, people know it isn’t true, but if you talk about the pain, someone will listen.” (Crawdaddy, December 2008)

Tears are often jewel-like…

The first thing that makes Balaklava different from other records is its unusual sleeve art. Album reproductions of paintings later became popular, but Balaklava is one of the first examples, and the painting chosen partially relates to the music inside. It’s a reproduction of Pieter Brueghel the Elder’s 16th-century, apocalyptic oil panel “The Triumph of Death,” with typewriter characters of the band name and album title stamped across the top…as if this record is a dispatch being wired from the abyss below.

Pvt. Eddie D. Slovik, Shot for Desertion 1944

Private Eddie D. Slovik, shot for desertion in 1944

The back cover features surreal illustrations by French avant-garde writer and filmmaker Jean Cocteau. Also, a quote from American philosopher and poet George Santayana: “Only the dead have seen the end of war.” And yet more irony: a photograph of a freckle-faced girl wearing a shy smile, with a daisy protruding from her plaid dress, and a button reading “Pearls Before Swine.”

(The photo was snapped at a peace rally by photographer Mel Zimmer. The girl’s button actually said “Flower Power.” Zimmer identifies his photo as “Molly Stewart.”)

So, the listener has an idea where this record is headed even before the needle strikes the wax. The packaging is deliberate and unapologetic. As Dante wrote in “The Inferno:” All hope abandon, ye who enter here.

Another striking thing about Balaklava: the music is introduced by a ghost. The first “song” is titled “Trumpeter Landfrey,” and is the actual voice and bugle call of a survivor of the Light Brigade charge, a man named Martin Leonard Landfried. With brimming pride, Landfried announces, “I am now going to sound the bugle that was sounded at Waterloo, and sound the charge that was sounded at Balaklava on that very same bugle, the 25th of October, 1854.” Landfried’s scratchy voice comes from a cylinder recording from 1890 that was reissued on a vinyl record that Rapp owned.

Friends of Shoreham Fort

Martin Leonard Landfried (Photo: Friends of Shoreham Fort)

Landfried’s bugle notes smoothly segue into the strummed guitar notes of “Translucent Carriages.” Wikipedia calls this one of Rapp’s “most enduring songs,” a shivering tune whose title again harkens to yesteryear, and whose languid music includes ghostly background whisperings. One of them is the Herodotus quote “In peace, sons bury their fathers / In war, fathers bury their sons.” Another is the Rapp quote “Jesus raised the dead / But who will raise the living?”

The recurring chorus goes “Every time I see you, passing by, I have to wonder…why?” The identity of the “you” can be interpreted differently. Are they ancient carriages, perhaps Roman? Hearses? Maybe a woman? Is Rapp referring to Jesus? Or the pointlessness of war?

“Images of April” burrows deeper into the murky surreal. It features vocal echoes, flute, bird songs, and even frog croaks to paint a world of desolation, where springtime exists in fleeting images that only memory can summon. If you’re open to something strange, hypnotic, and completely different:

As unconventional as is “Images of April,” the next song, “There Was a Man,” is totally conventional—the guitar/vocal music, that is. The words, maybe less so. They relate a story about a stranger who one day arrives in a village. The stranger has a scar on his head, “where there used to be a crown.” He amazes the people by doing wonderful, magical things. Then the stranger leaves, sadly, suddenly. He has heard “the news from the war.”

“I Saw the World” is maybe the most passionate song on Balaklava. Rapp pleads, with palpable emotion in his voice, that he’s seen the world “spinning like a toy,” and “hate seems so small compared to it all.” A melodious cello and piano passage helps boost this song to another plane.

Rapp was an admirer of songwriter Leonard Cohen, and the “Swine” honor him with a rendition of Cohen’s “Suzanne.” They supposedly recorded this song in one take, while sitting on the studio floor, in the dark, with candles burning. (Yes, very Sixties.) The hushed ambience they created must have succeeded, since this is one of the most respectfully rendered versions of this acclaimed song.

nightingale

Florence Nightingale

Other titles include “Guardian Angels” and “Lepers and Roses,” both of which further the odd, time-frozen quality of Balaklava. At the end of the record, there’s another vintage 1890 recording, this one of Florence Nightingale, who oversaw the nurses during the Crimean War. She prays that her Balaklava “comrades” will all return “safe to shore.” The record trails off with Trumpeter Landfried’s opening again. It’s a reminder that everything is a circle, that everything “comes back again,” both love and hate.

