come into my parlor: rendition , ugly betty ...

6
This article was downloaded by: [University of Massachusetts, Amherst] On: 05 October 2014, At: 20:19 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Multicultural Perspectives Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/hmcp20 Come Into My Parlor: Rendition, Ugly Betty, and Rude Awakening from the American Dream Bernard Beck a a Northwestern University , Published online: 21 Jul 2008. To cite this article: Bernard Beck (2008) Come Into My Parlor: Rendition, Ugly Betty, and Rude Awakening from the American Dream, Multicultural Perspectives, 10:3, 150-154, DOI: 10.1080/15210960802197706 To link to this article: http://dx.doi.org/10.1080/15210960802197706 PLEASE SCROLL DOWN FOR ARTICLE Taylor & Francis makes every effort to ensure the accuracy of all the information (the “Content”) contained in the publications on our platform. However, Taylor & Francis, our agents, and our licensors make no representations or warranties whatsoever as to the accuracy, completeness, or suitability for any purpose of the Content. Any opinions and views expressed in this publication are the opinions and views of the authors, and are not the views of or endorsed by Taylor & Francis. The accuracy of the Content should not be relied upon and should be independently verified with primary sources of information. Taylor and Francis shall not be liable for any losses, actions, claims, proceedings, demands, costs, expenses, damages, and other liabilities whatsoever or howsoever caused arising directly or indirectly in connection with, in relation to or arising out of the use of the Content. This article may be used for research, teaching, and private study purposes. Any substantial or systematic reproduction, redistribution, reselling, loan, sub-licensing, systematic supply, or distribution in any form to anyone is expressly forbidden. Terms & Conditions of access and use can be found at http:// www.tandfonline.com/page/terms-and-conditions

Upload: bernard

Post on 16-Feb-2017

236 views

Category:

Documents


0 download

TRANSCRIPT

Page 1: Come Into My Parlor:               Rendition               ,               Ugly Betty               , and Rude Awakening from the American Dream

This article was downloaded by: [University of Massachusetts, Amherst]On: 05 October 2014, At: 20:19Publisher: RoutledgeInforma Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House,37-41 Mortimer Street, London W1T 3JH, UK

Multicultural PerspectivesPublication details, including instructions for authors and subscription information:http://www.tandfonline.com/loi/hmcp20

Come Into My Parlor: Rendition, Ugly Betty, and RudeAwakening from the American DreamBernard Beck aa Northwestern University ,Published online: 21 Jul 2008.

To cite this article: Bernard Beck (2008) Come Into My Parlor: Rendition, Ugly Betty, and Rude Awakening from the AmericanDream, Multicultural Perspectives, 10:3, 150-154, DOI: 10.1080/15210960802197706

To link to this article: http://dx.doi.org/10.1080/15210960802197706

PLEASE SCROLL DOWN FOR ARTICLE

Taylor & Francis makes every effort to ensure the accuracy of all the information (the “Content”) containedin the publications on our platform. However, Taylor & Francis, our agents, and our licensors make norepresentations or warranties whatsoever as to the accuracy, completeness, or suitability for any purpose of theContent. Any opinions and views expressed in this publication are the opinions and views of the authors, andare not the views of or endorsed by Taylor & Francis. The accuracy of the Content should not be relied upon andshould be independently verified with primary sources of information. Taylor and Francis shall not be liable forany losses, actions, claims, proceedings, demands, costs, expenses, damages, and other liabilities whatsoeveror howsoever caused arising directly or indirectly in connection with, in relation to or arising out of the use ofthe Content.

This article may be used for research, teaching, and private study purposes. Any substantial or systematicreproduction, redistribution, reselling, loan, sub-licensing, systematic supply, or distribution in anyform to anyone is expressly forbidden. Terms & Conditions of access and use can be found at http://www.tandfonline.com/page/terms-and-conditions

Page 2: Come Into My Parlor:               Rendition               ,               Ugly Betty               , and Rude Awakening from the American Dream

Multicultural Perspectives, 10(3), 150–154Copyright C© 2008 by the National Association for Multicultural EducationISSN: 1521-0960 print / 1532-7892DOI: 10.1080/15210960802197706

PART II

Come Into My Parlor: Rendition, Ugly Betty, and Rude Awakeningfrom the American Dream

Bernard BeckNorthwestern University

Although the national ideology emphasizes thatthe American Dream is available to immigrants,recent events have made public opinion hostile totwo groups, Mexicans and Arabs. Popular culturehas played a historic role in presenting sympatheticportrayals of immigrants and their assimilation toAmerican culture. Current depictions of Mexicanimmigrants continue this tradition, as shown by thetelevision show, Ugly Betty. Arabs and Muslims, incontrast, have had a largely negative presentation inpopular culture. A few recent movies and televisionshows have been more sympathetic, especially themovie, Rendition.

