Who decides whether someone is “elite” or good?

Written by Daniel on May 16th, 2010

I don’t usually publish on the weekends (and I’m likely off-topic), but there’s an editorial in the Washington Post today titled “Why elites do belong on the Supreme Court“.  It’s written by Christopher Edley, Jr., the Dean of Berkeley Law School.

Generally speaking, Dean Edley argues that it’s a good thing our United States Supreme Court is now completely dominated by Harvard and Yale law graduates.  I couldn’t disagree more.  In fact, I believe his views represent arrogance of the worst sort.  His editorial contains all kinds of presumptuous language, flawed logic and assumptions, and provides an excellent example of much that is wrong with academics in general and the culture of picking justices.

He writes: “[W]hat matters is intellectual horsepower, not office-chat charm. It is wisdom and analysis, not personal experiences. If a judge’s life is elite in the sense of excellence, that’s fine. In fact, that may be the point.”

According to Edley, if the Harvard and Yale law schools think a person is excellent, then that person must actually be excellent because they’ve demonstrated the proper “intellectual horsepower”.  I disagree.  All this person has necessarily demonstrated is that they are one specific type of achiever.  These students took the right classes, did the right things, and knew the right people.  Is it anything shocking to admit that they probably came from a privileged family?  The law admissions process is essentially a filter for personality and mindset.  It rewards high undergraduate grades and a high LSAT score.  It’s no secret that getting good grades in college is largely a process of learning to parrot and regurgitate knowledge back to your professors.  I don’t think that skill is useful for a Supreme Court Justice.  Likewise, I have no faith that a high standardized test score is any accurate predictor of whether someone will make a “good” Associate Justice – whatever that means.

Edley poses the question about nominee selection: “Do you want someone like you or someone better than you?”  The obvious implication is that Harvard and Yale graduates are “someone better than you.”  This disturbing attitude is entirely too prevalent in academia and government.  Furthermore, I find it literally dangerous to my idea of democracy when anyone spreads the gospel that government officials may be somehow better than ordinary citizens.  I worry about a natural tendency for these officials to group themselves with others who are “better than you” and forget entirely what it’s like to be the guy behind the grocery’s deli counter.  I’m concerned that when it comes time for these officials to review how “someone better than you” can treat “you”, it might not go so well for “you”.

I disagree that letting in a few physics major underwear models or single-parent firefighter medievalists significantly changes the mix.  Almost by definition, the process often excludes creative or critical thinkers.  There are many brilliant students who might have gotten B’s instead of A’s because they sidetracked into thoughts or ideas that their professors considered too unusual or different.  Or maybe they questioned a professor’s opinion or viewpoint.  According to Edley, professors are “someone better than you” – and you should listen to them.  I’m not sure I’m comfortable with that.

I would suggest that Edley’s reference to the military’s personnel system as a shining example was simply a mistake – it could be argued that the military is one of the least meritocratic institutions in America.  One could say that military advancement is often had by just sticking around, doing what you’re told, knowing the right people, and not making a fuss.  History is littered with less-than-brilliant admirals and generals.  At the very least, the armed forces has little reputation for rewarding creativity or critical thinking.

I note that Edley says he was a Harvard professor for 20+ years – which clouds his opinion with the worst sort of self-congratulatory back-patting.  Is he suggesting that he, too, is “excellent” and has “intellectual horsepower” because Harvard picked him?  Is he suggesting that he has a right to tell us who does and doesn’t have “uncommon smarts” because he, too, was at Harvard?  How circular and arrogant is this argument?

Edley also writes that, “[a]t every turn [Kagan] has excelled in a meritocratic system, one that is selective yet far more open than in generations past.”  This makes several assumptions about the fairness of the “meritocratic system” that I’m uncomfortable with.  I’m not sure almost any system operates completely on merit, but I’m sure the answers would vary by who you ask.  If you asked Edley, Kagan, and others on top of the system, I’m sure they would tell you that the system is great.  But you’d probably get different responses from people who couldn’t go to Harvard or Yale for one reason or another.  It’s like asking the guys in prison whether the criminal justice system works.  Finally, am I supposed to feel comfortable with Edley’s vague claim that the system is “far more open”?  Openness isn’t all about letting in 51% women and 10% minorities.

Maybe Edley’s most disturbing statement is: “At the Supreme Court level, it’s all about finding oracles for Olympus.”  Do I even have to attack the underlying assumptions behind calling these citizens “oracles for Olympus”?  Are Harvard and Yale graduates gods?  Are our Justices gods?  I have to ask: Were they gods before they were confirmed or do they only become gods afterwards?  I thought our American philosophy of government discouraged exaltation of our government officials in this way.  Judges and justices – even if they’re “better than you” – do not communicate with gods in a way that mere mortals cannot.  Edley’s apparent belief that these people might bring down the laws from somewhere elevated is outrageous and completely out-of-touch.