***

While not a perfect record, and certainly not for every ear, Balaklava’s best moments overflow with a perceptiveness, mystery, and beauty not usually occurring in rock music. Today, we hear the word “alternative”—which means “different” or “unconventional”—applied to a certain style of music (for the sake of convenience, branding, and marketing).  But Pearls Before Swine’s Balaklava defines the word alternative.  There’s not another record like it.

Even more, the record is a unique and fervent indictment of the idea that warfare is some kind of glorious endeavor. It is music with meaning. But unlike most anti-war artists of the Sixties—idealistic and well-meaning, but who relied on anthems or derivative platitudes about peace and love—Tom Rapp used irony, surrealism, and religious and historical allusions to present his worldview. He drew from a war in 1854 to indict a war of 1968, which still resonates in 2018.

We’re all familiar with that line in Tennyson’s famous poem…that universal expression of blind patriotic duty, which goes “Theirs not to reason why / Theirs but to do and die.” Tom Rapp and Pearls Before Swine question that sentiment with Balaklava. And, I think they’re also saying…shouldn’t everybody?

molly stewart by mel zimmer

Photo by Mel Zimmer

 

 

The Truth about Veterans Day

ww1

(Note: November 11 is the 100th anniversary of the end of World War I)

Many years ago, I read a semi-autobiographical novel called Slaughterhouse-Five, by Kurt Vonnegut Jr. Part of this book deals with Vonnegut’s very real experience as a U.S. soldier stationed in Dresden, Germany during that city’s bombardment by Allied forces in 1945. In the book, Vonnegut gives his opinion on America’s holiday every November 11: Veterans Day.

“Armistice Day has become Veterans Day. Armistice Day was sacred, Veterans’ Day is not. So I will throw Veterans’ Day over my shoulder. Armistice Day I will keep. I don’t want to throw away any sacred things.”

The “truth” I mention in the title is that Veterans Day began as Armistice Day, established at the end of World War I as an international day of peace. The First World War, of course, was referred to as “the war to end all wars.”

Our wars, sadly, didn’t end. Following a second world war, Armistice Day was pointedly renamed Remembrance Day in the British Commonwealth. There, the renaming was designed to commemorate British soldiers of all wars who died in the line of duty (the equivalent of America’s Memorial Day).  In Britain, Remembrance Day is not a public holiday, and Armistice Day is now increasingly recognized there, concurrently with Remembrance Day.

In the United States, on June 1, 1954 following the Korean War, the Congress also replaced the word “Armistice.”  November 11 is now known as Veterans Day, a public holiday honoring U.S. veterans. It is not to be confused with Memorial Day, intended to honor dead American soldiers.

France and Belgium, invaded by German ground forces in both world wars, still recognize Armistice Day.

***

Some of you are undoubtedly thinking “He’s going somewhere with this.” Well, you’re right. There’s another part to the “truth” in my essay title.

While I won’t go as far as Kurt Vonnegut in declaring a public holiday as “sacred,” even one devoted to recognizing peace, I do see his point.NY Times

One has to ask (well, “one” doesn’t have to, but I do)… Why was a day intended to commemorate peace shifted to a day to commemorate soldiers (in the U.S.)?

Rory Fanning, a U.S. veteran, and the author of Worth Fighting For: An Army Ranger’s Journey Out of the Military and Across America, has an idea why. He says Veterans Day is “less about celebrating veterans than easing the guilty conscience of warmongers.” (The italics are mine.)

“Armistice Day was sacred because it was intended to evoke memories of fear, pain, suffering, military incompetence, greed and destruction on the grandest scale for those who had participated in war, directly and indirectly.  Armistice Day was a hallowed anniversary because it was supposed to protect future life from future wars.

“Veterans Day, instead, celebrates ‘heroes’ and encourages others to dream of playing the hero themselves, covering themselves in valor.  But becoming a ‘hero’ means going off to kill and be killed in a future war—or one of our government’s current, unending wars.”

As with Vonnegut, I don’t totally agree with Fanning.  I’m not convinced that everyone who supports a Veterans Day is a “warmonger.”

