Volume 22 - Issue 5

Volume 22 Number 5

Rules of the Game Yalies Going Pro

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Letters

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NewsJoumal

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Between the VInes

11

Features

14

18

Lonely Crusatk . .. Concerned Cameras . .. Museum Icon The Mudthirsty Crowd At the New Haven Coliseum, a Tractor Pull and Monster Truck Exhibition thrilled crowds with mud, fret and gÂŤJTs. The auJJwr arguM tlulJ these events follow in a dramaJic tradition dating from the Greeks. By Jamie Workman.

Rules of the Game

Bulldog a.thJetes find that academics cqmpete with their pro ambitions. 7ne sports program at Yale both hinders and helps plllyers in their quest for spots in the professional ranks.

By Samantha Power.

Harry Gets Some Play In 1969 Film Studies Professor Michael Roemer directed a corntdy and nobody lllughed. Now, after sitting on the shelffor 20 years, The Plot Against Harry luzs opened to rave reviews and itWigoraled Roemer's filmmaking career. By josh Plllw.

Essays

24

Afterthought

29

Split Visions and Haunted Memories Abdul A lim Mulwmmad's rtcent speech at the Law School focustd attention on the rellltionship between blllcks and jews. RepresenJatioes cif these cqmmunities on campus exp/Qre the causes cif tension between the two groups. By Adriel Alston and Dan Gerwin.

Name Dropping

Ever confuse presidemial candidates George Wallact and Henry Wallllce? Authors George Sand and George Eliot? You are not alrme. By David Greenberg.

The New JournaVMarch 2, 1990 3

Publisher David K ing Editor-in-Chief Ruth Conniff Managing Editors David Greenberg

Motoko Rich Business Manager Jerry Hwang D esi'gner Stephen Hooper Production Manager Lisa Silverman Photography Editor John Kim

To the Editor, The May Day issue stirred up in me what I guess fd have to call a nostalgia for those weird but also exciting days.

There were a few minor errors, such as Mark Ribbing's suggesting that it was the students who decided to "liberate" their colleges and open them up to the visiting radicals. David G reenberg set the record straight on that- though there is a curious stamp of thinking of the '80s in his saying that back in those '60s Brewster was "always cultivating the image of approachability."

The stress on image-making came into play with the TV commercials and the "media spins" and the photo-ops of much later politics. The fact was simpler: Brewster was approachable, he didn't care whether he looked that way. He showed up night after night in college common rooms to talk things out with students. He was at the other end of the stick from Benno.

I think Sam Chauncey may have misled Greenberg a bit about the opposition of the masters to opening the colleges. There were two Masters who seemed to be scared shitless, but in the Council of Masters before May Day, the suggestion for opening up the gates and welcoming the outsiders actually came first from one of the Masters, Elias Clark, and all the rest but those two supported his idea, which Brewster then took up and carried through with his usual panache.

I loved Ruth Conniffs piece on Trudeau. Is it her father who took the cover picture?

Anyway , congratulations. The project was very much worth doing.

Good to get your contemporaries to think about those strange, earnest, caring days.

John Hersey Yale College '36 Master, Pierson College, 1965-1970 May Day photographer Richard Conniff is the editor's uncle and a former editor-in-chief ojTNJ. -Ed. 4 The New JournaVMarch 2, 1990

Ellen Katz• Josh Plaut•

Associate Editors

Associate Photography Editor

Jennifer P itts To the Editor, You have assembled an impressive collection of pieces for the New Journal's retrospective on May Day, 1970. I have listened to many recollections, and read packing boxloads of memorabilia, letters, documents-dealing with the multilayered ironic "scraps of history ."

I hope one day a thoughtful, in formed book will be done on the Brewster years, collecting the scraps into a continuity and a perspective.

The quality of writing and editing of The New journal speaks well of a Yale education.

Hurrah for you.

Stanley Flink Yale College '45W

Congratulations The New journal is pleased to announce the election of Lisa Silverman as publisher and Motoko Rich as editorin-chief, effective today. Lisa joined the magazine in 1989 and has served as production manager this year.

Motoko joined the magazine in 1988 and has served as managing editor for the past year. Lisa and Motoko will continue the leadership of Publisher David King and Editor-in-Chief Ruth Conniff.

Three additional members of TNJs new Executive Board will also assume their offices today: Managing Editors Ellen Katz and Josh Plaut and Photography Editor Jennifer Pitts. Together with the outgoing Executive Board they produced this issue and are now planning their first issue, which will appear in April. We congratulate them . and wish them the best of luck.

Associate Designer Ethan Cohen Subscription Manager Adrienne Lo

Sillif Andrea Assarat Arthur Bradford Eric Fisher Matthew Fleischer Hank Hsu

Kevin Klein E. Stewart Moritz Milena Novy• Pam Sturner J arnie Workman'

"<l«ttd Marclo 2, 1990

Munbers and Dir~dors: Edward B. Bennett Ill • Constance Clement • Peter B . Cooper • Andy Court • Brooks Kelley • Michelle Press • Fred Strebeigh • Thomas Strong Frimds: Anson M. Beard, Jr. • Edward B. Bennett, Jr. • Edward B. Bennett Ill • Blaire Bennett • Gerald Bruck • Jonathan M . Clark • Louise F. Cooper • James W . Cooper • Peter B. Cooper • J erry and Rae Court • David Freeman • Geoffry Fried • Sherwin Goldman • John Hersey • Brooks Kelley • Roger Kirwood • Andrew J . Kuzneski,Jr. • Lewis E . Lehrman • E . Nobles Lowe • Peter Neill • Julie Peters • Fairfax C. Randall • Nicholas X . Rizopoulos • Arleen and Arthur Sager • Dick and Debbie Sears • Richard Shields • Thomas Strong • Elizabeth Tate • Alex and Betsy Torello • Allen and Sarah Wardwell • Peter Yeager • Daniel Yergin (Volume 22. Number 5) 1M Nn» J ...- ' is published tix timet during the ochool year by Tbc New Journal at Yale, Inc., p.., Ofrtee BoJ!. 3432 Yale: Statiocl, New Havu. CT 06520 Copyroght 1990 by Tho: New Journal at Yale. Inc. AU rit~lm ~tet"cd. R~production eithft' in whole or in part without wriuco ~nniu.on o( the publisher and cditoc---lnoo<:tuJ ll prohlb1ted Thit magazine u published by Yale Coilqc tludenlt, and Yak Uni~naty ._, ntJC rupont!bk for tts c:ontentt Eleven thousand copia o( ead> '""" an: duuibuted frtt tO members o( tht Yak Uni'--e~ty communtty

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NewsJournal

Lonely Mission

Jennifer Bryson (GRD '90) doesn't like the way a lot of Yale students think.

Not only do they champion abortion rights, but she claims they don't even listen to what she wants to tell them. As a member of Yale Students for Life, Bryson sees herself on a mission to convert Yale students to the pro-life position. "We really think we can make a difference," she said. "Even if we can't convince everyone, hopefully we can influence future doctors and women who might face crisis pregancies."

Yale Students for Life, originally the Yale Student Pro-life Coalition, adopted its current name in 1987 when then-president Kelly Askew (DC '88) decided it better reflected the group's entire agenda, which includes opposing infanticide and euthanasia.

YSL sponsors film s, invites speakers to campus, distributes table tents, and pickets in front of University Health Services to protest the hospital's policy of providing free abortions for students. Several members volunteer at Birth Right, a pro-life counseling center which encourages alternatives to abortion.

Vincent Mooney (DC '91), president of YSL, believes such counseling is necessary because women are ignorant victims of abortion. "A lot of people are just misguided, and don't understand what abortion does," he said. Once people realize the effects of abortion , Mooney is convinced that they will come to view it as wrong.

Kathlee n Brady (JE '88, DIY '91), a member of YSL, said that she believed into her junior year at Yale that abortion was acceptable. But when she learned about fetal development, she aligned herself with the pro-life position.

Still, YSL members remain a distinct minority here . Although YSL membership has doubled since last year-from seven to 15-Students 6 The New Journal/March 2, 1990

YSL protesters speak to their following outside UHS. Organizing Students, an abortion rights group established just this year, has about 40 active participants. Amy Waldman (SY '91), coordinator of SOS, claims that the group has hundreds of sympathizers throughout the campus. At a pro-choice rally on Cross Campus last November, hundreds of supporters cheered speeches by feminist Letty Cottin Pogrebin and Congressman Bruce Morrison, while YSL's small forces hovered behind the crowd, resolutely holding up protest signs.

