Showing posts with label Sixties. Show all posts
Showing posts with label Sixties. Show all posts

Wednesday, November 20, 2013

Camelot in Wonderland: Kennedy, Death, and the Myth of a Better America


By: Ricardo A. Serrano Denis

      Political assassinations often turn complex and imperfect men into saints. Immediately after the killing, the assassin’s victim is purged of his sins and every form of controversy surrounding his foreign and domestic polices become misunderstood attempts at peace and prosperity. An assassination’s anniversary, then, plunges the public down a rabbit hole of memory that leads to a fantasy land where the victim’s lost vision of the future becomes reality. The nation’s current state of affairs is temporarily accepted as a consequence of the figure’s death, no other type of history weighing in on it. Of course it is all imagination, a wish things were the way the deceased leader wanted them to be: better. This is the case of John F. Kennedy, a man taken from the American public as perhaps the greatest president the country had ever seen.

     As the anniversary of Kennedy’s death approaches, American television churns out its traditional barrage of documentaries that portray America as a fatherless nation come November 22nd, 1963. We are reminded that Kennedy was here to save the world and that he signified the last hope for peace to prosper, anywhere. Post-Kennedy America, so it seems, became a nightmare version of itself, nearly post-apocalyptic in scope. Vietnam, segregation, the counterculture, the sexual revolution, and hippies were all things that could have been avoided had Kennedy lived. And all throughout we are left without much space to question whether his presidency was really destined to become the epitome of democracy, the true example of freedom in the world. To this day, it is thought Kennedy left before he could fix everything. That his unfinished presidency meant the country’s destiny was severed from greatness. But history shows that the Kennedy administration, while fashionable and charismatic, meant business as usual. 




     Before that fateful November day, Kennedy had amassed a considerable amount of criticism that came from all sides of the political spectrum. The Civil Rights movement regarded Kennedy an opportunist keeping desegregation on the sidelines for his second term, when it couldn’t hurt his chances of securing another term. Washington hardliners considered Kennedy’s foreign policy as soft after the Bay of Pigs fiasco and weak when Cuba resurfaced as a potential military target come the missile crisis. The argument was Soviet Russia would never have made Cuba a nuclear site had Kennedy taken it during the invasion.

     Others blamed Kennedy for Vietnam and warned that sending military advisors and economic aid to Southeast Asia would be interpreted as intervention and could land America in a war it could not easily win. Kennedy had agreed with Eisenhower’s labeling of Laos as “the cork in the bottle” in regards to it being the instigator of threat in the region. Kennedy partnered with Diem in South Vietnam and went ahead with a policy of limited military action. But all of that dissipated after Dallas, when either a lone gunman from the Dallas Book Depository or a team of assassins shooting from the Grassy Knoll made John F. Kennedy the fourth President to be assassinated while in office.

     As the nation mourned it also began to forget. Kennedy became an idea that should live on as an example future presidents should aspire to, future generations even. His criticisms faded into visions of an incomplete experiment yielding results on American Freedom being the standard of living worldwide. Vietnam no longer became a war Kennedy began in the early years of his presidency. The fact he kept intervention limited meant Kennedy was really just laying the international framework for diplomacy to take over. Instead Vietnam became Lyndon Johnson’s fault, the Southern Vice President turned President after the assassination (maybe landing the role after he had conspired with the assassins to stage a coup d'état should conspiracy theorists have their way). Oliver Stone’s JFK (1991) bases its main argument on this contention. 




     According to the film, the authority of the state over its people resides in its war powers. Stone’s Kennedy, painted as a complete pacifist, wanted to end the war and bring the Cold War to its knees through diplomacy. Assuming war is the organizing principle of American society, a dark government wing set between the military and the White House began to form, to question Kennedy’s commitment to Southeast Asia. Of course, we have to accept war is also the backbone of the country’s economy, the Military-Industrial-Complex Eisenhower warned about. No war meant no economic prosperity and so Kennedy had to be replaced with someone committed to war. Vietnam became the force that pulled the rifle’s trigger. Blame the assassination on war and those who court it. Forget Kennedy escalated intervention in 1962 and approved the Strategic Hamlet Program which involved village internment and the forced relocation of Vietnamese peasantry so Communist insurgents could remain isolated from possible sympathizers. It was only after April 1963 that Kennedy started to voice a desire to extract American forces from Vietnam. He was quoted as saying: “We don’t have a prayer of staying in Vietnam. Those people hate us. They are going to throw our asses out of there at any point.”

