It’s something that makes most Jewish people cringe: that moment when, in the midst of some celebrity or political or financial scandal, it’s revealed that there’s a bad guy who happens to be Jewish. And now, quite publicly, this Jewish person has done wrong.
Let’s call them the “Bad News Jews.”
I was pretty young when I first realized that if you’re Jewish, and especially if you’re the only Jewish person someone knows, you will become a go-to-source on All Things Jewish. Not just around holiday times, but also when there’s someone Jewish in the news. Especially when the news is not good, and a fellow known-to-be-Jewish person is getting some bad press.
It was Monica Lewinsky who first taught me this.
I was in high school back when she was in the news. Despite the fact and context of that story, and the whole topic being, y’know, not exactly appropriate conversational material to dive into with a teenager, people would ask me what I thought about that situation. They would ask what I thought about her: Monica Lewinsky, who “sort of looked like me,” as I was told a couple of times. Like maybe, since we were both Jewish, I had some insider info on this hot mess (um, nope!); or I’d be more sympathetic to her plight (um, nope!); or at least I’d be more personally impacted by the story (um… nope… ish?).
That last parenthetical “nope-ish” is where it gets complicated. Because while it doesn’t have anything to do with us, and seems misguided when non-Jewish friends and family ask us specifically about these “Naughty Jews,” well, there is some truth to the fact that we cringe a bit harder when someone Jewish is revealed to be the bad guy in a news story. Even when we have no actual connection to the person, we feel embarrassed. Like it’s making “us” look bad. The same way we take pride in “our” Albert Einsteins, we cringe at “our” Anthony Weiners.
How do we respond to Bad News Jews? When people ask for our opinion, what do we say?
After years of being in this position, my response has become pretty standard. When someone asks me what I think “as a Jewish person,” I try (and sometimes fail) to not roll my eyes, and then lead off by saying that I don’t speak for “the Jews,” I can only speak for myself. A person, who happens to be Jewish, but whose opinions only represent me, and are not representative of all Jewish people. Just like, yes, that schmoe in the news is a person, who happens to be Jewish – but whose actions speak only for him/her, and are not representative of all Jewish people. In a small town, where the Jews are few – like the rural town where I grew up, and the small Southern city where I live now – it somehow seems both more remote and removed, and yet also all the more personal.
It’s a sound basic strategy, but it doesn’t always stop the questions. Or the cringing.
What’s your response when people ask for your “Jewish opinion” on bad news on fellow Jews?
Continuing with excellent posts from our excellent summer interns, history intern Caroline Kahlenberg considers the southernness of Alexandria, Virginia.
Two weeks ago, during our History Department research trip to northern Virginia, the same question continued to crop up: Is Virginia—and the northern border of the state, specifically—still considered the South? When we posed the question in our interviews with rabbis and long-time Jewish community members, the response was never simple. On some occasions, in fact, the phrase, “two Jews, three opinions,” took on a literal meaning.
Indeed, it’s a hard question. Defining the American South—and who is considered a southerner—has long been a topic of debate among journalists, historians, and social critics alike. It seems that everyone has their own criteria: some use the SEC football league as a guiding principle, while others prefer to base it on the sweetness of their tea.
Being neither a football fan nor a tea drinker, I turned to Virginia’s history to explore this question further. While discussions of southern identity surfaced in every congregation we visited, the city of Alexandria poses an especially interesting case.
Alexandria—today just 6 miles south of Washington, DC—was actually founded as part of the nation’s capital in 1791 and remained part of the city until 1846. During that era, Alexandria’s economy was deeply involved in tobacco production and in the slave trade. Alexandria was also the childhood home of Robert E. Lee. Not surprisingly, when the Civil War broke out, most Alexandrians—including the city’s Jewish citizens—were sympathetic to the Confederate cause.
Certainly, then, 19th century Alexandria aligned economically and politically with the Old South, and it remained culturally removed from Washington DC well into the 20th century. But in the decades after World War II, as the greater D.C. metropolitan area grew to once again encompass the city, Alexandria lost much of its distinct southernness .
Suburbanization largely explains this shift. In the 1950s, many federal employees moved out of DC and into the newly developed northern Virginia neighborhoods surrounding Alexandria, greatly altering the “Southern” character of the region. Alexandria, too, became one of the many “bedroom communities” catering to Washington. The shift also altered Virginia’s political landscape by bringing more liberal voters into a traditionally conservative state, which eventually transformed it into the swing state that it remains today.
As new arrivals transformed Alexandria into a suburb of Washington D.C., the Brown v. Board decision by the Supreme Court in 1954 brought new energy to the struggle for African American civil rights. Led by Senator Harry F. Byrd, Sr., most areas of the Commonwealth of Virginia engaged “massive resistance” to school integration. While Alexandria was slow to enforce the federal verdict—integrating in the mid 1960s—the city did come to terms with integration sooner than other parts of Virginia. Prince Edward County, for example, shut down its schools for five years in defiance of integration. While the history of Alexandria’s integration is neither a perfect nor complete measure of the city’s regional identity, it provides some insight into its demographic and cultural transformation.
Hailing from a suburb of Washington, DC myself (though on the Maryland side) I can certainly relate to this complicated geographic identity. Personally, I don’t call myself a southerner. And according to the native Mississippians that I’ve met during my time here in Jackson, I’m most definitely a Yankee. But in Vermont, where I attend college, friends and teachers quite often consider Maryland the South, or at least close enough to it; to them, I’m not a true Yankee. The South is relative.