David Gardey (] E '90) said that Yale's pro-choice majority inhibits student participation in YSL. "I think that a lot of the people on campus who are pro-life are afraid that there will be a backlash against them if they come outandstatetheiropinion:hesaid. Gardey, a member of the Party of the Right, said "Pro-choice forces are as intolerant as the rest of the left at Yale." In his ¡

previous activities in the Yale P olitical Union he found most students unreceptive to real disagreement over issues. "There's a whole laundry list of issues, and if you go outside that dogma, a lot of intolerance shows."

YSL members said they are subject to such intolerance frequently. When Faye Wattleton, the national director of Planned Parenthood, spoke at Bartell Chapel last month, a group of YSL members demonstrated outside .

A woman grabbed a placard from protester Mark Tafoya (SY '93) and told him to "fuck off." Mooney learned afterwards that Davenport classmates assailed his participation in the Wattleton protest. "To hear that they were speaking harshly of me behind my back really hurt me," he said. A series of unsigned table tents in the HGS dining hall personally attacked Bryson for her pro-life views, and Mary Habeck (GRD '94) said the

group's table tents disappear from dining haJJs soon after distribution.

"It's like there's some mysterious force that's afraid to hear what we have to say," Bryson said.

YSL members struggle to be heard.

They try to appear at any event which addresses abortion, where they distribute leaflets elaborating their position. "We want students to be aware that there are students who are pro-life, and hopefully force them to seriously reevaluate their opinions on abortion," said Bryson. While Mooney doubts whether even he can convert "hard-core pro-choicers," he maintains that protests are vital. "It's a matter of shaking everyone up a little, and pointing out that it's not a closed case at all."

Pro-choice feminists on campus believe the case is clear, and that there is no question about the right to abortion. Alex Lutz (SY '91), a member of SOS, said that feminism and a pro-life position are mutually exclusive. Women for Life, a subgroup of YSL, formed last spring to discuss the relationship between feminism and the anti-abortion position. Between four and six women attend each meeting. "We're interested in looking at the pro-life issue from a woman's perspective," said Brady. "Can you be a feminist, a liberated woman, maintain some sense of privacy, and still be pro-life?" Habeck said Women for Life accepts the feminist agenda, with the exception of the pro-choice stance.

Lutz doesn't find the Women for Life position valid. "Being a feminist is about women having a choice," she said.

Brady claims that views like Lutz's hinder YSL's efforts to find support. "I think that after a couple of years at this place, you really start incorporating Yale's liberal attitudes into what you think." Many people may arrive here opposing abortion, she said, but end up joining the pro-choice movement.

Meanwhile, Bryson keeps talking, confident that her message is reaching someone.

-jack Wills

letting them talk and asking a few questions," Tsao said. "It's amazing how many of the homeless people we interview really welcome this opportunity to speak out."

The team is not talking directly with the homeless people they meet on the Last fall, Andrew Wolff(PC '91) heard street. "Interviewing is very intrusive by nature," Wolff said. "I just that Hunt Baldwin, head of Yale don't feel comfortable walking up to University Pictures, wanted somebody people with or even without a camera." to make a movie. A year earlier, a He added that the street environment student received a grant from the is not conducive to interviews. "It chaplain's office to shoot a video about would be impractical to film people on poverty in New Haven, but he the street. We're not just interested in graduated before completing the project. Although Wolff had never hearing a couple of sentences. We want¡ to hear about these people's lives." made a documentary before, Baldwin, While focusing primarily on india friend, asked him to finish the viduals, the team also analyzes social discontinued work. Wolff accepted, and political factors that lead to enlisting his roommate, Dave homelessness. "It's a problem that is Sampliner (PC '91), and Roy Tsao very much misunderstood." Tsao said.

(BR '91), with whom he worked at "People still ¡believe the old Dwight Hall, to collaborate on the myth of the drunken bum. And project. The three narrowed the there's a phenomenal amount of documentary's focus. "We knew that bureaucratic bullshit that goes poverty was too big an issue to get a on-attitude problems, money that's handle on," Wolff said, so he chose the spent and wasted, money that's approsmaller, more manageable topic of priated and never spent. People just homelessness. "It's such an up-andget phenomenally screwed by the coming problem. New Haven is one of the cities in America where the system."

So tar, the three have concentrated problem is the worst."

For the past three months, mainly on background research; they Sampliner, Tsao and Wolff have have only recently begun ft.lming. "At consulted shelter coordinators, the beginning we didn't know the focus politicians, journalists and advocates of the piece, so it was important to for the homeless. The three have gather information," Sampliner said. volunteered at New Haven's newly They spent two weeks of winter break opened Anawim Shelter, visited investigating their topic and interemergency housing motels, and spent viewing experts on homelessness. This time in City Hall offices. Mostly, semester, they have been devoting 15 though, they have been talking with hours per week to the project.

Although Sampliner admitted, "We people who have lived on the streets.

"The filin is going to be homeless don't have tons of footage," Tsao people themselves talking," Tsao said. insisted that they will wind up with "Our aim is to give a sector of the hundreds of hours of videotape, which population that has no voice at all some they will edit down to an hour-long documentary. They hope to complete voice in the public sphere."

Acting on recommendations from the film this spring and screen it for the caseworkers, the students contacted Yale and New Haven communities. both emergency shelter residents and "We want to try to get it either on PBS formerly homeless people who have or Channel 8. We have contacts with since found permanent housing. both of them," Wolff said.

The ftlm remains far from complete, "Before we even take out our camera, we talk to them first, then go back but Sampliner fmds the project another time and ftlm them, just rewarding. "Before, I had a vague,

Concerned Cameras

The New JoumaVMarch 2, 1990 7

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liberal concern about homelessness, but I didn't know how to address it," he said. "I really enjoy gaining full , substantive knowledge about the problem." Also, as a result of their work at Anawim, the three coordinated a volunteer program for the shelter; currently 20 Yale students donate time there. "That's something I might not have become involved in if it hadn't been for the film," Tsao said.

Because of the volunteer program and their work on the documentary, the team sees homelessness on a personal level, not just as a sound bite on the evening news. They hope that their fUm wiJI give its viewers the same insight. "Homeless people are not just a category, they're people, and a vast number of them are incredibly perceptive and incredibly astute politically," Wolff said. "It's hard sometimes for Yale students to appreciate that."

â&#x20AC;˘

-Kathy Reich 8 Th e New J ournal/M arch 2, 1990

steel girding to Corinthian columns.

"Most of the people on the architecture staff were modernists and felt that Yale should be making a statement in support of modern art," said Anthony Hirschel, assistant to the director of the On the first floor of the Yale Un!versity Yale Art Gallery.

Art Gallery, a small crowd peers at a Kahn's design emphasized both framed blueprint of the building. aesthetic qualities and functional Despite an array of architectural elements. He created a system of sketches, models, and photographs of movable walls on springs called "pogo museum designs, many visitors come panels," which allowed exhibition to see the gallery itself. "This is an designers to alter room configurations. exhibit in which the building is on He ran a large concrete shaft through exhibition," said Patricia Cummings all the floors of the building, Loud, author of the current show unashamedly exposing the workings of catalogue. Until March 11 , YUAG the museum. Designed to encase the will feature the work of Louis I. stairwell, the shaft also houses Kahn , Yale professor of archi- plumbing and electrical fixtures. Low tecture from 1947 to 1957. The ceilings create an unimposing mood exhibit coincides with an effort by the rare to most museums. "Kahn was museum's new management to restore concerned that the space provide an the distinctive features Kahn designed intimate and domestic sense. That way for the gallery. the works of art do better," Hirschel Kahn drafted plans for an addition said . to the art gallery in 1951 . On a campus But in the 1950s, YUAG directors noted for buildings in the Collegiate wanted their gallery to resemble the Gothic tradition, the expansion was Museum of Modern Art in New York. the first modem structure at Yale. They ordered renovations which Kahn preferred concrete to marble and ¡ obscured some of Kahn's intended

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effects. Workers constructed semip ermanent walls for additional hanging space; many were light in color like those in the MOMA. This color scheme violated Kahn's belief that art sh ould b e d isplayed against dark b a ckgrounds.

