WEBVTT - Acting Out

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<v Speaker 1>Pushkin Hey Revisions History listeners, Malcolm here. Before we get started,

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<v Speaker 1>I wanted to update you on a few things. First thing,

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<v Speaker 1>this August twenty fourth, the Revisionist History season begins in earnest,

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<v Speaker 1>eight old school episodes in a row, the little narrative

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<v Speaker 1>jewel boxes you've come to love. We've been feeding you

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<v Speaker 1>a little bits and pieces so far this season, but

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<v Speaker 1>this is the main event. The heart of it is

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<v Speaker 1>a six part series on guns and violence that I

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<v Speaker 1>think is my favorite thing we've ever done. Weird, moving, funny, heartbreaking.

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<v Speaker 1>So mark your calendar's August twenty fourth is when it

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<v Speaker 1>all happens. And by the way, if you want to

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<v Speaker 1>get that whole mini series early and binge it all

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<v Speaker 1>Pushkin Plus subscriber. In fact, just six ninety nine a

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<v Speaker 1>one naice thing, speaking of things you should binge, the

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<v Speaker 1>latest season of our true crime masterpiece Lost Hills has dropped.

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<v Speaker 1>The new season explores a legacy of Malibu's dark prints.

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<v Speaker 1>Mickey Dora. Mickey was a surfer known for his style, grace,

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<v Speaker 1>and aggression who ruled the Malibu Beaches from the nineteen

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<v Speaker 1>fifties to the nineteen seventies. Celebrated for his rebellious spirit,

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<v Speaker 1>he was also a con man who led the FBI

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<v Speaker 1>on a seven year man hunt around the world. Believe me,

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<v Speaker 1>this is a show worth a listen, So sign up

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<v Speaker 1>for Pushkin Plus and you can binge this one too.

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<v Speaker 1>A couple weeks ago, one of my producers, Ben at

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<v Speaker 1>Afh Haffrey, came by the office because he had a

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<v Speaker 1>story to tell me. Ben, Welcome to Hudson, New York.

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<v Speaker 2>Thank you for having me in Hudson, New York.

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<v Speaker 1>Ben just took over writing and hosting a Pushkin show

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<v Speaker 1>I love called The Last Archive, a show about the

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<v Speaker 1>history of truth. Jill Lapour used to host it. Ben's

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<v Speaker 1>worked on it since the beginning. He's always digging around

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<v Speaker 1>in the stacks of some old library, and one day

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<v Speaker 1>last summer he was in the medical history archives at

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<v Speaker 1>Harvard where he found a story that blew his mind.

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<v Speaker 2>Okay, I want to play you some tape.

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<v Speaker 3>Okay, go ahead, Ella, welcome back to Dallas. I'm marvelous.

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<v Speaker 4>Oh, thank you, and it's a pleasure to be back

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<v Speaker 4>here again.

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<v Speaker 2>Do you recognize that voice?

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<v Speaker 1>I no, tell me.

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<v Speaker 2>That is the voice of Eliphantzterle and she's being interviewed

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<v Speaker 2>in the eighties and Dallas, and she's about to tell

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<v Speaker 2>this big story about how she got famous. It's a

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<v Speaker 2>story she tells all the time, like an amateur knight

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<v Speaker 2>at the Apollo Theater when she sings and everyone realizes

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<v Speaker 2>she's got an amazing voice. But I want to play

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<v Speaker 2>you this tape because I want to show you what

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<v Speaker 2>happened when she tells it in this particular instance.

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<v Speaker 3>Okay, Ella, as you look back on your life, here

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<v Speaker 3>was a child from an orphanage and now, no, no,

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<v Speaker 3>somebody wrote that up. Where did that get come?

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<v Speaker 4>I had well, that was a publicity thing long time ago.

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<v Speaker 4>But I have family, and I had family then. But

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<v Speaker 4>my mother had died, and I guess that's why they

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<v Speaker 4>used that. Mind that I was an awphoran, but I

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<v Speaker 4>had family.

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<v Speaker 3>At what age were you when your mother died?

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<v Speaker 4>I was fifteen, about fifteen, because from there we went

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<v Speaker 4>to the amateur contest.

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<v Speaker 2>I was about fifteen, because from there we went to

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<v Speaker 2>the amateur contest. It's not a lie, but she's skipping

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<v Speaker 2>two years of her life, about two years, and she

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<v Speaker 2>always skips these two years of her life when she

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<v Speaker 2>tells this story. And what I want to do today

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<v Speaker 2>is tell you a story about what happens in those

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<v Speaker 2>two years, because it's a story not just about Elip Fitzgerald,

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<v Speaker 2>but kind of crazily a story about the invention of

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<v Speaker 2>this whole realm of social science that she is kind

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<v Speaker 2>of bound up in that I think you'll be interested in,

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<v Speaker 2>not just because it's a very you kind of thing,

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<v Speaker 2>but also because it's a story that takes place half

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<v Speaker 2>a mile from where we're sitting right now.

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<v Speaker 1>Wow, welcome to Revisionist History, my podcast about things overlooked

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<v Speaker 1>and misunderstood. Today in the show, Ben tells me about

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<v Speaker 1>the forgotten origins of social network theory and the missing

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<v Speaker 1>chapter in Ella Fitzgerald's life. It's absolutely Banana's story. Just

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<v Speaker 1>so you know, I'd read a little bit of Ben's

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<v Speaker 1>research before we had this conversation, so I'm a little

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<v Speaker 1>ahead of you, but still just wait, do you see

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<v Speaker 1>how Ella Fitzgerald fits into this whole thing. Before we

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<v Speaker 1>get to her, we have to meet the experimenter, a

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<v Speaker 1>doctor from halfway around the world. Wait, so back up

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<v Speaker 1>for a second. So we begin with this man Jacob.

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<v Speaker 2>What's his middle name, Jacob Levy Marino.

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<v Speaker 1>Jacob Levy Marino. Who is He's Austrian.

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<v Speaker 2>He always claimed that he was born on a boat

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<v Speaker 2>in the Black Sea.

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<v Speaker 5>I was born on the boat the Black Sea, and

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<v Speaker 5>I'll be traveling from one part of the world to

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<v Speaker 5>the others and to find myself.

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<v Speaker 2>Actually, he was just born in eighteen eighty nine in

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<v Speaker 2>Bucharest to a fifteen and a half year old mother

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<v Speaker 2>who had married a traveling salesman father and lived in

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<v Speaker 2>Bucharest I think for the first five or six years

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<v Speaker 2>of his life before moving to Austria.

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<v Speaker 1>He's basically lower middle class Jewish immigrant living in Vienna,

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<v Speaker 1>and yet he ends up getting a pretty serious education.

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<v Speaker 2>Yeah, So he goes to school at the University of Vienna.

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<v Speaker 2>He's studying to be a physician. He becomes really interested

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<v Speaker 2>in psychiatry. He was noted on campus for walking around

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<v Speaker 2>in a long green cloak and letting his beard grow

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<v Speaker 2>in a way that no one else is letting in

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<v Speaker 2>their beard grow and he never wear a hat. So

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<v Speaker 2>he's just sort of striking larger than life figure on campus,

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<v Speaker 2>which is kind of like it's always been the thing

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<v Speaker 2>with him since he was a kid, like this. This story.

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<v Speaker 2>His mother always told this story that one day she

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<v Speaker 2>was holding him on the street and a woman was

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<v Speaker 2>walking by and pointed at him and said, one day

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<v Speaker 2>that boy will become a very great man. People will

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<v Speaker 2>come from all over the world to see him. And

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<v Speaker 2>so he had this kind of like self described megalomania

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<v Speaker 2>and literally would play god as a child, which is

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<v Speaker 2>a thing he continued to do for his whole life.

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<v Speaker 1>So he's part of the intellectual scene in Vienna. Yeah,

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<v Speaker 1>and then makes his way to the United States.

