The new NBCUniversal streaming service Peacock is now offering the documentary A Most Beautiful Thing as a free feature. (Details here.) Last week I wrote about the movie, and its surprising timeliness and power, in this article. The film, based on a memoir by Arshay Cooper, is the saga of young men from the West Side of Chicago who in the 1990s formed what appears to have been the first all-Black high-school rowing team in the country.
In response, Peter Gadzinski, previously of Vermont but now living in Europe, writes about the themes of the book and movie, and how different this sport can seem from another country’s perspective.
Through my son I have been introduced to rowing, and it is a great sport.
We have been living in Portugal, where my wife is from, and where our son is going to school, and they have a slightly different take on rowing here that I wish was in America.
First, none of the schools have any sports teams. Sports teams are all organized by town clubs. That means that the whole town can cover the expense, and you can be in the club from literally 8 years old to 80. There is none of this sports-stops-cold when you graduate high school or college. Also, the rowing club out here is open to anyone, with a just fee of $40 a month which is waived for those who can’t afford it, which makes the otherwise very expensive sport of rowing available to everyone.
The other thing here is that they race in all of the types of boats: singles, doubles, fours, and the eight, with one and two oar boats in the doubles and fours. I grew up playing soccer, and like most team sports, it is all about only the first string playing, and everyone else sitting on the bench. By racing in all boat classes, in a meet here it is like a track meet, in that everyone races. Everyone knows what the club “A” boat is, but everyone races in a meet.
The saying is that you put your best and your worst people in the single. The best so that they are not slowed up by lesser people in a multiple seat boat, and the worst, so they don’t slow up anyone in a multiple seat boat. But in a big meet everyone races, from the kids in elementary school, to the “veterans”: the gray haired adults, with even special boats with outriggers for the handicapped. This thing in America where in college it is all about getting a “crew” seat in “the 8” doesn’t exist here, which is good.
But as you pointed out, there is something special and unique about rowing. Once you get past both the expense of it and the preppy reputation of it, there is something very special about it. The way I explain it to people is that the only comparable activity would be to play music in a classical or jazz quartet. You become one group, all together and synchronized. Except in rowing you are breathing a lot harder. It is really something to behold, and something to be part of.
Not only are rowers in perfect mental and physical synchronization when rowing, but due to the extreme motion of their bodies back and forth they are like birds in flight and breathe in and out with their body movements. That means that the entire boat is breathing together as well. There is supposed to be something beneficial to singing together. Rowing together is the same, except with a lot more horsepower.
I had grown up thinking rowing was just some bizarre preppy thing for rich kids. It still is in a lot of America, but in Europe it is a lot more common and public. If I were a billionaire philanthropist I would put all of my money into paying for rowing clubs all over the country. It is a really good thing to do. As the saying goes: “Rowing is a sport, everything else is a game.” Get a bunch of young people to give their all and literally all pull together is a wonderful thing. There should be more of it.
Update: Another reader, with a military-aviation background, writes in with another comparison:
When reading The Boys in the Boat. I was struck by how much rowing reminded me of flying close formation aerobatics with the Blue Angels. I’m giving copies to my former wingmen for Christmas
This week, NBCUniversal’s new Peacock streaming service will begin showing the feature-length documentary A Most Beautiful Thing. A trailer of the film is on Vimeo here, and the main site for the project is here. I saw a preview version last week and recommend it. The film’s story would be surprising and engrossing at any time, but it has a current power and relevance its producers could not have foreseen when they began making it.
The film is based on a book of the same name by Arshay Cooper, first self-published as Suga Water five years ago. In it, Cooper—who grew up in a violent and drug- and gang-dominated neighborhood on the West Side of Chicago—described the formation of what appears to be the first all-Black high school rowing team, including members of rival gangs who gathered at Chicago’s Manley high school (officially the Manley Career Academy High School).
The high school and college rowing world has been the subject of celebrated books ranging from David Halberstam’s The Amateurs to Craig Lambert’s Mind Over Water to the perennially best-selling The Boys in the Boat by Daniel James Brown. As these books and other rowing chronicles indicate, participants in the sport have been overwhelmingly white. In class terms, rowing has also had a strong but not complete prep-school/upper-class tone. Strong, because of signature races like the Oxford-Cambridge and Harvard-Yale showdowns. Not complete, because—as Boys in the Boat, especially, points out—some successful rowers have been from modest, rural, working-class, or other non-fancy backgrounds, and have converted their aptitude for this sport into college scholarships the way basketball or football players have done. (Of course without the pro-career prospects to follow.)