Consider Yourself At Home

America’s advertisement for itself is that this is a landof opportunity, where obscure, hard-working, daring, andvisionary individuals can create good lives for themselvesand, by extension, liberate the entire downtrodden groupsfrom whom they spring. The image is sharper and morevivid when the striver arrives from the oppressive worldoutside our borders. In other words, the immigrant is thesuper-achiever whose first success in America is gettinghere.

The story of an immigrant group is therefore theproduct of the efforts of self-made people. In recognition

Correspondence should be sent to Bernard Beck, Department ofSociology, Northwestern University, 1810 Chicago Avenue, Evanston,IL 60208. E-mail: [email protected]

of such heroic striving, America, however grudgingly atfirst, welcomes the new heroes as members of its uniquecommunity. Apart from any details of folk culture thatmay be lost or preserved, the fundamental assimilationof the immigrant is the transformation from a brutalizedvictim to a proud, happy, free citizen. Only in America.

There are some confounding exceptions to this modelof arrival and flourishing. There are the native groupswho were here before the legendary process of arrivalin the new land began. There are also the survivors ofthat other process of immigration, involving enslavementand degradation rather than liberation and aspiration.But those stories are an embarrassment to our self-commending campaign nowadays. The America wecan take pride in is the one that offered “world-widewelcome” to the “wretched refuse” of those “teemingshores” (Lazarus, 1883, lines 7, 12).

Immigration has always been more diverse than thepicture of steamships sailing past the Statue of Libertyimplied. In recent years, we have become more aware ofthe stream of arrivals from continents other than Europeand across land borders rather than oceans. Nor havewe always been as hospitable as that picture suggests.Nevertheless, we continue to think that whoever arrivesand prospers will establish their legitimate membershipin American society. Success is uniquely possible anduniquely respected here; that is what we tell ourselvesand the world.

Alas, it does not always work that way. American-ization, cultural modernization, and economic prosperitymay not guarantee eternal acceptance. At this time, our

The Official Journal of the National Association for Multicultural Education

150

Dow

nloa

ded

by [

Uni

vers

ity o

f M

assa

chus

etts

, Am

hers

t] a

t 20:

19 0

5 O

ctob

er 2

014

Page 3: Come Into My Parlor:               Rendition               ,               Ugly Betty               , and Rude Awakening from the American Dream

popular culture is alerting us to the ironic twists thatappear suddenly in the feel-good story it usually offers.There are two American ethnic groups that stand out asexamples of the unreliability of our hospitality: Hispanicsand Arabs.

I See a Dark Stranger

Two identities could hardly receive more differenttreatment in American popular culture than Hispanics andArabs, yet they display some notable similarities. To beginwith the most important trait, they are both ambiguous,intermediate racial types, neither Black nor White, butresidually “Brown,” a label that conflates a wide varietyof very different peoples. The ambiguity, of course,is a product of the obsessive binary preoccupation ofAmerican culture with the fundamental racial distinctionthat is our enduring legacy from slavery.

. . . we continue to think thatwhoever arrives and prospers willestablish their legitimatemembership in American society.Success is uniquely possible anduniquely respected here; that iswhat we tell ourselves and theworld.

In addition, both identities are actually heterogeneousgrab-bags of distinctive separate identities, producingissues of proper labeling. Hispanics or Latinos/Latinasoriginate in Mexico or the Caribbean or South Americaor the Philippines. Some even come from Spain, andsome do not come from anywhere outside, having beenhere (in the “United States”) since the annexations ofnorthwestern Mexico and Puerto Rico. Arabs can beMuslims or Christians or Druze or even Jewish, andMuslims can be from Arab nations or Iran or SouthAsia or Turkey or Central Asia or Indonesia or Africaor even China, Europe, or the United States. Americansare annoyed by this variability, which is confusing andirrelevant to them. Latin America and Southwest Asia aredesignations as precise as we care to use for purposes ofstereotyping and discrimination.

