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Sunday, August 4, 2013

The Twilight Zone's Eye of the Beholder

     The Twilight Zone can be seen as a reflection of the times, especially as it relates relevant social issues of its time creatively through its stories.  Today we are examining the episode entitled "Eye of the Beholder" which originally  aired in 1960 as it eloquently displays that society itself determines what is acceptable based solely on appearance.  The episode is described by IMDb.com as follows
 A young woman lying in a hospital bed, her head wrapped in bandages, awaits the outcome of a surgical procedure performed by the State in a last-ditch attempt to make her look "normal".
     But what is "normal?"  Obviously, by the title, "normal" is determined by the "eye of the beholder," proving that the basis for segregation is outward appearance.  Unfortunately, this was true when the episode was created, and, to a certain extent, still rings true today.

     The “Eye of the Beholder” reveals that the quest for conformity at all costs has overrun the thought of society.  The young woman who was lying in the hospital bed is not even mentioned by name, but is referred to as “Patient 307” by the nurses through much of the show.  Although it is clear the patient has a name, "Janet Tyler," she is not addressed directly by name compounding Janet Tyler’s facelessness and further quashing her individuality.  Placed in context, this episode not only warns about the dangers of conformity, but also reveals the value that society has placed on image over substance.  The doctors and nurses stress the rules that are necessary to fit in society, including the person’s image, and these are in place to make everyone conform to what is considered to be normal.  Even Janet Tyler longs to be “normal” with her desire to belong to society.  This message is furthered by the obvious segregation of this fictional society by placing those that don’t conform into “ghettos for freaks” because they are not allowed to live among “normal people.”  In context, this issue of segregation was at the forefront of the Civil Rights Movement in the 1960s, proving again that the television medium, and especially The Twilight Zone, used the show to convey important messages to the viewing public.  In typical Twilight Zone fashion, it is revealed at the end of the episode that "normal" is "pig-faced" where Janet Tyler is a blonde, beautiful young woman by our standards.  Although it is shocking to us, the ending which revealed “normal” to be the pig people instead of the beautiful Janet Tyler, the message is clear that forced conformity based on image leads to segregation.

Tuesday, July 23, 2013

Disneyland's Magic Kingdom: A Symbol of 1950s America

          Last post, we investigated the history of Walt Disney World, partly because of its status as an American iconic symbol and partly because WDW is a personal favorite vacation spot.  However, this is a blog about pop culture and its importance as a part of American history.  While WDW is a part of Americana, its relationship to the time period of its initial construction is important in understanding that era in history.  Magic Kingdom in Florida's Walt Disney World  opened in 1971, as the Vietnam War was winding down and the decade of the Counterculture was coming to an end.  Family values were once again coming to the forefront after the generational conflicts that accompanied the unstable 1960s.  The Counterculture and the Vietnam War protests had torn the generations apart throughout the previous decade.  The new decade brought with it new hope - Woodstock and Altamont, Kent State, and the violence of the Civil Rights protests had ushered out an impassioned end to the 1960s, but also marked a time for hope for a passive and restrained 1970s with the promise of the restoration of "law and order" with the Nixon administration. (More on the failures of the Nixon administration in that department in a later discussion.) The opening of Magic Kingdom, a family oriented amusement park, provided an escape from reality and offered a place where families could have fun together - a much needed place in the early 1970s.  But, WDW was really an extension of the original Magic Kingdom, that of Disneyland in Anaheim, California.  Since Disneyland came first, we should look at the importance of that Magic Kingdom in its socio-political atmosphere.  Construction began in the former Orange Grove in Anaheim in July 1954, right in the middle of the post World War II era of consumerism, suburbia, and the image of the perfect family life of 1950s America.  The idea of a family amusement park fitted this era perfectly.  Post World War II also brought an air of nostalgia for happier pre-war times.  Walt used this idea for the entrance to his amusement park - Main Street USA where visitors would be brought into a turn of the century American city.  In his own words, Walt's connections to the past were important to the success of Disneyland:
"For those of us who remember the carefree time it recreates, Main Street will bring back happy memories. For younger visitors, it is an adventure in turning back the calendar to the days of grandfather's youth."
 Disneyland was successful largely due to the time period in which it was constructed.  The 1950s were not only conducive to the idea of family and consumerism, but the decade was a perfect fit.  Disneyland easily became a part of Americana and it spread to Florida and eventually overseas including EuroDisney and Tokyo as well as the various Disney Destinations vacation packages around the world.  But Walt Disney began at the right time and promoted his dreams in the right way to not only succeed, but to become a part of both American history and America itself.

Monday, July 15, 2013

Walt Disney World - The Happiest Place on Earth

“WALT DISNEY WORLD is a tribute to the philosophy and life of Walter Elias Disney and to the talents, the dedication and the loyalty of the entire Disney organization that made Walt Disney's dream come true. May Walt Disney World bring Joy and Inspiration and New Knowledge to all who come to this happy place...a Magic Kingdom where the young at heart of all ages can laugh and play and learn -- together."

Plaque dedicated October 25, 1971, by Roy O. Disney, rededicated Oct. 1, 1996, by Roy E. Disney




Magic Kingdom opened in 1971 with a single amusement park and two resort hotels.  Who knew how big Disney would become?  Today, Disney World sports four amusement parks, two water parks, and twenty one resort hotels.   That doesn’t even include the six golf courses and the Downtown Disney shopping area as well as the town of Celebration which was constructed next to the Disney World property.  In fact, Magic Kingdom is currently under expansion with a “New Fantasyland” opening new portions of this area including new restaurants and rides in 2013.  Disney has become such an iconic symbol of Americanism as Walt Disney realized his dreams of creating the ideal family amusement park that he could enjoy with his children.  Walt did not want to sit by and watch his children enjoy the ride experience, but he wanted to embrace the experience with them.  With this in mind, Walt first created Disneyland – the original Magic Kingdom – in California.  Then he envisioned a larger, vast park and resort area which he planned to build in central Florida. Unfortunately, Walt died before Disney World opened in 1971, but his spirit and his dream not only came to fruition, but exploded on the scene encapsulating the American experience of family fun.  Through Walt and his vision of a family oriented amusement park experience, people come from near and far to forget about the stresses of everyday life and enjoy “the happiest place on Earth,” if only for a few days. 


Tuesday, July 9, 2013

The 27 Club

          The 27 Club, as it has been dubbed, included many "genius" but troubled rock n rollers who all died at the age of 27. Coincidentally, or not, a majority of these members were from the 1960's Counter Culture era where drugs and rock n roll were originally linked.