     Meanwhile, race relations became another experiment left unfinished. We remember Kennedy signing Executive Order 10925, which required government contractors employ or treat employees equally without regard of race, creed, color or national origin. We forget Martin Luther King, Jr. and his associates (who accused the President of being slow paced with domestic reform) drafted a document that called on Kennedy to enact a sort of Second Emancipation Proclamation that would deal the final blow to segregation, nation-wide, in 1962. Kennedy did not execute that order. The path towards the Civil Rights Act of 1964 ended up being a long and violent one and it was ultimately signed by Lyndon Johnson.

     And yet, Kennedy has captured the hearts and minds of the American public, being that he became what hearts and minds ought to be. Annually, we go down the rabbit hole to a place called Camelot, where royalty is synonymous with the Kennedy name and peace is an idea original to it. Where the United States of America can revel in the make-believe that it was once close to reaching perfection, of being the moral weight on which the world could balance. But once down there, we should ask ourselves whether those visions of a near perfect America are given too freely to a man who was so far from it. John F. Kennedy has become a man out of time. Unstuck in it. He became universal, the light we still hope can shine on darker days. 



     Perhaps it is unfair to judge a man with the full weight of history. Kennedy’s legacy is no doubt unquestionable. He most publicly aided the fight for Civil Rights, prevented a nuclear confrontation with Russia during the Cuban Missile Crisis, initially approved an overhaul of American immigration policy reuniting many foreign families and dismantling the selection of immigrants based on country of origin, and funded NASA’s space program with the intention of putting a man on the moon (in truth this last one came out of a sense of national prestige after the Soviets wounded it by being the first to fly in space, but still). His accomplishments are admirable and deserve remembrance, but they do not constitute an example of political flawlessness. John F. Kennedy is much more complex than he is permitted to be. A man that knew J. Edgar Hoover was wiretapping Martin Luther King, Jr. based on rocky evidence some of his associates were communist sympathizers. A strategist that contemplated pulling out of Southeast Asia only after the Communists acquired the upper hand over the political fate of the region. A politician that can be accused of postponing Civil Rights reform for fear of losing a re-election. In a sense, Kennedy is the great enigma. A figure, a symbol, that guarded his secrets well by hiding them in plain sight. An American icon that should be remembered for every decision he took as Commander in Chief of the United States, so long as he is remembered as an imperfect man.

Wednesday, July 24, 2013

The Twilight Zone and Kennedy-era Optimism: or How I Learned to Stop Worrying and Love the Sixties


by Gabriel Alejandro



"Now the trumpet summons us again—not as a call to bear arms, though arms we need; not as a call to battle, though embattled we are—but a call to bear the burden of a long twilight struggle, year in and year out, "rejoicing in hope, patient in tribulation"—a struggle against the common enemies of man: tyranny, poverty, disease, and war itself."
-John F. Kennedy inaugural address (January 20, 1961)

     The fifties’ last couple of years witnessed a shift in perspective that contrasted with the doom and gloom that had plagued the U.S. since the end of World War II and its subsequent lead-up to the Cold War. The transition peaked when a young Irish Catholic was nominated for the presidential ticket by the Democratic Party and later won the 1960 elections. A Harvard graduate, John F. Kennedy represented a “warmer” alternative to a nation whose domestic dispute resembled its foreign one; cold.


      One of the main objectives in Kennedy’s domestic agenda involved the reconciliation between the arts and politics, a relationship that the past decade had thoroughly tarnished. Hollywood Blacklisting and Senator Joseph McCarthy’s witch-hunt had pushed many entertainment workers into exile during the forties and early fifties, leaving those who stayed behind without stable employment and in fear of persecution. But now, gone were the days McCarthyism and the House of Un-American Activities Committee, and in their stead were Kennedy’s youthful and progressive prospects. This meant that every writer, actor, director, producer and composer could venture freely into their craft without worry of whiplash by the government which, in turn, had set a precedent for the American audience:

     He [Kennedy] was…the first presidential candidate to mount both a literary and a television 

     [emphasis added] campaign for the office, the only one comfortable in both media, and 
     the perfect man for a time when Americans were teetering on a balance point between image and
     word. (Thurston Clarke, Ask Not, 2010; P. 115)

Television, a medium that had been persecuted for its then-rapid widespread and informative capabilities, was becoming more and more common in every household. This, along with a young president’s embrace of the medium, catapulted the industry’s creativity into experimenting with never-seen-before themes and techniques.

