Showing posts with label John F. Kennedy. Show all posts
Showing posts with label John F. Kennedy. Show all posts

Monday, November 22, 2010

November 22, 1963: Death of the President

On the 6:25 from Grand Central to Stamford, CT, November 22, 1963
Carl Mydans: On the 6:25 from Grand Central to Stamford, CT, November 22, 1963


By the fall of 1963, President Kennedy and his political advisers were preparing for the next presidential campaign.


Senator John F. Kennedy Campaigning with his Wife in Boston (Time, Inc.)

Carl Mydans: Senator John F. Kennedy Campaigning with his Wife in Boston , 1958


Although he had not formally announced his candidacy, it was clear that JFK was going to run and he seemed confident—though not over-confident— about his chances for re-election.

At the end of September, the President traveled west speaking in nine different states in less than a week. While the trip was meant to put a spotlight on natural resources and conservation efforts, JFK also used it to sound out themes -- such as education, national security, and world peace -- for his run in 1964. In particular, he cited the achievement of a limited nuclear test ban, which the Senate had just approved and which was a potential issue in the upcoming election. The public’s enthusiastic response was encouraging.


A month later, the President addressed Democratic gatherings in Boston and Philadelphia. Then, on November 12, he held the first important political planning session for the upcoming election year. At the meeting, JFK stressed the importance of winning Florida and Texas and talked about his plans to visit both states in the next two weeks. Mrs. Kennedy would be accompanying him on the swing through Texas, which would be her first extended public appearance since the loss of their baby, Patrick, in August.

On November 21, the President and First Lady departed on Air Force One for the two-day, five-city tour of Texas. JFK was aware that a feud among party leaders in Texas could jeopardize his chances of carrying the state in 1964, and one of his aims for the trip was to bring Democrats together. He also knew that a relatively small but vocal group of extremists was contributing to the political tensions in Texas and would likely make its presence felt—particularly in Dallas, where UN Ambassador Adlai Stevenson had been physically attacked a month earlier after making a speech there. Nonetheless, JFK seemed to relish the prospect of leaving Washington, getting out among the people and into the political fray.

The first stop was San Antonio. Vice President Lyndon B. Johnson, Governor John B. Connally and Senator Ralph W. Yarborough led the welcoming party and accompanied the President to Brooks Air Force Base for the dedication of the Aerospace Medical Health Center. Continuing on to Houston, he addressed a Latin American citizens’ organization and spoke at a testimonial dinner for Congressman Albert Thomas before ending the day in Fort Worth.

A light rain was falling on Friday morning, November 22, but a crowd of several thousand stood in the parking lot outside the Texas Hotel where the Kennedys had spent the night. A platform had been set up and the President, wearing no protection against the weather, came out to make some brief remarks. “There are no faint hearts in Fort Worth,” he began, “and I appreciate your being here this morning. Mrs. Kennedy is organizing herself. It takes longer, but, of course, she looks better than we do when she does it.” He went on to talk about the nation’s need for being “second to none” in defense and in space, for continued growth in the economy and “the willingness of citizens of the United States to assume the burdens of leadership.” The warmth of the audience response was palpable as the President reached out to shake hands amidst a sea of smiling faces.

Back inside the hotel the President spoke at a breakfast of the Fort Worth Chamber of Commerce, focusing on military preparedness. “We are still the keystone in the arch of freedom,” he said. “We will continue to do…our duty, and the people of Texas will be in the lead.”

The presidential party left the hotel and went by motorcade to Carswell Air Force Base for the thirteen-minute flight to Dallas. Arriving at Love Field, President and Mrs. Kennedy disembarked and immediately walked toward a fence where a crowd of well-wishers had gathered, and they spent several minutes shaking hands. The First Lady was presented with a bouquet of red roses, which she brought with her to the waiting limousine. Governor John Connally and his wife, Nellie, were already seated in the open convertible as the Kennedys entered and sat behind them. Since it was no longer raining, the plastic bubble top had been left off. Vice President and Mrs. Johnson occupied another car in the motorcade.