But the story Arshay Cooper recounts is far starker and more dramatic. Manley high school had never had a rowing team; the students who finally agreed to join the boat were from rival gangs and in other circumstances would have been fighting with one another; few of them even knew how to swim. Basketball and football were sports for real men. Rowing? They were mocked by many of their Black schoolmates—and by many of the white rowers whose world they tried to join. On one of the Manley crew’s first forays onto the water in Chicago, all of its rowers were wearing life jackets, which was one of many reasons they were the object of sneers from the all-white high school and college crews also on the water.
“I notice that most rowers are white, tall, and lean,” Cooper writes in the book about an early visit to a boathouse. “I am none of these things.” The first time their all-novice, non-swimmer boat goes on the water, after long training in indoor tanks, Arshay Cooper and his teammates are terrified:
I push with everything I have [against the dock] and we glide out into open water. My triumph is immediately followed by fear as the boat starts to drift away. It’s not even close to being balanced.
“Blades flat on the water and oars pressed against the oarlocks,” Coach Jessica shouts.
“No, no, take me back in,” Dashaun yells. His panic is contagious, and everyone starts freaking out …
Coach Jessica tries to quiet us and instructs Alvin and me to row first, but we tell her we can’t. We are too afraid.
What happens to the members of that crew—in the 1990s, and now—is the subject of the book and the new movie. I won’t spoil the story they have to tell. But I will say that through the vehicle of a niche-seeming sport, both the book and the film address issues of generations-long racial trauma, and relations between Black residents and the police, that are the center of attention now.
The most obviously 2020-relevant aspect of the movie is its immersion in the racial divide within Chicago and America as a whole. All the young men who made up the Manley crew had childhoods marked by crime, poverty, drug use, and discrimination. “When Alvin and Arshay drove me around their old neighborhood, they showed me the block-by-block topography of the different gangs there,” Mary Mazzio told me. Mazzio, herself a former Olympic rower, is a documentary maker and the writer, director, and producer of this film. “They told me there was no safe way to get to school. The concept of ‘inequality of safety’ began to dawn on me.”
The family stories in Cooper’s book, bolstered by many interviews in the film (especially with the rowers’ mothers), explore countless other realms of inequality. The movie’s final section, which I’ll let you learn about yourself, explores the tensions between Black families and the mainly white police force in a surprising way. The movie was completed last year but is very much of this moment.
The other quietly emerging theme in the movie involves the sport of rowing itself—not its class and racial signifiers, but the physical action of people pulling together on their oars.
As The Boys in the Boat and other books have emphasized, a crew in a racing shell may represent the most profound expression of teamwork in all of sports. It is possible for one rower to make an error that penalizes the whole boat. This is by “catching a crab,” or digging an oar too deep in the water and being unable to pull it out. And it is possible for a coxswain to make a costly mistake in steering the boat or pacing the rowers.
But otherwise, which is the great majority of the time, a team wins or loses utterly together, as a group. Their collective effort either is enough to beat the other teams, or it falls short. There is no I in crew—a variation on the cliché used by coaches in every sport, but especially true here. “We were able to get rival gang members together in a single boat,” Arshay Cooper told me when I spoke with him last week. “We hated each other, and we became like brothers.” As the last part of the film reveals, he has tried to extend that team-building possibility across the chasm of suspicion separating his Black neighborhood from the police.
Beyond teamwork, the mechanics of the sport proved important to Cooper and his teammates. “I grew up with a lot of trauma,” he told me. “Gunshots in our sleep, being chased home right after school, gangs everywhere.” Like many neighborhood boys, he grew up playing basketball. “But it’s a trash-talking sport. ‘You suck,’ ‘you are garbage’—it triggers a lot of trauma.” He played football, “and the coach is always saying, ‘Knock ‘em dead.’” When he got in a boat, he discovered, “it was non-combative, a non-conflict sport. It took me out of the neighborhood for a while. I could focus on the person sitting in front of me, and the person behind me, on developing that magical rhythm, together.” The swing and timing and unison of a boat, Cooper said, “really calmed the storm—rather than other sports, where the storm came out of me.”
Where will this all lead? Mary Mazzio said that she hoped philanthropy spurred by the film (“so many of today’s captains of industry have at some point picked up an oar”) could help make the sport more accessible. “The limiting factor is infrastructure—getting to the water, and to oars, boats, ergs.” “Ergs,” or ergometers, are the land-based rowing machines, of which the best known is the Concept 2. As Arshay Cooper put it, “You can walk to a basketball court, but you can’t just walk to a rowing site.”
“So many kids play basketball or football as a way out,” Mazzio said. Those rich, top-end opportunities for a handful of star athletes will never be matched by crew. But for admirable reasons and shadier ones, rowing has, especially for women, become an edge in college scholarships and admissions.
“This beautiful film shines light on the kinds of education experiences that launch kids into lives of purpose,” Ted Dintersmith, a former venture capitalist who has written extensively about education, told me. “The rowing program gets kids excited about school, while the entrepreneurship program equips them with essential career skills.”