         Included in this infamous club is Brian Jones, the original founding member of the Rolling Stones, who was increasingly alienated from the band as the band's fame grew. As he was shunned from the Stones, he became more and more dependent on drugs and alcohol. His first arrested for drug use was in May 1967 according to Biography.com, but this was merely a drop in the bucket compared to his troubled young life.  Only a few months after he was officially asked to depart the Stones, Jones was found dead at the bottom of his swimming pool and his death was ruled accidental, though suspicions still surround his death even today. A movie was made, ironically named "Stoned," which portrays the life of Jones, including the sex and drugs which surrounded the rock scene, as well as speculation regarding the circumstances of Brian's "accidental" drowning. The trailer can be seen here: http://youtu.be/TzYTheLQjVA

        Jimi Hendrix, famous for his unique guitar style including his rendition of the Star Spangled Banner at Woodstock in 1969, is also an unfortunate member of The 27 Club. Hendrix died on September 8, 1970 from "drug related complications" according to Biography.com. The video for his rendition of the Star Spangled Banner is linked here. This really highlights his unique style which eminated from the psychadelic era.  As a matter of fact, Hendrix is symbolic of Woodstock which, again, was symbolic of the 1960s Counterculture.  Watch Hendrix's famous guitar rendition here.   http://youtu.be/XnMLHTKcH50

Janis Joplin, who was remembered as the "lady who sings the blues" in Don McLean's "American Pie," also found her tragic end at age 27 due to a drug overdose. Her drug use, including a "speed habit," kept her from a successful music career in the early part of the 1960's.  Her fame in the early part of the decade was relinquished to a small part in the Monterey Folk Festival in 1963. She was so impressive at the Monterey Pop in 1967 that she caught the audience's attention with her incredible vocals and also offered a record deal which led to successful album sales. Unfortunately, with success, Joplin fell harder into the drug scene could not overcome her addiction.  She died of a heroin overdose on October 4, 1970 at the age of 27. Her full biography is posted on Biography.com and her famous "Piece of My Heart" is on Youtube here. http://youtu.be/-7JVxE2SYxo

Last, but not least, of the 4 members of this infamous club who came out of the Counter Culture Rock era of the 1960s was Jim Morrison, lead singer of the Doors. Morrison performed on stage obviously intoxicated more than once. His most famous, or infamous, performances included one in Miami in 1969 which actually led to warrants issued for his arrest for attempting to incite a riot. An earlier incident which led to his arrest happened in New Haven, Connecticut on December 9, 1967, when Morrison was confronted backstage by police for his intoxication and indecency, which in turn, caused him to incite a riot on stage, which seemed to become a habit with him. Morrison was a genius with his poetic lyrics,but, like Joplin, he struggled with acceptance which led him to addiction. On July 3, 1971, at the age of 27, Morrison was found dead in his bathtub. An autopsy was never performed confirming the cause of death, but speculation persists that Morrison's death was drug-related. The following link is Val Kilmer's performance as Jim Morrison in Oliver Stone's movie "The Doors."  Although this is not Morrison himself, Kilmer's performance has been critically acclaimed as a true reflection of Morrison's behavior on stage. http://youtu.be/LfmcX9-KdQs

With The Doors, it wasn't only Morrison himself heavily involved in drugs.  Interestingly, there is a drug connection to the band's name. Aldous Huxley is most famous for his distopian novel Brave New World which sports a society predestined and controlled by a totalitarian government which uses controlled substances to bring a facade of happiness to the people.  Huxley also experimented with mescaline in its early pre-LSD days and wrote his famous essay "The Doors of Perception" based on his experiences under the hallucinogen. Jim Morrison borrowed from the title of this essay for his rock band, The Doors.  Naturally, Morrison admired Huxley, especially since they both perceived a better life under the influence of hallucinogens.

The 27 Club, unfortunately, is not unique to the 1960s Counterculture.  The most recent victim of to enter the infamous 27 Club is Amy Winehouse, whose soulful musical style combining jazz, r&b, and soul, and her unique vocal sound propelled her to fame with a song entitle, ironically, "Rehab."  Winehouse lived a troubled
life, also struggling with alcohol and drug addiction, and succumbed to her addiction almost two years ago to the date, on July 23, 2011.  She was 27.  Amy's legacy lives on, however, through the Amy Winehouse Foundation which was created to help others struggling with addiction, for at least her death may be able to help others.

It is sad to see such talented musical artists lost so young, but it seems a bit paranormal that they all struggled with addiction and all were lost at the age of 27.  We may even be able to say that 27th year is cursed, taking such talent from the throes of musical world, denying us, the listeners, the fans, the public, the future of these musical geniuses.  But it is also merely a part of the relationship between music and addiction and coincidentally, the music succumbed to the addiction in the 27th year.  Either way, these talents are gone, but they will live forever through their music.

Thursday, July 4, 2013

Independence Day

I cannot let the day pass without acknowledging the importance of July 4th. Of course, Americans know that today is Independence Day, the day set aside to honor our freedoms gained when our forefathers rose up against what they deemed to be infringements upon their personal liberties by the royal governance an ocean away. The colonies thus gained their independence from Mother England after a fiercely fought revolution, creating the United States of America. Today is set aside to thank those brave men and women who stood up against tyranny, but we should also take the time to reflect on those freedoms and how we came to enjoy them. Granted, America is not perfect, but, then who really is?  The freedoms we enjoy should not be taken for granted.  We enjoy our freedom because of the countless number of brave men and women who fought to secure them. Today, as we celebrate with fireworks and barbecues, we should also take a moment and realize how wonderful it is to live in America as well as thank those who made American freedoms possible. Freedom is never free and should not be taken for granted.  Happy Birthday America and thank you to all those who made this birthday celebration possible. 

