Archives for category: Creativity

Jack Burgess, retired teacher, military veteran, added his own poem in the comments section. Thank you, Jack!

How War Ends

by Jack Burgess, Sp3, US Army, 894th Tank Battalion 

…and they shall beat their swords into plowshares, and their spears into pruning hooks: nation shall not lift up sword against nation, neither shall they learn war any more. 

                             Isaiah

This is how war ends:

The guns stop everywhere.

Fifty-ton tanks roll to a stop,

war ships dock,

fighters and bombers come down from the sky,

and two moments of silence follow.

The war dead honored by the first,

the 2nd silence is for reflection,

for hearing frogs, and your own breath.

This is followed by a single voice,

then a murmur. Screwdrivers and crow bars

come out, and the green tanks are

dismantled, gas siphoned for school buses.

Troop ships sail home from a hundred shores,

so that husbands and wives can kiss unvirtually,

and children see the strong eyes of their fathers,

feel their love and their arms about them.

Uniforms become keepsakes and relics.

All flags are fine and flying.

Those in congresses clear their throats

apologetically and say, “What shall we do with

the leftover money?”  Children with swollen bellies,

working as lobbyists, shout, “Food!” Others say,

“Let’s build a thousand new schools and parks.” 

Lots of people hug and dance

and make love.  Some cry.

The news is good at 6:00 o’clock.

More at 11:00.

When I was in college, I remember classmates going to the local art-movie house to see “Casablanca,” and laughing about how many times they had seen it. I had never seen it, but since then have seen it many times, at least a dozen times.

My partner and I recently decided to introduce our 17-year-old grandson to classic movies. The first one we chose was “Casablanca.” (The second was Orson Welles’ “Citizen Kane.”) That was a few months ago. Recently “Casablanca” was playing on Turner Classic Movies, and I was going to skip it but was immediately drawn in and watched to the end. It never grows stale. Then I saw this column by Greg Olear, who explains why the film speaks to us and remains fresh.

He writes:

Dear Reader,

The first time I saw Casablanca was in 1992, at the Key Theatre, a now-defunct arthouse cinema on Wisconsin Avenue in Georgetown, at a special theatrical release celebrating the film’s 50th anniversary. The most recent time I saw Casablanca was last night. In between, I’ve seen it probably two dozen times. On each viewing, I notice something I hadn’t seen before, walk away with something new.

Casablanca is often described as a romance—and it is. Bogart and Bergman are one of the all-time Hollywood pairings, and, “Here’s looking at you, kid,” is probably the film’s best known line. The conflict in romances derives from the insurmountability of the obstacle, on what is keeping the two lovers apart: Romeo and Juliet are the teenage kids of two families in a blood feud; Harry and Sally don’t want to risk their friendship for a romantic engagement that might not work out; Tom Hanks lives in Baltimore and Meg Ryan lives in Seattle. The obstacle in Casablanca, which I will not spoil, is realistic, tragic, and completely insurmountable. It is a riddle that cannot be solved, a problem that has no solution, like how to fix the United States while the Senate exists.

But Casablanca is not just a romance. It is a drama. It is a war film. It is a buddy movie, replete with some of the sharpest comic dialogue ever written. It is a heist picture—we don’t see the two German couriers murdered on the train, we don’t see the letters of transit stolen from them, but the rush to obtain those two documents animates one of cinema’s greatest plots. It is an exploration of how to deal with heartbreak and loss. It is a story about sacrifice and courage and redemption and standing up to tyranny. It is an allegory for a world that, when it was made in 1942, was very much still at war—and, as such, is an overtly political film. Casablanca contains multitudes.

When I first watched the movie, I was more concerned with the romantic content. I loved Rick, loved his café, loved his white tuxedo jacket and his gruff manner and how he threw the best party but always held himself at a remove. But it is impossible to watch Casablanca in 2024 and not focus on the Nazis.

The first action we see in Casablanca is a violent police crackdown. And not just any violent police crackdown. This part of North Africa is controlled by unoccupied France, the German rump state based in Vichy. A prominent Nazi is coming to town, and the local authorities are detaining all the potential rabble-rousers—the usual suspects, as it were—who might not welcome the Gestapo’s jackbooted presence in French Morocco. One fellow is menaced by the police, who shoot and kill him when he tries to resist arrest; when they search his body, they find he is carrying leaflets for Free France.

If the film were made today, this scene would have been shot on location, in Casablanca or a city that could reasonably pass as Casablanca, and the terror of the crackdown would be amplified in one of those grandiose action scenes that modern movies often open with. But the film was produced in 1942. It was shot on a soundstage in Hollywood. The danger is cloaked behind old-timey cinematic production. No matter. The opening distinctly shows brutal, Nazi-aligned cops using unnecessary force, shooting and killing an agent of the Resistance: an anti-Fascist.