“Maybe this year there are 500 Black rowers at the high-school level,” Arshay Cooper told me. “I’m hoping that in five years, it’s 5,000, or more.” He says that he has been making the rounds of high schools and colleges discussing why this collaborative, disciplined, “meditative” form of competition is especially valuable for people surrounded by trauma. “The biggest lesson I learned is, I can’t do the work of eight people,” he said. “But I need eight people to do the work.”
You’ll see the experience that view comes from, if you watch the film.
The question isn’t whether it can end well, but how exactly it will end badly.
Of all the flaws in the perplexing “audit” of the 2020 election in Maricopa County, Arizona, the hypocrisy shines through most clearly.
As Donald Trump and his allies grasped at straws to cast doubt on the results of last year’s presidential race, they settled on a few common complaints. They said that the election process was tainted by procedures that had been hastily changed in the lead-up to voting, that it was run by partisan hacks, that outside observers were provided insufficient access to oversee the process, and that the election was corrupted by private money given by philanthropists to boards of elections to help them adapt to the pandemic.
Now, more than six months after the election, the circus in Arizona, ordered by the state Senate, has become the last stand of the denialists. The review has attracted the close attention of Trump himself, who has fired off repeated, blustery statements about the count from his Mar-a-Lago exile. But Arizona is committing all the same sins that Trump’s supporters have been denouncing, using a brazenly partisan process run by apparently unqualified parties, with procedures kept secret and subject to change. Observers are being asked to sign nondisclosure agreements, reporters have been kicked out of the site, and the exercise is being largely funded by interested outside parties—even though the Arizona legislature recently passed a law that prevents local boards from accepting outside funding.
How conservative politicians and pundits became fixated on an academic approach
On January 12, Keith Ammon, a Republican member of the New Hampshire House of Representatives, introduced a bill that would bar schools as well as organizations that have entered into a contract or subcontract with the state from endorsing “divisive concepts.” Specifically, the measure would forbid “race or sex scapegoating,” questioning the value of meritocracy, and suggesting that New Hampshire—or the United States—is “fundamentally racist.”
Ammon’s bill is one of a dozen that Republicans have recently introduced in state legislatures and the United States Congress that contain similar prohibitions. In Arkansas, lawmakers have approved a measure that would ban state contractors from offering training that promotes “division between, resentment of, or social justice for” groups based on race, gender, or political affiliation. The Idaho legislature just passed a bill that would bar institutions of public education from compelling “students to personally affirm, adopt, or adhere” to specific beliefs about race, sex, or religion. The Louisiana legislature is weighing a nearly identical measure.
Plenty of moms feel something less than unmitigated joy around their grown-up kids. Make sure yours feels that she’s getting as much out of her relationship with you as she gives.
“How to Build a Life” is a weekly column by Arthur Brooks, tackling questions of meaning and happiness.
Arthur C. Brooks will discuss the science of happiness live at 11 a.m. ET on May 20. Register for In Pursuit of Happiness here.
“You are … irritating and unbearable, and I consider it most difficult to live with you.” So wrote Johanna Schopenhauer in a 1807 letter to her 19-year-old son Arthur. “No one can tolerate being reproved by you, who also still show so many weaknesses yourself, least of all in your adverse manner, which in oracular tones, proclaims this is so and so, without ever supposing an objection. If you were less like you, you would only be ridiculous, but thus as you are, you are highly annoying.”
I surprised myself by enjoying this sad movie about old people working seasonal jobs.
Nomadland dares you to watch it. Even pressing the Play button on Hulu is a test of strength; do you have the stones to watch this plotless, dreary semi-documentary about elderly people forced to live in vans—and, yes, perform unspeakable bodily functions within them—and search for seasonal work? Or are you going to be a little baby and watch The Bourne Identity for the kabillionth time?
The much-reviled four-quadrant theory of moviemaking holds that a blockbuster appeals to all four sectors of the audience: young men, young women, somewhat older men, and somewhat older women. Nomadland is a movie that appeals to the four quadrants of the show-business apocalypse: menopausal women, people with life-threatening illnesses, people interested in poverty, and anyone with time on her hands who can’t find the remote.
No one knows where the discarded piece of hardware might land, but there's no reason to panic.
There are many unknowns in the field of space exploration. What came before the Big Bang? What is dark matter? Will we ever make contact with another civilization, or are we destined to remain alone, floating along on this tiny, insignificant speck in the universe?
The latest unknown to captivate the space community is something a little less grand: Where is that giant rocket going to land when it falls out of the sky?
The rocket in question belongs to China, and it is currently hurtling through the atmosphere, circling the planet about every 90 minutes, toward what is known as an “uncontrolled reentry” sometime this weekend. The expendable hardware was once part of a larger vehicle, the Long March 5B, which launched last month with the first piece of China’s new space station. Once the payload successfully reached space, the rocket, emptied of fuel, slipped away and became space junk.