1950s: A Decade of Conformity - The Heroes Who Brought About Change

     The 1950’s was a decade of conventional attitudes regarding expectations of society’s roles regarding race, gender, and age.  Those who portrayed individualism were condemned for their non-conformist stance.  Rabbit from Updike's Rabbit, Run is seen as a selfish, immature person for leaving his family and job in search of his own happiness and self-fulfillment.  Society expects him to sell the MagiPeel Peeler and support his wife and child regardless of how this makes him feel.  The fictional Younger family of Lorraine Hansberry's A Raisin in the Sun was chastised for purchasing a home outside of their racial position.  Television star Ricky Nelson was expected to be the perfect son he portrayed on his family’s hit television show, The Adventures of Ozzie and Harriet.  This pressure caused Ricky to rebel and become the opposite of his television persona, eventually triggering his criminal behavior.  Disc jockey Alan Freed refused to yield to racial expectations and lost his job even though he was a highly popular radio personality.  Emmett Till paid the ultimate sacrifice for defying the insubordinate racial class defined by the unwritten Jim Crow laws inflicted upon African Americans in the Deep South.  Fahrenheit 451’s futuristic society went as far as eliminating any means to provide for individual thought thereby making everyone “equal” in their “perfect” society.  
     Some of these examples are people who lived the conformist decade of the 1950’s and suffered real consequences for their actions.  Others are fictional characters portrayed in stories written during the 1950’s, however, the consequences they faced for their individuality within their story is a true reflection of the time in which these pieces were created.  Individuality was mistrusted and discouraged.  This was a result of Cold war paranoia including McCarthyism, ultimately causing people to fear any thought or action that defied the norm.  This fear and paranoia caused undue harm to each of those who chose to express their individuality and defy expectations.  Although each of these individuals suffered due to their non-conformist ways, they each were successful in opening the eyes of society as to the dangers of forcing conformity.  They laid the groundwork for the following decade which brought about changes for both women and minorities in seeking equal rights.  These novel ideals by our heroic individuals were able to ultimately allow a shift in views away from forcing expected roles at the expense of individual happiness and fulfillment.





Friday, June 28, 2013

1950's: A Decade of Conformity - Fahrenheit 451

The ultimate instance of conformity within society is represented by Ray Bradbury’s classic science fiction novel, Fahrenheit 451.  In Fahrenheit’s society, the people are deluded into thinking that they are happy because they are all made to be equal by removing anything that could make anyone feel inferior.  Simply put, as Captain Beatty explains to Montag, “Each man the image of every other; then all are happy, for there are no mountains to make them cower, to judge themselves against.”   This is the ultimate form of conformity, suppressing individual thoughts by taking away anything which would breed deliberation, contemplation, or discussion.  Even Montag unquestioningly accepts his role as firefighter, burning illegal books, until Clarisse inquires about his happiness.  Only then does Montag begin to doubt society’s rules and attempts to break from his established role and begins to think for himself.  However, once Montag questions his happiness and begins presenting individuality by defying society and looking for answers in illegal books, he ultimately becomes a hunted criminal who is even betrayed by his own wife and colleagues.

Monday, June 24, 2013

1950s: A Decade of Conformity - The Story of Emmett Till

       An example of a man who paid the ultimate price for his refusal to conform to society’s expectations is the fourteen-year-old African American youth, Emmett Till.  On a visit to relatives in Money, Mississippi in August of 1955, Emmett Till, a boy from Chicago, allegedly whistled at Carolyn Bryant, the white woman behind the counter in the store where Emmett was purchasing refreshments on a hot summer day.  Emmett may not have understood the mentality of the Deep South’s Jim Crow laws and certainly did not foresee the consequences of his "inappropriate" gesture towards a white woman.   Although segregation existed everywhere within the United States including Chicago where Emmett resided, the white supremacist attitude towards African Americans in the Deep South was extremely severe.  African Americans were considered an inferior race of people and were treated as such.  If a black man encountered a white woman on a sidewalk, he was to step off allowing the woman to pass without even a look in her direction.  If he even glanced towards her, it was considered an act of aggression and the man would face consequences which usually included a beating from the white townspeople.  Because Emmett Till did much more than look at Carolyn Bryant, his act would have harsh repercussions.

      Although a whistle at an attractive woman by a teenage boy would seem to be an innocent juvenile act, it was perceived by Carolyn Bryant and her family to be as severe as a sexual assault.  Three days after Emmett Till’s adolescent act, he was dragged from his bed in the middle of the night by Roy Bryant, Carolyn’s husband, and J.W. Milam, Bryant’s half brother.  After he was taken to an abandoned barn where he was beaten and pistol-whipped by both men, Bryant and Milam took Emmett to the banks of the Tallahatchie River, shot Emmett in the head, and threw him in the river with an old cotton gin fan tied around his neck to help hold him under the water.  Bryant and Milam confessed their parts in the killing to Look magazine after their acquittal at trial, but made it more of an explanation than a confession, pointing the blame
for the murder on Emmett himself for not conceding his subordinate place in society.  According to PBS.org, Milam explained that they had no intentions of killing Emmett; however, even after beating him, Emmett would not holler or cry out.  Milam rationalized, “Well, what else could we do? He was hopeless.  I'm no bully; I never hurt a nigger in my life.  I like niggers -- in their place -- I know how to work 'em.  But I just decided it was time a few people got put on notice.  As long as I live and can do anything about it, niggers are gonna stay in their place.” But Emmett did not agree to his inferior status and would not concede to be “put in his place.”  Emmett Till was just fourteen years old, but he was as much a groundbreaker as Alan Freed because he brought national attention to the plight of southern African Americans.  He refused to yield to the expected subordinate role of African Americans in the south.  Unfortunately, his refusal to adhere to the established racial roles cost him his life.

Monday, June 17, 2013

1950s: A Decade of Conformity - Study of Rock n Roll Icons Breaking the Rules

           Rock n roll in itself defied the established rules and was seen as rebellious, but there were two specific individuals within the rock n roll scene who further defied the rules, but suffered consequences for their stand against conformity.  

     Real-life sex-symbol Ricky Nelson, the picture perfect youngest son of Ozzie and Harriet, was truly a tortured soul trying to fit into the role he played on television.  The Nelson family embodied the fifties image of prosperity and harmony in their picture-perfect two-story, colonial-style home in their 1950’s hit television series, The Adventures of Ozzie and Harriet.  However, off-screen, the Nelson family was not so picture perfect.  Ozzie was domineering in his role as both producer and father.  This in turn caused Ricky to rebel by dressing as a punk in a leather jacket and motorcycle boots, smoking marijuana, getting tattoos, fighting, and joining a gang.  Ricky was even arrested once for stealing lanterns from a construction site.  Ricky was obviously trying to find his own way by fighting against the “good boy” image established by his parents through the popular television show.  Unfortunately, the attempt by his parents to establish Ricky’s identity backfired causing Ricky to rebel against authority in ways he might not have had he not been forced into that established role.


            A further example of a man who suffered because of his individuality was Alan Freed, the high-profile disc jockey who coined the phrase “rock ‘n’ roll” on his New York City radio show in 1954.    Alan Freed was a fan of black rhythm and blues music and incorporated songs by black artists on his shows when most other disc jockeys in white neighborhoods only played the white covers.  Groundbreaking because of his refusal to concede to society’s unwritten rules regarding race, Freed was later targeted in the payola scandal and fired from his radio shows in 1959.  Dick Clark, also a large radio personality who played rock ‘n’ roll music, was spared during the payola scandals, although he was guilty of accepting pay for play as well.  This was largely due to Freed’s association with African American performers as well as the more edgy style of music where Dick Clark was willing to push upon his teenage audiences a more mainstream musical style
.  Because Clark was willing to yield to expectations, he continued to be a successful music personality while Freed, who played the music he and his audience enjoyed regardless of race, was vilified and condemned.