The procession left the airport and traveled along a ten-mile route that wound through downtown Dallas on the way to the Trade Mart where the President was scheduled to speak at a luncheon. Crowds of excited people lined the streets waving to the Kennedys as they waved back. The car turned off Main Street at Dealey Plaza around 12:30 p.m. As it was passing the Texas School Book Depository, gunfire suddenly reverberated in the plaza. Bullets struck the President’s neck and head and he slumped over toward Mrs. Kennedy. The Governor was also hit in the chest.

The car sped off to Parkland Memorial Hospital just a few minutes away. But there was little that could be done for the President. A Catholic priest was summoned to administer the last rites and at 1:00 p.m. John F. Kennedy was pronounced dead. Governor Connolly, though seriously wounded, would recover.

The President’s body was brought to Love Field and placed on Air Force One. Before the plane took off, a grim-faced Lyndon B. Johnson stood in the tight, crowded compartment and took the oath of office, administered by U.S. District Court Judge Sarah Hughes. The brief ceremony took place at 2:38 p.m. Less than an hour earlier, police had arrested Lee Harvey Oswald, a recently-hired employee at the Texas School Book Depository. He was being held for the assassination of President Kennedy as well as the fatal shooting, shortly afterward, of Patrolman J.D. Tippit on a Dallas street.

On Sunday morning, the 24th, Oswald was scheduled to be transferred from police headquarters to the county jail. Viewers across America watching the live TV coverage suddenly saw a man aim a pistol and fire at point blank range. The assailant was identified as Jack Ruby, a local nightclub owner. Oswald died two hours later at Parkland Hospital.

That same day, President Kennedy’s flag-draped casket was moved from the White House to the Capitol on a caisson drawn by six grey horses, accompanied by one riderless black horse. The cortege and other ceremonial details were modeled on the funeral of Abraham Lincoln at Mrs. Kennedy’s request. Crowds lined Pennsylvania Avenue and many wept openly as the caisson passed. During the 21 hours that the President’s body lay in state in the Capitol Rotunda, about 250,000 people filed by to pay their respects.


John F. Kennedy Jr. saluting his father's coffin, November 25, 1963 with Ted Kennedy, Jacqueline Kennedy, Rose Kennedy, Peter Lawford, and Robert F. Kennedy in background.
Stan Stearns: John F. Kennedy Jr. saluting his father's coffin, November 25, 1963 with Ted Kennedy, Jacqueline Kennedy, Rose Kennedy, Peter Lawford, and Robert F. Kennedy in background


On Monday, November 25, 1963 President Kennedy was laid to rest in Arlington National Cemetery. The funeral was attended by heads of state and representatives from more than 100 countries, with untold millions more watching on television. Afterward, an eternal flame was lit at the grave site by Mrs. Kennedy and her husband’s brothers, Robert and Edward. Perhaps the most indelible images of the day were the salute to his father given by little John F. Kennedy, Jr. (whose third birthday it was), daughter Caroline kneeling next to her mother at the President’s bier, and the extraordinary grace and dignity shown by Jacqueline Kennedy.


John F. Kennedy laid to rest, Arlington, 1963
Bob Gomel: John  F. Kennedy Laid to Rest, Arlington National Cemetery, November 25, 1963


As people throughout the nation and the world struggled to make sense of a senseless act and to articulate their feelings about President Kennedy’s life and legacy, many recalled these words from his inaugural address which had now acquired new meaning:

"All this will not be finished in the first one hundred days, nor in the first one thousand days, nor in the life of this administration. Nor even perhaps in our lifetime on this planet. But let us begin."

 

Friday, November 12, 2010

JOHN F. KENNEDY: NOVEMBER, AND PHOTOGRAPHY

On November 8, 1960, John F. Kennedy was elected in the 44th American presidential election.

Alfred Eisenstaedt: Vice President-elect Lyndon Johnson chatting with President-elect John Kennedy and his wife Jackie at the president's inaugural ball, Washington, DC, January 1961



On November 22, 1963, John F. Kennedy was assassinated in Dallas, Texas.

