Author: Roy Berman

Kyoto universities

At lunch today my friend Osamu told me these two sayings that were current about twenty years ago in Kyoto.

First, for a woman choosing which of the three famous universities in the city to go to:

If you want a boyfriend, go to Doshisha (because that’s where the kids from rich families go.)

If you want a husband, go to Kyoto University (because they’ll all have good jobs in the future.)

If you want a bodyguard, go to Ritsumeikan (because the kids from working class families that want to study go.)

Second, what people said about Ritsumeikan.

Akai, kurai, dasai.

And in translation: Red(as in communist) , dark/dour, unfashionable.

Superheroes: Good and Evil in American Comics

If you enjoyed my recent posts on WW2 era comic book covers and are in the New York area, you may want to check out Superheroes: Good and Evil in American Comics, an exhibition running at The New York Jewish Museum from September 15, 2006 to January 28, 2007. Curated by Jerry Robinson, whose best known creation is The Joker, possibly the best known comic book supervillian of all time, showcases art from the golden age of comic books (from the popularization of the art form in the late 1930s until it came under a period of attack in the early 1950s) in the context of the socio-political conditions of the time. Naturally, since this is The Jewish Museum and the vast majority of early comic book creators were Jewish, there is a strong focus on the relationship that these creators’ Jewish identity had to their art.

Comic book news site Newsarama has a very interesting interview with Jerry Robinson about the exhibit.

NRAMA: Do you have any insight into why Jews were such a big part of the comic book industry in the beginning?

JR: I’ve done a lot of research on this and it’s going to become a book based on the two exhibitions and it will be published by one of the major art publishers in America. Jewish artists and creators have been prominent in New York culture since the turn of the century. A lot of artists, writers, poets, also scientists and other professions were in that first wave of immigration in the 1890’s/1900’s. Then the next wave was due to the rise of Nazism and that wave included a lot of artists, writers and theatrical people. So from that whole first half of the 20th Century, New York absorbed a lot of diverse talent, along with many other immigrants of other nationalities, German, Italian, Russian, etc. But many of them were Jewish and were prominent in their areas. For example, the early movie industry was also dominated by a lot of Jewish actors, writers, filmmakers from Europe. They immigrated to New York and settled in the Lower East Side and at one time there were hundreds of theaters around the country that were showing Jewish plays and performances. The film industry, again, had many prominent Jews such MGM with David O. Selznick, Carl Laemmle with Universal. I can’t name them all.

I was pleased to see that in the interview he also mentioned the exhibit’s collection of covers he chose to include Captain America #1, which earlier this week I called my favorite of the WW2 era anti-Axis covers.

Unfortunately, I will not be back home in the New York area until next summer so I will be missing out on this exhibit, but it sounds well worth visiting for anyone interested in the history of American popular culture, American/New York Jewish history, or comic books at all. And of course, while on this topic I must make a very strong recommendation that anyone with even the slightest, teeniest bit of interest in this stuff immediately get your hands on a copy of The Amazing Adventures of Kavalier & Clay by Michael Chabon. Don’t let the fact that it won the Pulitzer prize for literary scare you off. This fictionalized account of the careers of a a duo of Siegel and Schuster-esque creators of a Nazi-fighting superhero by the name of The Escapist is amazingly fun to read.

Deconstructing an alleged compliment

Bush administration White House Press Secretary Tony Snow was quoted in the NYT as describing his boss (George W. Bush, for the dim) like so:

“He reminds me of one of those guys at the gym who plays about 40 chessboards at once.”

In my experience with gyms, there is in fact noone there playing 40 chessboards at once. Now, there are chess geniuses who can manage such an incredible feat, but they don’t go to the gym to do it. In fact, I would even go so far as to say that someone wanting to play 40 games of chess at once who thought that the proper venue for such an event was a gym is probably an idiot.

I am reminded of the episode of The Simpsons, in which Bart plays a dozen games of chess, blindfolded, simultaneously. Onlookers are briefly astonished. Bart loses every match.