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<v Speaker 2>Yes, so he makes his way to the United States

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<v Speaker 2>after World War One, and you know, psychodrama at this

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<v Speaker 2>point is sort of his big idea.

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<v Speaker 1>Well, wait to find psychodrama is doing.

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<v Speaker 2>So it's like, you have a problem you want to

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<v Speaker 2>work through the common way of working through that problem

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<v Speaker 2>is to go to a psychoanalyst office and lie down

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<v Speaker 2>on the couch and just talk about your problem. He thought,

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<v Speaker 2>you have a problem, you bring it to the stage

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<v Speaker 2>and you act out whatever problem you're having, and you

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<v Speaker 2>have this kind of dynamic way of engaging with the

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<v Speaker 2>issues you were facing, and then that would help you

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<v Speaker 2>either have a catharsist and break through it or just

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<v Speaker 2>like reimagine your own role within the problems you were

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<v Speaker 2>having such that you no longer have them. So what

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<v Speaker 2>he's really interested in is creative spontaneity. He thinks of

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<v Speaker 2>children as a model. He did a lot of tutoring

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<v Speaker 2>when he was in medical school, and he basically felt

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<v Speaker 2>like the creative spontaneity kids have is a thing he

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<v Speaker 2>wanted to give to everybody, like you can when you're

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<v Speaker 2>like watch a group of kids playing, which he did

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<v Speaker 2>a lot when he was a tutor, they just kind

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<v Speaker 2>of like pick up roles immediately. And he'd see these

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<v Speaker 2>groups of kids, you know, like, how does everyone decide

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<v Speaker 2>all of a sudden they're playing cops and robbers or

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<v Speaker 2>just sort of lock into some sort of performance and

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<v Speaker 2>communicate it in an almost unspoken, instantaneous way. That sort

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<v Speaker 2>of self creative freedom was a thing that he thought

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<v Speaker 2>everybody should have. So his therapeutic theater stuff is really

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<v Speaker 2>an attempt to figure out how does that work. Where

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<v Speaker 2>does that spark come from? What are the dynamics between

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<v Speaker 2>these people? What's a systematic way to think about those

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<v Speaker 2>dynamics that promotes this kind of spontaneous interaction between them.

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<v Speaker 2>That preoccupation of his is where social network analysis comes from,

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<v Speaker 2>is basically like how can I study a group and

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<v Speaker 2>figure out how the ideas are moving within the group

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<v Speaker 2>and make it sort of rigorous in a way. He's

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<v Speaker 2>really preoccupied with this question what goes on with a

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<v Speaker 2>group of people because he's stuck between psychoanalysis, which is

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<v Speaker 2>all about the individual and the self, and a lot

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<v Speaker 2>of the social sciences in the nineteen twenties, which are

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<v Speaker 2>these kind of big static numbers like averages or like

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<v Speaker 2>the sort of information you get from a poll.

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<v Speaker 1>So his principal objection to psychoanalysis is the fact that

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<v Speaker 1>it's too focused on the individual on it self. Yeah,

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<v Speaker 1>it seemsus maybe it seems it seems like it would

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<v Speaker 1>seemed decadent to him to lie on a couch and

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<v Speaker 1>talk about yourself endlessly.

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<v Speaker 2>Well, yeah, he used to talk about this all the time.

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<v Speaker 6>That's did people who go on the couch for six

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<v Speaker 6>eight years, spending twenty thousand dollars and so for us,

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<v Speaker 6>and then they come to us, and what do we do?

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<v Speaker 5>We let him act out the problem as it is

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<v Speaker 5>on the Reality lib.

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<v Speaker 2>That tape is from where Cooper Union.

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<v Speaker 1>He's giving a talk.

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<v Speaker 2>Yeah, it's like nineteen sixty something, so it's later in life,

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<v Speaker 2>so he never really got over it.

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<v Speaker 1>Yeah, so let's talk a little about the how does

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<v Speaker 1>he what is this big experiment at how does he

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<v Speaker 1>come to conduct it?

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<v Speaker 2>So basically, he's he's in New York. He's got this

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<v Speaker 2>improv theater that like the critics all hate at Carnegie Hall.

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<v Speaker 2>And one day a Columbia graduate student in sociology named

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<v Speaker 2>Helen Hall Jennings come to the improv theater and somehow

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<v Speaker 2>they identify that they're both really interested in this question

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<v Speaker 2>of rigorously figuring out the way groups work. And Moreno,

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<v Speaker 2>as you can tell, is sort of like all over

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<v Speaker 2>the place and wasn't a super focused or rigorous person,

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<v Speaker 2>but had just a crazy number of ideas that were

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<v Speaker 2>really pretty insightful. And what Helen Hall Jennings had was

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<v Speaker 2>an extremely rigorous math background and also connections. And when

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<v Speaker 2>they sort of figured out that they had this thing

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<v Speaker 2>income and this interest they began working with each other,

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<v Speaker 2>and so they begin to work up a science for

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<v Speaker 2>mapping the way groups work. So they begin to go

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<v Speaker 2>to classrooms. It was like a Brooklyn public school. They

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<v Speaker 2>go to where they ask all the kids, like who

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<v Speaker 2>do you most want to sit next to? And then

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<v Speaker 2>they start creating diagrams of like how successfully integrated the classroom.

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<v Speaker 2>It's like, are people sitting next to the kids they

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<v Speaker 2>want to sit next to? They go to sing Sing prison,

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<v Speaker 2>but the thing is like they're kind of fiddling around

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<v Speaker 2>the edges, like these are small experiments and what they

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<v Speaker 2>need is a really big experiment. And they kind of

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<v Speaker 2>luck into meeting this woman named Fanny French Morse, who's

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<v Speaker 2>the superintendent of the New York State Training School for Girls,

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<v Speaker 2>which is women's reformatory located half a mile from here. Like,

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<v Speaker 2>go out the door, turn right, walk down the street,

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<v Speaker 2>and we'd be there.

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<v Speaker 1>I mean, I go running up to that place all

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<v Speaker 1>the time. It's a prison, now.

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<v Speaker 2>Yeah, I mean it's a place that really creeps me out.

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<v Speaker 2>But the history of reformatories and the juvenile justice system,

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<v Speaker 2>that's one of the big accomplishments of the progressive era

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<v Speaker 2>is this idea we should not be treating kids who

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<v Speaker 2>commit crimes the way we treat adults who commit crimes,

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<v Speaker 2>because on some level people thought kids can change more

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<v Speaker 2>than adults can. So rather than like locking them in

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<v Speaker 2>a prison in a city with a bunch of adult criminals,

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<v Speaker 2>they should have a different court system. They could be

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<v Speaker 2>charged for different things. Like a lot of young girls

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<v Speaker 2>were sent to reform schools just for being incorrigible or ungovernable,

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<v Speaker 2>but they were sent to these places that were always

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<v Speaker 2>in bucolic settings that were meant to take them out

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<v Speaker 2>of contaminated cities and put them in places where they

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<v Speaker 2>could become better versions of themselves. And so if Fanny

0:12:26.036 --> 0:12:29.196
<v Speaker 2>frenchmore s runds the Hudson One, and it's always on

0:12:29.236 --> 0:12:31.876
<v Speaker 2>the cusp of being a prison or a school, and

0:12:31.916 --> 0:12:33.836
<v Speaker 2>so it's constantly a need of being reformed because it

0:12:33.836 --> 0:12:35.836
<v Speaker 2>gets too strict or it gets too punitive, and they

0:12:35.836 --> 0:12:40.036
<v Speaker 2>need to make it more re educative instead. And she's

0:12:40.076 --> 0:12:45.796
<v Speaker 2>this lifelong progressive reformer who takes over the training school

0:12:45.916 --> 0:12:49.276
<v Speaker 2>when it's become basically a prison, and she's kind of

0:12:49.276 --> 0:12:51.116
<v Speaker 2>like a legend in this field. The first night she

0:12:51.156 --> 0:12:53.036
<v Speaker 2>takes over, she makes a huge pile on the lawn

0:12:53.156 --> 0:12:55.756
<v Speaker 2>of all of the straight jackets and the restraining sheets

0:12:55.756 --> 0:12:57.996
<v Speaker 2>and the prison uniforms, and she lights it on fire.