Carl Mydans: On the 6:25 from Grand Central to Stamford, CT, November 22, 1963


On November 25, 1963, he was laid to rest at Arlington National Cemetery in Virginia.

John F. Kennedy Jr. saluting his father's coffin, November 25, 1963 with Ted Kennedy, Jacqueline Kennedy, Rose Kennedy, Peter Lawford, and Robert F. Kennedy in background

John F. Kennedy laid to rest, Arlington, 1963
Bob Gomel: John F. Kennedy laid to rest, Arlington, 1963


John F. Kennedy was the first American president to understand the power of the image and photography, and he also understood the opposite impact of the wrong image. As recounted in the book The John F. Kennedys: A Family Album (Rizzoli):

"John spend hours looking at photographs of himself and his family. That was neither narcissism nor pride to Jack Kennedy, but recognition of polities as a show of fleeting images. In the mostly black-and-white world of the early 1960s, the right picture in the right place duplicating itself forever was worth a great deal more than any thousand words. One enduring image, say a photograph of the young senator walking away from the camera through Hyannis Port dunes to the sea, might have the political impact of a small war. Selecting the right image at the right time was at the heart of winning the elusive twin goddesses the man pursued, power and history.

This photograph by Mark Shaw was said to have been John F. Kennedy's favorite photograph of himself


The man who would be president also understood the opposite impact of the wrong image. That same year, Life's sister magazine, Time, assigned one of its most talented young writers, Hugh Sidey, to write about Kennedy, to get to know him. On second meeting, Sidey and Kennedy were walking near the short subway that connects the U.S. Capitol with the Senate Office Building. They bumped, almost literally, into Kennedy's buddy Senator George Smathers of Florida, who was posing for a Senate photographer with a small claque of pretty young women from his state. All laughing, they pulled the handsome young senator from Massachusetts into the group and he smiled for the birdie.

Waving goodbye to the gigglers, Kennedy said to Sidey, "Get hold of that photographer and destroy the negative."

Sidey did it.

President Kennedy had learned the power of the image, of the visual, from his father, who was for a time a power in the movie business. Joseph P. Kennedy was the first, or among the first, to merge the creation and marketing of the celebrity trade, the tricks of public relations, to the business of politics and governing. With politics aforethought, the founding father had created an archive—still and moving pictures of his children—ready to be used to entice a nation into a cause in the same way they were pulled into movie theaters."

John Kennedy's campaign, presidency, and tragic assassination resulted in countless photographic images, many now considered to be iconic. In the mostly black-and-white world of the early 1960s, the right picture in the right place duplicating itself forever was worth a great deal more than any thousand words.


Related: 50 Years Ago: the Kennedy Nixon Debates

             Marilyn Monroe, Kennedys Recalled in White House Archive Sale

Wednesday, November 10, 2010

Marilyn Monroe, Kennedys Recalled in White House Archive Sale

Bloomberg.com
By Katya Kazakina



©Nov. 10 (Bloomberg) -- An image of Marilyn Monroe in a skin-tight, pearl-encrusted dress flanked by President John F. Kennedy and his brother Robert, then U.S. attorney general, used to be kept in an envelope tagged “Sensitive material.”

Part of a lot estimated at $4,000 to $6,000, the photograph will be sold at Bonhams in New York as part of the 12,000-image archive of Cecil Stoughton, the first official White House photographer.

Timed to coincide with the 50th anniversary of Kennedy’s election, the sale is expected to fetch as much as $250,000 on Dec. 9, 2010.

She is wearing an outrageous dress,” said Matthew Haley, historical photograph specialist at Bonhams, in a telephone interview. “We believe it’s the only picture where the three of them appear together.”

The actress, who died less than three months after the picture was taken, was romantically linked to both Kennedy brothers.

Kennedy was the first president to create an official position for a White House photographer.

Some images show Kennedy “playing golf, swimming, sailing, smoking cigars,” said Haley. “The next image would be of him addressing the Senate or the United Nations.”

Dark Day

The black-and-white Monroe photograph was taken on May 19, 1962, the day she sang “Happy Birthday, Mr. President” to Kennedy at the packed Madison Square Garden in New York.