Friday, June 14, 2013

1950s: A Decade of Conformity - A Study of Lorraine Hansberry's A Raisin in the Sun

     Lorraine Hansberry's A Raisin in the Sun is a prime example of the expected position of African Americans in 1950's America.   A Raisin in the Sun debuted on Broadway in 1959 and was soon followed by the Hollywood film version in 1961 starring acclaimed actor Sidney Poitier.  The story is set in the Washington Park Subdivision of Chicago's Woodlawn neighborhood and  follows the fictional African American Younger family as they learn how difficult it is to fight the established racial positions when they buy a house in a white neighborhood.  In the 1950’s, segregation was prevalent.  Black families were expected to live in all-black neighborhoods regardless of class.  When the Younger family receives an insurance check, Lena Younger uses the money to buy their “American Dream,” a house with a yard for her family to enjoy.   Lena buys a house in a white neighborhood, not because she wants to fight the system, but because she can buy a nicer house for less money in this neighborhood as opposed to a more expensive, inferior house in a black neighborhood.  However, the Younger family faces the consequences of going against the established rules when they are greeted by Clybourne Park “Welcoming Committee” representative Karl Lindner.  Lindner eloquently explains to the Youngers that they are not welcome in the white neighborhood of Clybourne Park because they are not white.  Of course, Lindner tries to make it a matter of the happiness of all concerned when he explains why the Youngers may not want to move into Clybourne Park as he states, “It is a matter of the people of Clybourne Park believing, rightly or wrongly, as I say, that for the happiness of all concerned that our Negro families are happier when they live in their own communities.”  This statement portrays the idea that conformity represents happiness, and going against the established rules will only bring misery.

Wednesday, June 12, 2013

1950s: A Decade of Conformity - The Study of John Updike's Rabbit Run

     John Updike’s story of a young man in 1950’s America in Rabbit, Run, published in 1962, is a perfect example of the rejection of the expected gender roles established by the contemporary society in the time period when the book was written .  This story clearly shows the consequences faced by those who refused to cave to those expectations.  Harry Angstrom, nicknamed “Rabbit,” yearns to find happiness in his life, but finds himself unhappy with his marriage, his family, and his job, although this is his expected role in life.   When he first attempts to run, he winds up in a café in West Virginia where he makes the observation that he does not fit in.  Rabbit realizes, “He had thought, he had read, that from shore to shore all America was the same.  He wonders, Is it just these people I’m outside or is it all America?”  Rabbit knows he was on the outside looking in, trying to find inner happiness and not finding it in his expected role as husband, father, and breadwinner.  Because he runs instead of owning up to his responsibilities as husband and father, however, he is not well-respected by most of society.

          Ruth, Rabbit's lover, shows admiration for Rabbit when she first encounters him, however, she changes her attitude towards Rabbit when she inadvertently falls into her expected role as a mother.  Ruth admits she likes Rabbit because he hasn’t “given up” and tells Rabbit, “In your own stupid way, you’re still fighting.”  In spite of this, after Ruth becomes pregnant, she sees Rabbit’s non-conformity in a different light knowing that his responsibility as a father should take precedence.  She admits Rabbit “just lived in his skin and didn’t give a thought to the consequences of anything.”  Rabbit is further dubbed as “the naughty man” by Reverend Eccles’ family for his appearance of selfishness in leaving his wife and taking up residence with Ruth.  Mrs. Springer confirms this sentiment when she states, “The only thing special about him is he doesn’t care who he hurts or how much,” when she discusses Rabbit with Reverend Eccles.  Because Rabbit does not do what he is expected, most of society sees him as a selfish, egotistic cad who only acts out of his own self-interests and for his own immediate self-gratification. 

          Although Rabbit is admonished for attempting to break free of his role in order to find his own happiness, he is also envied by Reverend Eccles for his brevity in standing up against his expected, traditional role.  Eccles understands Rabbit’s attempt to break away from the established expectations in order to find his own true happiness because Eccles also struggles with his own established role as minister and father.  He has been trying to please his own father by following in his father’s footsteps and becoming a minister.  Eccles, however, never feels as if he has his father’s approval and feels his own life is a “fraud” because he stands in front of his congregation every week “mouthing our Father when his heart knows the real father he’s is trying to please, has been trying to please all his life, the God who smokes cigars” has never once shown affection or admiration.  Because Eccles sympathizes with Rabbit, he makes every effort to try to help Rabbit find his way even after Rabbit’s family denounces him.  Because of his efforts, Eccles is reprimanded by his older colleague when he attempts to counsel Rabbit and Janice, Rabbit's wife, as this was not the expected role of the older generational minister.  Upon consulting with Fritz Kruppenbach, the Lutheran minister of Mt. Judge for the past twenty-seven years, Eccles is told in no uncertain terms, “do you think this is your job, to meddle in these peoples’ lives?  I know what they teach you at seminary now:  this psychology and that.  But I don’t agree with it.  You think your job is to be an unpaid doctor, to run around and plug up the holes and make everything smooth.  I don’t think that.  I don’t think that’s your job.” Kruppenbach’s scolding proves that any attempt to do more than the traditional function is denounced and criticized, especially when the attempt is to help a non-conformist such as Rabbit.  Unfortunately for Eccles, the approval he seeks from the older generation is again not found because of his efforts to do more than the expected.  Rabbit also struggles with gaining the approval of both his and his wife’s families; however, Rabbit’s own happiness overshadows his need for the older generation’s approval.  Eccles admires this in Rabbit because he wants to be able to break free completely, but knows he is bound by his own responsibilities and his own need for approval and, therefore, cannot completely abandon his established role.


       Only the 73-year-old Mrs. Smith truly understands Rabbit.  She hires Rabbit to tend to her late husband's garden.  The elderly Mrs. Smith, ironically, is the only person from whom Rabbit does not feel a need to run.  Mrs. Smith admires individuality as shown by her love of her only “true good pink” rhododendron, Bianchi, which is said to be one of a kind.  She also sees that in Rabbit, and admires his individuality as well.   However, both Mrs. Smith’s appreciation for individuality and Eccles’ admiration of self-fulfillment are the exception, not the norm, as shown by society’s hatred of Rabbit for his failure to conform.