And I don’t intend to slight U.S. military veterans. Many, including some in my immediate family (and a good number of my ancestors), served to protect the freedoms we too frequently take for granted.

But I do agree that America is too often too quick to fling around the term “hero.”  And I’m suspicious of the shadowy forces that buried Armistice Day and, instead, hoisted Veterans Day up the flagpole.  Perhaps Fanning is correct in his belief that Veterans Day is yet one more salve that the U.S. employs to make it easier to enter—or, in the case of Vietnam and Iraq, to start—the next war.

We need fewer heroes and more peacekeepers.  “Armistice Day” and “Veterans Day” aren’t just words. They also carry meaning.

Tonight, there will be no war movies for me on Turner Classic Movies. Instead, I plan to celebrate Armistice Day: an international day of peace.

Fototeca Storica Nazionale_Getty Images

(Photo: Fototeca Storica Nazionale / Getty Images)

Source links:

https://www.va.gov/opa/vetsday/vetdayhistory.asp

https://www.theguardian.com/commentisfree/2014/nov/11/us-observe-armistice-day-more-comfortable-war-than-peace

https://en.wikipedia.org/wiki/Armistice_Day

Header photo: Royal Engineers No. 1 Printing Co. / Getty Images

 

A Hollywood Legend Shares Her Wisdom

Olivia_de_Havilland_in_The_Adventures_of_Robin_Hood_trailer_2

Last month, I wrote about 102-year-old actress Olivia de Havilland’s lawsuit against FX Networks for defamation of character, instigated by that network’s unflattering and unauthorized depiction of her in the first-season installment of its pay-television series,  Feud.

As often happens when I write something, my curiosity led me deeper into the subject. I did some internet clicking, and discovered a 2 ½-hour interview with de Havilland from October 5, 2006 (back when she was a mere 90 years old). The interview was conducted by the Academy of Achievement, of which de Havilland is an inducted member. Most of the interview consists of her reminiscences of her childhood, family, and acting career. It’s a fascinating overview of a life well-lived, possessing great cultural value.

The Snake Pit

De Havilland in Oscar-nominated role in 1948 film “The Snake Pit” (Getty Images)

But at the tail end, she holds forth on subjects more expansive and contemporary: the importance of experiencing foreign cultures; literacy and book reading; the lessons of warfare; the European Union; and the American Dream. Her views on these subjects resonated with me.

However, (obviously), de Havilland has more street cred than longitudes. She’s been around a bit longer and experienced a bit more. She was born in Japan to British parents, raised in the U.S., where she became a citizen and had a long movie career, and she’s lived in France for many years. Her words carry slightly more weight than this author’s.

So, here, I’m doing something a little unusual: I’m going to shut up and let someone else talk. I’m re-printing that conclusion of the Academy of Achievement interview. (To view the entire interview, click here, or to read the transcript, click here.)

Please note: this interview occurred a year before the iPhone became embedded in global culture…and ten years before the election of Donald Trump.

___________

“The Last Belle of Cinema,” Washington, D.C., October 5, 2006 (original source: Academy of Achievement)

Academy of Achievement: You’ve said that in addition to going to college, you believe that American young people should travel abroad.

Olivia de Havilland: I think it is terribly important for this country that the young have at least one year of university in some foreign country. It’s extremely important to understand another culture, another people. Here we are isolated, this huge continent, isolated from the rest of the world by two great oceans. passportWe don’t understand other peoples. It’s so ironic, because we are made up of people of every race whose origin—origins were other countries. We are almost completely ignorant, and we are rather arrogant in our ignorance, and we are going to make terrible blunders that are injurious to other peoples abroad, and in the end, to ourselves. It’s imperative.

