Not everyone in Ireland knows about Tisch. What it is, where it is, and so on. There is Tisch, and then there is Tisch. Allow me to explain:
New York University is a private institution of higher learning in the United States. It is often regarded as one of the best and most selective schools in the world. Founded in 1831, NYU is the heart of Greenwich Village (
whether the Village likes it or not). The university has degree-granting campuses all over the world, and rightfully calls itself the [sole] "
global network university."
Tisch School of the Arts, commonly abbreviated as TSOA, opened its doors in 1965. It quickly became synonymous with the burgeoning arts scene in lower Manhattan. Today, its esteemed reputation precedes itself. Tisch affords undergraduates, postgraduates and doctoral students alike the unique opportunity to study a myriad of artistic disciplines in an environment of collaboration, freedom and competition. At Tisch, there are students engaged with every artistic medium virtually thinkable: acting, fine arts, cinema studies, music, dramatic writing, interactive telecommunications.
I earned a degree from Tisch-- as did Martin Scorcese, Alec Baldwin, Donald Glover, Tony Kushner, Neil Simon, Idina Menzel, Adam Sandler and Rainn Wilson. Tisch boasts some pretty famous names among its ranks. If you broaden that list to include all of the artists, researchers and academics who simply stepped through its doors, you would quickly see how insane it really is. There's hardly a better word to describe the Tisch "effect." It is stupefying. Amazing. Bewildering. It is Danny DeVito in the elevator beside me, leaning against a wall and biting his nails. It is Peter Dinklage chatting with a student in the lobby. It is
Pharrell offering a masterclass and serving as our Artist in Residence.
So, that's Tisch.
Then, there is Tisch: my alma mater as well as my former employer. It's crazy-- I turn 27 next week, and collectively, between undergraduate study, part-time work, and later, my first full-time job-- over a quarter of my life was spent at Tisch. I consider the institution part of my identity. I'm sure many Tisch students, staff, faculty and alumni feel the same way. Regardless of whether or not one's Tisch experience is short, long, happy, sad, positive or negative...I am confident that any member of the Tisch community would step forward and say it was formative.
Of course, there's my measly decade... and then there's half a century. Arnold (Arnie) Baskin, Associate Professor in the Maurice Kanbar Institute of Film & Television, spent much of his adult life at Tisch, though he was never actually a student there. He was a prolific filmmaker and photographer, but he'd never been to film school. Arnie was always a welcomed presence in my office as well as a major pain in the ass. If I had a dollar for the number of times that man would call my extension because he'd forgotten his own phone number, I would be a very rich woman. He was a "lifer," as they say: tenured, old, and incredibly annoying. To a certain extent, we all felt like we were forced to put up with him-- albeit lovingly. Dotingly. In return, he offered us some great stories (remembrances of playing the drums in Cuba, for example, or chatting to Al Lewis from his hospital bed).
While I can't speak for my colleagues at the time, I'm fairly sure we all had a deep fondness for Arnie Baskin. However, when I first got hired in 2014, Arnie took an immediate and special liking to the new (and, yes, female) presence on our floor. I was a young woman, willing to teach Arnie his phone number over and over again. We connected instantly. Everyone else had heard his stories, but I hadn't. Everyone else had seen his photos of New York nightlife. I hadn't. Everyone knew he was into salsa. I didn't. So he shared these things with me on the regular. Arnie was incredibly charming, caustically funny and a fantastic spinner of yarns. He was also just plain weird. Each day spent with Arnie was some variation of the same thing: he was deliberately boyish and harmlessly flirtatious. He would wander into our office after teaching a class, sit across from m desk, and tell me that my hair/nails/eyes/dress looked great. He would then ask me to do something that he should have easily been capable of doing himself, like logging into an e-mail account-- but legitimately couldn't do because he never bothered and never cared to learn. The man was a cinematic genius, but he used two fingers to type...slowly. Arnie Baskin cursed like a sailor, yet spoke fluent French. He chatted with our receptionist in French regularly, and his voice was melodious. I absolutely adored that man. He kept on thinking for years that the framed photo I had of my mother was my sister. We'd have that conversation a million times, and he'd show me his collection of New York street "fotos" twice a week. That particular album is publicly available on YouTube, by the way. It is a montage of New York faces (not quite portraits, but moments in time). Barry Manilow plays solemnly in the background. Can it be that it was all so simple then?