Tuesday, June 11, 2013

1950s: A Decade of Conformity

        When we look back at either our own individual lives or at our society’s history, we often remember the glory days of an idealistic happy past.  This myth of the idyllic, glorified days of old certainly stands true when we nostalgically look back on America’s recent history.  For example, remembering the 1950’s often conjures up thoughts of a simple, satisfying life where everyone happily lived the American Dream.  However, in the 1950’s, this “American Dream” was a very conformist idea of the perfect middle class American family living in a suburban home where Dad works a nine-to-five job and Mom takes care of the house and the children.  This ideal was portrayed in many 1950’s television shows including Leave it to Beaver, Father Knows Best, and The Donna Reed Show which infiltrated living rooms reminding Americans of their expected roles in this conformist decade.  
     The 1950’s boasted rigid societal standards where men were expected to be the bread-winning father and women were expected to be the homemaking mother.  While gender roles were clearly defined, these were not the only standards expected within this traditional-minded society.  African Americans were expected to adhere to the segregated rules throughout America. Further, especially in the Deep South, African Americans were expected to stay within their established subordinate place in a white supremacist culture.  Although it is true that Americans were generally contented, winning a World War against a clear enemy, and reeling in post-war prosperity becoming a society focused on materialistic things and consumerist ways, not everyone felt compelled to honor the traditional standards and some would even try to break free from the conventional roles.  However, those who defied the long-established roles were usually deemed defiant and condemned for their efforts.  The older generation, in particular, did not appreciate rebellious youth who attempted to go outside these traditional roles and often condemned those youth for attempting to make any changes in the social status.  Therefore, because not all Americans easily fit into their expected roles, whether it be gender, racial, or generational, those who were brave enough to defy those roles in the 1950’s were usually condemned for their non-conformist ways.
      These next few posts will be dedicated to those who attempted to live outside the defined conformist rules and were, thus, were condemned for defying the established norm.

Thursday, June 6, 2013

Remembering D-Day

69 years ago, on June 6th, 1944, U.S. Forces under the command of General Dwight D. Eisenhower landed on the beaches of Normandy, France in support of the Allied Forces' attempt to overthrow the Axis occupation of Europe.  Eisenhower boldly stated upon the landing that "we will accept nothing less than full victory."  According to the United States Army's website, more than 5,000 ships and 13,000 aircraft supported the D-Day invasion, lending to its success.  By the end of the day, the Allies had made substantial progress in regaining control of France, especially in Normandy.  More than 9,000 Allied soldiers were killed or wounded in the campaign, but it was an important turning point in leading to Allied victory over Hitler in Europe.  Since June 6th was the day of the D-Day invasion, it becomes an appropriate day to honor the sacrifices and heroics of the many soldiers who were involved in D-Day.

For more information on D-Day, check out the Army's dedicated website at  www.army.mil/d-day/.


Sunday, June 2, 2013

A Tribute to Jean Stapleton: Edith Bunker, May You Rest in Peace

     I read with sadness that Jean Stapleton, acclaimed actress and star of the groundbreaking All in the Family, died yesterday (Saturday, June 1, 2013).  Although she was 90 years old and she, without a doubt, left her mark on American pop culture, Stapleton's passing leaves a whole in my heart as well as that of Hollywood.

     All in the Family dared to go where no one had gone before.  Carroll O'Connor's Archie Bunker was a classic bigot who said things no one dared to say.  The show was classic, one of the best comedies of all time with Stapleton's Edith foiling O'Connor's Archie in a way that made Archie lovable.

    The show itself is a great example of the times.  The series ran from 1971 to 1979, with its premiere coinciding with the ending of the Vietnam era and marking the beginning of the public's disillusionment and questioning of traditional norms and government policies.  Merely a year after the show premiered, America faced the Watergate scandal, further questioning the morals and trustworthiness of government officials, especially since the top official was at the root of the Watergate scandal.  Archie epitomized the WASP attitude and his character's bluntness, bigotry, and ultra-conservative views were portrayed humorously in a way that allowed America to poke fun at those outdated traditional views that blindly trusted governmental policies as well as feared changes brought about by Civil Rights of the previous decade.

     Enter Edith Bunker, played so brilliantly by Jean Stapleton.  Edith, often called "Dingbat" by her husband, was the perfect foil to Archie's bigot.  She was often deemed naive and too-trusting, but she had a better insight into the human spirit than any other character on that show, including liberal daughter, Gloria and her ultra-liberal husband, nicknamed Meathead.    "No one gave more profound 'how to be a human being' lessons than Jean Stapleton," said Norman Lear, who produced and directed "All in the Family." "Goodbye Edith, darling" (CNN.com).

     So, in a final tribute to Jean Stapleton, aka Edith Bunker:

Boy the way Glen Miller played 
Songs that made the hit parade. 
Guys like us we had it made, 
Those were the days. 
And you knew who you were then, 
Girls were girls and men were men, 
Mister we could use a man 
Like Herbert Hoover again. 
Didn't need no welfare state, 
Everybody pulled his weight. 
Gee our old LaSalle ran great. 
Those were the days.




Monday, May 27, 2013

Memorial Day: Remember and Honor the Fallen

  
 
      Today, I feel it is appropriate to shift the focus a bit away from the Cold War Television and honor our fallen on this Memorial Day.  Memorial Day is often deemed the "unofficial kick-off" to the summer season and is celebrated with beach days, barbecues, parties, parades, and fireworks, but often it is not exercised as the day to honor our fallen soldiers.  Memorial Day was originally dubbed "Decoration Day" and was intended to be a day of remembrance for those who died while serving our country in the Civil War.  According to USMemorialDay.org, Memorial Day's roots go all the way back to 1868 when General John Logan, a national commander of the Grand Army of the Republic, declared Memorial Day an official day to honor the fallen of the Civil War.  The day was deemed to appropriately honor those fallen from both Confederate and Union armies in an effort to reconcile the divisions of the Civil War.  Graves of both Confederate and Union soldiers in Arlington National Cemetery were decorated on May 30th of that year as a means of honor for their service. By 1890, all the states in the North recognized the official "Memorial Day."  The South, however, refused to recognize the nationally designated day until after World War I, instead honoring their Confederate fallen on separate days.  Post-World War I proved a milestone in that the designation of Memorial Day was changed to honor all war dead, not just those from the Civil War.  With this, the South also recognized the day and it became a true nationally recognized day of remembrance.  In 1971, Memorial Day was declared a federally recognized holiday, which we celebrate today.


         Though Memorial Day does unofficially kick-off the summer season with the tourists heading to the beach towns, the barbecues christening the start to summer foods, parades and fireworks bringing crowds together in celebration, we should not forget that the day is one to remember our fallen for without them, there would be no summer celebrations.  During this kickoff to the summer season, lets remember the true meaning of Memorial Day and just take a moment to thank our soldiers who gave the ultimate sacrifice so we can enjoy our summer barbecues and beach days, and our freedoms for which these soldiers fought and died so valiantly. 