Today, YUAG administrators are trying to restore many of Kahn's touches. Hidden by partitions installed during the '50s, the concrete shaft and vestibule will soon be v isible. Pogo panels will reappear in the museum's European collection this spring.

Organized by the Duke University Museum of Art, the exhibition will con tin ue on to its final destination at the Museum of Modern Art in San Francisco. Not coinc.identally, Duke and San Francisco are considering plans for new museums, structures which they hope to model after Kahn's work. " P eople have been continually interested in Kahn since he built this m useum," said Hirschel. "His museum s offer the ideal setting for p resen ting works of art."

•

- En"lc Meers

ODE ON We're here for the good times . . .

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Between the Vines/Jamie Workman

The Mudthirsty Crowd The Monster coughed out a cloud of and television celebrities. Large exhaust, hesitated for a moment, then corporations such as Anheuser-Busch burst ahead. There was no ramp. It sponsor the events. didn't matter. The front wheels struck After Hot Stuff and two other the side of a rusty, dilapidated Dodge, Monster Trucks had done their squashing the door. The Monster's damage, the junkers were barely forward momentum drove its front end recognizable scraps of metal, and, up into the air and the entire truck was sadly, even that left-turn signal had airborne. It hovered for a full ceased to blink. But there was no time second- a second filled with dozens of for mourning. It was time for the next flashes ¡and thousands of gasps- before event. plummeting back to Earth on four The announcer introduced us to other junkers. The beast landed so Danny Reeve, a famous professional hard on one that the car's left-turn stuntman who doubled for Erik signal started blinking, a pathetic cry Estrada's partner on the hit T.V. for mercy. After prancing back and program C.H.iP. :S. Ree~~¡ known on forth across the tops of the junkers, the the circuit as "Mr. TNT," performed Monster descended gingerly from its his legendary feat of locking himself in helpless victims. Debbie Rhoden, the a box with two ignited sticks of truck's driver, calmly unstrapped her dynamite. After a deafening explosion, helmet, waved to the New Haven little chunks of the box were strewn about the floor, and Reeve lay flat on crowd, and sped off the floor.

The graceful performance of "Hot . his back, unconscious for ten seconds.

Stuff," a Big Block Jeep with a When he came to, he reminded us not 454-cubic-inch engine that runs on to leave and go try something like that alcohol, was just one of several in our own homes. "Basically, it feels spectacles at the Tractor Pull and like someone takes a large two-by-four Mudbog competition at the New and whacks you across the back with Haven Coliseum February 2 and 3. it," Reeve explained. Another thing Last October, some friends had not to try at your next backyard dragged me, reluctant and scornful, to barbecue.

After witnessing such a display, a similar event; this time I returned eagerly. While the fans around me ate Tom Andrus (TD '92) had to ask, blue cotton candy, chewed Skoal and "Why? Why would any man ever want passed around the Southern Comfort, to do a thing like that?" Many Yale I sat hunched over, scribbling madly students, in turn, might ask why. Why on my pad, trying to take in what had would any one at Yale go to see a New become, according to announcer Jack Haven Tractor Pull on a Saturday Arnold, "the number-one attraction in night, especially when high-cultured groups like the New Haven Symphony the nation."

The Tractor Pull and Mudbog has and Yaledancers were performing that earned this supreme status only in very evening? recent years. The shows began a few Those who have attended a tractor years ago as local tractor pull contests pull fmd the appeal quite natural. "I in the fields behind tri-county fairs. think the Monster Trucks are just as Spectators liked the events, and the valid a cultural event as the popularity of the competitions symphony," said Jessica Nordhaus QE snowballed. Today, the National Hot '90). "There's a danger of viewing those Rod Association organizes nationwide events with a touch of Yale snobbery, tours from Yakima, Washington to as if it were a lower townie thing. But I Tampa, Florida featuring surprise have to admit that I was intrigued from appearances by half-million-dollar the start, and entertained by the robots, double-engined 18-wheelers, show." Like Andrus, Nordhaus came 10 The New Journal/ March 2, 1990

"Basically, it feels like someone takes a large two-by-four and whacks you across the back with it."

to Yale from a city in the West where "everyone seemed to get into their trucks, fLXing them up with huge wheels and lights." When she heard the announcements of "power . . . power . . . power" in the "mud . . . mud ... mud," she wanted to see for herself what it was all about. Greg Widmeyer (CC '90) had his own reasons for going. "I think people enjoy watching Monster Trucks for the same reason they can't help looking at an auto accident on the highway," he said.

"I guess it's just a fascination with destruction." .Before anyone could reflect too much on the appeal of Reeve's display that night, Jack Arnold's voice directed our attention back to the arena.

"Hurry back to your seats," he said, "especially if you have children, for they sure won't want to miss the next event." Meanwhile, a man in a red cap sneaked into the middle of the mud and plopped down an orange cube which had the words "I CAN'T" written on every side. Then he crept silently away. No one mentioned this, and I grew suspicious.

Suddenly the lights blacked out.

"Ladies and gentlemen in the audience, if you would direct your attention to where the strobe light and spotlight are pointing, you will see (long pause) Vorion!" The throbbing lights focused on a gate, which in the stadiums of Spain or Rome let in the bull or lion. This time the gates opened to let in Vorion , a 40-foot-long vehicle that looked like a red and silver Batmobile.

"Only the voice of the children can make Vorion appear. He has to hear them call him out, so let's tell him, boys and girls," said Arnold. I found myself chanting along with the nine-year-olds in the crowd. "Vo-ri-on! Vo-ri-on!"

The metamorphosis occurred. Like a giant plastic Transformer toy, the top of the vehicle slowly rose on hinges behind the back axle to become a terrifying, mechanical robot, shooting thunderbolts from its right fist and The New Journal/March 2. 1990 I I

throwing flames with its left. From behind its glowing red eyes, the mechanical voice introduced itself.

"I am Vorion." With a poof, it sent forth a flame. "I hold the power to change my future." Zap-out came a thunderbolt. "If you boys and girls (poof) believe in me (zap) you too will hold the power." Then Vorion stopped swinging its arms and firing at random, and took us children into its confidence. "The only things that keep us from becoming what or who we want to be," it said, "are the words 'I CAN'T.' Concentrate your energies to help me destroy the I CAN'T box, and we will be free." I shut my eyes as hard as I could as it took aim with its thunderbolt arm, fired at the box, and splintered it into . thousands of tiny fragments.

Perhaps even tales ofVorion's magic won't convince all the skeptics.

Sophisticated city slickers will still scoff . at the mention of Monster Trucks or Mudbog competitions. Like their patrician ancestors of the Ancient Roman Colosseum, they consider the barbaric events of the 20th-century New Haven Coliseum as far beneath their dignitas. But if the Tractor Pull and Mudbog events resemble a circus, it must be a descendant of the Circus Maximus, where men were thrown to lions and gladiators battled it out on the dirt. Indeed, there is something timeless about St. Augustine's description in his Confessions, of a philosophic friend who was half inclined to be Christian and who on principle detested such spectacles, but once allowed himself to be drawn into the fatal circle. At first he resolved to close his eyes to the ghastly horrors of the scene. Presently, at the applause raised by some crisis in the conflict, his eyes opened and would not be withdrawn. The fumes of the camage seemed to intoxicate his senses; he lost his identity, and became one of the bloodthirsty crowd. He left eager to return once again.

12 The New J oumaUMarch 2, 1990

Half the experien ce of the Mudboggers and Monster Trucks, according to Widmeyer and Nordhaus, was breathing the carbon monoxide exhaust fumes that hovered in the stands. "It is a very sensory experience, with the noise and exhaust filling the air, and all the dirt and trucks on the floor," said Nordhaus. "Even up high in the stands you feel like you are part of the event." As the fumes intoxicated my senses, I, too, like St. Augustine's friend, lost my identity and became one of the mudthirsty crowd.

It stuck to the skin, hair and clothing of the fans, who screamed with delight and wriggled in ecstasy.