Otherwise, we will be a retrogressive nation…and we are on our way. I know three university students: one is going to do postgraduate work, a brilliant girl; another, who I think will also do postgraduate work; another who is 19, a sophomore. The 19-year-old has a capacity for analysis which would be counted as absolutely brilliant in a 45-year-old woman. (But) she can’t spell. She knows her way around a laptop with these mechanisms that spell for you, but she can’t spell, didn’t think it was necessary. Neither can these other two girls. Top students they were. Can’t spell. Now, that’s retrogressive. I’ll bet you anything they can’t add either, because they’ve got the calculator. Also, one of the reasons they can’t spell is they will watch television, you see, instead of reading books. They won’t look up anything in their dictionary even. It is all done by pressing buttons.

girl readingReading! Think of what the brain goes through! It is a very, very special function. When you read, you visualize. You imagine the characters. When you go and watch television, it is not only physically passive—reading is physically passive, certainly—but it is all done for you. It does arouse your interest, your full attention, and your emotions, but by a different process. The other process, the capacity to envision yourself, is very important to develop. If you do that, you are apt to learn to spell anyway, because you will see the difference between words that sound the same, like “manor,” m-a-n-or, and “manner,” m-a-n-n-e-r, and how they are used, how they are spelled differently. Oh, it is imperative, and I think something has to be done to encourage them to learn to spell, to read, to add and subtract.

Academy of Achievement: You’ve lived in France for many years now. You speak French, and you have written very charmingly about life in France. Do you think that living there has changed your perspective?

Olivia de Havilland: It’s been an extraordinary experience, absolutely extraordinary to learn about another culture and other people. It is an immense privilege and an exciting adventure. Not only that, but just living in Europe has been an extraordinary experience, because I have been living in a culture of peace. Those 19-year-old American boys—Omaha Beach, and up and down that coast—they didn’t die for nothing. Think of it. Europe, with all these different countries, each country separate from the other in terms of history, culture, language, all of them, for 2,000 years and more, at war with each other, generation after generation. And all of a sudden, after World War II, they didn’t want to kill each other anymore, and we now have the European Union. It is a miracle. And the culture there is, indeed, a culture of peace, and the thought of solving a problem, a disagreement through war…unthinkable. Unthinkable.

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Cemetery near Omaha Beach, Normandy, France (site of 1944 D-Day invasion)

Imagine if the United States had been created 2,000 years ago and from then until now, Nevada had declared war on California regularly all through those centuries. If Florida had been at war with Alabama, North Dakota with South Dakota, Oregon with Washington and Idaho and Montana and the rest of them, Nebraska, Mississippi, all at war with each other for 2,000 years, and suddenly, one day, they decide they don’t want to kill each other anymore. That’s what’s happened in Europe. War is a very stupid way to settle a disagreement. Unthinkable. Won’t do. And in Europe, you have the feeling that the whole human race has been raised to another level by what has happened there.

Academy of Achievement: What is your sense of the American Dream? Does it still hold true for you?

Olivia de Havilland: I think we have abandoned our dream, and we must get back to it. We must. We absolutely must.

APTOPIX France Olivia de Havilland

(AP photo)

Speaking Truth to Power in Tinseltown

Olivia de Havilland portrait

She is 102 years old. Her first screen appearance was in 1935 in A Midsummer Night’s Dream. In 1939 she co-starred in one of the most popular films of all time, Gone with the Wind. She was romantically linked with billionaire Howard Hughes, actor Jimmy Stewart, and director John Huston. She has won two Academy Awards for Best Actress, been nominated for three other Oscars, and been awarded or nominated for multiple other acting trophies.

She changed the face of Hollywood in the mid-1940s with the De Havilland Law, which helped terminate the oppressive “studio system” by freeing artists from tyrannical labor contracts.

She was made a Dame by Queen Elizabeth II. She received the highest order of merit in France, the Légion d’Honneur, from Nicolas Sarkozy. She was awarded the National Medal of Arts by George W. Bush. Since 1956, she has lived in the same three-story house in Paris.

Olivia de Havilland is the last surviving actor of 1930s Hollywood, and one of the last of its Golden Age. She’s also the last person one would think would be compelled to file another lawsuit, this one an appeal to the United States Supreme Court. But in these surreal days of infantile tweets by U.S. presidents, when up is down and down is up…anything is possible.

***

In 2017, a mini-series called Feud: Bette and Joan came out on FX Networks. It concerns actress Bette Davis, who was supposedly very feisty, and actress Joan Crawford, supposedly extremely vain (even for Hollywood). The two notoriously clashed during and after the 1962 production of the macabre film Whatever Happened to Baby Jane? The recent Feud stars Susan Sarandon as Davis, and Jessica Lange as Crawford.