0:12:58.596 --> 0:13:01.396
<v Speaker 2>So she's this firebrand reformer who's really trying to do

0:13:01.476 --> 0:13:05.196
<v Speaker 2>something at this school. She introduces art, she buys a farm,

0:13:05.276 --> 0:13:08.396
<v Speaker 2>she gets all these antiques that the girls start reworking,

0:13:09.156 --> 0:13:12.316
<v Speaker 2>trying to give them an aesthetic education. But notably, the

0:13:12.396 --> 0:13:15.316
<v Speaker 2>thing that the training school really does is it's a

0:13:15.396 --> 0:13:18.716
<v Speaker 2>miniature version of society. So if any French, Morris invites

0:13:18.996 --> 0:13:22.516
<v Speaker 2>jail Moreno and Helen Hall Jennings to the school, which

0:13:22.556 --> 0:13:25.636
<v Speaker 2>is thrilling to them because it's a totally closed environment.

0:13:25.716 --> 0:13:30.476
<v Speaker 2>That's this microcosm of society with five hundred girls who

0:13:31.076 --> 0:13:34.276
<v Speaker 2>are arranged in brick cottages with nice lattice work trim.

0:13:34.756 --> 0:13:39.996
<v Speaker 2>So jail Moreno moves to Hudson with Helen Hall Jennings.

0:13:39.596 --> 0:13:43.356
<v Speaker 1>And he goes for it because he's living. Is he

0:13:43.396 --> 0:13:46.116
<v Speaker 1>at this point well known, what's his level.

0:13:45.916 --> 0:13:48.156
<v Speaker 2>Of He's becoming better known. But he is a person

0:13:48.196 --> 0:13:51.356
<v Speaker 2>who wants to be operating on the biggest scale possible,

0:13:51.876 --> 0:13:54.716
<v Speaker 2>and this scale of experiment is an opportunity for him

0:13:54.716 --> 0:13:58.276
<v Speaker 2>to do that. So I think he sees it as

0:13:58.276 --> 0:13:58.956
<v Speaker 2>a big break.

0:13:59.156 --> 0:14:03.276
<v Speaker 1>So the European genius Meglomaniac and his brilliant data minded

0:14:03.316 --> 0:14:07.476
<v Speaker 1>research partner get on the train from Manhattan, come up

0:14:07.516 --> 0:14:12.916
<v Speaker 1>two hours to Hudson to conduct one of the first

0:14:14.276 --> 0:14:18.076
<v Speaker 1>and most dramatic experiments of his kind ever.

0:14:18.796 --> 0:14:20.676
<v Speaker 2>Right, Yeah, that's exactly right.

0:14:20.596 --> 0:14:27.476
<v Speaker 1>An attempt to understand the social dynamics of a girl's

0:14:27.516 --> 0:14:30.716
<v Speaker 1>prison reform school. There are five hundred girls in this school.

0:14:30.796 --> 0:14:31.876
<v Speaker 2>Roughly five hundred girls.

0:14:31.996 --> 0:14:35.156
<v Speaker 1>Yeah, So he descends on the school, he and Helen

0:14:35.196 --> 0:14:37.436
<v Speaker 1>hel Jennings and what do they do.

0:14:38.156 --> 0:14:41.156
<v Speaker 2>So the first thing they do is they hand out

0:14:41.236 --> 0:14:45.316
<v Speaker 2>questionnaires to all the girls. That's say, you know, choose

0:14:45.556 --> 0:14:48.596
<v Speaker 2>the top five girls in this community that you want

0:14:48.636 --> 0:14:52.116
<v Speaker 2>to live with and now and tell us why, and

0:14:52.156 --> 0:14:54.436
<v Speaker 2>then choose the five girls that you absolutely do not

0:14:54.476 --> 0:14:57.996
<v Speaker 2>want to live with. And so it's kind of reading

0:14:57.996 --> 0:15:00.876
<v Speaker 2>his account of this, it's like really dense. I mean,

0:15:00.876 --> 0:15:02.716
<v Speaker 2>he doesn't really write in English very well at this

0:15:02.716 --> 0:15:05.276
<v Speaker 2>point in his life, and there's a ton of data,

0:15:05.556 --> 0:15:08.116
<v Speaker 2>but you get these kind of reprints of the things

0:15:08.116 --> 0:15:10.676
<v Speaker 2>that the girls say. So we actually had an actress

0:15:10.876 --> 0:15:12.276
<v Speaker 2>read one of them out, and this is One of

0:15:12.316 --> 0:15:16.116
<v Speaker 2>the comments in the questionnaire Dee, I want in my

0:15:16.236 --> 0:15:18.796
<v Speaker 2>cottage because I feel towards her, like she is my

0:15:18.876 --> 0:15:22.236
<v Speaker 2>little sister I never had any and I like to

0:15:22.236 --> 0:15:22.956
<v Speaker 2>take care of her.

0:15:23.916 --> 0:15:26.676
<v Speaker 3>Mostly she's just a lonesome little child you.

0:15:26.716 --> 0:15:27.716
<v Speaker 5>Just have to be fond of.

0:15:28.836 --> 0:15:31.396
<v Speaker 2>So they like gather all these questionnaires from the girls

0:15:31.556 --> 0:15:33.796
<v Speaker 2>about how they feel about each other, and then they

0:15:33.836 --> 0:15:36.556
<v Speaker 2>begin to calculate from that, you know, where are their

0:15:36.636 --> 0:15:40.596
<v Speaker 2>mutual attractions, where does everyone hate each other? And like

0:15:40.756 --> 0:15:43.556
<v Speaker 2>to what degree do these cottage groupings even make sense?

0:15:43.596 --> 0:15:45.316
<v Speaker 2>And they want to start putting a number to that.

0:15:45.916 --> 0:15:48.556
<v Speaker 2>But it's not just the questionnaires. They begin to do

0:15:48.596 --> 0:15:50.996
<v Speaker 2>a lot of observing of the girls, like watching them

0:15:51.036 --> 0:15:53.156
<v Speaker 2>work in the steam laundry, watching them make rugs, or

0:15:53.196 --> 0:15:57.196
<v Speaker 2>like shine up antiques, and that becomes data too, And

0:15:57.276 --> 0:15:59.636
<v Speaker 2>all of this is used in service of figuring out

0:15:59.956 --> 0:16:02.996
<v Speaker 2>who's isolated in the community, who's rejected by the community,

0:16:03.036 --> 0:16:07.036
<v Speaker 2>who's beloved by the community. But they're observing everything they're collecting,

0:16:07.076 --> 0:16:09.996
<v Speaker 2>like Marina at one point says, they collect ten thousand

0:16:09.996 --> 0:16:14.076
<v Speaker 2>pages of data. And one of the things about this

0:16:14.156 --> 0:16:17.156
<v Speaker 2>new science is you have that much data and you

0:16:17.196 --> 0:16:20.156
<v Speaker 2>can't conceive of it all like it's before computers. There's

0:16:20.196 --> 0:16:24.156
<v Speaker 2>no way to really understand what that all means except

0:16:24.156 --> 0:16:27.396
<v Speaker 2>for a map, and that is the critical thing that

0:16:27.436 --> 0:16:32.236
<v Speaker 2>they do is create these really intricate maps of what

0:16:32.276 --> 0:16:35.716
<v Speaker 2>the community looks like. So like this this map right

0:16:35.716 --> 0:16:39.396
<v Speaker 2>here is the entire community of the school.

0:16:40.516 --> 0:16:43.596
<v Speaker 1>Oh wow, it looks like a looks like a giant

0:16:43.636 --> 0:16:54.316
<v Speaker 1>spider's web. Yeah, And he has nodes one, two, three, four, five, six, seven, eight, nine, ten, eleven, twelve, twelve, thirteen.