So, is today’s northern Virginia still the South? Looking at its recent history, I’d say “not exactly,” but it certainly retains some Southern elements. In addition to the historic Old Town, the people we talked to in Alexandria, for instance, were extremely hospitable, something I’ve come to greatly appreciate in Mississippi. I can’t exactly say the same about northern Virginia’s heavy traffic, which had a certain “DC” feel. Ultimately, though its location on a map has remained the same, the area’s cultural, demographics and politics have become less aligned with today’s Deep South, and more so with the country’s Mid-Atlantic region. Overall, it’s a tricky question. Next time, maybe I’ll just try the tea.
Last week, I had the unique experience of driving to Demopolis, Alabama, (the recent subject of a Forward article about disappearing Jewish communities—read my response as well) to speak about the history of one prominent Jew who was born there: Arthur Mayer. An important film industry innovator, Arthur didn’t spend very long in Demopolis. His father died just three months after his birth in 1886, and his mother moved with her infant to New York City. Yet the Southern Literary Trail, based in Alabama, claims Mayer as a native son, and they asked me to come speak about his career in the movie business and his roots in Demopolis.
Arthur’s uncle Morris Mayer came to the small Alabama town just after the Civil War in 1866. Like so many other Jewish immigrants who came South during that era, Mayer opened a dry goods store. Morris’s brothers Simon and Ludwig joined him in Demopolis in the 1870s. By one historian’s account, the Mayer brothers owned the most successful retail business in West Alabama. In 1897, they constructed a magnificent three-story brick building to house their thriving business. Tragically, Simon never saw this grand edifice, dying in 1886. Soon after Simon’s death, his wife and children left Alabama, leaving their relatives to run the business. Arthur Mayer grew up with his grandparents in New York City, and later said, “the smartest thing I ever did in my life was I left Demopolis at the age of three months.”
Mayer ended up working in the burgeoning film industry during the early 20th century. While he worked for such moguls as Samuel Goldwyn and Adolph Zukor, Mayer came from a very different background. The men who created the modern film industry were almost to a man immigrant Jews. Men like Goldwyn, Zukor, Louis B. Mayer (no relation to Arthur), and the Warner Brothers craved respectability, and wanted to leave their immigrant past behind. According to Neil Gabler, in his book An Empire of Their Own, “they wanted to be regarded as Americans, not Jews. They wanted to reinvent themselves here as new men.” They left any vestiges of the old world behind. The best example of this was Louis B. Mayer, who was born in Russia, though he claimed he had forgotten where and when. Later, he would embrace the 4th of July as his birthday.
Arthur Mayer was different. He was American born (albeit to immigrant parents). He didn’t enter the film industry after working in the glove or fur business. Mayer went to Harvard, where he majored in history and English literature at a time when Jewish students were subject to a restrictive quota. After graduating, he used his connections to get a meeting with a leading banker in New York, who sent a letter of introduction to Sam Goldwyn, who hired Mayer right away. It’s somewhat ironic that Mayer used his elite, Harvard network to get a job in the upstart Jewish film industry.
The most famous book about southern Jews is entitled The Provincials, written by Eli Evans. The idea of the southern Jew as provincial is a powerful one, and has helped mark southern Jews as distinct from Jews who lived in a place like New York. But the term “provincial” did not apply to Arthur Mayer, though perhaps it did to men like Zukor and Goldwyn, who came from Europe and often spoke in accented English. In his memoir, Merely Colossal, Mayer relates several wonderful stories about these men, playing up their malapropism, or as Mayer wittily calls it, their “trenchant misstatements.” Goldwyn was known for saying things like “include me out,” or “a verbal contract isn’t worth the paper it’s written on.” Mayer tells the story of how Goldwyn was trying to produce a film based on the play “The Captive,” but was warned it would be controversial because one its main characters was a lesbian. Goldwyn retorted, “we’ll get around that, we’ll just make her an American.”
Mayer later went to work as head of publicity, advertising, and promotion for Adolph Zukor at Paramount. Mayer was a great salesman, though he sometimes got into trouble with his boss for his advertising campaigns. Once, Mayer tried to advertise the first film starring Mae West by using the word “lusty” on the poster. His efforts to convince Zukor that he meant the word in terms of “lust for life” not its sexual connotations were unsuccessful, even though English was not Zukor’s native language. Perhaps the alluring picture of Mae West on the poster undercut Mayer’s argument.
Later, Mayer became the operator of the Rialto Theater in Times Square in New York City, where he specialized in showing what he called the “three M’s”: mystery, mayhem, and murder. They were called “B Movies,” because they didn’t have A-level stars or directors. When Mayer got the film reels at the Rialto, he couldn’t change the cast or the movie itself, but, using his salesman instincts, he could change the name of the movie on the outside marquee to attract more customers. To the bland title “A Son Comes Home,” Mayer added the phrase “From Gangland.” “Fit for a King,” became “Murder Fit For a King.”
Mayer is an interesting figure. He was not just the king of B movies, but he also became one of the first and most important importers of fine European films. Most notable was the Italian film The Bicycle Thief, which was recently ranked as the 6th greatest film of all time by the film magazine Sight and Sound. Although he often lost money on these foreign films, Mayer believed in them as art and continued to bring them over, helping to create the American market for foreign films.
Arthur Mayer was a hybrid of lowbrow and highbrow culture. He was also native southerner who epitomized northeastern, Ivy League educated sophistication. And yet, Mayer was a Jew working in an overwhelmingly Jewish industry. While his story differs from those of the more famous men he worked for, people like Goldwyn and Zukor, Arthur Mayer is an important figure in his own right, who deserves to be remembered.