Tuesday, May 21, 2013

Cold War Television: The Military Comedy


Persuasive entertainment television in the 1960s included the military comedy, which was also created to remind the public of America’s military superiority over the evils in the world.  In the case of Hogan’s Heroes which ran from 1965 to 1971, Colonel Bob Hogan ran a successful military operation from inside a Nazi prisoner of war camp.  Not only did Hogan’s Heroes remind us that America was successful in defeating Nazism, but it allowed war to become an unrealistic, and fun, fantasy by characterizing the Nazi soldiers as bumbling idiots. Other military comedies that broadcast between 1962 through 1967 included McHale’s Navy, Gomer Pyle USMC, F-Troop, and The Wackiest Ship in the Navy, among others.  These all had a common goal in creating the fantasy associated with the military, especially in the post-war society where the U.S. was perceived as militarily superior in light of the successes of World War II.  The military comedy not only reminded viewers of U.S superiority in shows like Hogan's Heroes, but also succeeded as a means of escapism, especially as the U.S. drew nearer to military involvement in Vietnam.  “These war stories and comedic encounters prolonged the inability of the American citizenry to confront the reality of war.”  In effect, the war comedy allowed for the escapism to support military involvement in Vietnam by detaching the American public from the horrors associated with war.





Source:  J. Fred McDonald, Television and the Red Menace: The Video Road to Vietnam, 2009.  Accessed December 16, 2011. http://jfredmacdonald.com/trm/index.htm

Saturday, May 18, 2013

Cold War Television Invades Children's Programming: Rocky and Bullwinkle as Cold Warriors


          As the first “television war,” television broadcasts undoubtedly would have had an impact on the viewing public.  In light of this, it is easy to argue that the television was a factor in shifting the public from support to protest.  However, the shaping of a pro-war America occurred well before the news began covering Vietnam on a daily basis.   Early programming disguised as entertainment was mostly pro-war or, at the very least, anti-Communist. For years prior to the escalation in Vietnam, television programming conditioned Americans to feel it is America’s duty to stop Communism everywhere. Shows such as CBS” The Defenders which aired from 1961 to 1965 often involved story lines that revealed America’s duty to spread good throughout the world, which coincides with the justification of our involvement in Vietnam.  Americans were programmed to dutifully rid the world of the evils of Communism, the perceived motive for involving American troops in the warfare in Vietnam.

          The Defenders was not alone.  The constant inundation of Cold War dramas reinforced the image of America as the defender of democracy.  But, again, the programs were not limited to the dramas such as The Defenders, Mission Impossible, and The Twilight Zone, but persuasive television was disguised in animated cartoons such as Rocky and His Friends.  This children’s show was promoting the annihilation of evil Communist spies.  The premise for the show included spies Boris Badenov and Natasha Fatale touting Eastern European accents and under the direction of the Fearless Leader attempted to carry out their sinister plots only to be foiled by Rocky, a loveable flying squirrel, and Bullwinkle, his dim-witted moose cohort. The series ran from 1959 until 1961 and continues even today in syndication.   The message was clear: “Russian men and women were evil, and they were out to destroy the American way of life” and could only be stopped by two all-American types.  In reality, even the children’s television programming fortified the view that it was the duty of noble America to stamp out evil Communism feeding Cold War fears and priming Americans to support anti-Communist efforts in Southeast Asia.




Sources
Thomas Doherty, Cold War, Cool Medium.
Peter C. Rollins, “The Vietnam War: Perceptions Through Literature, Film, and Television,” American Quarterly, Vol. 36, No. 3 (1984), 429. February 3, 2011.  JSTOR.
J. Fred McDonald, “Television and the Red Menace.”

Wednesday, May 15, 2013

Cold War Entertainment: The Spy Drama "I Led 3 Lives"


          Television programming took full advantage of the Cold War fears of the viewing public. News and discussion programs continually covered the Cold War as their primary platform, but “such nonfiction shows were limited in how they could present the Cold War. Tied to fact and the presentation of actual events, news programs could not ef­fectively illustrate emotional ramifications, such as the nature of the enemy or the consequences of defeat.”   Entertainment, however, had much more leeway in presenting the anti-Communist rhetoric.  Entertainment programs, especially the genre which has since been known as “spy television,” continually “presented an interpretation of life in which a good ‘us’ was forever defeating, in 30 or 60 minutes, an evil ‘them.’”  Throughout the 1950s, television programming inundated the viewing public with a “bath of Cold War clichés and fear—a flood of propagandistic messages that urged the public to support unquestioningly the policies of the U.S. government.” These shows subtlety conditioned Americans to believe that the U.S. government was the brave and unconquerable soldier in the fight against Communism everywhere.

          A prime example of the “spy television” program I Led 3 Lives which aired from 1953 to 1956 and was promoted as “a crusade against communist subversion.”  It was an instant hit. The audience was riveted by the character, promoted as a patriot, who led three lives in the service to his country:  a citizen, a Communist, and a counter-spy for the FBI.  The advertisements constantly reminded viewers that the story was based on true events, that of Herbert A. Philbrick who wrote a memoir documenting his years as an FBI informant working within Communists cells.  If this wasn’t enough to keep viewers routing for Philbrick’s character, each week actor Richard Carlson recapped for viewers that this was for real:

This is the story, the fantastically true story, of Herbert A. Philbrick, who for nine frightening years did lead three lives—average citizen, high-level member of the Communist Party, and counterspy for the Federal Bureau of Investigation. For obvious reasons the names, dates, and places have been changed. But the story is based on fact.

With the constant recaps that the story was “true,” the entertainment became fact in the eyes of the viewers and further prompted fears of Communist infiltration within everyday America.



Sources:
 J. Fred McDonald, Television and the Red Menace: The Video Road to Vietnamhttp://jfredmacdonald.com/trm/index.htm
Thomas Doherty, Cold War, Cool Medium.
 Richard Carlson, I Led Three Lives quoted in McDonald.