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Movie still from Baby Jane.  Crawford is on left, Davis is on right.

Olivia de Havilland knew and worked with both Davis and Crawford. Her character, portrayed by Catherine Zeta-Jones, narrates Feud. However, de Havilland was never consulted before or during the making of the series.  

I have not seen Feud, so I can’t comment on its artistic merits. But judging from the subject matter, it sounds not unlike most of the glossy soap-opera trash that Hollywood often promotes as serious “drama” today. (According to de Havilland’s 112-page petition, the mini-series is devoted to “the theme of women actors cat-fighting, using vulgar language, and backstabbing one another.”)

Miss de Havilland’s lawsuit argues that Feud and executive producer Ryan Murphy (previous credit: The People v. O.J. Simpson), take considerable liberties with the truth, to put it politely. But this isn’t unusual in Hollywood (or anywhere else, for that matter). Ever since D.W. Griffith’s Birth of a Nation in 1915, which depicts the Ku Klux Klan as heroic, historical truth has been a malleable commodity in moving pictures. Usually, the factual acrobatics are for artistic and commercial benefit. Sometimes there’s a political or social agenda involved, as with Griffith’s film.

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Davis and de Havilland during the Baby Jane follow-up, Hush…Hush, Sweet Charlotte (1964). De Havilland replaced Crawford early on. (Joe Farrington/NY Daily News Archive/Getty Images)

But sometimes these artistic liberties cross a threshold and create false impressions that have a deleterious effect on peoples’ character. Such is the claim of Miss de Havilland and her legal team.

Specifically, and related directly to her, de Havilland objects to a scene where she refers to her late sister, actress Joan Fontaine (with whom de Havilland had a cold relationship), as a “bitch.” She also objects to a scene where she makes snide remarks about Frank Sinatra’s alcohol use. The fact that Feud is presented as semi-documentary lends additional weight to de Havilland’s grievance.

Now, these Tinseltown skirmishes may seem petty and inconsequential to most of us. We’ve been raised in an age of constant media diversion, where fact and fantasy often coexist and overlap, and where manners are seemingly…well… “gone with the wind.” We live in a much cruder time. But Olivia de Havilland is from an earlier era. A time when unwritten codes of conduct were adhered to, and not everything—whether fact or fantasy—was splashed onto a screen. Freedom of speech and artistic license are one thing. But libeling someone in the name of art is another.

“Tens of millions of people* viewed “Feud,” and for a new generation, most likely all they know of Petitioner is found in the unauthorized lies and mischaracterization of her life, her work, and her nature as put forward in that series…This false portrayal has damaged Petitioner’s reputation.” (from Petition for a Writ of Certiorari, Oliva de Havilland, DBE, Petitioner v. FX Networks, LLC and Pacific 2.1 Entertainment Group, Inc.).

The Supreme Court appeal was filed in September. It follows an original petition in March 2017, which was struck down by two appeals courts, including the California Supreme Court. In both cases, Murphy and FX Networks successfully used the First Amendment to the U.S. Constitution to justify their “artistic license” to reputedly stretch the truth and stain the character of both living and dead persons.

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De Havilland, circa 1940 (Photofest)

In earlier essays, longitudes has touched on issues related to the First Amendment, which protects Americans’ freedom of speech, religion, press, and right to peaceably assemble. Television stars and their supporters have flaunted the Constitution to defend the right to employment after employer termination for vulgar, bigoted remarks (Duck Dynasty vs. U.S. Constitution). Armed political activists have clumsily brandished the Constitution while illegally occupying federal land (This Land is Your Land: Domestic Terrorism in Oregon).

We’ve also seen the U.S. Supreme Court misinterpret the First Amendment in order to protect corporations and enable them to donate unlimited amounts of money to the political candidates they hope will serve their purposes (Citizens United v. FEC).

Longitudes is an enthusiastic fan of Olivia de Havilland. Anyone who has seen either The Heiress or The Snake Pit is aware of her immense talent, not to mention her beauty. But that’s not why this blog supports her in her campaign for truth and decency. It’s because the First Amendment was not intended by the Founders to protect businesses like FX Networks from fictionalizing, in a negative manner, the words and actions of people in the pursuit of commerce, and in the guise of “art.”