Similarly, the first time we see Rick—after we meet Captain Renault, the French prefect of police, and Major Strasser, the Nazi big wheel—he is alone at a chess board in the casino part of the club. His first lines of dialogue are directed to an arrogant Nazi—an official at Deutsche Bank, no less!—whom he bars from entering the inner sanctum:

—Your cash is good at the bar.
—What? Do you know who I am?
—I do. You’re lucky the bar’s open to you.

Rick owns and manages the café, and he is a good boss. He supports his employees, reassuring Emil after the house loses 20,000 francs, and keeping everyone on the payroll when the police shut him down. But he keeps himself aloof. “I stick my neck out for no one,” he says when the police arrest Ugarte. “I’m the only cause I’m interested in,” he tells Ilsa. But this is a false front, a defense mechanism. He doesn’t want his heart broken again. He is, as Victor Laszlo astutely observes, a man trying to convince himself of something he doesn’t really believe.

At 17 and a half minutes into the movie, Ferrari, criminal overlord and owner of the Blue Parrot, remarks to Rick that “isolationism is no longer a practical policy.” That line may as well have been spoken to the entire country. Rick and Sam, his friend and piano player, are the only Americans in Casablanca, and as such, represent the United States. The staff and clientele at his club come from everywhere: Carl is an anti-Nazi German, Sascha is Russian, Emil and Yvonne are French, Abdul is Moroccan, Berger is Norwegian, and so on. In that sense, the café is a microcosm of Europe. (In real life, many of the supporting actors are European war refugees who had escaped the actual Nazis—including the astonishingly good actor who plays the Gestapo’s Major Strasser, Conrad Veidt, who fled his native country with his Jewish wife when Hitler came to power.) 

It is no accident that the action in Casablanca takes place over three days in early December, 1941—just before Pearl Harbor. Rick, like the U.S. in the late fall of 1941, preferred to remain neutral. But ultimately, like the U.S., he is drawn into the fight—and his presence ultimately helps the good guys prevail.

Perhaps the film’s most rousing scene is when the orchestra, with its brass instruments, overpowers the Germans singing patriotic songs at the piano, with a stirring rendition of “La Marseillaise,” the French national anthem. In 1992, I chalked it up to Hollywood schlock; now, I recognize the scene’s awesome power: music becomes the field of battle. Even Yvonne, last scene flirting with a handsome Nazi, is moved to tears:

But the film is not all doom and gloom. Casablanca rewards us with sharp dialogue and genuinely funny moments. When Victor Laszlo arrives at Rick’s, he orders drinks, only to have his orders upgraded and put on someone else’s tab, which annoys him; it’s a running joke that he can’t pay for his own drink. Carl’s aside with the couple practicing their English before leaving for America is comic gold. And as Captain Renault, Claude Reins drops one-liner after one-liner, in a remarkably modern performance—not least of which the famous “I’m shocked, shocked” scene.

When Rick sits down for his interrogation by the Nazis, he is asked his nationality. “I’m a drunkard,” he says dryly—and it looks like the men at the table are genuinely laughing, as if the line was ad-libbed. But Renault immediately supplies the rejoinder: “And that makes Rick a man of the world.”

We learn that what causes Rick’s moral paralysis is his heartbreak. Ilsa Lund—the wife and traveling companion of the Resistance leader Victor Laszlo, who has just arrived in town—is, improbably, the woman who broke his heart. The chances of them meeting again like this are a million to one, which Rick alludes to in yet another famous line: “Of all the gin joints in all the towns in all the world, she walks into mine.”

During their confrontation later in the film, Ilsa accuses him of, basically, nurturing a grievance: “You want to feel sorry for yourself, don’t you? With so much at stake, all you can think of is your own feelings. One woman has hurt you, and you take your revenge on the rest of the world. You’re a coward and a weakling.” She may as well be addressing Elon Musk, or any one of a thousand other alt-right Twitter incels.

But by then, Rick has already started to change. Precedents are being broken. He’s having a drink with customers now. He’s involving himself in politics more overtly. This is made clear in the scene with the Bulgarian refugee, Annina. She is, Rick observes, underage and should not be at the bar. But she seeks him out. She wants to be reassured, without explicitly saying so, that if she has sex with Captain Renault, he will honor his promise and let her and her husband leave for America. This is dark, dark stuff, concealed by the soft lighting and the beautiful actress:

Oh, monsieur, you are a man. If someone loved you very much, so that your happiness was the only thing that she wanted in the world—but she did a bad thing to make certain of it—could you forgive her?

Rick replies with a punch to the gut: “No one ever loved me that much.”

But this is not true, although he doesn’t realize it yet. Ilsa did love him that much. And he is sufficiently moved by Annina to arrange for her husband to win at roulette, securing enough money to finance their visas—much to the delight of the staff.

The first time I saw the movie, I knew what the last line was, so I had some idea of the ending, but I didn’t know anything else. Twenty minutes from the end, Rick gives Victor Laszlo the letters of transit. Renault emerges from the shadows to arrest him. And I remember thinking, “Holy shit! How the hell are they going to resolve this?” I wasn’t the only one. Even the screenwriters didn’t know, well after production began. All they did was devise the best ending of all time.