The most problematic of the resemblances betweenthese categories is the suspicion and resentment directedtoward them by “Americans” in good standing. Thereis a basis for this disapproval in the fairly long periodof condemnation on political and cultural grounds.We have thought that these are people who come

from Third World countries dominated by repressive,backward, violent, male supremacist regimes whereoutrageous social inequality is entrenched with the aid ofbrutal authoritarian police forces and punitive religiousestablishments. They exemplify the kind of resistance andill-will that impedes the American mission of saving theworld through enlightenment, prosperity, and technicalmastery of the material challenges of life. Finally, theywant to come here and spoil our good times. Their maliceis all the more reprehensible because it takes advantageof our openness, optimism, and ingenuous hospitality.We have suddenly realized that they are to be considereda threat, in spite of our generosity, or rather because of it.

The arrival of strangers in any society may causeunease, especially if their unfamiliarity with local waysleads them to do the wrong thing constantly and withoutwarning. Even when they try to do the right thing, theymay do it badly, fouling up the smooth routines we useto reassure ourselves that the world is all right. Then theyinsist on being with one another, using their own familiarroutines that we neither understand nor enjoy. They insiston doing the two things we cannot abide, either trying toinsert themselves into our private culture or refusing toparticipate in it, and most objectionably doing both.

However, the difficulties are not merely procedural.Sometimes there are real threats, animosities, compe-titions, grievances, and outrages. Even xenophobes canhave real grief at the hands of foreigners. At this time,Americans are aroused and exasperated by a combinationof misfortunes and victimizations. “9–11” and unau-thorized immigrants are on their minds, and they knowthese offenses are not imagined. The anger occasionedby difficulties of other sorts, like nightmarish weatherdisasters, global economic competition, crowded cities,congested roads, and frustrating delays in daily tasks addto the outrage we feel about the annoyances produced bynew strangers in our midst. So we are well prepared to findevery Muslim a terrorist and every Mexican a usurper.

Getting To Know You

On the other hand, America has been in the business ofincluding large new populations for all of its admittedlyshort but still very eventful history. Over the period,we have also built a popular culture that exposes usto strangers and their ways and that invites us to feelkindly toward them. Not only do we have such a culture,but we also delight in it. The stories of immigrants andtheir dramatic adventures in Americanization are familiarand amusing for us; the inevitable assimilation to theAmerican host society is felt to be a happy ending. Muchhas been made of the nativist, xenophobic, reclusiveAmerican character by students of American history andculture. It is one of their favorite explanations for the

Multicultural Perspectives Vol. 10, No. 3

151

Dow

nloa

ded

by [

Uni

vers

ity o

f M

assa

chus

etts

, Am

hers

t] a

t 20:

19 0

5 O

ctob

er 2

014

Page 4: Come Into My Parlor:               Rendition               ,               Ugly Betty               , and Rude Awakening from the American Dream

gloomier periods in our national life. But that stubbornunwillingness to play nice with new neighbors hasnot prevented us from developing a rich, exciting, andcrowd-pleasing spectacle around the theme of welcomingoutsiders. It is fair to say that that is one of the mostsuccessful and durable stock story lines in our popularliterature, drama, song, and picture.

Even while the issues of controlling immigration,sealing the borders, and dealing with a huge crowd oflong-time residents who were not supposed to be hereare agitating us and disrupting our politics, the popularstories about the arrivals from “South of the Border”have followed a well-established pattern. The interactionof the European settlers of the United States with theSpanish settlements in the New World is an old storyand a complicated one. But the recent history of thatrelationship has produced a sizeable body of popularculture.