0:16:55.036 --> 0:16:57.316
<v Speaker 1>Is each one of these nodes a group of girls

0:16:57.396 --> 0:16:58.236
<v Speaker 1>or a single girl?

0:16:58.276 --> 0:17:00.436
<v Speaker 2>Each one of those big circles is a cottage?

0:17:00.716 --> 0:17:00.836
<v Speaker 7>Oh?

0:17:00.956 --> 0:17:04.356
<v Speaker 1>I see, Oh I see no, But I've been putting

0:17:04.396 --> 0:17:07.916
<v Speaker 1>any further. Do we believe these maps? Say, do we

0:17:07.916 --> 0:17:11.436
<v Speaker 1>think he is actually act? You're accurately capturing the patterns

0:17:11.476 --> 0:17:14.076
<v Speaker 1>of relationships and influence within the community.

0:17:14.716 --> 0:17:17.996
<v Speaker 2>I think he misses a lot. And also there's this

0:17:18.076 --> 0:17:20.716
<v Speaker 2>kind of forced thing about it, like none of these

0:17:20.716 --> 0:17:22.876
<v Speaker 2>girls are consenting to it, Like who knows about if

0:17:22.916 --> 0:17:25.876
<v Speaker 2>they're telling him the truth? But I think that there

0:17:25.996 --> 0:17:29.836
<v Speaker 2>is genuine insight there. And one of the reasons is

0:17:30.796 --> 0:17:34.036
<v Speaker 2>there's this thing that happens. It starts on the Halloween

0:17:34.116 --> 0:17:37.556
<v Speaker 2>night of nineteen thirty two, there's a party in one

0:17:37.596 --> 0:17:43.236
<v Speaker 2>of the cottages and somebody creates a distraction and two

0:17:43.316 --> 0:17:45.876
<v Speaker 2>of the girls, Ruth and Marie, run away from the cottage.

0:17:47.436 --> 0:17:50.116
<v Speaker 2>And then something really weird happens, Like, over a total

0:17:50.156 --> 0:17:53.876
<v Speaker 2>of fourteen days, fourteen girls run away. It's kind of

0:17:53.876 --> 0:17:57.356
<v Speaker 2>this chain reaction. Nobody really understands why it's happening, but

0:17:57.476 --> 0:18:00.716
<v Speaker 2>it's like a runaway rate that's thirty times higher than normal.

0:18:00.876 --> 0:18:04.076
<v Speaker 2>And this happens after Marine has collected a lot of

0:18:04.116 --> 0:18:04.796
<v Speaker 2>his data.

0:18:04.996 --> 0:18:10.916
<v Speaker 1>He has an outbreak essentially of girls who are who

0:18:10.996 --> 0:18:14.396
<v Speaker 1>get this idea to flee, to run away. Yeah, and

0:18:14.436 --> 0:18:17.276
<v Speaker 1>he's trying to trace was he trying to trying to

0:18:17.316 --> 0:18:19.796
<v Speaker 1>trace the source of the outbreak or to see how

0:18:19.796 --> 0:18:23.996
<v Speaker 1>the idea of running away had traveled through the community.

0:18:24.116 --> 0:18:25.876
<v Speaker 2>Yeah, he's trying to see how the idea of running

0:18:25.916 --> 0:18:28.276
<v Speaker 2>away travels through the community. Which is this kind of

0:18:28.876 --> 0:18:31.116
<v Speaker 2>you know, you talk about this a lot, this idea

0:18:31.116 --> 0:18:33.996
<v Speaker 2>of an idea being contagious. He posits that there's not

0:18:34.196 --> 0:18:37.076
<v Speaker 2>some central reason why the girls are running away.

0:18:37.356 --> 0:18:41.076
<v Speaker 1>Yeah, and so is he saying that his hypothesis would

0:18:41.116 --> 0:18:45.596
<v Speaker 1>be the group who run away are all linked, are

0:18:45.596 --> 0:18:48.356
<v Speaker 1>intimately linked according to his network analysis.

0:18:48.476 --> 0:18:53.076
<v Speaker 2>Yes, so that's his explanation, and so he and Jennings

0:18:53.116 --> 0:18:55.356
<v Speaker 2>go to their maps and try and figure out if

0:18:55.356 --> 0:18:57.596
<v Speaker 2>it's true. What his theory is that there's some way

0:18:57.636 --> 0:19:00.316
<v Speaker 2>that this impulse to run away is traveling through the

0:19:00.396 --> 0:19:04.396
<v Speaker 2>network of girls, and he and Jennings trace this in

0:19:04.436 --> 0:19:07.996
<v Speaker 2>the map and then call it proof that networks exist.

0:19:08.436 --> 0:19:11.036
<v Speaker 2>And one of the rea he's confident in it is

0:19:11.076 --> 0:19:14.676
<v Speaker 2>because then based on those same questionnaires about who likes whom,

0:19:14.756 --> 0:19:18.196
<v Speaker 2>who doesn't like whom, he rearranges the cottages and over

0:19:18.236 --> 0:19:21.756
<v Speaker 2>the next some period of months, the number of runaways

0:19:21.916 --> 0:19:25.836
<v Speaker 2>dwindles pretty radically. And so the thought is that's the

0:19:25.916 --> 0:19:29.236
<v Speaker 2>evidence that this is in some way meaningful, is that

0:19:29.316 --> 0:19:31.116
<v Speaker 2>the rearrangement seems to work.

0:19:31.196 --> 0:19:34.076
<v Speaker 1>This whole thing is started by two girls. Yeah, what

0:19:34.116 --> 0:19:37.356
<v Speaker 1>does network theory tell us about those who originate the epidemic?

0:19:37.676 --> 0:19:39.636
<v Speaker 1>Were they socially influential girls?

0:19:39.876 --> 0:19:43.716
<v Speaker 2>So no, they're actually like pretty isolated girls. So this

0:19:43.996 --> 0:19:46.996
<v Speaker 2>is like a map of them. That's one of those

0:19:47.036 --> 0:19:49.876
<v Speaker 2>is Ruth, and one of those is Marie. And basically,

0:19:49.956 --> 0:19:53.636
<v Speaker 2>like red lines are are lines of attraction, Black lines

0:19:53.676 --> 0:19:57.276
<v Speaker 2>are lines of rejection, and so they're really close. They

0:19:57.316 --> 0:19:59.436
<v Speaker 2>dislike the same people, they like the same people. They

0:19:59.436 --> 0:20:02.116
<v Speaker 2>really like each other. But on the broader map, not

0:20:02.156 --> 0:20:04.556
<v Speaker 2>a lot of lines of influence run towards them, except for,

0:20:04.636 --> 0:20:06.996
<v Speaker 2>you know, a couple significant ones that connect them to

0:20:07.036 --> 0:20:08.876
<v Speaker 2>the people who then begin to run away next.

0:20:10.516 --> 0:20:14.276
<v Speaker 1>Oh, I see, so they Our first observation is the

0:20:14.316 --> 0:20:18.356
<v Speaker 1>two who begin the epidemic are closely bound to each

0:20:18.396 --> 0:20:20.996
<v Speaker 1>other but isolated from everyone else. So there's a little

0:20:21.076 --> 0:20:24.476
<v Speaker 1>social there's not a lot of glue holding them in place.

0:20:24.596 --> 0:20:27.916
<v Speaker 2>Yeah, it's not like the most popular girls in the

0:20:27.956 --> 0:20:31.636
<v Speaker 2>reformatory runaway and then everyone follows suit. But like with

0:20:31.716 --> 0:20:34.516
<v Speaker 2>all of this stuff, it's there's only so much he's seeing,

0:20:34.516 --> 0:20:36.596
<v Speaker 2>and there's only so much he's allowing himself to say.

0:20:36.676 --> 0:20:39.436
<v Speaker 2>And they also have this agenda of proving that their

0:20:39.476 --> 0:20:42.396
<v Speaker 2>science works. Their account is the only account we have

0:20:43.076 --> 0:20:45.916
<v Speaker 2>of what actually happened and how successful their stuff was.