[This is a good time to stop reading, if you haven’t seen the movie, because spoilers are coming.]

We think Rick and Ilsa will take the letters of transit and leave. Ilsa thinks that, too. But that’s not what happens. Once at the airport, Rick informs Renault that Ilsa and Victor will be the ones leaving. This surprises Ilsa, Renault—and the audience. But this is Rick putting away his personal grievance for the greater good. This is him atoning for the sins of the past. This is also him entering the fray, as Laszlo tells him on the tarmac, in a line I use in the intro to my podcast: “Welcome back to the fight. This time, I know our side will win.” That line is spoken in December of 1941—for all we know, Japanese planes are bombing Pearl Harbor as Laszlo’s plane flies to Lisbon. If Rick represents America, this is America entering the war. And, remember, the movie came out in 1942! “Our side” winning was not a sure thing.

(Also: Rick told Victor that the letters of transit were not for sale at any price. At the end, he refuses to take Victor’s money—which both makes the comment about the letters not being for sale true, and also continues the running joke about Laszlo not being able to pay for his own drinks.)

The Resistance leader and his wife get on the plane. The plane taxis out to the strip. And then, the Nazi big wheel shows up! After warning him to put down the phone, Rick shoots and kills him. Renault explains how “unpleasant” this is going to be. “I’ll have to arrest you, of course.”

The plane takes off, heading for Lisbon. The couple makes it out of Casablanca. Rick wins his 10,000 franc bet with Renault. Then the police show up. And watching the movie, we prepare for Rick’s impending arrest. “Major Strasser has been shot,” Renault tells his charges. And there is a long, dramatic pause, before he delivers yet another of the film’s famous lines: “Round up the usual suspects.” With those five words, he lets Rick go free.

Renault—an unscrupulous lech who “blows with the wind,” a “poor, corrupt official” who exploits his authority by bedding desperate refugee women—has found his own way back to the light. He, too, is back in the fight. And he and Rick leave together, bound for the French garrison at Brazzaville, and adventures to come, and a continuation of what is already a beautiful friendship.

Watching the film again last night, there was something else I realized about Casablanca. No one wants to be in Morocco. Everyone wants to go to America. The word is spoken countless times: America, America, America. Rick is American but can’t go back to America, although he desperately wants to. America is the symbol of freedom, of safety, of security, of respite from the Third Reich. The entire black market of French Morocco revolves around guarantees of safe passage to America. It’s taken as a given that America is the land of the free. 

But now, somehow, 82 years after the release of Casablanca, this is no longer a given. Nazis are again on the rise—only this time, they’re not in Europe or North Africa but here, in America, among us. What would those supporting actors who fled the Third Reich have made of that? What would Rick have thought?

While helping dress his wound, Rick asks Victor if he thinks what he’s fighting for—that is, democracy, freedom, anti-fascism—is worth it. I leave you with Laszlo’s response: “You might as well question why we breathe. If we stop breathing, we’ll die. If we stop fighting our enemies, the world will die.”

The fundamental things apply, as time goes by.

Jitu Brown is running for the new school board in Chicago. Please join me for a virtual house party Monday, today, at 6 p.m. CST, 7 p.m. EST.

I have known and admired Jitu Brown for over a decade. Jitu has had a profound influence on my thinking. Jitu is one of my heroes and one of my teachers.

For years, Jitu has fought for great neighborhood public schools in Chicago, even putting his health on the line by engaging in a hunger strike to keep Dyett High School open when then-Chicago mayor Rahm Emmanuel attempted to shut it down. 

Jitu is not only an extraordinary warrior for educational justice and equity in Chicago but also the leader of a national organization, Journey for Justice, that networks public school advocates in all of our major cities fighting for excellent and equitable public schools.  For years, Jitu served as a member of the NPE Action Board.

One of Jitu’s causes, fighting to restore elected local control of Chicago’s public schools, has now been realized. 

I am delighted that Jitu is running for a seat on the newly formed local school board, representing the 5thDistrict Seat on the West Side of Chicago. However, to gain that seat he will need our help. 

 I am asking that you join me in supporting Jitu’s campaign by attending a virtual house party for Jitu this Monday, May 13, beginning at 7:00 pm EST./6 pm CST. The link to this important event is below. I hope to see you there!

 Virtual House Party for Jitu Brown (Chicago’s 1st Elected School Board!)

Time: Monday, May 13, 2024 06:00 PM Central Time (US and Canada) Join Zoom Meeting. 7 p.m. EST

https://us06web.zoom.us/j/82630667170?pwd=tB1A9KkDg8a9DXKgbBonCgqlRmUApU.1 (https://us06web.zoom.us/j/82630667170?pwd=tB1A9KkDg8a9DXKgbBonCgqlRmUApU.1) Meeting ID: 826 3066 7170 Passcode: JITU!