Progressive communities have been home to some of the fiercest battles over COVID-19 policies, and some liberal policy makers have left scientific evidence behind.
Lurking among the jubilant Americans venturing back out to bars and planning their summer-wedding travel is a different group: liberals who aren’t quite ready to let go of pandemic restrictions. For this subset, diligence against COVID-19 remains an expression of political identity—even when that means overestimating the disease’s risks or setting limits far more strict than what public-health guidelines permit. In surveys, Democrats express more worry about the pandemic than Republicans do. People who describe themselves as “very liberal” are distinctly anxious. This spring, after the vaccine rollout had started, a third of very liberal people were “very concerned” about becoming seriously ill from COVID-19, compared with a quarter of both liberals and moderates, according to a study conducted by the University of North Carolina political scientist Marc Hetherington. And 43 percent of very liberal respondents believed that getting the coronavirus would have a “very bad” effect on their life, compared with a third of liberals and moderates.
The representative from Wyoming is taking a stand against an authoritarian streak in the Republican Party that she helped cultivate.
Liz Cheney, the representative of Wyoming, the daughter of a former vice president, and a lifelong conservative Republican, is facing a purge.
Cheney’s transgression? She has continued to insist, truthfully, that former President Donald Trump’s claims about the 2020 election are false, after having voted to impeach him in March for inciting a mob that stormed the Capitol in an attempt to overturn the result.
Yesterday, Steve Scalise, the No. 2 Republican in the House, publicly advocated for removing Cheney from her leadership post as the third-ranking House Republican, and replacing her with Elise Stefanik, who has obsequiously amplified Trump’s lies about voter fraud. “This is about whether the Republican Party is going to perpetuate lies about the 2020 election and attempt to whitewash what happened on January 6,” Cheney’s spokesperson, Jeremy Adler, told TheNew York Times. “Liz will not do that. That is the issue.”
In rural Ohio, a performer bookends a year of struggle and survival.
This article was published online on May 7, 2021.
Strict guidelines had been announced before the show: There could be no kisses on his cheek, no holding of his hand, no accepting of his garish, sweat-drenched scarves. In short: There could be no physical contact with Elvis. But the King was caught up in the moment, playing by his own rules. He had been waiting a year for this. And so had Sue Paszke, although for her it had felt much longer.
The last time Paszke and her fellow “Blue Hawaii Ladies” had caught a live glimpse of Dwight Icenhower—one of the world’s foremost Elvis “tribute artists”—was on March 7, 2020. It had happened here, inside Stuart’s Opera House, an elegant concert hall tucked into the hollows of Appalachia, in Nelsonville, Ohio. For 20 years, the ladies—uniformly clad in sky-blue aloha shirts—had been Icenhower’s groupies, following him to shows all around the country. Paszke, a 78-year-old retired lunch lady from Columbus, had struck up a ritual with Icenhower: Every time she saw him perform, he autographed her favorite scarf. When Icenhower came to Stuart’s Opera House last March, he signed the scarf for the 99th time. Once more, Paszke joked, and she could die a happy woman.
An XKCD comic—and its many remixes—perfectly captures the absurdity of academic research.
A real scientific advance, like a successful date, needs both preparation and serendipity. As a tired, single medical student, I used to feel lucky when I managed two good dates in a row. But career scientists must continually create this kind of magic. Universities judge their research faculty not so much by the quality of their discoveries as by the number of papers they’ve placed in scholarly journals, and how prestigious those journals happen to be. Scientists joke (and complain) that this relentless pressure to pad their résumés often leads to flawed or unoriginal publications. So when Randall Munroe, the creator of the long-running webcomic XKCD, laid out this problem in a perfect cartoon last week, it captured the attention of scientists—and inspired many to create versions specific to their own disciplines. Together, these became a global, interdisciplinary conversation about the nature of modern research practices.
Most of the teachers and parents I talk with just want school to be school.
Editor’s Note: Every Tuesday, Abby Freireich and Brian Platzer take questions from readers about their kids’ education. Have one? Email them at email@example.com.
Dear Abby and Brian,
I write as a concerned parent of a fifth grader at a private school that appears to prioritize “social justice” over academic excellence. The school has brought in a consultant and now the kids are reading all this new woke literature, and at the expense of the classics we all grew up on, like To Kill a Mockingbird and The Adventures of Huckleberry Finn. Most of the teachers and parents I talk with just want school to be school—not some kind of Maoist social reeducation. Who is this all for?
I’m a left-wing New York City Democrat. I believe strongly in equal rights for all people. And I think we’ve still got a ways to go when it comes to equality. But I don’t want school to make my son feel bad just because he’s white. It’s not like he owned slaves. His great-great-great-grandparents were starving in Ireland during the time of slavery.