0:20:46.556 --> 0:20:47.876
<v Speaker 2>But so this is his explanation.

0:20:48.196 --> 0:20:50.596
<v Speaker 1>But he's got this big idea, and he and Jennings

0:20:50.596 --> 0:20:53.436
<v Speaker 1>have the evidence he thinks proves it. How does he

0:20:53.476 --> 0:20:54.276
<v Speaker 1>get the word out?

0:20:54.796 --> 0:20:57.276
<v Speaker 2>Actually, the first place, he publishes as results it's kind

0:20:57.276 --> 0:21:00.476
<v Speaker 2>of like a science fair. Is this big physicians conference

0:21:00.516 --> 0:21:03.316
<v Speaker 2>that happens at the Waldorf Astoria in Manhattan. I think

0:21:03.356 --> 0:21:06.396
<v Speaker 2>it happens on like April second, nineteen thirty three. He

0:21:06.476 --> 0:21:08.236
<v Speaker 2>goes to the waldorfath story, he takes the train down

0:21:08.236 --> 0:21:10.276
<v Speaker 2>from Hudson, goes the water for his storia. They put

0:21:10.276 --> 0:21:12.996
<v Speaker 2>the maps on the walls and it's kind of a

0:21:12.996 --> 0:21:14.836
<v Speaker 2>big deal. Like The New York Times writes a story

0:21:14.876 --> 0:21:18.156
<v Speaker 2>that says, like emotions mapped by new geography. He calls

0:21:18.196 --> 0:21:21.236
<v Speaker 2>it psychological geography. He's riding high. He says he's going

0:21:21.276 --> 0:21:22.756
<v Speaker 2>to make a map of all the emotions in New

0:21:22.836 --> 0:21:27.596
<v Speaker 2>York City. And that's the first place he publishes it.

0:21:27.836 --> 0:21:30.076
<v Speaker 2>But then he goes back to the school. And it's

0:21:30.116 --> 0:21:32.276
<v Speaker 2>a year after that the book comes out called Who

0:21:32.276 --> 0:21:35.036
<v Speaker 2>Shall Survive? She's the book you have which is this?

0:21:35.036 --> 0:21:36.836
<v Speaker 2>This is actually one of the original books. This is

0:21:36.836 --> 0:21:38.756
<v Speaker 2>from nineteen thirty four. I took it out from the

0:21:38.796 --> 0:21:44.116
<v Speaker 2>library and it's like a year overdue now. So that's

0:21:44.156 --> 0:21:47.836
<v Speaker 2>if anyone's listening to this, I will be returning it someday.

0:21:48.796 --> 0:21:52.396
<v Speaker 1>That's a Pushkin promise. We always return our library books.

0:21:52.676 --> 0:21:54.796
<v Speaker 1>And after the break, we'll find out what all this

0:21:54.876 --> 0:22:09.316
<v Speaker 1>research has to do with el Fitzgerald. Okay, back did

0:22:09.316 --> 0:22:13.156
<v Speaker 1>the reformatory. The social scientist JAYL. Moreno and his research

0:22:13.196 --> 0:22:16.276
<v Speaker 1>partner Helen Hall Jennings had been making a study of

0:22:16.276 --> 0:22:18.836
<v Speaker 1>a girl's reform school down the street from where we

0:22:18.876 --> 0:22:22.436
<v Speaker 1>are right now in Hudson. It's the nineteen thirties. They've

0:22:22.516 --> 0:22:25.236
<v Speaker 1>just debuted some of their research in Manhattan at the

0:22:25.276 --> 0:22:30.036
<v Speaker 1>Waldorf Astoria. Big deal. And then someone new shows up

0:22:30.036 --> 0:22:32.036
<v Speaker 1>at the school, right Ben.

0:22:32.796 --> 0:22:38.356
<v Speaker 2>Yes, sixteen days after he publishes all this stuff on

0:22:38.356 --> 0:22:41.476
<v Speaker 2>the walls of the Waldorf Astoria, a new girl has

0:22:41.556 --> 0:22:45.756
<v Speaker 2>checked into the Hudson Reformatory. Ella Fitzgerald.

0:22:46.436 --> 0:22:50.756
<v Speaker 1>Yeah, I mean the most one of the most famous

0:22:50.836 --> 0:22:54.876
<v Speaker 1>and extraordinary singers of the twentieth century.

0:22:54.556 --> 0:22:58.236
<v Speaker 2>Who, unbeknownst to everyone in her lifetime, was an inmate

0:22:58.276 --> 0:23:00.716
<v Speaker 2>at the school in between the time when her mom

0:23:00.796 --> 0:23:03.636
<v Speaker 2>died and the day that she became famous at the

0:23:03.636 --> 0:23:05.676
<v Speaker 2>Apollo Theater singing in an amateur contest.

0:23:06.796 --> 0:23:12.316
<v Speaker 4>I was fifteen, because from there we went to the

0:23:12.356 --> 0:23:13.756
<v Speaker 4>amateur contest.

0:23:13.956 --> 0:23:17.716
<v Speaker 2>She never talked publicly about this fact that she was

0:23:17.916 --> 0:23:20.636
<v Speaker 2>an inmate at the training school for girls, and it

0:23:20.676 --> 0:23:24.596
<v Speaker 2>wasn't even known publicly until after her death in the nineties,

0:23:24.636 --> 0:23:28.396
<v Speaker 2>when this intrepid investigative reporter Nina Bernstein figured it out.

0:23:28.716 --> 0:23:31.356
<v Speaker 2>But what we know is she's at the training school

0:23:31.356 --> 0:23:35.116
<v Speaker 2>starting April eighteenth, nineteen thirty three. When she's held, it's

0:23:35.156 --> 0:23:37.876
<v Speaker 2>like a week before her sixteenth birthday because her mother

0:23:37.916 --> 0:23:41.436
<v Speaker 2>has just died. So her mother dies when she's fifteen, yeah,

0:23:41.636 --> 0:23:44.876
<v Speaker 2>and she starts to take odd jobs, so she's running numbers.

0:23:45.036 --> 0:23:47.636
<v Speaker 2>She's a lookout for a brothel. She gets picked up

0:23:47.636 --> 0:23:52.476
<v Speaker 2>by the cops, sentenced to the training school, and she

0:23:52.556 --> 0:23:55.996
<v Speaker 2>checks in just over two weeks after Moreno's shown his

0:23:56.036 --> 0:23:59.476
<v Speaker 2>first diagrams from the research. She's then there for like

0:23:59.516 --> 0:24:02.996
<v Speaker 2>about a year, and what we know of her time

0:24:03.036 --> 0:24:06.876
<v Speaker 2>there is through Nina Bernstein's reporting talking to people who

0:24:06.876 --> 0:24:09.916
<v Speaker 2>worked at the training school and remembered her. They would

0:24:10.076 --> 0:24:12.156
<v Speaker 2>ask her to come back to be to talk to

0:24:12.156 --> 0:24:15.516
<v Speaker 2>the girls, and she never would, so Bernstein talked to

0:24:15.556 --> 0:24:18.156
<v Speaker 2>them about what's known about her. You know, people remember

0:24:18.236 --> 0:24:21.636
<v Speaker 2>she had amazing penmanship, she was an excellent student. One

0:24:21.716 --> 0:24:24.196
<v Speaker 2>day she was invited to a church nearby with a

0:24:24.196 --> 0:24:25.996
<v Speaker 2>group of the black girls who liked to sing and

0:24:26.196 --> 0:24:28.396
<v Speaker 2>was said to have sung her heart out, but she

0:24:28.596 --> 0:24:31.636
<v Speaker 2>was there at the time that the study was being made,

0:24:32.356 --> 0:24:36.676
<v Speaker 2>and her experience there's significant to me, not just because

0:24:36.676 --> 0:24:39.676
<v Speaker 2>she's a really famous person who intersects with this place,

0:24:40.116 --> 0:24:43.996
<v Speaker 2>but because it blies Loreno's study, like it shows what's

0:24:43.996 --> 0:24:47.356
<v Speaker 2>actually happening there that's not captured in his maps and

0:24:47.676 --> 0:24:48.276
<v Speaker 2>new science.

