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PAGE 2 — THE DECREE — OCTOBER 11,1991 nr't Tx 1 he Decree OFFICIAL STVDBNT NEWSPAPER OF NORTH CAROUNA WESLEYAN COI^OE Co>£ditors — John Fentress and Janies Oakley Staff— Cecilia Casey, Nicole Cox, Trey Davis, John Heame, Kevib Hambrecht, Stewart Crank, Joanna HoUaday The Decree is located in the Student Union, North Carolina Wesleyan College, Wesleyan College Station, Rocky Mount, NC 27801. Policy is determined by the Editorial Board of The De cree. Repubiication of any matter herein without the express consent of the Editorial Board is strictly forbidden. The Decree is composed and printed by Ripley Newspapers of Spring Hope. Opinions published do not necessarily reffect fliose of North Carolina Wesleyan College. Editors explain policy on articles Due to recent criticism from a number of indi viduals in the Wesleyan community, the editors of The Decree would like to state their policy of submittance and accep tance of editorials, feature writing, and other articles. Articles are requested to be submitted to the editors on the Friday be fore publication. These dates for the fall semester are Oct. 18, Nov. 1, Nov. 15, and Dec. 6. The Decree’s policy on anonymity is as follows: we strongly suggest that authors allow their names to be printed; however, we reserve the right to with hold an author’s name if it is concluded that the author may be jeopar dized. For example, the In sider and the editors have agreed that if the Insider’s name was printed with his/her articles it would affect the ability to write in an outspoken manner. The editors find it ri diculous that individuals have argued that signa tures should be a require ment for editorials. Since when has there been any requirement for a journal to reveal the identity of an anonymous letter? Why not then criticize James Madison, Alex ander Hamilton, and John Jay for their Federalist papers? How dare they use a pseudonym of Publius for their writings? These writers have never been questioned for their integrity because they felt that they needed the protection of anony- minity. Why now are individu als who write for The Decree being questioned? Haven’t they the same rights as the founders of the American govern ment? We, the editors, think so. The editors do require that individuals submit their names to the editor, but names can be withheld on request. We urge the entire Wesleyan commu nity to feel free to submit any opinion on any topic to the editors. Please place all articles, letters, opinions, and neews items in the mail boxes of the editors, John Fentress (Box 3522) and James Oakley (Box 3410). MORE 6000 NtVfi OH M ECONOHY' TUf RECESSJOH-Hor-A DEPRESSION HAS AliBOy rattened OUT' h mm HAS ALREAW BE6JN BUT Mjw ^ Bm 9|0B?iift:UlT£D li SUSP1£I0\B COMSUM££S am THE ECOJJOMV TO WPRSEN £V£W ASIT JMPROVES. IKECOND ll. IROWCAUy UNWPtcyffiHT and MFtATlON C0NFIRHIM6 Ml TJft KCOVCRy IS »N F«U ^WIN6.' ?OLiS, mOif, CONFIgM THAT MoS P£OPlf ARE NOT mUG AMYTK6. wwicw ha; fifouceD the twde cetiv fiNAlW THE 8tl5H APMINIJTKATION IS PtAKilN&^ TD WBllCIZE THE ECONOMIC BooM, SINCE MOJT PEOPlf ABE TDO BUSY TO HAVE li6lD ABOl/T/T Still hope for cynic New films show good in people By STEVE FEREBEE The other day I was, in my usual subtie way, making fun of Vice President Quayle. One of my students said I was too cyni cal. I defended myself as someone who had reason to be cynical of politicians but who is not blind to the good that exists even in many people who lead lives I deplore. Nevertheless, as I thought about this conversation later, I was nagged by the suspicion that perhaps a loss of my youthful idealism accompanies the inevi table deterioration of my body. As I worked in the garden, I considered three movies I’ve seen lately and decided I still believe intensely in people, even though I find many of them less than ideal. These are not artistically perfect movies, but each one concerns a group of misfits searching for a center to their lives — a home. Some find it, some don’t; but I am happy that the directors, writers, and actors tried to reveal courage and dignity amidst the cowardice and greed of contemporary society. I’m not so cynical that I can’t be moved by their stories. Alan Parker’s The Commit ments is the gritty, realistic story of a group of poor Northern Irish youths who form a band in Dublin. They coalesce around the idea that music can provide strength to and a bond between Dr. Steve Muses the musicians and the audience. They see themselves as an op pressed minority and the Ameri can soul songs the sing offer them a way out, if only momentarily. The Commitments is a movie about the possibility of commu nity, of hope for a future without hate and separation. Call him re alistic or call him cynical, but Parker presents possibility, not certainty. The words of popular music (‘Try a Littie Tenderness;” “Respect”) in smoky Detroit bars and Dublin pubs cannot by themselves change us. But at least we’re offered the chance to listen. Gus Van Sant’s My Private Idaho, an off-the-wall movie based on a B52’s song and Shakespeare’s Henry IV plays, makes Parker’s gritty realism lode like Norman Rockwell. The c(xnplicated plot concerns a mel ancholy unrequited love story about two male prostitutes, one a gentle narcoleptic searching for his mother and the other a gruff rich kid rebelling against his fa ther. But this is really the story of people trying to find family. Even if you think you drai’t like movies about people bar outside the mainstream, give this movie a chance. Not only have the actors (River Phoenix and Kenau Reeves) taken a chance but also they have given interesting and heart-wrenching performances. They make us believe in the people they portray, and they confirm our faith in people’s ability, and need, to care for each other. We may not believe in some of what happens in Terry Gilliam’s contemporary knight- in-shining-armor t^e The Fisher King, but Gilliam and the actors pull us into another story about people’s need for each other in a world where cynicism often seems the only sane altOTiative. When media star Jack (Jeff Bridges) realizes that other people (including Robin Williams’ mad Sir Gallahad-on-the-street and Michael Jeter’s outrageous trans- vestite-on-the-street) mean more to him than personal success, the moment is believable and touch ing. By scaling the walls of his own self-hatred, he rejects cyni cism and accepts love. So, by the time I had finished in the garden for the day I felt better. At least I could accept Hollywood’s version of the pain we cause ourselves by failing to see that commitment, happiness, and love exist in the most unfertile places if we will take the time to nurture them. For us cynics, pointing out the failure is at least a first step.
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