A few days ago, I joined a discussion with Dr. Tim Slekar and Dr. Johnny Lupinacci about the current state of public education. It was aired on their show “Busted Pencils,” which is dedicated to teachers, students, and public schools.

We talked about charters, vouchers, testing, and how to get involved. Everyone can stand up for what they believe.

Jitu Brown is running for the new school board in Chicago. Please join me for a virtual house party Monday at 6 p.m.

I have known and admired Jitu Brown for over a decade. For years, Jitu has fought for great neighborhood public schools in Chicago, even putting his health on the line by engaging in a hunger strike to keep Dyett High School open when then-Chicago mayor Rahm Emmanuel attempted to shut it down. 

Jitu is one of my heroes and one of my teachers.

Jitu is not only an extraordinary warrior for educational justice and equity in Chicago but also the leader of a national organization, Journey for Justice, that networks public school advocates in all of our major cities fighting for excellent and equitable public schools.  For years, Jitu served as a member of the NPE Action Board.

One of Jitu’s causes, fighting to restore elected local control of Chicago’s public schools, has now been realized. 

I am delighted that Jitu is running for a seat on the newly formed local school board, representing the 5thDistrict Seat on the West Side of Chicago. However, to gain that seat he will need our help. 

 I am asking that you join me in supporting Jitu’s campaign by attending a virtual house party for Jitu this Monday, May 13, beginning at 7:00 pm EST./6 pm CST. The link to this important event is below. I hope to see you there!

 Virtual House Party for Jitu Brown (Chicago’s 1st Elected School Board!) Time: Monday, May 13, 2024 06:00 PM Central Time (US and Canada) Join Zoom Meetinghttps://us06web.zoom.us/j/82630667170?pwd=tB1A9KkDg8a9DXKgbBonCgqlRmUApU.1 (https://us06web.zoom.us/j/82630667170?pwd=tB1A9KkDg8a9DXKgbBonCgqlRmUApU.1) Meeting ID: 826 3066 7170 Passcode: JITU!

 

No sooner did Apple put its ad for the new iPad on the air when our reader Bob Shepherd expressed his outrage. The ad showed a giant compressor crushing all sorts of musical instruments, materials for art, materials for craft, and replacing them with an iPad.

Bob wrote:

When they come for the cellos and the metronomes; for the saws and the planes and glue pots and stains; for the palette knives, the Titanium White, and the artists’ mannequins, when they came for the notepads and the pencils, they are also coming for the musicians and the luthiers and the painters and the writers and so, so many more. They think that these people can be replaced by the abominations they create, which render mediocrity by the yacht-load in seconds. What are those of us who write music and design and paint and write supposed to do when the public has been trained to this swill from birth? Go extinct, I guess.

Is this how civilization ends?

Apple must have heard him and tens of thousands of others who thought the ad was obnoxious. The tech company apologized and pulled the ad, though it’s still on its website.

The Washington Post reported:

Apple is apologizing for an iPad ad that was supposed to celebrate the creative possibilities of its newest, priciest tablet. Instead, the company received vocal blowback for appearing to destroy beloved physical tools used by artists.

The ad, released after the company announced its newest iPad lineup on Tuesday, showed a massive hydraulic press destroying a mountain of supplies used to create music, paintings, sculptures, clothing and writing. It flattened a record player, a piano, buckets of paints, journals, a camera and drawing board. After about 45 seconds of destruction and one dramatic splatter, the press pulled up to reveal a tiny iPad.

The goal was to show how much the iPad is now capable of, but instead it offended many of the same creatives it was trying to sell on the device.

“Our goal is to always celebrate the myriad ways users express themselves and bring their ideas to life through iPad. We missed the mark with this video, and we’re sorry,” Tor Myhren, Apple’s VP of marketing communications, said in a statement to AdAge.

According to AdAge, the ad, called “Crush!”, will not have any kind of TV run. But it’s still on Apple’s official YouTube page and has already had 1.1 million views so far. Apple has a history of high-budget, glossy ads that make a statement, as far back as its iconic 1984 ad that came out ahead of the original Apple Macintosh.

Critics online called the new ad wasteful and disrespectful. Some were upset that Apple appeared to be destroying perfectly good art supplies while most were more offended that it devalued the more analog ways of creating art — especially when tools like AI are being used to automate things like writing, music and illustration.

Generative AI tools have used massive amounts of creative works to train their systems to spit out similar style images and texts, often without permission from the original artists.

Anand Giridharadas is a brilliant writer and thinker who blogs at The Ink. In this post, he interviews Michael Roth, the President of Wesleyan College in Connecticut, who describes how he has handled student protests without calling in the police or trampling on free speech rights. Just days ago, Roth wrote an article in The New York Times advising that the best college choice is one where you don’t fit in; go outside your comfort zone. Be a nonconformist.

Anand writes:

In recent weeks, the wave of antiwar protest that began at Columbia University spread across the country, as did the backlash against it.