0:24:49.316 --> 0:24:52.236
<v Speaker 1>And sure enough she.

0:24:51.116 --> 0:24:53.876
<v Speaker 2>She is thought to have run away. Yeah, so basically

0:24:54.796 --> 0:24:57.396
<v Speaker 2>she's checked in there. What we know from Nina Eernstein's

0:24:57.396 --> 0:25:00.396
<v Speaker 2>reporting is she wasn't allowed to sing in the all

0:25:00.436 --> 0:25:03.076
<v Speaker 2>white choir, must have stayed one of the two cottages

0:25:03.076 --> 0:25:05.276
<v Speaker 2>the black girls were allowed to live in, probably like

0:25:05.316 --> 0:25:06.996
<v Speaker 2>all of the black girls had to do laundry for

0:25:06.996 --> 0:25:08.716
<v Speaker 2>the white girls. But she was also kept in the

0:25:08.756 --> 0:25:10.916
<v Speaker 2>basement of one of the colleges at the training school

0:25:10.956 --> 0:25:15.876
<v Speaker 2>and beaten. But then there's this vagueness around how she

0:25:15.956 --> 0:25:18.516
<v Speaker 2>leaves the training school. But because of the parole records,

0:25:18.876 --> 0:25:22.116
<v Speaker 2>it's plausible that she ran away and she's living back

0:25:22.156 --> 0:25:27.076
<v Speaker 2>in New York, I think in Yonkers, and she's homeless,

0:25:27.076 --> 0:25:30.676
<v Speaker 2>like she's wearing ragged clothes, and she and a group

0:25:30.716 --> 0:25:35.596
<v Speaker 2>of her friends decide to enter the amateur Talent Night

0:25:35.756 --> 0:25:38.076
<v Speaker 2>at the Apollo Theater, which is this competition where if

0:25:38.076 --> 0:25:39.836
<v Speaker 2>you win, you get to play at the Apollo for

0:25:39.956 --> 0:25:42.476
<v Speaker 2>a week. And she at this point thinks she's going

0:25:42.516 --> 0:25:44.316
<v Speaker 2>to be a dancer, so she's playing to enter as

0:25:44.316 --> 0:25:45.676
<v Speaker 2>a dancer. I mean, do you want to hear the

0:25:45.676 --> 0:25:51.076
<v Speaker 2>tape of her telling the story? So this is her

0:25:51.116 --> 0:25:53.316
<v Speaker 2>towards the end of her career talking to Andre Previn.

0:25:54.076 --> 0:25:57.796
<v Speaker 2>When you first started, you had visions of not being

0:25:57.796 --> 0:25:58.156
<v Speaker 2>a singer.

0:25:58.156 --> 0:26:00.596
<v Speaker 7>You were going to be a dancer. Is that right right?

0:26:00.796 --> 0:26:03.116
<v Speaker 5>Tell me that, Oh you really want to hear that?

0:26:03.316 --> 0:26:07.836
<v Speaker 3>Will just started back in my hometown and Yonkers and

0:26:07.876 --> 0:26:11.116
<v Speaker 3>I was what they called, you know, the greatest little

0:26:11.236 --> 0:26:18.236
<v Speaker 3>dancer in Younkers. And we used to go down to

0:26:18.316 --> 0:26:21.476
<v Speaker 3>the Pollow on amateur night, my girlfriends and I and

0:26:21.516 --> 0:26:23.356
<v Speaker 3>you know, like they always tell you if you want

0:26:23.396 --> 0:26:26.076
<v Speaker 3>to be an amateur, to shine and drop your name

0:26:26.116 --> 0:26:28.316
<v Speaker 3>in the box. And being from young because we never

0:26:28.356 --> 0:26:32.556
<v Speaker 3>thought anybody would send a postcard to young Kers, and

0:26:32.596 --> 0:26:34.756
<v Speaker 3>the three of us we put our names in and

0:26:35.116 --> 0:26:38.916
<v Speaker 3>I was the one who was chosen and I made

0:26:38.996 --> 0:26:41.076
<v Speaker 3>up you know, they say, well if you don't go,

0:26:41.596 --> 0:26:45.196
<v Speaker 3>you're chicken. So we went, and believe it or not,

0:26:45.356 --> 0:26:47.956
<v Speaker 3>I was the first amateur that they called. And there

0:26:47.996 --> 0:26:51.796
<v Speaker 3>were two sisters who were the dance and the sisters

0:26:51.836 --> 0:26:54.676
<v Speaker 3>in the world called it Edward Sisters, and they were

0:26:54.716 --> 0:26:58.116
<v Speaker 3>starring at the Pollow and they closed the show with

0:26:58.516 --> 0:27:03.556
<v Speaker 3>up and I when I saw those ladies dance, I says,

0:27:03.796 --> 0:27:06.236
<v Speaker 3>no way, I'm going out there and trying to dance,

0:27:06.276 --> 0:27:10.156
<v Speaker 3>because they stopped the show. I was the first one

0:27:10.276 --> 0:27:14.116
<v Speaker 3>was called, and when I got out there, somebody hollered out.

0:27:14.196 --> 0:27:15.756
<v Speaker 3>Nobody is, what is she gonna do?

0:27:18.276 --> 0:27:20.916
<v Speaker 2>So this is like a story she tells all the time.

0:27:21.996 --> 0:27:25.836
<v Speaker 2>What nobody knew is that when she was on stage

0:27:25.836 --> 0:27:28.916
<v Speaker 2>at the Apollo, she was just out of the training school.

0:27:29.596 --> 0:27:33.556
<v Speaker 3>And my mother had a record of Miss Connie Boswell,

0:27:33.996 --> 0:27:35.876
<v Speaker 3>who I think was one of the greatest singers that

0:27:35.996 --> 0:27:36.516
<v Speaker 3>ever lived.

0:27:37.076 --> 0:27:38.436
<v Speaker 5>And she used to.

0:27:38.396 --> 0:27:43.116
<v Speaker 3>Play Obtic of my affection and Judy and I got

0:27:43.156 --> 0:27:45.796
<v Speaker 3>so I had, you know, used to sing it. So

0:27:45.996 --> 0:27:50.556
<v Speaker 3>the man said sing something, well, I tried to sing Judy,

0:27:50.996 --> 0:27:53.356
<v Speaker 3>and I think miss Connie boswa because then I tried

0:27:53.356 --> 0:27:55.756
<v Speaker 3>to sing like her and I sang if a voyage

0:27:55.836 --> 0:28:00.636
<v Speaker 3>ben break the whole of the sproom that's Judy and

0:28:00.716 --> 0:28:03.796
<v Speaker 3>everybody says all that girl can sing, and the people

0:28:03.916 --> 0:28:06.636
<v Speaker 3>plought it so much. I sang Object of my Affection.

0:28:06.796 --> 0:28:11.116
<v Speaker 3>That was the other side of the record, and I

0:28:11.196 --> 0:28:15.516
<v Speaker 3>won first prize. So then that made me feel like,

0:28:15.636 --> 0:28:18.516
<v Speaker 3>you know, well, I wanted to try to be a singer.

0:28:21.756 --> 0:28:23.956
<v Speaker 2>I just I love it so much. And I think

0:28:23.996 --> 0:28:27.036
<v Speaker 2>it's the You know, it's obvious, but if she's a

0:28:27.076 --> 0:28:29.956
<v Speaker 2>note in these maps, we know her so well as

0:28:29.956 --> 0:28:32.436
<v Speaker 2>a person. But obviously, like every single person in the

0:28:32.436 --> 0:28:34.476
<v Speaker 2>maps had a full life.