Each original area of Latin immigration has its ownsection of this cultural library. Cubans in Americaappear in I Love Lucy (Arnaz, 1951), The Mambo Kings(Glimcher & Milchan, 1992), and most recently, Cane(Cidre & Noah, 2007). They are portrayed as upwardlymobile entrepreneurs. The very different story of PuertoRicans (who, as American citizens, are internal migrantsrather than immigrants) is referenced most famously inWest Side Story (Wise & Robbins, 1951) and in TheCross and the Switchblade (Ross & Murray, 1970) andCarlito’s Way (Baer, Bregman, Bregman, & De Palma,1993). These Latins are pictured unfailingly as urbanstreet gang members. The third great Hispanic immigrantgroup is Mexicans, with many more stories starting muchearlier in history. In recent times, the theme of migrationto the United States in search of economic survivalhas dominated their appearances in popular culture. Inaddition to a number of movie biographies of musiciansrising to fame, quite a few movies about less glamorouspeople have appeared. We can note, in particular, ElNorte (Blac, Navarro, Thomas, & Nava, 1983), Breadand Roses (O’Brien & Loach, 2000), and Babel (Golin,Gonzalez Inarritu, & Kilik, 2006). At the remarkable endof the line comes Ugly Betty (Gaitan et al., 2006), animpressively successful and popular television series.

Brown Skin Girl

The attitude of all of these Mexican-migrant-centeredworks is sympathetic and encouraging. They have endingsthat vindicate the Mexican characters and approve theirinclusion into American society. Ugly Betty (Gaitan et al.,2006) is particularly noteworthy. At last we have arrivedat the definitive signal of acceptance, as an obscure,smart, cheerful, and ambitious young woman venturesfrom the confines of her modest home in the Borough of

Queens, today’s cultural model of provincialism, into theexciting, frightening, and opportunity-filled larger worldof cosmopolitan, big money, glamorous business in thewonderful Oz-like city. She is hopeful, then stymied; thebig world is full of perils and politics, dismissive of herrude bumpkin status. But the last laugh is hers (and ours)because her innate goodness makes her the most effectiveoperator in the upper world where fancy people are tooclever for their own good. Sit down and rest a while, UglyBetty, you’re home.

All this hospitable outreachoccurs at the very moment whenAmerica is working itself up intooutrage at the impertinence of theMexican strangers among us.

The triumph is doubly delicious. This new hitAmerican show is actually the third incarnation of aColombian and then a Mexican telenovela, an extendedminiseries with soap opera appeal that is new to the Anglomedia but a well-established form throughout LatinAmerica. Betty’s simple Hispanic virtue is victorious inthe story line, just as the Hispanic cultural creation is asmash hit in the American media. This accomplishmentplaces her in a culture-hero Hall of Fame alongsidesuch other recent young women on the rise as MaryRichards of The Mary Tyler Moore Show (Brooks &Burns, 1970); Working Girl (Wick & Nichols, 1988), theethnic descendant from Staten Island, that other outerborough home to New York City’s simple hicks; theyoung journalism student from The Devil Wears Prada(Bernardline, Finerman, & Frankel, 2006), a fashion-backward midwestern college girl from the wrong sideof the Hudson River; and her near cousin, The Nanny(Drescher & Jacobson, 1993), her Queens working-classcompatriot from that earlier ethnic success, the AmericanJewish community.

This spunky girl is the contemporary version of thatarchetypical figure of modern European literature, theyoung man from the provinces who climbs the socialladder, ambitious and relentless. She confirms andrefreshes that favorite American good-night story, theAmerican Dream. All this hospitable outreach occursat the very moment when America is working itself upinto outrage at the impertinence of the Mexican strangersamong us. They embody some of the same old fears ofimmigrants that the country has always lived with: theyflout our laws and customs; they spurn our languageand culture; they only come to fatten themselves at ourexpense by taking jobs, welfare, and social servicesmeant for proper citizens; they transform our homeland

The Official Journal of the National Association for Multicultural Education

152

Dow

nloa

ded

by [

Uni

vers

ity o

f M

assa

chus

etts

, Am

hers

t] a

t 20:

19 0

5 O

ctob

er 2

014

Page 5: Come Into My Parlor:               Rendition               ,               Ugly Betty               , and Rude Awakening from the American Dream

into an alien landscape full of sights, sounds, and smellswe do not know and do not like. Whose country is it,anyway?