Many university leaders responded by shutting down student speakerscanceling commencement ceremonies, and ultimately calling in police to clear encampments and campus building occupations with mass arrests. Thousands of students, professors, and other protestors have been arrested nationwide; meanwhile, protests are ongoing, the House Committee on Education and the Workforce continues its fishing-expedition investigation of higher education, and the domestic battle over the campus protests continues to distract attention from the ongoing war in Gaza.

What is right here? Should universities crack down on students who disrupt campus life, even if their cause is just? Are there steps student groups could take to more clearly separate their movements from elements of antisemitism? Can the rest of society muster enough historical memory and thick enough skin to remember that students are often telling us something that we need to hear, even if we don’t want to?

One university leader has been grappling with these questions in an especially thoughtful way, in part because, in addition to running a university, he is a scholar of universities and of education. That grounding shows. Under Michael Roth, Wesleyan University has cut a different path from many campuses, by clearly and calmly reiterating students’ right to protest peacefully, as Roth did in this letter:

The students there know that they are in violation of university rules and seem willing to accept the consequences. The protest has been non-violent and has not disrupted normal campus operations. As long as it continues in this way, the University will not attempt to clear the encampment.

At the same time, Roth has been clear about the importance of keeping people’s focus on the underlying war, not elite campuses; on the very real problem of antisemitic elements in and around the protests; and about the need to sustain campuses as places where students and teachers and others expect a mix of safety and challenge.

We caught up with Roth the other day for a conversation you won’t want to miss if you’ve been following not only the war but the fight over the war and are craving, as we have been, more light and less heat.


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Your statement of Wesleyan’s position on the continuing protests is notable for its simple recognition of the rights and responsibilities of all parties. 

Can you talk about the decisions that went into your statement and why such statements have been so rare?

I am happy to talk about my statement, but I really want to emphasize that we need to turn more political energy toward demanding that the U.S. force a humanitarian ceasefire in Gaza, a return of the hostages, and, then, negotiations toward a sustainable peace.

As for protests at Wesleyan University: We could have immediately closed down the encampment because the protesters hadn’t gotten advance permission for tents, or because they were writing messages on the adjacent buildings in chalk. But in the context of national protest movements, it seemed wrong to me to use “time and place restrictions” other schools have cited as reasons for shutting down protests. 

Over the last week, I’ve gotten many notes from alumni, parents, and strangers chastising me for not making the protesters “pay a price” for breaking the rules.

So why haven’t I made them feel those consequences? Cops don’t always give people tickets for going a few miles over the speed limit. Context matters, whatever Congresswoman Elise Stefanik says.

In this case, I knew the students were part of a broad protest movement, and protest movements often put a strain on an institution’s rules. They are meant to do that. The encampment was “non-violent and has not disrupted normal campus operations,” I wrote, and “as long as it continues in this way, the University will not attempt to clear the encampment.” I added that we would “not tolerate intimidation or harassment of students, staff, or faculty,” and that the protesters, as far as I could tell, were not moving in those directions. I want to emphasize that this can change and that if the protesters choose to more seriously disrupt our work as an educational institution, they will face much more significant repercussions.

Last Tuesday we saw two very different conclusions to major campus protests; at Columbia, the administration — claiming it had “no choice” — called in the NYPD, made multiple arrests and cleared the Hamilton Hall occupation and lawn encampment. (Yale, UCLA, and others did similarly.) Reportedly, Columbia has arranged for the NYPD to remain on campus through the conclusion of the term on May 17. On the other hand, student protestors at Brown finally reached an agreement with the Corporation of Brown University to dismantle their encampment in exchange for a vote on divestment from firms connected to the Israeli military campaign. Admittedly, I am asking you to speculate, but can you think through what the process behind these different decisions might have been? 

At Columbia, the combination of outside participants, intimidating antisemitic chants, and — most importantly — the destructive occupation of a building necessitated a much stronger response than has been necessary elsewhere. Administrators seemed to judge that the university couldn’t safely continue to operate. If that was the case — and I know there remain significant disputes about the facts — the protesters had to be cleared, and the penalties on offenders, I suspect, will be severe. 

At UCLA, early indications are that police allowed counter-protesters to engage in violence. At other schools, students and administrators have been able to decide to do something positive for the situation in Gaza without engaging in empty but symbolically satisfying gestures. Divestment is a distraction. There is little indication that it has the desired effects, even in the long run. Gazans need a ceasefire and massive humanitarian aid now.

I’m curious as to how your scholarly work might have informed your thinking on this. Several of your books speak pretty directly to what’s happening (I think in particular of Beyond the UniversitySafe Enough Spaces,and The Student: A Short History). How does your work as a theorist of liberal education figure into your response to these protests?

All my scholarship is animated by a pragmatist approach, which means that I have a general suspicion of abstract principles and a commitment to working through problems so as to be in a better position to pursue one’s most important goals. My work before these education books was heavily influenced by Hegelian and Freudian models of thinking: an expectation that conflict is necessary for any important change and that unconscious motivations are always in play in crises. To put it simply: I expect conflict, and I expect acting out. 