The tractor pull also owes something to the Spanish bullfight. Just as mankind's primitive slaughter of el toro takes on beautiful and tragic proportions when carried out as pure spectacle, so our steel machinery, taken out of its early function of plowing land on the rugged frontier, becomes noble and dramatic when put on display for 12 dollars and 50 cents.

And in both cases, the central image is dirt. Hard dirt breeds hard drama. It is the stage for ritual. In the American ritual, of course, the dirt is American made, just like the bulldozers and steamrollers which spread it evenly over the concrete floor of the New Haven Coliseum , just like the blue cotton candy and the tobacco spat into paper cups in the packed grandstands .

For the Mudbog competition, the final act of the weekend's drama, two Caterpillar bulldozers and three dump trucks hauled 24 tons of dirt from miles away. The dirt was leveled into thin layers on the outer parts of the arena and in the center was piled up a mound

which, once sprayed down with water, would become "The Bog.'' Hundreds of square yards of transparent neoprene plastic covered the bleacher seats to insulate the stands from the muck of the Mudbogger competition. In perfect formation around The Bog were dozens of trucks and beefed-up four-wheelers with names like Pirty Dirty, MudBuster, Pit Boss and Bushwacker. "These 'Boggers, "said Arnold, "are made for one thing and one thing only, and that is to get across the mud as fast as possible ."

But long before the Mudboggers skipped across the mud at such high velocities, the authorities hooked wires to the engines which would automatically shut off the vehicles when they had gone the distance across the trench . This safety precaution kept the PitBosses from MudBustin out of the arena and Bushwackin the crowd.

At one point during the preparation one of the cables got stuck in the mud, and a man had to be lifted in the bucket of a bulldozer to retrieve it and to hook it back overhead. The fans grew impatient, and the announcer tried to pacify them. "Maybe if you all cheer loud enough, that man down there will jump off into the pit," he suggested . I envisioned him lying face down , spread-eagled, two feet deep in the mud . . . mud . . . mud. Finally, after finishing his work, the man, perhaps himself intoxicated by the fumes , began waving his arms to rouse the audience, and then crouched and lept into the abyss. His feet must have sunk no more than four inches. His jeans didn't even get dirty. The crowd booed .

I reflected on this for some time. I considered how the Spanish audience was disappointed if the matador did not get blood on his clothing from close brushes with the bull. I thought of how the Roman audience only admired a gladiator if he wounded himself courting death. The authorities clearly underestimated the hunger of the crowd. ¡ Greg tapped me on the shoulder

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and urgently pointed to the end of the arena. Behind the starting line, th e audience was lining up next to the edge of the neoprene sheets, hardly keeping clear of them as instructed. Suddenly, the Mudboggers took off, spraying huge splats of mud beyond the perimeter of the arena. It stuck to the skin, hair and clothing of the fans, who screamed with delight and wriggled in ecstasy.

That confirmed it. The Tractor Pull was not an isolated American phenomenon, but a transcendent ritual defying time and space. The Spanish corrida and the R oman gladiator fight are early ancestors of the American Tractor Pull. I n all of these events, the witness to the amoral action envelops himself in the spectacle and becomes a participant. In the climactic moment, the blood spills to the dirt, the bull topples into the dust, the junker is flattened into The Bog, and the audience is splashed with mud.

The lights went up and the crowd, now satiated, began to file out. Then I realized that the roots of the Tractor Pull go back deeper than the bullfight, even deeper than the gladiators, to the tragic festivals of Ancient Greece. The very moment that the mudthirsty crowd tastes a mouthful of the brown stuff, it undergoes an Aristotelian catharsis- when the body senses emotional relief and is cleansed. All that remains is for the tragic chorus to deliver its epilogue, vocal advice for all proud men to be humble and all passions to be tempered.

There was no chorus at the New Haven Coliseum, but there was Jack Arnold. As the Saturday night crowd slowly made its way toward the illuminated exits, his voice followed them over the loudspeakers, into the bathrooms and lobbies, and spilled out into the parking lot: "Just a reminder, for y'all to drive very safely going home now. Goodnight."

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Rules of the Game Samantha Power Chris Dudley (TD '87) glanced up at the scoreboard. He had two chances to tie the game for the Cleveland Cavaliers. A capacity crowd was on hand to watch the Washington Bullets battle it out with Dudley and the Cavs in the Baltimore Arena. Referee Eric Strom handed Dudley the basketball for the first of two shots. Dudley sizerl up the basket and released his free throw. The shot had a good arc but lacked touch. It clanged against the iron rim, greatly pleasing the Washington crowd.

Dudley took his second shot. Again, no luck. This time, though, a Washington guard moved before the ball hit the rim. The violation guaranteed Dudley another chance. For a third time, the Yalie lofted the ball in the general vicinity of the hoop. For a third time, Dudley failed to tie up the game. But on this attempt, Bullets center Dave Feitl jumped too early.

Dudley stepped up for a fourth try- and missed yet again. Remarkably, Feitl had again moved too soon, so referee Strom, grinning in disbelief, 0 0

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14 The New J ournal/March 2 , 1990

for the fifth time awarded Dudley the ball and the chance to tie the game.

And Dudley, the worst free throw shooter in the NBA, missed again.

This time, no violation occured, no whistle sounded, and Dudley entered the recordbooks as the first player ever to miss five free throws on one trip to the free-th row line.

The next day, a fan asked if Dudley had been studying economics at Yale while the rest of the country was learning how to take the easiest shot on the basketball court.

Dudley, like other Yale athletes playing professional basketball, baseball and football, often finds himself the object of such ribbing. F:ans think of Ivy Leaguers as more adept at sharpening a pencil than handling a ball. Last month, Spanky, a stand-up comedian, pointed out to a Yale audience that the Elis have produced more All-American football players than any other school in the nation.

"Of course," he added, "that was all · between 1869 and 1926."

Spanky may think Yale athletics are a joke, but the National Collegiate Athletic Association doesn't. Looking to reintroduce academics into the college athlete's course of study, the NCAA sees schools like Yale as a model. Over the past 25 years only six of Yale football coach Carm Cozza's players failed to graduate. Dick Schultz, the new executive director of the NCAA, admires Yale's ability to balance academics and athletics. He has introduced a variety of reforms based on Ivy League regulations, which include reducing the number of basketball games, shortening the season and eliminating spring practice.

Yale's academic integrity comes at a price. Varsity baseball, basketball and football teams at Yale don't stack up against most Division I opponents. A Yale player with pro potential, al· though presumably a star in the Ivy League, doesn't face the same competi· tion he would at a non-Ivy athletic powerhouse. Ed Peterson (PC '92), basketball's Ivy League Rookie of the Year, said, "We don't play Atlantic Coast Conference caliber teams

"Some nights I stare at my econ book and all I see are two goal posts."

everyday." The public generally credits a Yalie's outstanding performance in the Ivy League not to his ability but to the inability of his opponents, Peterson said. Ed Perks (BK '92), the top kicker on the footall team, added, "You could be a great back in the league, but you are a great J:>ack in the Ivy League."

As a kicker, Perks is not held back by the level of competition here. His ¡ skill is assessed solely by numbers.

After all, a 45-yard field goal travels 45 yards, regardless of where it's kicked.

While the University of Arkansas offered Perks a "full ride," he felt choosing Yale would not hurt his Ed Perks (BK '9'2) hopes to kick his way into the pros. chances of going pro.