      One program in particular that emerged during this era was Rod Serling’s The Twilight Zone. Originally presented as a fantasy/science fiction anthology series, The Twilight Zone constantly touched on subjects that reflected the worries and aspirations of the times. The show’s first episode aired on October 2, 1959, three months before Kennedy began campaigning for the primary elections (January 2, 1960) and was cancelled in late January 1964, less than three months after his assassination (November 22, 1963). But the program’s five-year-run would be enough for it to leave its mark in television history. By exploring different aspects of the human psyche such as that of a soldier’s during war, the possibility of life in other planets, and giving new angles to historical events, The Twilight Zone ventured into territory that would have been deemed unsuitable for television would it have aired some years earlier.

 

      In “Where Is Everybody?,” the first episode that formally aired under The Twilight Zone brand name, we meet an amnesiac Air Force pilot roaming in a deserted town. After much scavenging and self-questioning, the man finally collapses after running from a shop and into a street crossing pole. We then see that the man is not really in a desolated town but in a test chamber, and a group of military personnel observes the unfolding of his delusion. He is a test subject in a moon trip simulator, completely isolated in a town was just an illusion. After being carried out by medics, he gets a glimpse of the real moon and says, “Hey! Don’t go away up there! Next time it won’t be a dream or a nightmare. Next time it’ll be for real. So don’t go away. We’ll be up there in a little while.”

      Aside from the nuclear tension that characterized the Cold War, the space race against the Soviet Union comes in close second. This competition would not have only granted technological supremacy to its victor, but it would have also awarded ideological superiority to the winning nation. The U.S. audience had been fantasizing about space travel since the early years of film and television. But for a while any public “space talk” was avoided amid fears of Russian spies acquiring classified information. That lasted until May 25, 1961, when Kennedy, before a joint session of Congress, gave his "Special Message to the Congress on Urgent National Needs” speech in which he urged the Nation to set the goal of “landing a man on the moon and returning him safely to the earth.” A year later, on September 12, 1962, he gave another speech, later known as the “Moon Speech,” at Rice Stadium in Houston, Texas. This time he expressed how the trip to the moon would spur an aftermath of technological innovations similar to previous achievements such as the printing press and the steam engine. Even though the goal was set to be long-term (before the end of the decade) and the Russians had the advantage, the Nation had been rallied up and felt that the task at hand was within grasp for the first time.



      Other well-known episodes from the first season such as “Time Enough at Last” and “The Monsters Are Due on Maple Street” (both airing between November 1959 and March 1960) also carried the spirit of the epoch in more than one form. In the first one we meet Henry Bemis, an avid reader surrounded by uncultured people. He is an admirer of Robert Frost (who, coincidentally, recited a poem during Kennedy’s inaugural) and is mocked by both his boss and wife for his passion for literature. The subject of anti-intellectualism was well-known at the Kennedy camp. A lover of words and history, Kennedy believed past administrations had strayed from establishing an intellectual core and compensated by opening the doors to intellectuals in his administration. Furthermore, in “The Monsters are Due on Maple Street,” the topic veers from current or future events into the near-past. Maple Street is your typical 1950s portrait of an American neighborhood until bizarre incidences take place after a shining object is seen in the sky. Since the residents do not know the cause of these occurrences, they begin to single out each other by creating conspiracies fueling the idea that a monster dwells among them. It is a clever reimagining of Communist paranoia and its blind fervor that stalked the government under Senator McCarthy. The episode ends with a conversation between the culprits, two extra-terrestrial beings who observe the events from afar, when one says: “… I take it this place –This ‘Maple Street,’ is not unique?” To which the other one responds: “By no means. The world is full of Maple Streets. And we'll go from one to the other and let them destroy themselves. One to the other...One to the other...One to the other...” (The “monsters” in the title referring to human beings instead of actual monsters or aliens).



      In conclusion, one could spend countless pages and ink counting the parallels between history
and fiction in every Twilight Zone episode. For many, Kennedy embodied the spirit of the people which sought to distance itself from the practices and ideologies of the past. This resulted in a large manifestation of arts and academic work in government affairs and vice versa. The constant mirroring and exposure of political subjects in television and movies resulted in the “de-stigmatization” of some elements but also in the further expansion of others. In one hand, the possibility of reaching the moon and its advances was tangible; but on the other, the bomb and other scare-tactic representatives were still ever-present in every household. Nonetheless, this did not halt the television and film industries from maintaining the flux of interesting proposals throughout the decade. And even though creativity persisted, the early sixties’ optimism, along with Kennedy, ceased on November 22, 1963.