I believe that liberal education in America is always connected to civic engagement. We want our students to learn how to be better citizens while they come to understand the ideas and the contexts of whatever field they study. In Safe Enough Spaces, I argue that civic preparedness (to use Danielle Allen’s term) develops when students value free speech and political participation in contexts that prohibit violence and intimidation. Students don’t need to be protected from offensiveness, but they do need to be educated in situations in which they learn to think for themselves in the company of others. That’s what I call “practicing freedom.”

That’s why ideally we can make crisis moments like ours educational for the students. This does not mean we pander to them. On the contrary, they learn from teachers who resist their popular but dumb ideas, and who help students understand better how to pursue meaningful objectives over time.

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The House Education Committee has now called three more university presidents — for the first time, three men, and two of them leading public universities: Peter Salovey, president of Yale University; Gene Block, chancellor of the University of California at Los Angeles; and Santa Ono, president of the University of Michigan.

It seems quite clear that the committee’s animus towards the elite universities isn’t actually about the threat of antisemitism, protecting free-speech rights, or even ensuring student safety. What do you think the goal actually is for Foxx, Stefanik, and the other Republican members?

Despite my many years working on Freud and psychoanalysis, I don’t understand the deep motivations behind people who on some days cozy up to Replacement Theory and Christian Nationalism and on other days paint themselves as anti-antisemites.

For over a century, one has said that antisemitism is the socialism of fools. Today, anti-antisemitism has become the conservatism of knaves.

The political motivations of extreme right politicians are clear: they are riding the anti-elites train, the wave of rejecting people with expertise and credentials. By attacking so-called cultural elites, the extreme right avoids talking about economic elites. It distracts people with real grievances from the profound issues of inequality that plague this country. Rather than deal with child poverty, the so-called conservatives attack Ivy Leaguers; rather than force billionaires to pay their fair share of taxes, they turn our attention to protesters on campus.

Some news coverage has described university actions against protesters as driven by these Congressional hearings. Is that the case? What about donors or boards? Are you feeling any such pressure? 

No.

What do you make of the charge that the protesters are antisemitic? Do you have a sense that there are actual connections among opposition to Israeli military action, anti-Zionism, and antisemitism? Or are we seeing a toxic mixture of bad-faith political entrepreneurship and angry, less-than-fully-informed student groups?

Of course, one can be anti-Zionist and not be antisemitic. It is clear that many Jewish students have joined the protests and that one can be very much opposed to the politics of Israel’s government (I am) and not be antisemitic (I am not).

I also think it’s pretty obvious that some of the protesters use antisemitic tropes, and that some of them don’t consider it possible for a Jew to be an innocent civilian. Hamas, which some protesters applaud, is viciously antisemitic. It considers the rape of Jewish women and the killing of Jewish babies not just tactics of war but an occasion for ecstatic rejoicing. It doesn’t get more antisemitic than that. 

I remain appalled (but, alas, no longer shocked) that many protesters don’t seem to be concerned about their association with this terrorist organization. They don’t care. Although only a small minority of protesters might be overtly antisemitic, it is far too easy for many to accept Jewish deaths as the price for someone to be free.

This doesn’t have to be explicit for it to be hateful, especially from people who not long ago were concerned with microaggressions against other groups. Antisemitism enables far too many to accept the cheapening of Jewish life; it’s classic scapegoating. This is a very old story on the right, and also for more than fifty years among people who want to be thought of as progressive. If Israel changed its ways, would these people still be antisemitic? Yes. The thrill of being part of a movement trumps their basic moral sense.

Speaking of Trump, of course this will help him. If his people were smart enough to instigate the protests to divide the left and to whip up anger at kids on campus, they couldn’t have done a better job. My hope is that the civic preparedness that may be enhanced by young folks’ involvement in this movement will energize them to protect democracy in the fall.

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What are the protesters’ specific demands at Wesleyan? What’s your sense of their actual overall motivations?

Also, what do you make of the common media framing of the protesters as “pro-Palestinian” versus counterprotestors who are “pro-Israel?” If we’re making the 1968 comparison, why not “antiwar” instead, since in a practical context they are mainly pushing for a ceasefire at this point?

The demands at Wesleyan resemble the BDS demands of some years ago. Very little to do with Gaza in particular; the demands have to do with isolating Israel economically and culturally. I would hope that students will turn their attention to having an impact on U.S. foreign policy and not the “cancellation” of a complicated country with a complex history.

As for being antiwar, I wish there was more of that idealism across the country. I prefer that good old naivete to what one hears from many in today’s movement. Many in today’s movement seem to think war (violence) is justified as long as you are “on the right side of history,” which today for them means the “anti-colonial” side. This is insipid, lazy thinking, and it leads to some of the self-righteous, close-minded rhetoric of people who in other moods might be defending free speech, democracy, and the development of the rule of law. It also leads to the same vicious moral callousness that the U.S. displayed in, say, Iraq and that Israel displays today in Gaza. People who had “God on their side” have done lots of damage, as will people who think they have “history on their side” today.

