To say the San Antonio Express-News (SAEN) Arts writer Debra Martin shows her liberal moral values in her latest review of the play "Book of Mormon" is an understatement. The play, like Corpus Christi is irreverent, vulgar, blasphemous, and mocks the religious view of over 16 million people, but the Martin compliments it.
Martin writes, The musical is a politically incorrect story of a couple of mismatched Mormon elders, and the show includes some breathtakingly profane numbers. Profanity is breathtaking to her?
She goes on to point out that liberal New York Times critic Ben Brantley described the play "blasphemous, scurrilous and more foul-mouthed than David Mamet on a blue streak". Martin even celebrates one song that she admits "cannot be quoted in a family newspaper."
Do these art critics really consider profanity and blaspheme artful entertainment?
While the review has a liberal bias, the problem is with the SAEN editors who support this type of journalism. Compare Martin's comments about this vulgar play that mocks a religion to the reports by the SA Express in 2013 regarding former city council woman Elisa Chan's personal (and private) comments of homosexuality. The SAEN demanded Chan's resignation, but applauds vulgarity and profanity.
It is certain the SAEN would never report a play or speech that mocked liberal attitudes and behavior in the same serendipitous manner. Imagine how they would report a play that mocked abortion on demand, cross-dressing, illegal immigration, and Black-Lives-Matter.
The local and national media's double standard is obvious more each day as it attacks and mocks religious belief in the name of free speech (for liberals, not for conservatives). Sadly, San Antonio, like the rest of Texas and the nation, has liberal news media that promotes profanity and vulgarity as acceptable entertainment.
A nation and society progress when the people have a moral compass and seeks after virtuous, lovely, or praiseworthy behavior. It regresses when it becomes permissive and immoral.
George Rodriguez, El Conservador