1960’s – Don't Gel Too Soon

Dirty Dancing and Planned Parenthood: a Perfect History Lesson

This showed up in my Facebook feed Thursday night and blew me away. It may have been funny to many, but it left me breathless.

I don’t know if it’s possible for younger people today to know how terrible that time before Roe was for so many young women like Penny, who faced the terror and hopelessness of an unwanted pregnancy, or what a real miracle it was that she was rescued.

Dirty Dancing is set in the summer of 1963, just before Francis “Baby” Houseman is about to leave for Mt Holyoke. I left only a year later, for Smith. So she and I are cousins, if not sisters. Each wanting to change the world, each with a wonderful, trusting father, each falling for a bad boy with such a different history from our own … and each inexperienced in realities such as those faced by a pregnant dancer with no money whose illegal abortion goes terribly wrong.

She nearly dies — saved only by the skill of Francis’ doctor father. The film is a fairy tale – in the love story for sure, but also in the story of the damsel in distress rescued by a fatherly wizard who brings her back from the brink. Most women in those pre-Roe days – and many again now, in states where abortion rights are savaged every day — faced real back alleys and unskilled procedures on kitchen tables with no wizard, or anyone else, to save them. Penny’s story was as real as they come, and it’s no joke to remind us that her fairy tale is in real danger of once again becoming the dark horror story it used to be.

So yes – it’s always fun when cultural references inform reality. But it’s hard to enjoy even this clever comparison when the lives of so many Pennys and her sisters are in such terrible jeopardy.

Don Draper, Dick Whitman, Peggy, Sally, Joan, Coke, Mad Men and Us

The farewell to Mad Men, at least on Monday’s morning news programs, was all about “the Coke commercial” (indeed a brilliant, brilliant presence in the episode) the 60’s, advertising, capitalism and a Don Draper not at all like the man he described to Peggy in this phone call:

“I messed everything up. I’m not the man you think I am…. I broke all my vows. I scandalized my child. I took another man’s name. and made nothing of it.”

or his physical transformation – messy hair, plaid shirt and jeans – that returned him, at least briefly, to the “Dick Whitman” he once was. Even his expressions were those of a country boy with a squint.

Joan faye peggy2 — Joan, Peggy and Faye in the elevator in especially poignant episode about the women of Mad Men

Preoccupation with “the commercial” overrode discussion of how important Mad Men has been to women: not only those who were teenagers as Don ascended and for whom so many scenes brought back memories of the scandalous neighborhood “divorcee,” of the Women’s Clubs and Garden Clubs and all the other “activities” suburban mothers created — but also for those who came after, for whom some of what they saw of women’s lives was just a relic but way too much was way too familiar.

Don Draper’s journey, from brothel to executive suite to Esalen, is very much that of America through the 60’s and beyond. It was a traumatic, scary, strange and exhilarating time, and whether you were there or you arrived later, it’s clear that Don’s misery and confusion mirrored what many of us, and, even more so, our parents felt every day.

Oh, and that Coke commercial? It was so perfect I laughed out loud as it appeared: all that we had hoped for and dreamed of, laid out in an air-brushed, multicultural, Benetton panorama. I don’t think we knew then how far we would be today – maybe forever – from that dream, but watching it now, it seems quaint how sentimental we were, even in our days of rage. Just like Don.

Bruce Morton: a Master Journalist and a True Gentleman

CBS News camera platform at the March Against the Vietnam War, April 1971

Bruce Morton died yesterday. He was a sensitive and deeply moral man. He never raised his voice and when I asked him why he told me that he had seen so much violence when he covered the Vietnam War that he didn’t want to be responsible for inflicting any more – even verbally. Those years had left a deep mark on him, but that reply was about as far as he would go in discussing it out loud.

He was smart too, and funny, and brilliant. He won an Emmy for his coverage of the 1970 trial of Lt. William Calley for the 1968 My Lai Massacre. It was tough for someone who had been so affected by the war to cover this tale of atrocities and shame, but he did it elegantly and well, as he did everything.

I learned so much from him; some of it really unexpected. Once at a party in the studio for the guests who had appeared on a just-completed live broadcast, we got into a terrible fight about Lyndon Johnson. I was part of the anti-war movement before I went into journalism and was only 23, as you can see in the photo of the two of us ( along with hundreds of thousands of marchers.) I hated Johnson, blamed him for the war, of course, and had very little perspective on the rest of his history.

With the kind of passion I learned to expect from him but that was really scary then, Bruce ran the litany of Johnson’s Poverty Program, Civil Rights accomplishments and background and insisted that I take another look. He was, of course, right. Like every other story, this one had two sides and I had only seen one. That never happened to Bruce.

He was really nice to me; he and his wife Maggie even hired me, since I was usually short of cash, to babysit for their two fabulous kids Sarah and Alec. And their Great Dane. And their cats. It was a real privilege to be invited into their very exciting lives and be trusted with their kids. All those times are memories I cherish.

