Recently, Bob Costas, a sports announcer, spoke out about gun control. In reply, the right wing has been in a frenzy of denunciations — he should just shut up, he’s not qualified to speak, he can’t possibly have reasonable opinions about anything other than football (of course, these same angry commentators don’t express similar opinions about Ted Nugent). It’s called Shut Up and Sing Syndrome.
Named after a Laura Ingraham book and a 2006 documentary about the harsh reaction to the Dixie Chicks’ anti-Bush comments, this syndrome condemns many Americans to believe that actors, musicians and athletes — really, anyone not deemed political “experts” — have no right to use their platform to address issues considered “political” in nature. In this case, conservatives are insisting that Costas is not merely wrong on the substance of his gun-related comments, but also that, according to the New York Times, “it was inappropriate to use the platform of an NFL telecast to make arguments concerning a hot-button issue like gun control.”
The insinuation is that as a sportscaster, he has no standing to weigh in on a political issue. In other words, like critics of outspoken athletes who tell them to “shut up and play,” critics want Costas to simply “shut up and talk only about sports.”
Sound familiar? It should. It’s a problem in more than just entertainment and politics — it’s also a problem in skepticism. What it really is is an authoritarian defense of orthodoxy that dismisses criticism unless it comes from the right kind of person — preferably one comfortably embedded deeply in the orthodox position. It’s a version of the Courtier’s Reply, only in this case it’s used to defend science, or a political position, rather than theology. Shut Up and Sing Syndrome imposes unjustifiable barriers to criticism: you don’t get to criticize the subject at hand unless, for instance, you have a Ph.D. in the relevant subject, or some other lofty credential, even if the criticism is based on obvious and trivial flaws that a layperson can see.