Like kicking, pitching talent can be the Cape Cod Summer League in the and attend the language lab. The need easily measured. Yale Baseball Coach off-season. to accomodate class schedules frusJoe Benanto calls a pitcher's skill "timeLike Darling, Dudley had to prove trates coaches. During practice, divisioned" because scouts rely on his abilities in non-Ivy competition. Benanto, long accustomed to radar guns and stop watches to gauge He finished his last season at Yale as intellectual incursions on the field, it. A pitcher throwing with great the second leading rebounder in the pines for "a captivated audience." In velocity at Yale should be able to do so country. Such an accomplished player order for Basketball Coach Dick anywhere regardless of the competi- should have been chosen early in the Kuchen to get a full team to practice tion. "It doesn't matter who you are first round of the NBA college draft. on Thursdays last semester, he was throwing against," said Benanto. "All Dudley was choice number 75. With forced to schedule a 7 to 9 a.m. stop watches tell the same story." only Ivy credentials, Dudley struggled pre-class workout. "When four kids When Ron Darling came out of high to convince scouts that he was pro have section on the same afternoon, we school, the stop watches said he could material. "It was important for me to have to improvise," said Kuchen. "It's throw a baseball over 85 miles per go to All-Star camps," said Dudley , "so frustrating as a coach, but coaches in hour. Darling, who now pitches for the scouts could see what I could do this department realize why men and New York Mets, attracted national against big-time college players." women come to Yale." attention as a Yale pitcher from 1979 Coaches liked what they saw at the Annoying for coaches, this juggling to 1981. Sports Illustrated described him as camps and decided to give him a act is outright nerveracking for an "athletic miraculist extant." "Ronnie chance. Dudley was drafted by the players. "When I'm stressed about got as much attention as anyone in the Cavaliers and has since been shipped school, I don't play well," said Casey country from the minute he got here," to the New Jersey Nets.

Cammann (DC '92), the center for the said Benanto. In 1981, Darling led the While Dudley began considering an basketball team. "I have a hard time Bulldogs to their most successful NBA career in his sophomore year, shifting gears." By the same token, season since 1948, when their captain academic obligations competed with Perks sometimes has trouble working was George Bush . Still, Darling his professional aspirations. The Yale because he would rather be kicking the needed to prove his mettle against the athlete, like all undergraduates, must points. "Some nights I stare at my econ top hitters in the nation and played in read poetry, complete problem sets book and all I see are two goal posts."

16 The New Journal/March 2. 1990

Pavilion East

Like everybody else, athletes must make sacrifices, although sometimes ct the extent of their self-denial seems Ql more extreme. Peterson doesn't hit i ii Toad's with his teammates for Friday :I night happy hours because, he said, II ! "any free time I have when I'm not c:ct studying needs to be used for a., basketball."

• When Paul Maley (ES '88) went to the prestigious Portsmouth Invitational Basketball Tournament, he took his homework. The tournament attracted all the best college players in the nation . To Maley's delight, he roomed with Georgia Tech's Craig "Noodles" Neal, a renowned passer and point guard. Although Maley's on-court dexterity impressed scouts and earned him an NBA tryout, Noodles remembers Maley holed up in his room each night, working on his senior essay. It was spring break, after all, and NBA or no NBA, Maley's essay could not wait. "I never thought I'd hear the end of it," Maley said.

Despite the burdens, a Yale education may actually help athletes into the pros. "We look at mental ed makeup and what kind of toughness a lSguy has inside," said Roland Johnson, e, director of scouting for the New York to Mets. "The Ivy Leaguer might be d, assumed to be more intelligent." Don [n Martin (SM '71), a former professional ck football player, agreed that Yale ce athletes have a reputation for being as level-headed. ''How many drugn. addicted Ivy Leaguers have you seen ds in the news lately?" ve Though Yale may not crank out t's Divison I supermen, some coaches and in scouts do not see this as a drawback. ld "We are a little behind, maybe as many as 70 to 80 practices," said Cozza, "but lg our guys aren't burned out after or college." At big college programs, the ut athlete might peak while still in school ~y and not improve at the professional 1e level. "The less experience an athlete 1e has, the better he might get," Johnson said. n, Once a Yalie goes pro, everybody wants to talk about where he went to school. Darling has rarely appeared on nationwide TV without broadcasters '• " (

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prefacing his name with the words "Yale graduate." (Actually, Darling never graduated from Yale, leaving after his junior year to begin his pro career.) "It's real good for a team's image," said Coach Kuchen, "because there's a huge media interest in a guy who does both things."

In the pros, Yalies, to nobody's surprise, are tagged as intellectuals.

While traveling with the New Jersey Nets during the months preceding the 1989-90 season, Maley found himself so stereotyped. On the bus one day, the Nets' Coach Bill Fitch and one of the other players were arguing about the date of "some war" when they caught a glimpse of Maley curled up

Once a Yalie goes pro, everybody wants to talk about where he went to school. with a historical novel. "I was saying, 'God, I hope they don't ask me,'" Maley said. "I hadn't the foggiest when it was." Sure enough, the coach turned to Maley. "Why don't we ask the Yale guy?" he said, and would not accept Maley's claims of ignorance. "He said 'Gosh, you know when a history major from Yale doesn't know, we're in real trouble,"' Maley said.

Most Yale graduates in the pros have had similar experiences, but, said Maley, "it's never malicious." Don Martin may feel differently. When Martin joined the Oakland Raiders in 1971, Gene Upshaw, now head of the Player's Association and Art Shell, current coach of the Raiders, made their new teammate sing the Bulldog song before he could start his professional career. Chris Dudley has to put up with such teasing all the time.

Fans have christened the missed freethrow a "Dud" in his honor.

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The New Journal/March 2. 1990 17

Han¡y Gets Some Play

,,

Josh Plaut

Michael Roemer strolled out of the audio-visual center on High Street carrying a red spiral notebook, a battered Sontag novel and two bananas. He had just finished teaching his advanced ftlm workshop and wanted to get home to Yonkers. Three students followed after him.

"My mother wanted me to tell you that she loved the movie, especially the Bar Mitzvah scenes," said one student as Roemer smiled. Roemer's film, Tht Plot Against Harry, opened nationally in mid-January after premiering successfully at film festivals last fall. Filmgoers line up each night at the Lincoln Plaza Theater in New York to see this deadpan comedy about a Jewish racketeer's return from prison. Tht Plot Against Harry received an invitation to. the Cannes Film Festival this spring, Professor M ichael R oem er

and a European company h as purchased the rights to distribute the film in France.

Harry's creator, a German Jew who came to the United States in 1945 has been teaching at Yale since 1966.

Over the past 30 years, he has directed seven feature length films and written several scripts. Although he lives and works m New York City, each semester Roemer leads two film workshops and an American Studies seminar here. He promises that The Plot Against Harry will eventually be screened on campus.

Behind the success of Roemer's comedy lurks a near-tragic past. When Roemer first showed the movie to friends 20 years ago, nobody laughed.

Determined to give the film another chance, he arranged a screening at

Columbia Pictures. The movie executives hated it. Convinced that he had made a lousy movie, Roemer scrapped the project before completing postproduction, and gave up on comedy altogether. H e has made three feature films since: two dramas and a highly acclaimed documentary about victims of terminal illness called Dying.

Last year, Roemer decided to put Ha'!Y on videotape for his children.

Wh1le transferring the print from film to tape, a technician burst into laughter and Roemer reconsidered the long-forgotten project. He reworked the soundtrack and sent prints to the New York and Toronto Film Festivals.

A~?iences at both festivals raved. The cnt1cs also liked it. Janet Maslin of The Ntw York Timts described the film as "a funny, sharply drawn, appealingly

modest film," and David Denby of Ntw York magazine called Harry "a cult movie you can take your mother to."

Shot in black and white to evoke the cinima vbiti documentaries of the time, the movie satirizes the life of Harry Plotnick, a smalltime operator in the Manhattan numbers game. Caught amidst a swarm of call girls, Congressmen and petty criminals, Harry tries to reform his life by reacquainting himself with his estranged family. Harry , though, can't escape the complications o f the past.

When Harry is hit with a case of indigestion , he thinks he is having a fatal heart anack. In what he takes to be his fmal moments, he donates his savings to charity dOd takes the rap for a crime he did not commit. The jokes are played extremely straight ; Roemer

expects audiences to spot amusing details. In the background of one scene a toddler spreads photographs of her lingerie-clad m other across the kitchen floor. Not too many viewers were attentive enough, it turned out, to spot the jokes.

People in 1969, Roemer suggests, were not sophisticated enough to deal with Tht Plot Against Harry. "For one thing, the film moved too fast for people. They couldn't pick up signals and they couldn't follow the narrative."

Roemer explained that today people are far more adept at recognizing important details in a film. "You just watch MTV and see how quickly things move. People pick up signals very fast today."

Viewers didn't like Roemer's penchant for documentary either. "The Th~ '\1~"

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look certainly worked against the film because the documentary look is fairly unusual for a comedy these days. But if you go back a nd watch the way Chaplin settings were rendered, you'll see that they were really gritty."