Son of the Sheik

The children of the Arab world, along with thoseother Muslims, South Asians and Central Asians, havenot had such a festive cultural welcome. Although theyhave been arriving in America in the same historicalwaves of immigration that gave us such diverse Europeanroots, they have not drawn much attention in our popularculture. For more than a century, people from the EasternMediterranean have followed the American Dream withas much dedication as other immigrants. We have paidsome attention to our Greek community, but almostnone to their Levantine neighbors. But they have notwanted for attention in recent years. While they werenot advertised as part of the multicultural crazy quilt ofAmerican multiculturalism, they have received top billingas exemplars of a venerable and provocative cultural type,the foreign villain. International politics in the last fewcenturies has been characterized by novel forms of action,born of struggles for national liberation and resentmentat colonial oppression. The interruption of pleasantroutines of daily life in the most advanced societies hasmade their citizens skittish and confused. Who can tellwhen they might be attacked? Who can understand whyanyone would want to do such a thing? Are there nolimits to the suffering they are willing to inflict on theinnocent?

The reactions to threats from outside have always beenthe bane of enclaves of outsiders living among us. Butthe popular culture that has sometimes offered calmingantidotes to xenophobia has not arisen for these groupsfrom the “Cradle of Civilization.” Their place in popularculture has been to arouse suspicion and hostility, not tobe relieved of it.

Movies and television shows with Arab or Muslimcharacters as stock villains are numerous. Examples overthe years include Black Sunday (Evans & Frankenheimer,1977), The Siege (Obst & Zwick, 1998), 24 (Cochran &Surnow, 2001), and United 93 (Bevan, Fellner, Levin,& Greengrass, 2006). They vary a bit in seriousness,complexity, and pugnacity, but they all have the samestory about how and why these screen troublemakerscame to America. However, there are recent signs thatmovie and television screens are beginning to take adifferent point of view, one that focuses on the commonhuman characteristics rather than the frightening aliencharacteristics. They are still rare, though.

The Siege (Obst & Zwick, 1998) offered a sympatheticArab among the good guys who fight the Arab terrorists.In 2001, an episode of The West Wing (Attie, Sorkin,

Misiano, & Schlamme, 2001) was suddenly inserted intothe ongoing story line as a reaction to the 9–11 tragedy.The usual crowd of Presidential staffers worried abouta possible hidden terrorist and became suspicious of aMuslim of Asian origin working in the White House.This suspect was finally vindicated and shown to bean innocent, upright, loyal American. He is given theopportunity to scold the terrorist hunters about theirbigoted response to his ethnicity. In Babel (Golin,Gonzalez Inarritu, & Kilik, 2006), a sympathetic pictureof Central Asians accompanies one of illegal Mexicanimmigrants, although the Asians are over there ratherthan here.

In spite of fearful and angrysentiments that are abroad in theland about Mexicans and Arabs,popular culture seems to berecalling its historical role asadvocate for immigrants.

Rendition (Golin, Kanter, Redmon, Sugar, Todman,Viscidi, & Hood, 2007) is a movie that places its Arabcentral figure in a situation belonging to another muchmore heroic genre. A thoroughly upright Americanprofessional man, this time an immigrant from Egypt,becomes involved by mistake in a frightening and deadlysecret conflict. Here is a mixture of Middle Easternterrorism and individual misfortune in which the Arabis the harmless good guy. He takes his place along withthe hapless heroes that Alfred Hitchcock favored, asin The Wrong Man (Hitchcock, 1956) and North ByNorthwest (Hitchcock, 1959), played by Henry Fondaand Cary Grant, respectively. You cannot be more heroicor sympathetic than that.

Perhaps changing political attitudes have made roomfor fictionalized accounts of a villainous Americanadministration. The government characters are certainlyshown in a bad light. Along the way, however, anArab immigrant is shown in a positive way that otherimmigrants have been shown in pop culture in the past.The Egyptian-American engineer, intermarried with ablonde European-American wife, is a cousin to UglyBetty. In spite of the fearful and angry sentiments that areabroad in the land about Mexicans and Arabs, popularculture seems to be recalling its historic role as advocatefor immigrants. For a while, it looked as though securelyassimilated immigrants to America were going to bedislodged from the place they had earned in this society.The wisdom of immigrant groups has often suggestedthat outsiders are welcome only until things take a turn

Multicultural Perspectives Vol. 10, No. 3

153

Dow

nloa

ded

by [

Uni

vers

ity o

f M

assa

chus

etts

, Am

hers

t] a

t 20:

19 0

5 O

ctob

er 2

014

Page 6: Come Into My Parlor:               Rendition               ,               Ugly Betty               , and Rude Awakening from the American Dream

for the worse. Popular culture has stood as a protectionagainst that kind of scapegoating, just as it has alsobeen its ferocious provoker. American popular arts,against expectation, can be channels for multiculturaladvocacy.