One thing I’ve been wondering is whether everyone is making a mistake by thinking of this movement in light of 1968. Is there built-in hyperbole here — on the left, seeing a protest movement as a looming problem for the Democratic convention, as a threat to a second Biden term; on the right, the useful specter of 60s-style counterculture opposition — that works against peaceful resolution of the conflict, regardless of how the students might see themselves? I don’t see as much media comparison to the actions against apartheid of the 1980s, which seems more useful (and in many cases then, university administrators either ignored or came to terms with the student movement).

Some of the opposition to the students is based on procedures. They are in the wrong space at the wrong time. Other opposition is based on the clear indications from many protesters that Israel should not exist as a state. These protesters have yet to opine as far as I know about the legitimacy of other states in the region.

Yes, I think the protests are a problem for politics in the fall unless young people take the political energies they’ve experienced and turn those energies toward building coalitions at home to win the next round of elections and to pass legislation that might facilitate the creation of a more just and peaceful world. 

But at a time when we should be putting our full attention on getting a humanitarian ceasefire in Gaza, we are instead talking about fancy college campuses. At some schools, protesters seem more interested in investment policies or in campus disruption than in doing anything meaningful for Gazans. The media finds it easier to cover Columbia than Rafah. Let’s instead pay attention to the right things: We need a ceasefire and a return of the hostages now, and we need to get aid to Gaza.

I recently went to see “Cabrini,” the story of America’s first saint. It’s a wonderful film, and I highly recommend it.

Mother Cabrini, as she was known, founded an order of sisters in Italy that created orphanages and homes for poor children. She longed to launch a mission to China but the Pope denied her request and told her to go to America instead, where there were large numbers of impoverished Italian immigrants.

She and several of her sisters traveled by ship to New York City in 1889 and immediately established residence in the Five Points, a congested and dirty neighborhood teeming with indigent Italian immigrants. The sisters opened a home and school for vagrant children living in squalid conditions.

Mother Cabrini was always in frail health but she had an iron will and surmounted every obstacle that blocked her desire to serve. She was a fearless feminist. The Archbishop of New York was not welcoming but she overcame his opposition. The Mayor of the city tried to close down her orphanage and frustrate her plans to grow, but she persisted.

She was ingenious. She sought out a reporter for The New York Times, brought him to see the living conditions of her district, and he wrote about her work. Children were “living worse than rats,” in sewers under the streets, he wrote. Anything to stay alive. Mother Cabrini ran a school where they learned English but sang songs in Italian. She wanted them to fit into their new homeland but not to lose touch with their ancestral home.

Let me emphasize that while the story centers on a nun with an iron will, there is no religious propagandizing. None. It’s a movie about courage, dedication, kindness, and a fierce desire to help the neediest. Mother Cabrini eventually established orphanages and hospitals around the world.

The lesson that I took away from the film was about the hard life of immigrants and the valor of those who reached out to help them survive. In the 19th and early 20th centuries, there were no government services. People came pouring in and had to make it in their own or die from hunger and disease.

Mother Cabrini’s love for the immigrants of her time stand in sharp contrast to the political rhetoric of today, when they are vilified as rapists, drug dealers, murderers, invaders. Even the children.

As I watched the film, I found myself wishing that Trump might see it. I know he never will. Its message is not religious. It’s about kindness, compassion, dedication, and selflessness. He would say that Mother Cabrini was a radical socialist, a Communist, a sucker, a fool, and not his type.

In addition to the story line, I loved the depiction of early New York City (even though the credits say the film was made in Buffalo).

John Merrow was the PBS correspondent on education for many years. Since he stepped down from this important role, I have discovered that he is quite a wonderful person. I didn’t think so when he burnished Michelle Rhee’s reputation, but he redeemed himself when his last hour-long segment on her delved into the cheating scandal that consumed her final year as chancellor of the DC schools.

But now I know John as a generous friend. When I was suffering in the aftermath of knee surgery, he printed out “Dr. Merrow’s Advice.” Every year, he is committed to riding the same number of miles as his age and thus far he has kept his pledge. He very kindly recommends organizations to receive donations in support of his bike ride, and NPE has been among them. We were very gratified by his recognition and support.

And now he has created an award he calls “TAMPU”—Towards a More Perfect Union. I love the award because its first recipient is Peter Greene, who is one of the best educational thinkers and writers of our time.

He writes at his blog, The Merrow Report:

I’ve always loved the elegant, aspirational phrase, “Toward a More Perfect Union,” found in the opening sentence of our Constitution.  It was our Founding Fathers’ first priority, ahead of establishing justice, ensuring domestic tranquility, providing for the common defense, promoting the general welfare, and securing the blessings of liberty to ourselves and our posterity.