Roemer's preference for realistic filmmaking pervades his oeuvre. Before Tht Plot Against Harry, Roemer directed a documentary about slum-life in Palermo, Italy, as well as the awardwinning Nothing But , a Man, a film praised for its blunt depiction of blacks coming of age in segregated America. ¡ In 1964, when Roemer made Nothing But a Man, racial attitudes severely limited filmmakers' choices.

"People didn't photograph black faces in close up. It's utterly incredible. That was actually the tradition. You didn't see black people kissing because that was deemed offensive. We were determined to break all of those taboos,

of course, and that was a nice thing to do." Still, Roemer remains dissatisfied with Nothing But a Man. Although the film served a valuable political function, Roemer said, it didn't depict the lives of black people accurately.

"Black people should make films about the black experience. Nothing But a Man seems to me, despite its virtues- its heart is certainly in the right place- to have something about it that was lacking."

Turning from blacks to Jews and moving his setting from the South to New York City, Roemer hoped that in The Plot Against Harry, he could make the material authentic. Determined to portray New Yorkers faithfully, Roemer spent hours driving around New York City, following criminal lawyers to court, interviewing rabbis, and attending circumcisions. Although the fUm looked real, Roemer's meti-

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HAIRSTYLES For men and women Har:rYs relatives get taken for a ride. culously observed details unnerved his audience. "People were afraid to show the ir ethnicity in the late '60s and before. It was seen as someth ing to hide. Today, people are freer to ackn owledge, enjoy a n d even laugh at their own eth nicity," he said . Honest but irrever ent portrayals of not only Jews, but also Italians, Latinos and blacks which rankled viewers in 1969 give the film flavor tod ay.

Now R oem er wrangl~s w'iih film's exploitative potential. "If you had killed you r father and married you r mother, yo u p robably wouldn't want to put it on stage. There's a secret there, so n arrative is at least in par t like gossip. I t tells things we want to hear about others but don't necessarily want to tell a bout ourselves."

R oemer made his first featurelength film as an undergraduate at Harvard . H e began filming A Touch of the T imes in 1947 and finished editing two years later. "My film at Harvard was terrible. People ask me to show it but I absolutely refuse ." Roemer asserts th at studen ts today, regardless of their tr aining, shoot better footage than he d id at H arvard.

Students seem to like Roemer. Most admire his work an d appreciate his supportive attitude. Some adore him for m ore elusive reasons. "He's cute, kind of like the guy on L .A. Law," said one stude n t, who asked to remain ano n ymous. "You know, the huggable

one." D avid Robinson (TD '91), a fllm studies m ajor, described R oemer in more reverent term s. "H e is a Zen master." A ccording to Robinson, in Roemer's fllm workshop th e professor demanded the same attention to d etail that characterizes The Plot Against Harry. "H e told me to spend time getting to know a room before I started shooting." Roemer nudges h is students toward realism as well. "I did a dream sequence once. H e didn't like it," Robinson said .

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They like my movies."

Still, why doesn't he head for Hollywood, direct major studio projects and earn buckets of cash?

Roemer explained, "I wasn't determined not to go to Hollywood. I just thought that it wasn't going to work." At the time that he was making The Plot Against Harry, Roemer refused offers to direct several films including an adaptation of Philip Roth's Goodbye, Columbus. "If I had a really good touch for big, popular movies, I'd have made them."

"If you had killed your . 10 percent Discount with Student I.D. father and married your mother, you probably wouldn't ·······••ee••··························· • • want to put it on • stage."

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••• •• A director with demonstrably non• •• commercial leanings, Roemer is afraid •• Just ask! getting hurt by Hollywood. He • of • argues that directors must be realistic • about their MinitPrint will copy on recycled paper at no extra cost .

• abilities. "If somebody told • •• • you that you should join the swim • team, you'd tell them that you'd lose all • • races for them. And if you tried to ••• their •• Course packets Laser printing • race, you might sprain your back the • first time out and go to the hospital for • •• three weeks and miss a semester of • Offset printing Typesetting Binding • •• school. That's kind of the way it was •• me."

• forEven though he has just sold the • 280 York Street •• options on • a comedy script entitled •• New Haven, CT 06511 •• Famous Long Ago, Roemer refuses to change his lifestyle. "I'm now 62, not 203 - 777-1111 • • 39 I'm not going to do anything •• • that, and I haven't been doing all along."

• • • :~ut with people going wild about • • Harry in New York and maybe now • • abroad, Michael Roemer might fmd it • •• difficult to stay put.

• • •• • • • • Plaut, a junior in Timothy Dwight •• • josh College, is A ssociate Editor of TNJ .

•••• ••••••••••••• ••••••••• • •••••••••••• 22 The New Journal/March 2, 1990

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EssayI Adriel Alston

Blacks and Jews: Split Visions A tall muscular black man stood at the front of a crowded law school auditorium. He spoke for three hours about racism, its relationship to drug dependency, and how the Nation of Islam's philosophy can help conquer this problem. I looked around at the · people of African descent in the audience. All those whom I could see- whether from Detroit, North Carolina, New Haven, South Africa or the Bronx-appeared .to have the same inspired and enthusiastic air as the people from my Baptist Church do after a powerful minister delivers a thought-provoking and uplifting sermon. A man wearing a yarmulke rose in the middle of the auditorium.

With an unsteady and sincere voice he anno unced that he was an American, a Jew and a · Zionist, and, pointing toward the tall figure behind the podium , he said with conviction, "I am not afraid of you." He added his fear that the doctor wo~ld say words that would lead African Americans to harm Jewish people. He nervously awaited a response.

During the speech given by Dr. Abdul Alim Muhammad, the national spokesperson for the Nation of Islam, there was clearly a pronounced gap in communication between the different groups in attendance. One group thought the sermon by Muhammad was hateful and offensive, and another group thought it educational and informative. Sadly, this grouping was, to a large extent, determined by race. I realize that there were some whites and Jews who did approve and a few blacks who did not, but the pattern of reactions was strong enough to make racial perspective relevant. Judging by the frequency with which similar situations occur, it is apparent that the miscommunication and antagonism that often exist between blacks and Jews are part of the overall miscommunication between people of African descent and white people in general.

This problem occurs because most white people don't understand black people and don't respect them enough to try.

24 The New J ournal/ Ma rch 2 , 1990

One could take the standing ovation by many of the black members of the audience as a sign of virulent antiSemitism on the part of black people.

One could also say that this speaker was so charismatic that the weakminded African people simply lost their minds. But if this is true, it must follow that the people of a darker color in the audience, after hearing such a hateful preacher, would also carry sentiments of hate. Given that members from the Nation of Islam speak all over the country, one would even expect there to be a nationwide crisis of African Americans attacking Jews and burning synagogues. I've yet to hear of such incidents, and I've yet to speak to an African American who has ever heard a member of the Nat ion of Islam advocate the spread of even mild animosity toward Jews. It. is clear that there is a great deal of misunderstanding, and the people who do not understand are the same people who have never understood people of my persuasion. .

It is much easier to label someone anti-Semitic or a hate monger than to deal with what he has to say. This is especially true when what is said is painful to those who do not wish to be seen as oppressors. The need for many of the Jewish students to identify themselves as .oppressed people (when, in the United States, they belong to the same oppressive structure to which all people of European descent belong) is evident in the name of the group opposing Muhammad's visit- the Committee Against Bigotry. In an often racist university, an extremely racist city, and a traditionally racist country, it is ironic to note that the only bigotry the members of this group have experienced this year came with Muhammud's visit to campus. Apparently it is easier for a traditionally oppressed group to feign continued oppression than it is for them to deal with the nature of our society which places those with a certain skin color in a class that can dominate the rest.

Regrettably, the genocide against people of African descent is no~

something I need to read in a history book, or ask my parents about. Sadly it is something that I learned simply by growing up where I did. Drug-related crime, cocaine and heroin abuse, and now the alarming and rapid spread of AIDS among the drug-using population in my community, all serve to destroy an entire generation of my people. The Nation of Islam, through its highly successful prisoner education, drug rehabilitation and "drug busting" programs has clearly demonstrated that it has a method that can help lead some of the oppressed out of the behavior that relentlessly destroys their lives.