0:28:34.356 --> 0:28:37.676
<v Speaker 1>Too, and you actually think.

0:28:37.516 --> 0:28:41.516
<v Speaker 2>You found Yeah, I think I found a notation.

0:28:42.036 --> 0:28:43.916
<v Speaker 1>You found her place in the social diaga.

0:28:44.116 --> 0:28:47.636
<v Speaker 2>Yes, I found a girl who's plausibly ele Fitzgerald, but

0:28:47.676 --> 0:28:48.716
<v Speaker 2>I can't know for sure.

0:28:49.436 --> 0:28:51.036
<v Speaker 1>It's a black girl named Ella.

0:28:51.196 --> 0:28:54.036
<v Speaker 2>In this book, there's a mention of a girl named Ella.

0:28:54.636 --> 0:28:57.276
<v Speaker 2>All the girls on the maps are given initials, like

0:28:57.276 --> 0:29:00.716
<v Speaker 2>two letter initials that don't correspond with their names, and

0:29:01.116 --> 0:29:03.556
<v Speaker 2>there's mention of a girl named Ella. She's given the

0:29:03.556 --> 0:29:07.636
<v Speaker 2>two letter initial GA, and then like one hundred pages

0:29:07.716 --> 0:29:10.516
<v Speaker 2>later there's a map with a GA on it that

0:29:10.636 --> 0:29:14.516
<v Speaker 2>specifies the Gas is a black girl. So there's a

0:29:14.596 --> 0:29:16.836
<v Speaker 2>Ga named Ella who's a black girl, and we know

0:29:16.876 --> 0:29:18.876
<v Speaker 2>that Marina was making the study at the time when

0:29:18.876 --> 0:29:20.276
<v Speaker 2>Ella was also in the school.

0:29:20.716 --> 0:29:22.316
<v Speaker 1>Do you make this discovery or did.

0:29:22.276 --> 0:29:24.156
<v Speaker 2>I'm in this discovery because I read this.

0:29:24.076 --> 0:29:29.476
<v Speaker 1>You've contributed to the legend of both Elafazgerald and Jail Marina.

0:29:29.596 --> 0:29:32.156
<v Speaker 2>Unfortunately, Yes, this is correct.

0:29:32.276 --> 0:29:36.236
<v Speaker 1>And what happens when Moreno and Jennings's research comes out.

0:29:36.316 --> 0:29:39.316
<v Speaker 2>It has a pretty significant reception. Moreno has gotten involved

0:29:39.316 --> 0:29:41.636
<v Speaker 2>in the new Deal, but like the most significant thing

0:29:41.676 --> 0:29:44.276
<v Speaker 2>that comes out of the ground swell of support is

0:29:44.316 --> 0:29:48.436
<v Speaker 2>he launches a journal called Sociometry. But it's this really

0:29:48.516 --> 0:29:51.196
<v Speaker 2>influential journal and you know, like six degrees of separation

0:29:51.436 --> 0:29:54.236
<v Speaker 2>is tested there. All of these leading lights of social

0:29:54.316 --> 0:29:58.036
<v Speaker 2>science like George Gallup, Margaret Mead, John Dewey, they're like

0:29:58.716 --> 0:30:01.476
<v Speaker 2>involved in the editorial board or publishing in the journal.

0:30:02.156 --> 0:30:05.076
<v Speaker 2>It's finally like a platform for him to share these

0:30:05.116 --> 0:30:11.516
<v Speaker 2>ideas about social networks basically with a broader public. And

0:30:11.556 --> 0:30:14.316
<v Speaker 2>that field social network analysis doesn't really take off until

0:30:14.356 --> 0:30:17.956
<v Speaker 2>the seventies or eighties, but he's credited with being a

0:30:17.996 --> 0:30:20.956
<v Speaker 2>major forerunner of it and doing it in this experiment.

0:30:23.676 --> 0:30:26.036
<v Speaker 2>This story is significant to me in part because it's

0:30:26.156 --> 0:30:28.316
<v Speaker 2>sort of the story of science in the twentieth century,

0:30:28.596 --> 0:30:30.556
<v Speaker 2>or like one kind of science in the twentieth century,

0:30:30.556 --> 0:30:35.036
<v Speaker 2>which is I think in the quest to institutionalize his

0:30:35.156 --> 0:30:37.996
<v Speaker 2>ideas and to be as big a player as he

0:30:37.996 --> 0:30:41.276
<v Speaker 2>could be. I feel like Jael Moreno kind of pulled

0:30:41.276 --> 0:30:43.636
<v Speaker 2>his punches, like he had ten thousand pages of data.

0:30:44.156 --> 0:30:46.756
<v Speaker 2>I don't believe that he didn't know what was actually

0:30:46.836 --> 0:30:49.876
<v Speaker 2>going on at the school, and specifically what was happening

0:30:49.916 --> 0:30:52.956
<v Speaker 2>to the black girls at the school. And it's not

0:30:53.036 --> 0:30:55.276
<v Speaker 2>that that kind of thing wasn't sayable in the nineteen thirties,

0:30:55.276 --> 0:30:58.076
<v Speaker 2>because the Attorney General had already said that the school

0:30:58.076 --> 0:30:59.076
<v Speaker 2>should be desegregated.

0:30:59.636 --> 0:31:02.316
<v Speaker 1>So the school is segregated, and then New York State

0:31:02.476 --> 0:31:09.356
<v Speaker 1>turn General has asked that it be desegregated, and the

0:31:09.356 --> 0:31:14.316
<v Speaker 1>school Morse doesn't want to do it. And in his analysis,

0:31:15.236 --> 0:31:23.596
<v Speaker 1>Moreno is kind of oblivious or or disregarding of this issue,

0:31:23.636 --> 0:31:24.436
<v Speaker 1>is what you were saying.

0:31:24.716 --> 0:31:26.916
<v Speaker 2>He covers the fact that it's segregated. It's just not

0:31:27.156 --> 0:31:29.276
<v Speaker 2>like the sort of like beating of the girls in

0:31:29.316 --> 0:31:32.716
<v Speaker 2>the basement, but more like the corporal punishment stuff. The

0:31:32.796 --> 0:31:35.396
<v Speaker 2>other reasons why girls might be running away. These sorts

0:31:35.436 --> 0:31:38.956
<v Speaker 2>of issues aren't in the text, and like the degree

0:31:38.996 --> 0:31:42.476
<v Speaker 2>to which the segregation is institutionalized isn't really covered either.

0:31:42.836 --> 0:31:45.116
<v Speaker 1>But I'm you know, it's ninety we're talking about the

0:31:45.156 --> 0:31:50.076
<v Speaker 1>early thirties. Nothing's integrated in the early thirties.

0:31:50.196 --> 0:31:52.556
<v Speaker 2>But there was an expectation that this place would be

0:31:52.596 --> 0:31:54.996
<v Speaker 2>I mean, this is. And it's also like Harlem Renaissance

0:31:55.036 --> 0:31:57.156
<v Speaker 2>is going on. There's a lot of black power in

0:31:57.196 --> 0:32:01.716
<v Speaker 2>New York City as of the nineteen twenties. And when

0:32:01.756 --> 0:32:05.556
<v Speaker 2>there's an investigation into the school after Moreno's study, not

0:32:05.596 --> 0:32:07.676
<v Speaker 2>because of it, there is, it's led by a black

0:32:07.716 --> 0:32:10.996
<v Speaker 2>doctor in partnership, but the governor. There's a level of

0:32:11.036 --> 0:32:13.596
<v Speaker 2>state support for the idea that this is, this shouldn't

0:32:13.636 --> 0:32:17.116
<v Speaker 2>be happening that suggests that it's not really so beyond

0:32:17.116 --> 0:32:18.316
<v Speaker 2>the realm of possibility.

0:32:18.956 --> 0:32:19.396
<v Speaker 7>Mm hmm.

0:32:20.516 --> 0:32:23.716
<v Speaker 1>The person I'm I, the person who I would fault

0:32:23.796 --> 0:32:29.436
<v Speaker 1>is not Morse so much as Moreno. He's the outsider.