The best WW2 comic cover

Captain America #1

The other day when I said that the style of WW2 era propagandistic superhero comics just couldn’t work today, but there is one anti-Nazi comic book of that era that deserves to be better remembered as an iconic image of the war period in America. This dramatic cover, published in March, 1941, marked the very first appearance of Captain America, who was given the very unusual honor of premiering in his own full length comic, instead of being tried out as a backup character in an anthology.

Why is this cover so different from the others? Where the DC covers were full-fledged propaganda posters, this is a proper comic book cover. Of the seven DC covers I posted before, five of them have propagandistic slogans as corny as any you would find on an official government poster, and the sixth is a highly stylized, static image of Superman standing astride the world holding Hitler and Tojo in each hand, clearly symbolizing the globally dominant power of the USA. The seventh cover, which depicts Superman ready to punch out the oddly jaundiced looking Japanese pilot of a warplane, is the only one that actually looks like it could be a comic book action scene as opposed to a propaganda poster, but the simplicity of the scene and the isolation of the two characters on a largely monochromatic background still feels kind of static.

On the other hand, we have Captain America-not about to punch Hitler, but clearly having just done so. There are Nazi officers all around, firing bullets at the Captain, who has clearly interrupted a planning session of “sabotage plans for U.S.A.,” which are conveniently laying on the ground, labelled in English. By opening with such a dynamic and dramatic scene, Captain America is portrayed from the beginning as a man of action and the champion of American virtue-but not necessarily the vehicle of the official government line and propaganda.

Why is that? Well, notice the date-March 1941. The US did not enter WW2 until December of that year, but the creators and publishers of Captain America at Marvel Comics (then called Timely Comics) were clearly urging us to. It is of course no coincidence that both the writer (Joseph Simon) and artist (Jack Kirby) were both New York Jews, the sons of immigrants from Europe. In fact, at this time basically the entire comic books industry was New York Jews. Naturally, they were no fans of Hitler, and this cover reflects what must have been a universal fantasy at the time. Certainly I myself, as a member of a New York Jewish family born decades after WW2, can hardly imagine anything more satisfing than smashing Hitler in the face. Even the staunchest critics of modern US foreign policy should admit that the cover of Captain America #1 is best summed up in one word: awesome.

Bridge on the River Kwai [Photo]


August 19, 2006

Immortalized in the 1957 film of the same name, this bridge was constructed during the Second World War by British and American POWs of the Japanese as part of the so called “railway of death,” intended to create a link with Burma. After Japan was forced to give up all of their overseas colonies and property following their defeat, the British sold the entire Burmese-Thailand railway, including this bridge, to the Thai government for 50 million baht. The bridge, which had been damaged by aerial bombing, was repaired and remains in use as a tourist attraction.

The immigration debate, 100 years ago

I am currently reading the biography of William Gorham I mentioned in my post on using online resources for researching his life. Here is what the book, written by Gorhman’s Japanese colleagues, has to say on the Japanese in California about a century ago.

Almost the entire Japanese immigrant population in the U.S. was located in the state of California or in other parts of the Pacific coast. They had left their native areas and immigrated to a foreign nation empty-handed, but also had attained success in the United States. The disparity in customs, along with their resulting problems, as well as the difficulty of learning a new language, all were overcome by these immigrants and they were able to make substantial successes of their lives. At the same time, from the point of view of racial rejudice or from the point of view of the struggle to make a living, there was the inevitable friction as well as competition that came about between the Japanese and the white immigrants from Europe. In fact, the substantial successes attained by the Japanese immigrants, if anything, resulted in more opportunity for them to be viewed with jealousy by immigrants from other nations.