Unfortunately, judging from certain recent court decisions where the First Amendment is involved, and the unprecedented clout of U.S. industry today, longitudes doesn’t hold out much hope for Miss de Havilland.

Then again—like a rubber ball bouncing between walls in a closed room—American laws have never been fixed, and their trajectories are purely determined by whomever is doing the bouncing at any given time.

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Promo card of de Havilland in play Alice in Wonderland, 1933.

* Variety magazine reported that 5.1 million people total watched Feud when first broadcast.

(Header photo: Laura Stevens, Variety)

Halloween Movie Review: THE FEARLESS VAMPIRE KILLERS

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Three years ago around Halloween, I published a list of five psychological horror films that I considered some of the best in the genre (Do NOT Watch Alone…). These are films about the mind that will keep you awake at night.

The film I’m reviewing this time isn’t disturbing like the others. But it has wonderful atmosphere, and I can’t think of another film like it. Critic Leonard Maltin calls it a “near-brilliant mixture of humor and horror.” It is Roman Polanski’s 1967 satire The Fearless Vampire Killers, or Pardon Me, But Your Teeth Are in My Neck (known as Dance of the Vampires in Europe). *

No matter what you think of Roman Polanski’s sexual imbroglios, as with the great Woody Allen, it’s beyond dispute he’s one of cinema’s most talented writers-producers-directors. His 1965 British movie Repulsion is a tour-de-force of psychological horror (and made my aforesaid list). Two years after Repulsion, he made this more lighthearted film.

Since Tod Browning’s classic 1931 film Dracula starring Bela Lugosi, vampire films had become progressively stale. The bottom came with the asinine Billy the Kid Versus Dracula in 1966. (Don’t watch this unless you have a large supply of alcohol on hand…enough to drink yourself into stupefaction.) So it was about time someone knocked the stuffing out of the vampire genre.

(Has anyone yet knocked the stuffing out of ubiquitous vampire books??)

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The movie plot is simple: in the mid-19th century, a scatterbrained German researcher named Professor Abronsius (Jack MacGowran) and his bewildered assistant Alfred (Polanski) travel through the snowy Transylvanian mountains to a small village in search of a vampire who supposedly lives nearby. While Abronsius is obsessed with tracking down and killing the bloodsucker, Alfred is more dazzled by the lasses in the local inn, including the lovely redheaded Sarah (Polanski’s future wife, Sharon Tate), whom he encounters while she’s soaping herself in a bubble bath.

The vampire, Count von Krolock (Ferdy Mayne), disrupts Alfred’s attempt at courtship when he kidnaps Sarah one night. Abronsius and Alfred then track him through the snow to his castle perched on the mountaintop. Bag of vampire-slaying tricks in hand, Abronsius is determined to destroy von Krolock, and Alfred is equally determined to rescue his damsel before she turns into a hollow-eyed blood bank. Without giving anything away, Abronsius and Alfred undergo various nail-biting (and neck-biting) escapades at the castle.

Expressive Irish actor MacGowran is perfect as Abronsius, with his faux pedagogy reminiscent of the standup comic “Professor” Irwin Corey (the “World’s Foremost Authority”). Instead of scientific jargon and Pyrex tubes, though, Abronsius speaks vampire clichés and wields garlic (“GAR-leek”), a wooden stake and mallet, and various crucifixes. Polanski makes a good shell-shocked stumblebum assistant. Tate, one of the most beautiful actresses in Hollywood at the time, doesn’t act much, or well, but she’s a visual delight. (Her horrific fate only two years later lends this film a tragic edge).

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Bathtub scene with Tate and Polanski (photo Turner Classic Movies)

In addition, Ferdy Mayne as Count von Krolock gives veteran vampire actor Christopher Lee a run for his money, with his murky, imposing stature and ominous, throaty voice.

But the minor characters provide most of the funny moments. There’s the hunchback who serves as von Krolock’s personal “Igor,” with his gargantuan buck teeth and Beatle hairstyle. In an inspired move, Polanski gives von Krolock ’s creepy son Herbert (Iain Quarrier) a homosexual spin; Herbert is as sexually attracted to Alfred as he is thirsty for his blood. Best of all is actor Alfie Bass, who is Sarah’s father, and the innkeeper.  After turning vampire, he struggles to locate a comfortable place in the castle in which to situate his coffin. His exaggerated Yiddishness is hilarious.