References

Arnaz, D. (Executive Producer). (1951). I love Lucy [Television series].New York: CBS.

Attie, E., & Sorkin, A. (Writers), & Misiano, C., & Schlamme, T.(Directors). (2001). Isaac and Ishmael [Television series episode].In A. Sorkin (Creator). The West Wing. New York: NBC. (Availablefrom Warner Home Video.)

Baer, W., Bregman, M., & Bregman, M. S. (Producers), & De Palma, B.(Director). (1993). Carlito’s way [Motion picture]. United States:Universal Pictures.

Bernardline, J., & Finerman, W. (Producers), & Frankel, D. (Director).(2006). The Devil wears Prada [Motion picture]. United States:Twentieth Century-Fox.

Bevan, T., Fellner, E., Levin, L., & Greengrass, P. (Producers), &Greengrass, P. (Director). (2006). United 93 [Motion picture].United States: Universal.

Blac, T., Navarro, B., & Thomas A. (Producers), & Nava, G.(Director). (1983). El norte [Motion picture]. United States: IslandAlive.

Brooks, J. L., & Burns, A. (Creators). (1970). Mary Tyler Moore[Television series]. Los Angeles: CBS Television.

Cidre, C., & Noah, P. (Writers). (2007). Cane [Television series]. NewYork: CBS Television.

Cochran, R., & Surnow, J. (Creators). (2001). 24 [Television series].Los Angeles: 20th Century Fox Television.

Drescher, F., & Jacobson, P. M. (Creators). (1993). The nanny[Television series]. New York: CBS Television.

Evans, R. (Producer), & Frankenheimer, J. (Director). (1977). BlackSunday [Motion picture]. United States: Paramount.

Gaitan, F., Horta, S., Hayek, S., Hayman, J., Parriott, J. D., Pennette,M., Silverman, B., & Tamez, J. (Executive Producers). (2006).Ugly Betty [Television series]. Burbank, CA: ABC.

Glimcher, A., & Milchan, A. (Producers), & Glimcher, A. (Director).(1992). The mambo kings [Motion picture]. France/United States:Warner Bros.

Golin, S., Gonzalez Inarritu, A., & Kilik, J. (Producers), &Gonzalez Inarritu, A. (Director). (2006). Babel [Motion pic-ture]. France/United States/Mexico: Paramount Vantage.

Golin, S., Kanter, D., Redmon, K., Sugar, M., Todman, B, Jr., & Viscidi,M. (Producers), & Hood, G. (Director). (2007). Rendition [Motionpicture]. United States/South Africa: New Line Cinema.

Hitchcock, A. (Producer & Director). (1959). North by northwestUnited States: MGM.

Hitchcock, A. (Producer & Director). (1956). The wrong man [Motionpicture]. United States: Warner Bros.

Lazarus, E. (1883). “The New Colossus.” In Hollander, J. (Ed.). (2005).Emma Lazarus/selected poems. American Poets Project, 16. NewYork: Library of America.

O’Brien, R. (Producer), & Loach, K. (Director).(2000). Bread and roses [Motion picture]. UnitedKingdom/France/Germany/Spain/Italy/Switzerland: Lions Gate.

Obst, L., & Zwick, E. (Producers), & Zwick, E. (Director). (1998). Thesiege [Motion picture]. United States: Twentieth Century-Fox.

Ross, D. (Producer), & Murray, D. (Director). (1970). The cross andthe switchblade [Motion picture]. United States: Gateway Films.

Wick, D. (Producer), & Nichols, M. (Director). (1988). Working girl[Motion picture]. United States: Twentieth Century-Fox.

Wise, R. (Producer), & Robbins, J., & Wise, R. (Directors).(1951). West side story [Motion picture]. United States: UnitedArtists.

The Official Journal of the National Association for Multicultural Education

154

Dow

nloa

ded

by [

Uni

vers

ity o

f M

assa

chus

etts

, Am

hers

t] a

t 20:

19 0

5 O

ctob

er 2

014