As I remember this lovely and remarkably talented man, (I once saw him ad lib a 1:30 live radio report and get it right, beautiful and to the second) I can’t do much better than our colleague Joe Peyronnin:

Bruce Morton was a brilliant political journalist, and a superb writer and reporter. He wrote a script faster than anyone I have ever known. His writing was imaginative, incisive and informative. We worked together at CBS News on many stories in the 70’s and 80’s, and got the scoop of the1984 Democrat Convention, that Walter Mondale had picked Geraldine Ferraro as his running mate. Bruce was a truly remarkable man. RIP my friend.

A Quick Trip with Leonard Cohen

I can see the room. It’s a little scruffy and smells like pot and incense. (Yes that’s a cliche but there you are.) There’s a mattress on the floor, crazy Berkeley posters on the wall, a turntable and speakers, one window over the bed, another on the long wall. Lots of bookcases, record albums, a coffee grinder for stems and seeds, a big old stuffed chair, and us.

It was a long time ago. Hasn’t crossed my mind in years. Then, right there, on the Spotify singer-songwriter channel, comes a young Leonard Cohen singing this:

Music is dangerous. Suddenly I was back in Massachusetts almost half a century ago, when Suzanne, and Sisters of Mercy too, were part of my lexicon, along with everything from Milord

to Ruby Tuesday

to Blowin’ in the Wind.

Years ago Garry Trudeau published a Doonesbury thta included the line “You’ve stolen the sound track of my life!” I don’t remember the context but it’s disconcertinly accurate, as he usually is. Every song is a movie of the past, running — sometimes joyously, sometimes with enormous sadness, in my head.

It was such a different time, full of righteous anger and, at the same time, joy at being alive, sometimes in love, always part of the changes taking place all around us, many at our instigation.

Now, as we face the rage and disappointment of many of our children and their peers, it’s kind of heartbreaking to look back with such nostalgia at a time that they clearly see as debauched and destructive and, even worse, egocentric and selfish.

It’s paricularly hard when these songs rise up, so transporting. Everyone, if they’re lucky, has fond recollections of the younger times in their lives. But for me, as the music carries me there, it was so much more. Hope, freedom, equality, beauty, love and peace — every song an anthem moving us forward. And lovers in a scruffy dorm room, a little bit stoned, listening, and sometimes, singing along.

Audrey Hepburn, Gregory Peck and Roman Holiday: a Political Lesson? No, Really.

It was a fairy tale about a princess on a journey. Doing her duty, kind of like Diana (but, since she was played by Audrey Hepburn, even classier,) she came to Rome, after Athens, London and Paris, to conclude her mission.

But she was young and beautiful and sick of receptions and parades. And so, in the middle of the night, she snuck out the embassy window and ventured across the Piazza di Spagna and into the Roman night.

If you know this movie at all, you remember with sweet nostalgia the way you felt the first time you saw it. The princess asleep near the Trevi Fountain on the Roman equivalent of a park bench is awakened, like Sleeping Beauty, by reporter Joe Bradley, played by Gregory Peck. ( If the film has a flaw, it’s that we know some of what will happen once we see him there. He’s a good guy and that’s who he plays. He is Atticus Finch, after all.)
The film was released in 1953, right in the middle of the 1950’s. Written by Dalton Trumbo, “Roman Holiday” was credited to a “front” named Ian McLellan Hunter, because Trumbo, blacklisted as a member of the Hollywood Ten, wasn’t permitted to write for movies any longer. It’s one of the darkest chapters in Hollywood history, very much a part of the image of the decade and a sad facet of a beloved film that won three Oscars and introduced the world to Audrey Hepburn.
There’s something else though. The people in this film behave well. There are things that they want, desperately, but there are principals at stake, and they honor them. When Peck meets Hepburn, he doesn’t recognize her but lets her crash at his apartment. Once he figures out who she is, he knows this “runaway” could be the story of his life. Even so, after a brief, idyllic tour of the city, (SPOILER ALERT) she honors her responsibilities and returns to her royal duties, and of course, he never writes the story. It was very much an artifact of the
“Greatest Generation” ideals, manifested with such courage during
WWII and very much the flip side of the jaundiced (and just as accurate) Mad Men view of the 50’s. Duty and honor trump romance and ambition.

Once again, I’m struck with admiration for the people of these times. Yes the 50’s did terrible damage and made it difficult to be eccentric or rebellious or even creative. But films like this one, or Now Voyager and similar films of the 40’s, sentimental as they may be, remind us of what else these people were. They’d lived through the Depression and the war and they had an elevated sense of responsibility. As we watch much of our government (and some of the rest of us) disintegrate into partisanship and self-interest, it makes a lot more sense than it did when we rose up against it all in the 1960’s. Doesn’t it?