Not being a fan of watching professional sports apart from tennis, I didn’t watch the Super Bowl on Sunday. I did however manage to catch Lady Gaga’s performance during the Halftime Show. It was a high-energy blend of art pop, hair metal, and 1980’s-style excess, recalling diverse performers such as David Bowie, KISS, and Madonna. Whatever you may think of her, if you understand music and dance, you appreciate that Lady Gaga certainly knows how to put on a show.
Among the commenters in my timeline, some expressed disgust at the messages of sexual immorality which Lady Gaga put on display. Others thought that this was no big deal, because there were other, more positive messages about family and patriotism which she conveyed as well. I don’t think it’s worth my time or yours to turn a pop star’s performance into an academic thesis, but I do think it’s worth considering whether there are a couple of hard truths that we can learn, from thinking about how we apply standards of morality to entertainment, not only with respect to sexuality, but also with respect to violence.
The display of both sexual behavior and acts of violence as mainstream entertainment is not something that came into existence in the 1960’s. Take opera, for example. Here are the plots of three of the most popular operas ever written, with apologies for the admitted oversimplification:
– A hooker seduces a man into leaving his fiancée, then runs off with another man; her jilted lover later tracks her down and murders her. (Carmen)
– A hooker is forced to leave her current lover for a more powerful one, whom she eventually murders before committing suicide. (Tosca)
– A man marries a hooker, leaves her in order to commit bigamy, and the hooker kills herself. (Madama Butterfly)
Stepping off stage however, it’s interesting to note that many who criticize musical entertainers, are the same people who give a pass to sports entertainers. Professional football is a semi-controlled form of genuinely violent entertainment, perhaps preferable to the gladiator fight to the death, but which still almost inevitably involves serious physical injury. Moreover, when it comes to sexual behavior, whatever a singer may be doing on stage, at the end of the day it’s still play-acting. Hardly anyone ever dares to publically criticize a famous athlete who is notorious for committing serial adultery in real life, however. It seems as though our culture has developed quite a double standard in this regard.
What is lacking both in entertainment and in real life is not the knowledge that our own bad behavior eventually comes back to bite us. We still intrinsically know this, and we have not yet fallen so far into secularism that we are so entirely unaware of such things. Yet the solution to a libertine society filled with hypersexual and violent entertainments is not to join the Amish in cultural retreat: “Utopia”, after all, is a work of fiction.
Instead, what we need to cultivate is a greater sense of balance, particularly as consumers of entertainment. We can both foster our appreciation for genuine talent, creativity, and skill, while at the same time criticizing and refuting when necessary those behaviors and philosophies associated with it which only lead to destruction. To ignore the former is to display one’s ignorance; to refrain from the latter is to pretend that what we do here has no significance in the hereafter.
Perhaps it’s unfair to ask that we even attempt to seek such a balance today, when pagan attitudes toward sexuality and violence are regaining their former footholds. At least for now, the woman in the spangled shoulder pads surrounded by drones, and the man in the plastic shoulder pads under his football jersey, are merely entertainers on a stage. The vanity that has brought our society to levels of self-destructive behavior not seen in centuries is not going to disappear simply of its own accord. It’s time we wake up to that fact, and balance both a genuine appreciation of our entertainers with our legitimate criticism of them, when warranted.