Bill Ray: Marilyn Monroe Singing "Happy Birthday" to President John F. Kennedy, Madison Square Garden, NY, 1962



Bill Ray: President John F. Kennedy at his birthday party after Marilyn Monroe Sang "Happy Birthday", Madison Square Garden, NY, 1962

Another print shows Kennedy and his children John Jr. and Caroline playing in the Oval Office. The black-and-white image bears an inscription: “For Captain Stoughton -- who captured beautifully a happy moment at the White House / John F. Kennedy.” The lot has an estimated range of $7,000 to $9,000.

In other pictures, the children are “making faces, playing or sitting at a conference table where you normally expect to see statesmen and ambassadors,” said Haley.

Stoughton was traveling in the motorcade on the day Kennedy was murdered in Dallas on Nov. 22, 1963. His documentation of the day includes the hospital where Kennedy was rushed.

Within hours of the assassination, Stoughton took a historic shot of Lyndon B. Johnson’s swearing-in ceremony aboard Air Force One, with Jackie Kennedy, looking shell-shocked, by his side. The print’s estimated to take in $5,000 to $7,000.

“He didn’t even wait until he got to Washington to be sworn in,” said Haley. “Cecil was the only photographer present for the occasion.”

To contact the reporter of this story: Katya Kazakina in New York at kkazakina@bloomberg.net.

To contact the editor responsible for this story: Manuela Hoelterhoff at mhoelterhoff@bloomberg.net.

Related: 48 Years Ago, Marilyn Monroe Sings "Happy Birthday" to President John F. Kennedy

Friday, June 11, 2010

REVIEW: " For anyone interested in the history of this mixed bag of a nation, "American Edge" the museum-quality Steve Schapiro photography exhibition at Monroe Gallery is not to be missed."

©The Albuquerque Journal
June 11, 2010

HISTORY THROUGH THE LENS


By Malin Wilson-Powell
For the Journal

For anyone interested in the history of this mixed bag of a nation, "American Edge" the museum-quality Steve Schapiro photography exhibition at Monroe Gallery through June 27 is not to be missed. The majority of 57 potent black-and-white images are from the tumultuous '60s, the beginning decade of Schapiro's lifetime in photojournalism. Born in New York City in 1944, Schapiro shot his earliest self-initiated documentary essays "Narcotics Addiction in East Harlem" and "Arkansas Migrant Workers" in 1960.

These independent projects brought him assignments from the big picture magazines of the day, including LIFE, Look and Rolling Stone. Schapiro was one of those meddling northerners who went south in 1965 to join the Selma to Montgomery marchers who were seeking the right to register to vote. The photographer heeded local advice to cut his hair and not to wear his leather jacket. Over the five days it took to complete the 54-mile march, the crowd grew from 4,000 to more than 25,000. Armed with his handheld 35 mm camera, Schapiro found the courage in those he documented (and in himself) to join a campaign that was met with overwhelming violence and that resulted in the deaths of two men — the Rev. James Reeb, a white pastor who was beaten to death, and Jimmy Lee Jackson, a black activist who was shot by a police officer.

While there are many differences that divide America's epochal 1960s from today, the similarities are deep enough to lay claim to the current American moment, where "edges" seem to have proliferated and feel ever more vertiginous. Although the '60s was an era when Barack Obama's election to president was an impossible dream, it was a time when many Americans believed they were making inevitable progress toward equality. A "post-racial" society with the end of racism and xenophobia seemed to be in site. More than 40 years later, tolerance seems the impossible dream. Despite our being globalized and electronically linked now, Schapiro's 1964 image of follow-the-leader white men in Florida carrying their "Segregation Forever" sign resonates with up-to-the minute virulence of anti-immigration hysteria, as well as the incendiary and rampant hate speech against our black president.