The movie is filled with many moments of visual humor. The moonlit snowy landscape, courtesy of the Italian Alps, is another attractive feature. As is the shimmering music, particularly the psychedelic-Gothic score that accompanies the opening credits, created by the same person, European jazz musician Christopher Komeda, who later composed the score for Polanski’s universally acclaimed Rosemary’s Baby.

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If you’re like me, you’ll get an adrenaline rush every time the doorbell rings on Halloween night. And if you’re really like me, after the doorbell stops ringing, you’ll plop yourself in your armchair and get a rush from a good horror flick. My suggestion this year is Roman Polanski’s The Fearless Vampire Killers.

And if you one day find yourself in Transylvania… beware of isolated mountain villages that have inns with “gar-leek” hanging over the front door!

(* Originally released in the U.K., The Fearless Vampire Killers was butchered by MGM when released in the U.S. Twelve minutes of the film were deleted, a cartoonish opening sequence was added, and MacGowran’s voice was given a deliberately comical and ill-suited dubbing. Polanski was understandably outraged, and campaigned to have the original version restored, which didn’t happen until the early 1980s.)

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On Top of Mount Whitney

View from Mt. Whitney

Just a few pics from my recent hike up Mount Whitney.  I think this may represent my last strenuous hike.  It was a great experience, but it was also an ass-kicker.  Going straight from the Ohio Valley to 14,500 feet can wreak havoc with your brain and lungs.  But, I summited…and survived to tell.

(Next year, I’m limiting it to a couple days in the Scottish highlands.)

Mt. Whitney Portal road

The Whitney Portal Road from Lone Pine, California looked innocent enough.

Sunset at Mt. Whitney Trail Camp2

Base camp (“Trail Camp”) was at 12,000 feet.  Rock everywhere, a narrow crevasse between cliffs that created a howling wind chute.  No rest for the wicked when 50 mph winds whip your tent all night, and your skull feels like it’s being squeezed in a vise.

 

Trail partner A.J.

On the summit hike, I hooked up with a 39-year-old guy from Daytona Beach named A.J.  Equally fatigued, we doubled over every 300 feet or so to catch our breath, allowing the stronger hikers to pass by.

Climbing toward Whitney

In addition to altitude sickness (acute mountain sickness, or AMS), I suffer from vertigo.  There were several massive drop-offs where I forced myself not to look down, leaning into the mountain, grasping the rock, and praying that my footing was solid.  Many hikers, unbelievably,  follow this trail at night (using headlamps).  Guess there’s a reason why people have died trying to summit.

Mt. Whitney shelter

Mt. Whitney plaque

Mount Whitney is the highest point in the contiguous United States.  The only signs you’ve arrived at the top are a plaque, an old stone shelter littered with graffiti, and your fellow hikers, celebrating in their own ways.

I stayed a second night at Trail Camp on the way down.  The wind was just as vicious, and my headache was only slightly better.  Blood was now clogging my sinuses.

On the way back to Whitney Portal, and Lone Pine, I hiked with a retired 67-year-old man named Dennis.  He and his wife had driven up from Phoenix (his wife stayed in a B&B at Lone Pine).  Dennis was a veteran backpacker, but was unable to summit due to allergies and lack of sleep due to the wind at Trail Camp.  He, too, admitted he was retiring from strenuous hikes.

After returning to Lone Pine, I rested up in the Dow Villa Motel, which dates to the 1920s, then visited a nearby film museum.  I did not know that this area, with its scenic Alabama Hills, is legendary for providing the setting for hundreds of Hollywood Westerns, both silent films and talkies.  In fact, many of the greats at one time stayed at the Dow Villa: Tom Mix, Gene Autry, Roy Rogers and Dale Evans, John Wayne, among others.

Lone Pine Film Museum

Not sure if Humphrey Bogart stayed in Lone Pine when he made the movie High Sierra.  When I bumped into him at the museum, he wasn’t talking.

After a modest recovery in the relaxing and historic Dow Villa, I hiked for a few days in Yosemite.  Then hitched/shuttled to Reno, Nevada to catch a plane home.