Saturday, May 11, 2013

The Americans: An Analysis of the Photography of Robert Frank



          The 1950’s seemed to be a decade hiding the realism of everyday life by highlighting the prosperity of a post-war era and the reachable “American Dream” that was sought by those living in this decade.  Because no one wanted to confront the realities of the Cold War, the Jim Crow ways lending to racial divisions, and the generational differences between the new breed of teens and their elders, Robert Frank’s The Americans, was not well received.  Being an immigrant, Frank saw America the way it really was and did not attempt to glamorize what he saw.  He shot the real Americans in their everyday lives and captured the heart and soul of that era in American life.
           It is important to note that Frank's subjects are not posed and no one is “smiling for the camera.”  Frank captured the faces of the American public within their everyday lives showcasing real expressions of real people living in 1950’s America.  Frank’s photos highlight everything from prosperity to poverty, multitudes to desolation, new life to finality of death, and happiness to sorrow which all occur during our lifetimes making his photos easy for the viewers to understand and relate.
            Furthermore, Frank was able to emphasize some of the issues of his era, especially segregation, patriotism, and generational gaps.  For example, the New Orleans photo on the cover shows a trolley car obviously segregated with white riders in the front and black riders in the back.  However, Frank also shows blacks and whites working side by side in an assembly line photo taken in Detroit as well as a black nurse holding a white baby in Charleston, South Carolina with undertones of hope for equality further highlighted by the photo taken in Detroit bar of Presidents Lincoln and Washington bookending an American flag.   In addition, the same New Orleans trolley car photo showing children riding directly in front of an older black man and directly behind an older white woman in addition to the Charleston photo of the black nurse and the white baby could be interpreted to show hope for a better future by emphasizing the children.   A photo of a baby next to a jukebox on an empty dance floor in Buford, South Carolina, indicates optimism for a future of fun and excitement.  A further example is in a Georgetown, South Carolina photo where three generations are sitting together on a couch, a small child, a woman who appears to be his mother, and an older woman who appears to be his grandmother, who is holding a cigarette.   Although this may not have been Frank’s intention, because the two younger generations are not smoking, this photo indicates that the future is brighter for the newer generations who are not partaking in the health risks of the older generation.  There is also a photo of teenagers necking in a public park in Ann Arbor, Michigan, showcasing the teens in love indicating hope for future generations.
         

           American patriotism seems to be a universal theme throughout Frank’s photos as well.  Many of the photos in the book contain an American flag which shows the high level of patriotism felt by Americans in the era after defeating Germany and Japan in the Second World War and at the beginning of the Cold War with the rising Soviet Union as a communist superpower.  Flags are hung on an apartment building during a parade in Hoboken, on the wall in a Navy Recruiting Station in Butte, Montana, hanging outdoors during a Fourth of July celebration in Jay, New York, on the wall in the Detroit bar, hanging from the building in a political rally in Chicago, and there are star lights in the background of a club car headed to Washington DC.
           The most important theme within Frank’s photos is that of “Americans.”  Frank photographed people from different cultures, including blacks, Hispanics, Jews, and whites; celebrating different religious and civil ceremonies from funerals to weddings.  He included biker groups, prostitutes, celebrities, high-class socialites, rural farmlands, cowboys, soldiers, teenagers, politicians, families, senior citizens, children, gamblers, and travelers among others within the photos.  This variety of people from different backgrounds living and socializing in different settings is truly American in that it is a blend of all different types of people living together as one nation.


Monday, May 6, 2013

Good Night and Good Luck


A dark blemish in an age known for its perceived contentment during the decade of the 1950s was the witch hunts that came to be known as “McCarthyism” where prejudices and fears of Communism allowed a junior Senator from Wisconsin to manipulate the public for his own advancement.  Senator Joseph McCarthy claimed to know a number of Communists who had infiltrated the United States government, preying on the public’s fears during the Cold War years that Communism would violently overthrow democratic governments both in Europe and at home.   Senator McCarthy single-handedly caused the fear of Communism to grow into an epidemic; however, due to the actions of a reputable news correspondent, Edward R. Murrow, Senator McCarthy was eventually exposed as the self-serving, slimy politician that he really was.
Released in 2005, over fifty years after the height of McCarthyism, Good Night, and Good Luck stars Hollywood actor George Clooney who also co-wrote this excellent portrayal of the events surrounding Murrow’s broadcasts on See It Now, his weekly news commentary show, regarding Senator McCarthy.   Good Night, and Good Luck has a documentary feel to it, filmed in black and white, lending an air of authenticity to the final product.  The music also sets the mood of the early 1950s, playing strategically in the background to bring us back to the days of the big band sound.  David Straithairn plays Murrow brilliantly with Clooney as his friend and producer, Fred Friendly.  Together, they challenge McCarthy on the same medium McCarthy himself used to gain publicity, the newly popularized television.  Making this film even more real, clips of McCarthy’s Senate hearings as well as clips from the See It Now broadcasts are intertwined into the film.

The movie opens with The Radio Television News Directors Association and Foundation saluting Murrow for his entire career of news broadcasts at a dinner reception on October 25, 1958.  Murrow begins his speech at this event, and then the film’s audience is brought back to 1953 when Murrow and his staff are putting together their next See It Now show.  Murrow and Friendly discuss the possibility of airing a story about a recently dismissed Air Force Lieutenant who refused to denounce his family for alleged Communist ties.  Lieutenant Milo Radulovich from Dexter, Michigan, was a casualty of McCarthy in Murrow’s eyes as he was tried and found guilty by the Air Force of being a security risk because his father reads a “Serbian newspaper.”  However, executives at Columbia Broadcasting System have reservations about the story, including the specific fear of losing their corporate sponsors.  Murrow and Friendly, in turn, due to their fierce belief that this story must be told, agreed to pay the $3,000 in lost revenue for that evening’s broadcast.  Murrow’s commentary sums up the unfair treatment of Radulovich: “The son shall not bear the iniquity of the father, even though that iniquity be proved, and in this case, it was not.”  Murrow further questions at what extent individual rights must be sacrificed in the name of national security, which is a question we still ask today.  In his commentary of the McCarthy story, Murrow states, we “cannot defend freedom abroad by deserting it at home,” highlighting the importance of abiding by the very basic rights instilled by our country’s founding fathers.  The Radulovich story was the first of several aired by Murrow questioning Senator McCarthy’s methods, and it was groundbreaking for CBS as it was the first broadcast as an editorial rather than a neutral news story.  Surprisingly to all involved, public opinion seemed to support Murrow’s exposé, which allowed Murrow and Friendly to continue their attack on McCarthy.
            The film depicts the behind the scenes production of both the broadcast shows and the executives’ reservations.  It is important to note that the executives were concerned about the price the station would pay for airing this type of biased commentary, especially against a United States Senator.  Bill Paley, head of CBS, confronted Murrow several times about the airing of these segments, however, to his credit, he never directly told Murrow that he was forbidden to do the shows.  Unfortunately, after the McCarthy stories aired, See It Now was all but cancelled.  Murrow’s show was moved from prime-time Tuesday evenings to Sunday afternoons, and was not even aired weekly as it had been previously.  Paley justified the move by explaining it away as loss of advertisers due to the public desire for entertainment rather than “civics lessons.”
On a more personal note, the film also portrays victim Don Hollenbach, played by Ray Wise, the CBS news anchor who was labeled a Communist by newspaper reporter Jack O’Brian.  Hollenbach, colleague and friend of Ed Murrow and Fred Friendly, succumbed to the pressure of being labeled and, after the McCarthy show aired, committed suicide, depicting the personal toll taken by McCarthyism victims.  It is important to remember that each victim was an individual whose life was inadvertently affected by the accusations of that junior Senator, especially those made without merit.  Don Hollenbach’s tragic story is a perfect reminder of the ultimate price paid by a victim of unfounded accusations.  In fact, Murrow himself is accused of Communist ties by McCarthy in his rebuttal which seems to be McCarthy’s response to anyone who criticized or opposed his methods, which Murrow points out in one of  his See It Now broadcasts.