The Committee Against Bigotry did indeed realize this, but still insisted that this speaker should not have been

invited. (One speaker on the committee went so far as to insist that he could not understand how his African-American friend could do this to him and that this action meant the end of their friendship.) This means that the saving of black life was less valuable to the committee than their dislike of an organization that they did not even understand.

This is not surprising, for I believe that most white people Oews included) feel more strongly about the destruc·

Kelly's Cobbler Jews must accept that, as white people, they have the ability to oppress others. tion of those who are white than they do about the destruction of black life.

As a result, many whites can neither admit nor comprehend the full 500year horror of the middle passage, slavery, lynchings, and the current systematic violence against African Americans. If the Committee Against Bigotry thought that all life was equal , they would have formed much earlier.

They would have already been attacking the oppressive forces from which they benefit.

This deep disrespect is not reciprocal. People of African descent understand the Holocaust and the reasons why Jews would want their own state. This understanding makes it possible for African Americans to realize that when Jews claim to support

the state of Israel, it does not necessarily mean that they are for the murder of blacks in South Africa.

Israel has a well-known policy of selling arms to that still oppressive regime. This makes them as morally culpable for the death in that country as Mercedes is for its role in the Holocaust. In light of this, I would not demand that Hillel cut all ties to Israel, nor demand that they not invite anyone from that often morally

bankrupt country to come to Yale. I realize that to most Jews, Israel is a matter of survival, and, unlike others, I have enough respect for people to never expect them to give up their means of survival. I have a moral obligation to speak out against this blatant act of racism on the part of the Israeli government, and I would expect Jews who support Israel to do the same.

Jews must accept that, as white people, they have the ability to oppress others. The Palestinians are well aware of this. When the Black Student Alliance at Yale brought a member of the PLO to Yale three years ago, BSAY was widely accused of engaging in an offensive and anti-Semitic act.

To many of those who worked on that forum, however, it was simply a matter of recognizing that people can be oppressed by other traditionally oppressed groups. It was only offensive to those with no desire to be reminded of their own racism.

After 500 years of building a system based on certain racial assumptions, valuing the contributions and humanity of whites over people of color becomes an unspoken way oflife.

Racism has ingrained itself in everything from standards of beauty to the different ways our society worships God. When black life and selfdetermination are devalued , I consider it the only natural response of a conditioned society. Jews, like other European ethnic groups, are susceptible to the same racial disrespect as other white people. This disrespect will continue to occur until white people realize the depth to which they must question their actions. To assume people of color are either misguided, paranoid, overly sensitive, or anti-Semitic is to disrespect the intelligence of people of color and to further the perverted racist atmosphere so prevalent in this society.

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The New J ou maV Ma rc h 2, 1990 25

Essay/Dan Gerwin

Blacks andjews: Haunted Memories ~ ~ !t

~

•

~

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Black-] ewish relations are like gremlins: they are only mentioned when something goes wrong. Only when an African-American speaker who is allegedly anti-Semitic comes to campus do we suddenly hear concern over "black-J ewish relations." Such concern has recently centered on the Nation of Islam here at Yale, Public Enemy at Columbia University, and Jesse Jackson on the national level. Abdul Alim Muhammad's speech last m o nth a roused profound feelings of anger and fear in both peoples. At the Law School, Jewish protesters crowded the halls, and African Americans, proud of the speaker, packed the auditorium.

Why? We should begin by realizing that Jews and African Americans do not interact today as communities.

National Jewish and AfricanAmerican leaders a re not occupied with reciprocal diplomacy. On our own campus, Hillel and the AfricanAmerican Cultural Center have no o ngoing interaction. Instead, relations between the two communities- what26 The New journal/Ma~h 2, 1990

ever they may be- and between individual J ews and African Americans are dominated by the white-black dynamic. Interaction between the average J ew and African American is informed first and foremost by the prejudices, · fears, misg1vmgs and curiosities that exist between whites and blacks who make only superficial contact and know little about each other.

There are specific feelings and prejudices, however, which many Jews hold about African Americans, and the reverse is also true. Though these feelings and• prejudices generally remain quietly in check, they erupt when someone like Abdul A lim Muhammad comes to speak. Again, we must ask why.

Some J ews claim that anti-Semitism is particularly virulent in the AfricanAmerican community. These allegations usually refer to AfricanAmerican leaders making statements which have anti-Semitic overtones, but some of these statements, while pupportedly anti-Semitic, are not

clearly so. Consider a controversial remark made by Muhammad in his speech at Yale last month. In reference to accusations that South African Jewish doctors had iniected black "J infants with AIDS, Muhammad said the story could be true. It seems that Muhammad's intention was simply to indicate the extent and inhumanity of white supremacy in the world. Indeed, He recalled the Tuskegee case of white American doctors injecting African· Amer ican babies with syphilis. To African-American ears, as to non· Jewish ears in general, Muhammad's statement is a moving commentary on white oppression. But to J ewish ears, his statement echoes a long line of anti· Semitic incitements whiCh have sparked pogroms and massacres of Jews throughout European history. In our own parents' lifetime, Stalin fabricated the infamous "Doctors Plot,' m which the Soviet government accused s ix Jewish doctors of assassinating two Soviet leaders and conspiring to murder more. Jews today cannot help but be shaken to the core by statements like M uhammad's.

Nevertheless, it is debatable whether Muhammad's words were intentionally anti-Semitic, or simply a description of white oppression. Whatever Muham· mad's purpose, it is important to realize that the Nation of Islam does not organize its power around anti· Semitism. It is also important to kno" that history has shown that national· ism's twin sibling is anti-Semitism.

Black nationalism is no exception to this rule, and Jews cannot afford to ignore history.

Jewish perceptions of African Americans involve far more thaD simple vigi lance agai n st anti· Semitism. Jews spread the diseast of racism as much as any other people In addition, some Jews seem to have • residual paternalistic anger at the African-American community for becoming separatist during the ci~ rights movement. Many J ews feel al though they played an important rok in that struggle, and not only receiveC no thanks, but were told in nc

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Kathryn Boris unce rtain terms to remove themselves from the ranks. Pe rhaps the combina· tion of a racist double standard with a feelin g of having been betrayed leads many in the J ewish community to be distrustful of African Americans, and to mainta in a heightened sensitivity toward anti-Semitic remarks from their leaders.

Many African Americans, for their part, pe rceive themselves in a struggle against an oppressive white power structure. The Jewish community in America is widely understood to be rich and powerful. A s long as J ews are so perceived, they will be viewed by many African Americans as be ing symbolic of the oppressive white social structure. Jews are particularly upset at this indictment, for as a culture we take pride in our liberal politics.

Historically, J ews have always voted outside their economic class interest, and this is generally still true today.

Ironically, with all our progressive values, we J ews should realize tha t as long as we are understood as wealthy and powerful, we cannot escape indictme nt as part of the "syste m ."

To Jewish ears, his statement echoes a long line of antiSemitic incitements which have sparked pogroms and massacres of Jews throughout history.

T~ere appears to be a feeling of respect

miXed into this indictment, however, for Jews have also been cast as a minority that successfully attained wealth and power. Out of one stereo· type, the wealthy and powerful J ew, comes an uneasy blend of two emotions, anger and respect.

Tensions are aggravated because our two communities seem to share a

contested g round - that of the perse· Sales Representative cuted minor ity. Persecution holds a deep place in the Jewish consciousness, and the H o locaust remains for Jews a tre mendously important and painful symbol. Many non-Jews find it difficult to understand why we still talk about the Holocaust. The fact is that Roseys Tailors and Cleaners the Death Camps are still fresh in our minds. They devoured our extended families and left deep scars o n our • 4 Hour Dry Cleaning grandparents, parents, a nd upon • Custom Alterations o urselves. H owever, African Ameri• Down Cleaned cans look at their own experience in • Suedes and Leather Cleaned this country and find it hard to accept • Zippers and Lining Replaced J ewish claims to the status of perse· • Pants Tapered cuted minority. African Americans must still confro nt slavery in their collective memory, and moreover continue to suffer o ppression and the Est. 1888 82 Wall St. slavery of drugs in both the N orth and Opposite Silliman 562-8336 South. African Ame ricans a re under· stand ably skeptical of American Jewish claims to know persecution. The two communities seem to forget that SPRING IS COMING!!! nobod y need corner the m a rket in this area.