This exhibition appropriates the title of Schapiro's first and very deluxe monograph published in 2000 by Arena Editions (a now defunct press founded in Santa Fe). More than half of the silver prints in the gallery were first published as art in this book, including the two iconic images chosen for the end papers. On view (and used as the book's front end papers) is the ominous "Robert Kennedy in Berkeley, Calif., 1966," with Kennedy's dark silhouette looming over a sea of faces turned toward him and the sunshine. It is a prescient image of Kennedy's assassination two years later, when his demise left a huge black hole in the American political landscape and psyche.



Robert Kennedy at Berkeley, California, 1966

Also on view (and used as the book's back end papers) is the achingly resonant "Jerome Smith, Mississippi, 1965." No one could ask for a more perfect composition. Smith, a young Civil Rights worker in overalls, is framed in profile by his church doorway in the "thinker's pose," precisely echoing the pose of a pondering Christ in the Garden of Gethsemane as depicted in the church's stained glass window.

Schapiro has always acknowledged his debt to the renowned W. Eugene Smith, the photographer he tried to emulate, as he did Henri Cartier-Bresson. His monograph is dedicated simply to "Smith." Yet, for all his predecessors' greatness, Schapiro's work is not as sentimental as Smith's or as distant as Cartier-Bresson's. Schapiro's work is more self-conscious and feels more embedded in his generation's disorienting times. In light of earlier photojournalists, the tone of Schapiro's work is closer to WPA-era Dorothea Lange and Hungarian-born André Kertész.


Three Men, New York, 1961

In addition to multiple images of Martin Luther King and Robert F. Kennedy, Schapiro captured many anonymous players who had their moment on the stage of the '60s, such as a bloody student at the Columbia University riots, lonely supermarket parking lot picketers, stoned flower children in Haight Ashbury, and frenzied go-go dancers. These unnamed actors are shot with the same involvement as his celebrity images, including Warhol's factory, the Kennedys' Camelot, James Baldwin, Rosa Parks, Janis Joplin, Ike and Tina Turner, Alan Ginsberg, and Samuel Becket. After popular magazine assignments started to wane, Schapiro began working for both the music and movie industries shooting Hollywood stars on the set, and his celebrity images retain the on-the-road grit of his photo journal essays.


Midnight Cowboy, New York,1969

Schapiro photographs are black-and-white silver prints (in limited editions of 25) and the magical emergence of images from negatives with wet chemicals darkroom, before transition to the now-dominant flat-screen digital technology. The tremendous power of his work reminded me of a very recent symposium (April 22) organized by the San Francisco Museum of Modern Art. Thirteen leading American artists, curators and critics were invited to address the rather silly question "Is Photography Over," a variation on the old straw dog "Is Painting Dead?" Of course, this is an ever-ready topic raised by institutions and academics that need issues to discuss. But, just as with every other medium an artist chooses to use, yes, the medium is dead. Every medium is dead. It becomes art precisely when the artist breathes new life into it. Fortunately, for those of us who like looking at art, the medium is a tool of the artist and not a ghetto.

Also, if you like Steven Schapiro's photographs, keep your eyes open for the traveling exhibition "The High Road to Freedom: Photographs from the Civil Rights Movement, 1956-1968," organized by the High Museum of Art in 2008. Currently on view at the Bronx Museum of Art in New York City, review here.) The exhibition prominently features Schapiro's images documenting the legal end to American apartheid and it is currently "on the road," and, hopefully, like America, a work still in progress.

Exhibition continues through June 27
See the exhibition on-line here.

Read more: ABQJOURNAL NORTH/VENUE: History through the lens http://www.abqjournal.com/north/venuenorth/112255382101northvenue06-11-10.htm#ixzz0qXr0FbUC