I don’t understand is why there’s not more uproar about this.  Are Harvard and Yale graduates really that much better than anyone else?  I doubt it – and we shouldn’t let anyone convince us that they are “somebody better than you”.  Does anyone else in America feel inadequately represented by a Supreme Court composed entirely of Jews and Catholics, all attenders of Harvard and Yale, and primarily from New York or California?  This kind of narrow monopoly on who can be considered “elite” is bad for the country.

I debated posting this here, because it doesn’t appear obviously relevant to a forum which mostly focuses on arts and creativity.  But it’s also a blog about Birmingham, Alabama – a city that’s often told it’s inferior.  And I also often encourage everyday people to pursue whatever creativity you possess – directly in the face of anyone who might tell you that you shouldn’t be singing, painting, making music, or dancing.  Don’t abandon any field, creative or otherwise, to self-selected “experts”.

View of the City

Written by Daniel on May 14th, 2010

I’m glad to spread good news about something new, different, and fun in town.  Chris Davis – a native son of Birmingham – has worked with a diverse cast of characters to put together “a weekly, half-hour, online comedy show about Birmingham”.  It’s called View of the City.

There are three episodes available so far.  I’ve watched all three.  If you feel like you can’t get motivated to watch a full episode, you need to put down your i-Schlock and unplug.  Maybe go take a few hours to rediscover nature.  But until then, I’ll appease you.  Here are some of my favorite moments:

  • May 9 – Nick Crawford (@ 2:20) – “All I know about Mississippi is that it’s got two crappy football teams.”
  • May 9 – (@ 3:20) – the cute blonde in the Dr. Jack P. Weiss Cosmetic and Family Dentistry commercial.
  • May 9 – Chris Davis & Eunice Elliot (@ 6:30) – “What happened to the good old days when you just threw a sheep at somebody?”
  • May 9 – Eunice Elliot (@ 8:23) – “So you don’t live here, so I don’t know that I care so much about your opinion.”
  • May 9 – Tollie Jones (@ 15:15) – “Can. You. Dance?  Yes.”
  • May 9 – Reid Lucassen (@ 23:51) – “Tattoos are officially an illegitimate form of self-expression.”
  • May 9 – Terry Hermes (@ 28:11) – “I mean, who better to review concerts in Birmingham, Alabama than a guy who lives in New York and rarely leaves his home?”
  • May 2 – Nick Crawford (@ 1:41) – “Why don’t you allegedly shut the hell up?”
  • May 2 – Chris Davis (@ 11:33) – EXTREME Botanical Gardens
  • May 2 – Holly Dikeman (@ 20:21) – “And right in front of my lovely daughter Madison – oh, and that other one.”
  • April 25 – Narado Moore (@ 6:40) – “Discussing black stereotypes with a white man.  It’s truly 2010 and Obama’s in the White House!”
  • April 25 – Eunice Elliot (@12:33) – “Does this dress make me look fat?”
  • April 25 – Chris Davis (@15:25) – “Meet Star Mays, star of the Cullman Liquidation ad.”
  • April 25 – Chris Davis & Shelia Smoot (@ 18:59) – “Shelia Smoot would not high five me.”

The site also says: “View of the City is your show, too.  No!  It’s our show.  But we’ll let you play with it whenever you want.  Submit your video (60 seconds or less) for a chance to get on the show and get famous.”  Find out more at this link.

Preview for Much Ado About Nothing

Written by Daniel on May 13th, 2010

Back in January, I wrote a piece about auditions for the Park Players.  At the time, it seemed a long way off.  But – alas! and alack! – the first play of the season is here.

Go see it!  Here are the details from the Park Players website:

Much Ado About Nothing by William Shakespeare.  As Directed by Hannah Wilkerson.

Performances: May 13th thru 16th &  May 20th thru 22nd.  All at 7:30pm at Homewood Park in Homewood.  $10 adults.  $8 seniors/students.  FREE for kids under sixteen!

I wish I had a picture of the stage setup at Homewood Park to share.  It’s a perfect place to bring a picnic dinner, hang out, and watch some laid back theatre.  Maybe bring a bottle of wine.  Or yummy fudge brownies – if you share with the rest of the audience.  Kids under sixteen can get in free, so there’s no reason not to bring the family.  This is a cool thing to do and it deserves more attention.

Play the “facebook” game with headshots of the CAST!

Synopsis: Long loved for its wit and wordplay, this outdoor play is set in and near the house of Leonato, governor of Messina in Sicily.  Don Pedro, Prince of Aragon, returns from the wars to visit Leonato, accompanied by his favorite companions, Claudio and Benedick, as well as Don John, his bastard brother.  Benedick wages a war of wits with Leonato’s niece Beatrice, with whom he shares a contempt for conventional love.  Meanwhile, Claudio falls in love with Hero, Leonato’s only child, whom Don Pedro woos and wins for him.  While they wait for the wedding day, the wedding party amuses themselves by gulling Benedick and Beatrice into believing that they are hopelessly in love with each other.