I think it’s time to do more to honor those who in their daily lives attempt to move us “Toward a More Perfect Union.” To that end, and only slightly with tongue in cheek, I suggest we create an award–call it the TAMPU Prize–acknowledging those who are attempting to push the envelope forward.  

While someone else works out the rules and timing, I am jumping the gun and awarding the TAMPU Prize to three remarkable people who are on my mind this week.  Please read on, and please add your own names.

The first TAMPU recipient is from the world of education, Peter Greene. Mr. Greene, whom I do not know, spent 39 years teaching English and now devotes his time to turning over rocks to expose wrong-doing in public education, to celebrate accomplishments, and to make us think.  You can find a lot of his well-researched columns here on Forbes Magazine, but he also blogs regularly at ‘Curmudgucation,’ a word I assume he made up.  

Here’s how Mr. Greene describes himself:  I started out life in New Hampshire and finished growing up in Northwest Pennsylvania. I attended a non-traditional education program that no longer exists at Allegheny College, a small liberal arts college, student taught in Cleveland Heights, and landed my first job in Lorain, Ohio. The year started with a strike and ended with a large workforce layoff, so I came back home, bought a mobile home, and lived in a trailer court while I subbed in three districts.

After a year, I started landing year-long sub jobs with the same school district I had graduated from in the mid-seventies. It was not the plan, but there was a woman… After thirty-some years in that district, I’ve taught pretty much every brand of English we have here, 7-12. But high school is my home; middle schoolers are, as I said back when I taught them, the emotional equivalent of having someone scream in your ears all day. God bless, MS teachers. And now, after thirty-nine total years in the classroom, I’ve retired.

My second recipient is Jessica Craven, a veritable ‘Energizer Bunny’ who’s working to help our democracy survive extremism of all sorts, but particularly MAGA.  She blogs almost every day, with a newsletter she calls “Chop Wood, Carry Water,” a title that carries a message: This is what you do when the chips are down–Get to work!

Click here to begin the “Chop Wood, Carry Water” experience.  Here’s how she introduces herself and her newsletter: 

What goes on here? Well, this newsletter is dedicated to saving democracy, addressing the climate crisis, preserving our freedoms, electing better lawmakers, and, in general, creating a better country—one simple action at a time. As the author, I’m essentially a bundler. Not of donations, but of easy things each of us can do to make a difference. I do these things, too—because I want my kid to grow up in a democracy AND because doing them makes me feel less anxious. My motto? Hope is an action.

I have no idea where Ms Craven lives with her husband, child, cat, and dog. Ms Craven publishes at least six times a week and always tells readers how to get involved.  She makes activism easy, no small feat.   “Chop Wood, Carry Water” is free, but I hope you will do as I do and subscribe ($60 per year). 

My final TAMPU recipient (this time around) is National Book Award recipient Jonathan Kozol, whose new book, “An End to Inequality,” is the 12th in his illustrious career. Now 87, Jonathan burst on the scene in 1967 with “Death at an Early Age,” which I can remember devouring.  His new book–which he says will be his last–is a passionate call for racial justice in education and the larger society.  Never one to call for compromise, he rejects all forms of tokenism.  “There is no such thing as perfectible apartheid. It’s all a grand delusion,” he writes. “Apartheid education isn’t something you can ‘fix.’ It needs to be dismantled.”  For more, see Dana Goldstein’s recent profile of Jonathan in the New York Times.

(Digression: I’ve known Jonathan for a long time, and he kindly wrote a glowing preface to a book of mine, “Choosing Excellence,” back in 2001. Unfortunately, my (inept) publisher misspelled his first name. Jonathon!  When they sent me an advance copy, I saw the error and immediately called the publisher.  “Sorry,” they said, “But the initial printing is only 5,000 copies. We will correct it on the next printing.” 

I explained very calmly that I would sue their asses if they released that printing, and I suggested that they shred those 5,000 copies and reprint it.  Instead, they hired people to paste over the error with a small sticker that spelled his name correctly. Somewhere I have the uncorrected version and a pasted-over version, as well as a clean copy from the second printing.)

So those three, Jessica Craven, Peter Greene, and Jonathan Kozol, are pushing and pulling us toward A More Perfect Union.  Who else deserves our attention?  Make your suggestions here.  

Thanks, 

John

I am not a huge fan of professional ice skating but I am a huge fan of excellence. I just watched a 10–minute clip of Ilia Malinin’s World Championship performance yesterday in Montreal. It was mesmerizing!

Ilia was born in Virginia. His parents were professional skaters in Uzbekistan, as was his grandfather. His parents are his coaches.

Watching this brilliantly accomplished young man reminded me of the book written by Senator John F. Kennedy in 1958 titled A Nation of Immigrants.

The subject was on my mind because yesterday I saw a moving and beautiful film called Cabrini. That too made me reflect on today’s hateful rhetoric about immigrants.

Ilia’s magnificent performance in Montreal was hailed by the sportscasters as one of the most remarkable events in the history of ice skating. Watch it!