However, capitalists in the state of California had always valued highly the calmness and willingness with which the Japanese would stick to work, as well as their capabilities for labor. They were also appreciative of the immigrants’ ingenuity and resourcefulness. In fact, they were amazed at the Japanese immigrants’ cleverness exhibited in growing vegetables and in catching fish. Although white laborers used a slogan to oppose them — “Keep California White” (i.e. keep the state of California forever for whites only), as far as the capitalists were oncerned, they sided with the Japanese immigrants and used the slogan, “Keep California Green” (i.e., keep the state of California green with produce from farms and gardens). (p. 26-27)

According to the Sept 22, 2006 NYT:

Stepped-up border enforcement kept many illegal Mexican migrant workers out of California this year, farmers and labor contractors said, putting new strains on the state’s shrinking seasonal farm labor force.
[…]
The tightening of the border with Mexico, begun more than a decade ago but reinforced since May with the deployment of 6,000 National Guard troops, has forced California growers to acknowledge that most of their workers are illegal Mexican migrants. The U.F.W. estimates that more than 90 percent of the state’s farm workers are illegal.
[…]
For decades, Mr. Ivicevich said, migrant pickers would knock on his door asking for work climbing his picking ladders. Then about five years ago they stopped knocking, and he turned to a labor contractor to muster harvest crews. This year, elated, he called the contractor in early August. Pears must be picked green and quickly packed and chilled, or they go soft in shipping.

”Then I called and I called and I called,” Mr. Ivicevich said.

The picking crew, which he needed on Aug. 12, arrived two weeks late and 15 workers short. He lost about 1.8 million pounds of pears.

Understatement of the day

From the NYT:

[…]the National Security Council released a statement saying that [a nuclear test] would “severely undermine our confidence in North Korea’s commitment to denuclearization.”

If my friend Ted had a steak dinner it would undermine my confidence in his commitment to vegetarianism.

If the local parish priest attended an orgy, it would undermind my confidence in his vow of celibacy.

Winning through political theatre

So the Senate has now passed the detainee treatment bill that will essentially let the president do whatever he wants to anyone at anytime for any reason. Via Andrew Sullivan we have these photographs and description of waterboarding, the most infamous method of torture known to have been used by the US government in the “war on terror.” While there was 10 hours of debate over the legislation, including this speech by Senator Clinton, in the end it passed with a very wide margin of 65-34, most likely due to the fears of Democrats too spineless to stand up for anything due to fears that it would allow them to be portrayed as soft on terror.

How did this pass? Why was there so little public outrage over practices such as waterboarding in the first place?

I personally believe that this is because so few people really understand what these torturous practices look like. Even images graphically depicting the reality of waterboarding, such as the those linked to above have rarely, if ever, appeared in newspapers or on television in the US over the course of this debate.

Hillary Clinton may have made a decent speech about treating prisoners humanely, but it was too little and too late.This is why I think the only way for the Democrats to defeat the administrations torture plans once and for all would be to hold their own demonstration.What she (or some other opponent of government approved torture) should have done is this:

volunteer to be waterboarded on national television. Hold a press conference in a place of appropriate sentimental value. Someplace like the Vietnam memorial, Arlington National Cemetery, or the Holocaust Musem. She does not tell reporters in advance about the stunt, keeping the waterboard behind a curtain for the opening of the speech. Then after an introduction, pulls the cloth back, revealing the object in all its horrific glory (ideally, it should be one actually used to torture in the past, perhaps by the Khymer Rouge, borrowed from a museum). She then introduces the board, explains its history, and repeats the point that this is the same practice that the US has admitted to engaging in. There is a mild stir among the press corp, who are thinking that she has already reached the climax of her presentation and that it was a good try but not enough to swing the issue.

She then announces that there is now going to be a live demonstration of how exactly it works. The audience is quite surprised at this announcement, a murmering going through the crowd-but a shocked silence falls a moment later as the Senator herself lays down on the board and waits to be strapped in by the former CIA employees that have been recruited for this gruesome display.

“The [senator] is bound to an inclined board, feet raised and head slightly below the feet. Cellophane is wrapped over the [senator]’s face and water is poured over [her]. Unavoidably, the gag reflex kicks in and a terrifying fear of drowning leads to almost instant pleas to bring the treatment to a halt.”

The cellophane is torn off quickly, and her pained gasping for air is clearly audible. The former-CIA interogator lets loose the straps and helps her rise. Too weak to do so unassisted, she unsteadily stands, tears still running down her face, as she gripsthe man’s arm.

Having completed the demonstration, she makes a brief statement challenging the President, the Vice President, the Secretary of Defense, or any other member of the administration to submit to the same act, and is then rushed to the waiting ambulance for a medical exam without taking questions.