Meanwhile, the evil Don John, an envious and mischief-making malcontent, plots to break the match between Claudio and Hero.  Will the stumbling constable Dogberry discover the plot before it too late?  Anger, betrayal, deception and conquering love ensue.  Love is discovered, friendships challenged and evil thwarted in this Shakespeare classic.

Dane Peterson’s Theatre Series Presents Grey Gardens

Written by Daniel on May 10th, 2010

Theatre might should be marked with a “degree of difficulty” rating.

In some sports (the ones that maybe really aren’t sports), the way they get judged is to rate how hard something is and then score participants based on how well they did it.  For example, in diving, a tuck reverse double somersault from a one meter springboard is a “2.3″.  That’s almost meaningless to me, too, but that’s just what divers do.  For a high jump, you just set the bar, measure, and see whether you cleared it.  Because high jump is a sport.  Unlike ice skating or cheerleading.

Similarly, some things in theatre are more difficult than others.  Putting on Equus is maybe harder than Driving Miss Daisy.  I’m not saying that it’s easy to put on any particular show.  Getting the people together and moving in the right direction is always an amazing and laudable effort.  But I think some shows have a higher “degree of difficulty” to perform and perform well.  Put another way, some shows carry a higher risk of failure or leaving an audience unsatisfied.

To break it into parts, there can also be individual, discrete pieces of theatre that are more difficult for performers.  Certain songs are just plain hard to sing.  Certain lines are hard on the tongue.  Certain characters are difficult to get right.  Certain moments or emotions may be tough to convey.  Maybe the beautiful dress the Costume Coordinator made for you makes it impossible to dance and sing.

While watching the musical Grey Gardens – as presented by Dane Peterson’s Theatre Series – I couldn’t help but think how difficult it seemed.  Whereas I believe likability and charisma are the most important assets for a performer – whether you’re playing good or evil – these characters seemed to have been written as mostly unsympathetic.  This kind of writing asks a lot of your actors.  If your character is kind-of a jerk, you’d better be a very likable jerk.  To this day, I can’t explain the popularity of Seinfeld.  Although I have to say that Leah Luker’s performance as “Little” Edie Beale often gave me reasons to pull for the character and Carole Armistead as Edith Bouvier Beale had the likability thing down pat.  Though he plays a rascal, I also liked Brad Simmons as George Gould Strong and I especially liked his voice.

I’m no expert, but it seemed like many (or most) of the songs in Grey Gardens were written to be flat-out hard.  This is part of the “degree of difficulty” I’m talking about.  I understand that these kinds of songs can take a lot of mental energy for a performer.  And that it takes substantial work to get the technical details right.  But this doesn’t free anyone from a responsibility to act.

I’m not usually wowed purely by masterful technique.  In the world of musical theatre, I generally want to find a groove where the performers don’t seem like they’re performing at all.  Any singing should mostly feel like a seamless part of the character.  No matter how gifted your voice, in musical theatre you shouldn’t forget the theatre part.  No one is allowed to ignore other actors while they flirt with and sing to the audience.

Thanks to Dane Peterson for working hard to bring a difficult and unusual musical to the Birmingham stage.

New Van Gogh Painting

Written by Daniel on May 7th, 2010

This is one of those posts that’s going to be all pictures, so I need to use a lot of words just to give myself space to post the picture files.  “VERBOSE” mode.  Now, since you know that, the words don’t matter a whole lot, so don’t pay much attention to them.

I wanted to give someone a graduation gift, so I picked out a Van Gogh painting.  My final version is the first one on the right.

Just for fun I’ve included a “halfway finished” version of the painting, when it still was on my easel.  It’s also on the right.

And finally, I include the original Van Gogh itself – also on the right.

Don’t look at his version first.  Van Gogh is a better painter than me.  Furthermore, he’s painting differently than I am.  I almost guarantee he painted his version very quickly.  From nature.  And he could pick any colors he wanted.  And do anything he wanted.  Please avoid trying to play “Highlights for Children” with it.

But for my version, I was copying him, so it’s an entirely different thing.  I’ve got to stay somewhat true to the intent.

I still tried to paint as fast as possible.  So I wasn’t completely wedded to the original.  I tried to keep the spirit of the painting and most of the form, but not be too exacting about any particular blob of paint here or there.

This was a lot of fun to do.  And I’m glad to have done it again.  You can see my original Van Gogh copy at this link.  I think I’ll be trying to copy more famous pieces in the future.  There’s a lot to learn from being a copycat.

Finally, according to the book I painted from, the whereabouts of the original are unknown.  So maybe my version is kinda “counterfeit”, which makes it feel cooler.