I left Tisch last year on precarious footing. I won't get into it. Nevertheless, I woke up yesterday to several texts and forwarded e-mails from former colleagues and friends, passing along the information that Arnie had died. I totally lost it. I had an old friend visiting from New York. We were meant to be out dancing at a gay nightclub. I wasn't dancing, though I enjoyed watching the drag cabaret. It's something Arnie would have loved.
My relationship with Arnie was quite intimate. Intimate is a word I choose without hesitation, though I'm cognisant of the fact that any/all of my colleagues in higher education reading this will be quick to take up arms about it. Truth is, Arnie and I were overfamiliar with one another, but I didn't mind, and he was never unprofessional. He knew his boundaries. He also knew how to read me: if I'd been in an argument with my boyfriend, he could somehow tell before anyone else. He'd say the boyfriend was crazy not to put a ring on my finger, and if he were any younger, he'd do it himself. Arnie always needed me for something, and to be honest, I needed him. He made me feel useful, valued and competent.
The last memory I have of Arnie is a bit ironic. We were in the copy room. I was scanning his Last Will and Testament. Not an unusual task; not something out of the ordinary for Arnie to ask of me, honestly. I'd already submitted my letter of resignation and was spending most of my nights at home packing for Dublin. He was spinning around in a chair, humming a tune.
"What will I do without you?" he said, referring to my then-imminent move.
"Well, looking at this," I replied, feeding his chicken-scratch document into the machine, "it seems you'll be dying on me."
When the job was complete, he hopped out of the chair and rubbed his shoulder (he had a bad shoulder). Without so much as a word, he was already halfway down the hall.
"Love you," I called after him.
"Love you, too." He never turned back around. He was off to do the next thing.
He went on a sabbatical shortly before I left, so he wasn't there to bid me goodbye. He occasionally called my cell phone. He'd e-mail: "HOW R U...............? WHERE R U.......AB." I would always reply, and tell him how proud I was that he was typing. I sent a Christmas card to his apartment from Ireland.
I miss Arnie. I miss Tisch.
All I could think about last night at the club-- Dublin's only gay club, called the George-- was the interminable Arnie Baskin and my ties to Tisch. What Arnie represented. I said it once, and I'll say it again: I left my job on precarious and uncertain footing. I never felt like I'd closed the book on that chapter of my life properly. The news of Arnie's passing me rattled something deep in my soul that I couldn't shake. Suddenly, unexpectedly, the room was spinning. My heart was thumping and the music dulled. I had my glasses on, but couldn't see anything. I felt the sweat on my forehead. A panic attack. Not my first. I stumbled down the stairs and begged one of the bouncers to open the doors for me. My boyfriend looked scared. The bouncer told my boyfriend no: "This door is closed." I was gasping for air. I couldn't breathe. I pushed through the bouncer and out into the cold night. The rain on my face gave a great sense of relief. My boyfriend hailed a taxi and I sobbed inconsolably all the way home.
There's no point to my writing this, really. It isn't a proper homage to a terrific man, but it also isn't a diary entry. This post is what it is-- very much the way I left my New York world: I sensed it coming, but there was no fanfare. It was abrupt. It is over. It is long over. It is now in my head.
I need to ask about where I can send flowers. Arnie would absolutely hate flowers.
I'm re-watching a clip of Arnie from a couple of years ago; Tisch was celebrating its fiftieth birthday, and select members of the Tisch community contributed to a montage/video about what the school means--- to the world, and of course, to them. Arnie is wearing one of his striped scarves. He's rambling a little (as he was wont to do). He looks really good.
"The people who come here have decided not to work in a cubicle in Silicon Valley. I'd say the students here are a minority in the United States."
He pauses and purses his lips: "A great minority."
His cameo ends simply. He laments not going to film school: "I wish I had gone to film school at NYU."
He also says this, smiling not at the camera, but to himself:
"I think students coming to film school-- coming to NYU, now, is like Hemingway going to Paris in the twenties. It's for dreamers."
SOURCES:
https://vimeo.com/160692612
https://www.youtube.com/watch?v=1u4_HSrMJtc