0:32:30.836 --> 0:32:34.476
<v Speaker 1>He's the one who's who sees himself as a revolutionary,

0:32:34.556 --> 0:32:37.836
<v Speaker 1>who's not who doesn't at least profess to be held

0:32:37.876 --> 0:32:42.356
<v Speaker 1>by the you know, the standards of the rest of society.

0:32:42.596 --> 0:32:46.676
<v Speaker 1>Who is, as you say, coming up with a new

0:32:46.716 --> 0:32:50.436
<v Speaker 1>idea that professes to paint a picture of the whole community.

0:32:51.116 --> 0:32:53.676
<v Speaker 1>And you could easily see that someone who was if

0:32:53.716 --> 0:32:57.156
<v Speaker 1>he was as revolutionary as he claimed to be, he

0:32:57.236 --> 0:32:59.236
<v Speaker 1>can easily see a version of this where he would

0:32:59.276 --> 0:33:05.476
<v Speaker 1>have said, look, this is what segregation does. Like he

0:33:05.636 --> 0:33:09.396
<v Speaker 1>came with a tool to see what was wrong with

0:33:10.436 --> 0:33:13.356
<v Speaker 1>segregation and turned a blind eye to it. I mean interestingly,

0:33:13.396 --> 0:33:18.316
<v Speaker 1>of course, social science becomes hugely important in the strategy

0:33:18.356 --> 0:33:21.556
<v Speaker 1>of the civil rights movement and the legal strategy of.

0:33:21.556 --> 0:33:24.116
<v Speaker 2>The civil Brown versus borders and on.

0:33:24.356 --> 0:33:27.596
<v Speaker 1>Yeah, in the fifteen sixties, So like there's an opening.

0:33:28.876 --> 0:33:32.076
<v Speaker 1>This is what's so fascinating about this story is that

0:33:32.796 --> 0:33:36.556
<v Speaker 1>this here's this brilliant man who he's blind in so

0:33:36.676 --> 0:33:43.076
<v Speaker 1>many ways to the possibilities of his own fame and greatness. Right,

0:33:43.356 --> 0:33:46.796
<v Speaker 1>he had the tool that everybody would end up using

0:33:47.356 --> 0:33:50.436
<v Speaker 1>twenty years later to break down the door of prejudice,

0:33:50.436 --> 0:33:52.316
<v Speaker 1>and he didn't understand he had the tool and went

0:33:52.356 --> 0:33:59.316
<v Speaker 1>back to doing psychodrama like he had it. Right, does

0:33:59.356 --> 0:34:02.676
<v Speaker 1>he continue over the rest of his life pursuing social

0:34:02.756 --> 0:34:04.436
<v Speaker 1>network theory or doing psychodrama?

0:34:04.676 --> 0:34:08.236
<v Speaker 2>I mean he stays involved with sociometry. I think he

0:34:08.276 --> 0:34:10.956
<v Speaker 2>just wanted to be a direct there. Like there's a

0:34:10.956 --> 0:34:13.076
<v Speaker 2>story he tells about when he was a kid that

0:34:13.196 --> 0:34:15.116
<v Speaker 2>to me is kind of structured the way I think

0:34:15.116 --> 0:34:17.316
<v Speaker 2>about him. And I think he's sharing it because he

0:34:17.356 --> 0:34:20.356
<v Speaker 2>thinks it has some fundamental truth about himself contained in it.

0:34:20.436 --> 0:34:22.076
<v Speaker 2>But I just want to play you this one thing,

0:34:22.476 --> 0:34:24.116
<v Speaker 2>this is about when he's a child, I think in

0:34:24.196 --> 0:34:25.356
<v Speaker 2>Bucharest still.

0:34:26.356 --> 0:34:31.036
<v Speaker 7>One saturday my parents got away, a crowd of children

0:34:31.596 --> 0:34:34.396
<v Speaker 7>gathered in our house in the basement, and I still

0:34:34.516 --> 0:34:37.236
<v Speaker 7>remember that. They came to me and said, now, you Jack,

0:34:37.556 --> 0:34:40.076
<v Speaker 7>this was my first name. What are you going to

0:34:40.076 --> 0:34:40.596
<v Speaker 7>do today?

0:34:40.636 --> 0:34:43.836
<v Speaker 6>I said, let's play God. Well, I said enough, But

0:34:44.556 --> 0:34:46.876
<v Speaker 6>one of the children said, and who is God? I said,

0:34:46.956 --> 0:34:50.996
<v Speaker 6>I am God, and you are my angels. And then

0:34:51.236 --> 0:34:53.196
<v Speaker 6>they all said, let's have it's God the heaven.

0:34:53.916 --> 0:34:55.876
<v Speaker 7>And we went with the basement and we do all

0:34:55.916 --> 0:35:00.196
<v Speaker 7>the chairs in the house, and they built the various

0:35:00.276 --> 0:35:02.476
<v Speaker 7>heavens up to the top, and on top they had

0:35:02.516 --> 0:35:05.756
<v Speaker 7>a chairir for God himself, and I was in help

0:35:06.236 --> 0:35:10.716
<v Speaker 7>for all the children to sit there on well as

0:35:10.756 --> 0:35:13.636
<v Speaker 7>it is, I was gone, and I stood still the

0:35:13.716 --> 0:35:16.796
<v Speaker 7>dangers began to run around to sing, and suddenly while

0:35:16.796 --> 0:35:19.396
<v Speaker 7>the angels said, why don't you fly? And I stretched

0:35:19.396 --> 0:35:23.916
<v Speaker 7>my arms and I fed down and my right art.

0:35:27.676 --> 0:35:31.236
<v Speaker 2>It's just like I just loved the story, but like

0:35:31.276 --> 0:35:33.196
<v Speaker 2>that's kind of his whole thing. It's like he tries

0:35:33.276 --> 0:35:35.916
<v Speaker 2>to play god, he falls down, he breaks his arm,

0:35:36.436 --> 0:35:38.876
<v Speaker 2>like he always wants to be the guy who sits

0:35:38.916 --> 0:35:42.636
<v Speaker 2>above and looks down, and that's a fatal flaw of is.

0:35:44.036 --> 0:35:46.076
<v Speaker 1>We think that's I think that's a nice I think

0:35:46.116 --> 0:35:47.596
<v Speaker 1>that's a nice think it's a nice way to end.

0:35:47.676 --> 0:35:48.356
<v Speaker 2>Yeah, I agree.

0:35:48.476 --> 0:35:53.996
<v Speaker 1>Yeah. For more psychodrama, go subscribe to the Last Archive

0:35:54.276 --> 0:35:58.876
<v Speaker 1>to hear six episodes of Gripping Intellectual History Ben Scott

0:35:58.956 --> 0:36:03.956
<v Speaker 1>stories on mid century songwriting, machines, invasive species, panics, freelance

0:36:04.116 --> 0:36:08.676
<v Speaker 1>wiretappers turned evangelists, and time travel. Subscribe, but you'll also

0:36:08.716 --> 0:36:11.236
<v Speaker 1>hear a whole different version of the story Ben told

0:36:11.236 --> 0:36:15.676
<v Speaker 1>today coming soon. He won't want to miss it. Ben

0:36:15.716 --> 0:36:18.396
<v Speaker 1>produced this episode of Revisionist History as well, with help

0:36:18.436 --> 0:36:21.676
<v Speaker 1>from Jacob Smith and Kiara Powell. We were edited by

0:36:21.716 --> 0:36:25.796
<v Speaker 1>Peter Clowney and Julia Barton, Engineering by Nina Lawrence, Mastering

0:36:25.796 --> 0:36:29.556
<v Speaker 1>by Sarah Bugaire. Original music by Matthias Bossi and John

0:36:29.556 --> 0:36:33.956
<v Speaker 1>Evans of Stellwagon Sinfinnat. I'm Malcolm Gladmo