Edward R. Murrow was a hero, going up against a United States Senator who he saw as a terrorist against the better judgment of CBS executives and exposed a monster who exploited the public’s fear of Communism to further his own career.  Murrow was a genius in using McCarthy’s own words in his broadcasts and allowed McCarthy to “hang himself.”   Good Night, and Good Luck ends where it began, at the Salute to Murrow in 1958.  We could learn a great deal from this reputable news commentator as he reminds us in his speech that we need to remember to use television as a source of illumination and inspiration, and not merely as entertainment.    If it had not been for See It Now and the bravery of a man named Edward R. Murrow, Senator McCarthy may have been seen as the hero.  Murrow would be proud of Clooney and Good Night, and Good Luck for illuminating us as to the early days of television, the true nature of a man named Senator Joe McCarthy, and the importance of news commentaries like See It Now.

Thursday, May 2, 2013

West Side Story: A Portrait of Life in 1950s New York City


            Can a movie be a true reflection of the time period in which it was made?  Although primarily created as entertainment for the purpose of making money, movies can be a great vehicle for the creators to effectively portray their views of contemporary issues.  For example, West Side Story, one of the most famous musical movies of our time, is often described as a modernized Romeo and Juliet, which is certainly an acceptable interpretation; however, this movie can also be seen as an accurate depiction of life in New York City’s West Side at the time when the movie was created.  In 1961, when this movie was released, city life in America was wrought with prejudices against minorities and urban life also spurred gang violence produced by the expressions of teens attempting to gain the respect of their peers.  West Side Story portrays both of these issues in its storyline revolving around a romance between members of two rival gangs, The Jets, who are the primarily White Anglo Saxon kids of working class parents, versus the Sharks, a Latino gang determined  to earn respect and equality on the city streets.  The romance is, unfortunately, doomed to fail because of the vicious rivalry between the gangs, thus highlighting that the lessons learned are of greater importance as this film shows the devastating results of hatred for fellow man based only one’s cultural background.  Therefore, the creators of West Side Story succeeded in portraying the historical accuracy of life in 1950’s New York City where prejudices and gang violence were part of everyday life.
          Although African Americans were making progress in their fight for civil rights, all minorities suffered at the hands of white supremacist thoughts and actions in all of American society in the 1950’s and 1960’s.  National attention had been given to the cause of African American civil right; however, Latino Americans were also fighting for their own equal rights.  Latinos had been considered second class citizens as well and were denied access to white areas and were not given equality in jobs, housing, or education.  This attitude was exacerbated when Cuban exiles started entering the United States in large numbers after Fidel Castro violently overthrew Dictator Fulgencio Batista in late 1958. Fear of being overrun by foreigners drove the already white supremacist thought. This is portrayed in the beginning of the film in the “Jet Song” when the Jets sing:
“We're drawin' the line,
So keep your noses hidden!
We're hangin' a sign,
Says "Visitors forbidden"
And we ain't kiddin'!”
The Jets make it all too clear that they do not want the Latinos in their territory.  The message is evident that foreigners were not welcome in their neighborhoods
            The Sharks, on the other hand, feel the animosity directed at them and are clearly trying to fight for respect and acceptance.  The song, “America” defines the Latinos attitudes about their emigration to the United States in search of the American Dream and the reality of life in New York City.  The girls, led by Anita, sing about the wonderful opportunities for them in America compared to their home in Puerto Rico, however, Bernardo and the Sharks counter each statement with the discrimination with which they are faced.  When Anita sings, “Life is all right in America”, Bernardo responds with, “If you’re all white in America.”  These two lines which sum up the entire song reflect the quest for the American Dream and the prejudices felt by minorities because of the lack of equal opportunities afforded them in 1950’s America. 
          The portrayal of these gangs shows not only prejudices against minorities, but also against perceived juvenile delinquency.  In the late 1950’s, teens rebelled against the conformist society established by their elders and  “juvenile delinquency” increased dramatically.  Gangs began roaming the streets of cities such as New York and Chicago, street fighting in “rumbles” to protect what they believed to be their territory against rival gangs.   This is also is portrayed in West Side Story, where the gangs were fighting for their territory as Action explains, “A gang that don’t own the street is nothing.”  These rebellious teens were misunderstood by the elders in their neighborhoods accenting the generational conflicts which abounded in the 1950’s.   The song, “Gee, Officer Krupke” demonstrates the Jets poking fun at the police officer, whom they encounter on several occasions, explaining that their delinquency is the fault of their parents and society.  Officer Krupke is not the only police officer who automatically assumes that the teens are causing trouble.  Lieutenant Shrank displays his hostile attitude towards the teens by addressing them as “hoodlums,””hooligans,” and “punks.”  Therefore, this film accurately depicts teenage rebellion, juvenile delinquency, and generational conflicts of the 1950’s.
            Although it is a dramatic movie, the 1961 film West Side Story accurately portrays life in the 1950’s by highlighting many of the social issues of the time.  This film focuses on the strained racial relations and the beginning of the fight for equal rights for all minorities; and generational conflicts between the new breed of teens and their parents, underscored by the birth of rock and roll music and a fear of increasing juvenile delinquency.  Discrimination towards minorities was a major issue coming to light in the beginning of the Civil Rights Movement, and prejudicial attitudes towards Latinos, especially,  were rising in the late 1950’s as the Cuban exiles were relocating to America.  West Side Story, primarily a story about white attitudes towards a Latino gang in New York City, successfully portrays these prejudices and goes even further by showing the tragic results of prejudicial human thought and action.   Because of the prejudices, a romance is ripped apart and an innocent teen dies at the hands of hatred.  Therefore, the creators of West Side Story were able to show the results of prejudicial antipathy and teach acceptance in an entertaining venue.