Wednesday, May 19, 2010

48 YEARS AGO: MARILYN MONROE SINGS "HAPPY BIRTHDAY" TO PRESIDENT JOHN F. KENNEDY

On May 19, 1962, screen goddess Marilyn Monroe — literally sewn into a sparkling, jaw-droppingly sheer dress — sauntered onto the stage of New York's Madison Square Garden and, with one breathless performance, forever linked sex and politics in the American consciousness. For the 15,000 spectators there that night, including LIFE photographer Bill Ray, Marilyn's "Happy Birthday" to President John F. Kennedy amplified the buzz about an affair between the two. But beyond the titillation, the moment Ray captured in this, his most iconic shot, went on to play a major role in both Marilyn's and JFK's biographies, coming as it did near the end of their short lives. As the 48th anniversary of that legendary birthday party approaches, Ray sits down with LIFE.com to share his photos from that night, most of which have never been seen, and to tell the story of how he overcame countless obstacles — the cavernous setting, tricky lighting, and security "goons" eager to keep the press at bay — to get The Shot. ---life.com



Marilyn Monroe Singing "Happy Birthday" to President John F. Kennedy, Madison Square Garden, NY, 1962
 ©Bill Ray


Madison Square Garden Memories

"On the evening of May 19th, 1962, the brightest stars in the Hollywood galaxy joined Hollywood’s heaviest hitters and New York’s power elite at the old Madison Square Garden to celebrate with President John F. Kennedy his 45th birthday.


It was a good time to be young. The country was “moving” again. Our fathers had voted for Eisenhower; we voted for JFK. We had the Peace Corps, were going to the moon, and the New Frontier was here. It was High Tide in America.

With Jack Benny as host, and a long list of stars that featured Maria Callas, Ella Fitzgerald, Jimmy Durante and Peggy Lee, the evening was going to be great. But the moment every one of the 17,000 guests was waiting for, was for the Queen of Hollywood, the reigning Sex Goddess, Marilyn Monroe to serenade the dashing young President.

Venus was singing to Zeus, or maybe Apollo. Their stars would cross, their worlds would collide.

I was on assignment for Life Magazine, and one of many photographers down in front of the stage.

As the show was about to start, the New York police, with directions from the Secret Service, were forcing the Press into a tight group behind a rope. I knew that all the “rope-a-dopes” would get the same shot, and that would not work for LIFE, the great American picture magazine. I squeezed between the cops and took off looking for a better place.

In addition to 2 Leicas with 35mm and 28mm lenses, and 2 Nikons with 105mm and 180mm, I brought along a new 300mm 4.5 Kilfit just for the Hell of it. I started to work my way up, one level at a time, looking for a place where I could get a shot of both MM and JFK in the same frame. An impossibility behind the rope, the 300mm telephoto was looking better and better.

It seemed that I climbed forever, feeling like Lawrence Harvey in “The Manchurian Candidate” up among the girders. When I found a pipe railing to rest the lens on, (exposure was by guess), I could see JFK through the telephoto, but the range of light level was too great. I worked with feverish intensity every second MM was on stage, but only one moment was truly magical, and perfectly exposed!

When the moment came, the Garden went black. Then all sound stopped. All that low buzz/roar that a crowd gives off stopped; total silence.

One very bright spotlight flashed on, and there was Marilyn Monroe, in the dress, the crystals sparkling and flashing. Marilyn was smiling, waiting several beats, with everyone on the edge of their seats, trying to hear the silence.

Then, in her breathy, sexy, unique voice, looking the entire time at JFK in the front row, she sang "Happy Birthday Mr. President”.

No one that night could imagine that in two and a half months, Marilyn would be dead of an overdose; in eighteen months JFK would be assassinated; Viet Nam would turn into our worst nightmare; Camelot would be gone.

Marilyn wore a dress designed by Jean Louis, that had no zippers, buttons, hooks, or snaps. The pieces were sewn together on her body. It was more or less flesh-colored, and decorated with thousands of Zwarovski crystals. Adlai Stevenson described it as “Skin and Beads”.

It was auctioned off at Christie’s in New York, October, 1999 for over 1.2 million dollars. The buyers later thought it was a steal, and said they were prepared to pay 3 million.

Though the evening was long and illustrious, and Marilyn’s song was short, the world, myself included, only remembers her, the song, the dress, and JFK’s 45th birthday.

The rest is history. " -- ©Bill Ray




President John F. Kennedy at his birthday party after Marilyn Monroe Sang "Happy Birthday", Madison Square Garden, NY, 1962 ©Bill Ray