***

In summation, I’ve always thought I was immune to altitude sickness.  But I learned otherwise.  If any prospective daredevil mountain climbers are reading this, make sure you become acclimated to higher altitudes before attempting any major climb.  Severe AMS can cause hospitalization, and even death.

Suffice to say, I’m looking forward to the gentler peaks of Scotland’s West Highland Way.

Top 'o the World, Ma

“Top ‘o the world, Ma!”

Serena Williams, Entitlement, and Tennis Hooligans

APTOPIX US Open Tennis

Feeling under the weather today. Had trouble sleeping Saturday night. Just too keyed up. I thought I’d seen it all in sports. Olympic medalists raising clenched fists. Taunting and touchdown celebrations. Steroid use. Temper tantrums.

But Saturday night was a new low. Why? Because this time, deplorable behavior wasn’t restricted to just the athlete. This time, it was boorishness by committee: player, fans, announcers, and association president.

I’m referring to the 2018 women’s tennis final of the U.S. Open in New York City.

As often occurs in professional sports these days, the Big Top was overshadowed by a sideshow. Although 20-year-old Naomi Osaka of Japan won the champions’ trophy by obliterating American Serena Williams in straight sets, 6-2, 6-4, the vast majority of news stories are now focusing on Williams’ massive meltdown. Warned of being coached from the stands, she was then penalized a point for smashing her racket on the court, then penalized a game for verbally abusing the chair umpire for doing what he’s paid to do. The tantrum went on for, oh, maybe ten solid minutes, and continued in slightly milder fashion on the podium and in her news conference.

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Queen Serena lectures Ramos

Here are some quotes from Queen Serena:

“I don’t cheat to win, I’d rather lose!” after being warned of coaching from the stands. (Though, after a history of angry outbursts at the U.S. Open, she seems to have difficulty losing.)

(And though cameras distinctly showed her coach, Patrick Mouratoglou, gesturing her to move forward, and Mouratoglou himself later admitted he was, indeed, coaching.)

“You stole a point from me and you are a thief!” after chair umpire Carlos Ramos penalized Williams for destroying her racket by slamming it on the court.

“You owe me an apology!” screamed over and over and over.

If this wasn’t bad enough, the raucous, one-sided crowd was behind Williams the whole way, consistently booing Ramos, as well as poor Osaka, whose heroine is (inconceivably) Williams, and who played her heart out.

Then on the podium after the match, USTA President Katrina Adams actually said “Perhaps it is not the finish we were looking for today.” She followed this biased remark with the even more remarkable “This mama (Williams) is a role model and respected by all.” Loud cheers follow, as Osaka—again, the victor and champion—continued to weep, undoubtedly due to the ugly dramatics around her as to her unlikely victory.

Williams refused to praise Osaka for her tennis playing, and instead played to the crowd by pretending to console Osaka…for Osaka’s victory.

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A sore loser consoles a shaken victor

The jellyfish announcers, Mary Carillo and Lindsay Davenport, seemed stunned by all of it, offering merely token praise to Osaka, and not once criticizing Williams for her antics. I’m just guessing here, but perhaps these two are aware that Williams does commercials for Chase, one of the tournament’s major sponsors? Quid pro quo, anyone?

Today, the majority of U.S. tennis fans are, in a disturbing shadowing of our petulant president’s behavior, tweeting all over cyberspace that it was the umpire’s fault their Queen lost, and that she deserves congratulations for speaking out against sexism. The Queen’s supporters include official women’s rights spokesperson and former tennis champion Billie Jean King.

The Katrina and Serena show continues as well. They’re joining King in shifting the focus from Williams’ disgusting tirade to the nebulous yet safe and fashionable issue of sexism. (A nice little club here.)

Am I the only one who feels like he’s living in an inverse universe, where values and priorities are turned upside down?

With seemingly everyone congratulating Williams for speaking out against sexism in tennis—by behaving like a spoiled brat because she lost—the tennis court has evidently now joined the football field as a place to air social grievances. (Despite significant differences between the motivations of sore losers like Williams and idealists like Colin Kapaernick.)

If wagon circling of big-money, entitled, immature superstars is where women’s tennis wants to be in the 21st century, count me out.

Osaka

By the way…Naomi Osaka, 2018 U.S Open champion