Another rift between Jews and African Americans has a fau lt line that runs through a small piece of land in the Middle East. When Zionism and the state of I srael were young, African •\ ,. ~~ ~I~ Americans and Jews were united in support of the Israeli flag. Over the past two decades, that has changed .

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in world white domination. Jews find this particularly ironic because many I sraeli Jews are no less people of color than Arabs.

Despite all the particularities of "black-J ewish relations," the dynamic is overwhelmingly controlled by white· black racial hostilities. The solution is not merely communal, but individual, and the answer is not merely edu· cation, but interaction. Jewish Americans and African Americans must personally take the initiative in their lives to confront the tensions and barriers which keep us apart and at odds. Neither African Americans nor Jews will begin such efforts without finding a common goal to make inter· action worthwhile. On Yale's campus, no common goal seems · to exist.

African American Yalies have their own political and social plans, and _ Jewish Yalies have their own political and social plans. Presently, there is little intersection between the two agendas. If racism is the major issue, then why should Jews take action as a community rather than as whites?

On the most fundamental level, Jews and African Americans shart similar political concerns. Jews do nOI vote out of their class interests from the goodness of their hearts, but to protecl their civil rights as a minority. Ic America, all minorities should realize that they are bound by a common need for protection against majority rule. AI this point, however, the differences between African Americans and Je"1 seem to outweigh their shared need~ Moreover, neither Jews nor AfricanAmericans feel that they need or wad outside help, and are not particular~ interested in the specific probleilli which exist between the two people$ Before the next Abdul Alim Muhammad comes to speak, the two communities should decide whether they have anY special reason to communicate .

•

Dan Gerwin, a senior in Jonathan Edwad College, was the 1987-88 Northeasttfl representative to Hillel's National Studtt> Secretariat.

Afterthought/David Greenberg

,

N arne Dropping My roommate Michael and I were furiously debating the causes of cultural change in the United States.

As I pontificated with what I took to be rather cogent and spontaneous eloquence, I insisted that journalists can ¡effect genuine progress. "One of the most influential books of the century," I said, "was The jungle by Sinclair Lewis."

"No," Michael interrupted. "Sinclair Lewis wrote Babbitt. You're thinking of Upton Sinclair."

Suddenly it hit me. I realized that I never knew the difference between Sinclair Lewis and Upton Sinclair. To my mind they were both left wing American fiction writers of the early 20th-century, pretty much interchangeable.

The conversation stopped. I could think of nothing but this mistake that I had been making my whole life. How long I had lived in this state of ignorance! If Michael hadn't shown me the error of my ways, who knows how long I would have continued to think of the Sinclairs as one and the same?

Michael tried to console me for my gaffe. He confessed that he always made a similiar mistake with Francis and Roger Bacon, both English philosopher-scientists from sometime between 1200 and 1700. As far as he was concerned, they were both avatars of the Enlightenment and expounded the scientific method. Then we both admitted to having trouble differentiating Stephen Douglas from Frederick Douglass, contemporaneous figures who had something to do with Abraham Lincoln and freeing the slaves.

We all have these pairs of people whom we hopelessly confuse in our own minds, people whose names are similar and who share some vague set of characteristics. Who, for example, can tell me the difference between George Sand and George Eliot? Both were 19th-century women novelists who took on the male nom tk plume. One wrote Silas Mamn and one had an affair with Chopin, but which one did which is anybody's guess. And who can keep straight Reagan-Bush lackeys

Nicholas Brady, James Brady and James Baker? At least one of them, I think, got shot in the head.

My brother laughingly recalls a friend of his who reeled off a history paper just hours before he handed it in. His haste did not go unnoticed.

When he got the paper back, the professor had drawn a big circle around the phrase, "In James Beard's An Economic History of the United States . .. " In the margin, the teacher had scrawled in red ink, "No, you mean Charles Beard. James Beard is a chef!" Of course my brother should not laugh. He continually mixes up Ingrid Bergman and Ingmar Bergmann.

I was discussing such perplexing personages recently with a friend who has spent sleepless nights wrestling with the distinction between Ben Jonson and Samuel Johnson- a

speak of Senator Joe McCarthy's crusade against the Vietnam War, Thomas Dewey's philosophy of education, or Henry Wallace's proclamation, "Segregation now, segregation forever!" I have finally figured out the difference between Aaron Burr and Raymond Burr, although now I can't tell Raymond Burr from Raymond Massey.

A ctors often prove the hardest to keep separate. For years I mixed up Cary Grant and Gary Cooper. Many people I know confess to confusing Jackie Cooper and Jackie G Ieason (and some throw in Jackie Mason as well).

For the life of me, I cannot tell Christopher Lee of the horror films from Christopher Plummer of the movie musicals. Finally, while we're at it, would someone, please, for once and for all, sort out Anthony Hopkins, Anthony Perkins, Anthony Quinn and Anthony Quayle?

Athletic figures blur together too.

Sports fans will recall taking a cut at telling apart baseball players Dwight Evans and Darrell Evans, tackling football coaches Chuck Noll and Chuck Knox, and, above all, volleying back and forth tennis players Vitas Gerulaitas and Guillermo Vilas. It's the same story for literature buffs, for problem complicated by the additional whom the distinctions between Evelyn pressure of having to know which one Waugh and Somerset Maugham, is referred to as "Dr. Johnson." I told Henry James and Henry Adams, and him that I often blur the fine line Jane Austen and Jane Eyre are between Malcolm Cowley and Mal- certainly nothing novel. Music majors colm Lowrey; it doesn't help that I might fine-tune for me German know nothing about either one except composers Robert Schumann and that their names are bandied about in Franz Shubert, waltz-kings Johann intellectual circles. He shot back with Strauss and Richard Strauss, and the tricky distinction between Thomas hyphenated Frenchmen Jean-Luc Wolfe, author of the American classic Ponty and Jean-Pierre Rampal.

People who go by their first two You Can't Go Home Again, and Tom Wolfe, who wrote the trendy best-seller initials drive me particularly crazy.

Bonfire of the Vanities and spoke at Try, for example, keeping straight graduation last year. I was too E.M. Forster and C.S. Forester, or embarrassed to admit that I had never C.S. Lewis and C.P. Snow. I was shocked recently to learn that I.F. known they were different people.

Fortunately, there is hope; Stone, the liberal Jewish author and education can help. After majoring in critic, is not the same person as Irving American history, I can at last assert Stone, the liberal Jewish author and with confidence that Andrew Jackson, critic, and that neither one of them has not Andrew Johnson, was known as anything to do with Irving Howe, the "Old Hickory." Never again will I liberal Jewish author and critic.

I had never known that Thomas Wolfe and Tom Wolfe were different people.

The New Journal/March 2, 1990 29

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For those of you who think yourselves immune from this sort of problem, I have devised a quiz. Give yourself the appropriate number of points for each pair of people you can tell apart. Deduct the given amount if you always thought they were the same person. The winner gets a free subscription to The New Republic-! mean, The New journal.

1 Point: Calvin Trillin and Lionel TrilJing.

Arthur Hailey and Alex Haley Livy and Pliny Eldridge Cleaver and Elbridge Gerry Stephen Vincent Benet and Edna St. Vincent Millay

5 Points: Andrew Carnegie and Dale Carnegie Sir Walter Scott and Sir Walter Raleigh Frederico Garcia Lorca and Mario Vargas Llosa Eddie Fisher and Eddie Cantor AI Capp and Andy Capp 10 Points: Horatio Nelson and Horatio Alger (and, for that matter, Alger Hiss) William Jennings Bryan and William Cullen Bryant Frankie V alii and Rudy Vallee Frankie Valli and Frankie Avalon

25 Points: H oagy Charmichael and Stokely Charmichael Bret Harte, Hart Crane and Stephen Crane 50 Points: T.H. White and Theodore H. White Extra Credit: Write an essay in which you explain the differences between Theodore White, T.H. White, T.H Huxley.

D.H. Lawrence, T.E. Lawrence, T.E. Shaw and T.S. Eliot.

â&#x20AC;˘

David Greenberg, a senior in Berkt/tJ College, is Managing Editor ofTNJ. 30 The New Journal/ Marc h 2 , 1990

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