Hong Kong Fights to be Free

Hong Kong’s protest leader Joshua Wong recently Tweeted this image of a painting, which imitates Liberty Leading the People (1830) by French romanticist painter Eugène Delacroix (1798-1863), whose painting is at the Louvre in Paris. This brave young anti-Communist and his fellow rebels in Hong Kong fight as I write this for their freedom, lives and future. To paraphrase Ayn Rand, those supporting and participating in the Hong Kong protests fight for the future by living in it today.

Nothing on earth, based on what I know, matters more to the West’s survival at this moment than Hong Kong. That few think about, let alone grasp the meaning and magnitude of, this assertion is a fact of reality. Those that don’t want to know or do not care about Hong Kong, the West, America, rights and individualism are, ultimately, of no consequence.

Among those who do, it’s additionally discouraging to know that few choose to stand with Hong Kong. Rare friends, who on these issues are more like brothers, such as Andrew, Maryallene, Rohit, Amy and Mark, make a point to take the lead, express support and in clear and explicit terms.

Most do not, even among those who claim to know better, as I recently reaffirmed while skimming social media. After reading a portion of an extended comments thread from a post about a dispute between the author of an innocuous commentary about being gay and an anti-sex critic, this inversion became clear. The thread chiefly consists of aimless speculation about what one might do about this or that in response to (!) an arbitrary assertion. The comments are posted by those who claim (or ought) to know better as Hong Kong hangs in the balance. The frenzy’s not an occasional occurrence. Posting about trivial issues “while Rome burns” is chronic. Today’s best minds are consumed by memes, pictures and nonsense.

Meanwhile, Communist China, which poses a military threat to the U.S., Taiwan, Japan, Australia, South Korea and every pro-Western nation, allied with America’s worst enemies, Iran and North Korea. This comes as Hong Kong’s rebellion spins Communist dictator Xi Jinping and his dictatorship into turmoil. Today’s New York Times reports that

… at a meeting that has not been publicly disclosed, Mr. Xi met with other senior officials to discuss the protests. The range of options discussed is unclear, but the leaders agreed that the central government should not intervene forcefully, at least for now, several people familiar with the issue said in interviews in Hong Kong and Beijing…Now Mr. Xi faces an even bigger trade war, with much higher tariffs and greater tensions. The [dictatorship] appears to be hewing to a strategy of waiting out Mr. Trump, possibly through his 2020 re-election campaign, even as the dispute has become a drag on the economy…[Red China’s puppet in Hong Kong] offered a candid assessment of Beijing’s views, even if one she did not intend to make public. She said Beijing had no plan to send in the People’s Liberation Army to restore order because “they’re just quite scared now.”

“Because they know that the price would be too huge to pay,” she went on. “Maybe they don’t care about Hong Kong, but they care about ‘one country, two systems.’ They care about the country’s international profile. It has taken China a long time to build up to that sort of international profile.”

… State television and the party’s newspapers now refer to [Xi] as “the People’s Leader,” an honorific once bestowed only on Mao. “The People’s Leader loves the people,” The People’s Daily wrote after Mr. Xi toured Gansu, a province in western China. Mr. Xi’s calculation might be simply to remain patient, as he has been in the case of Mr. Trump’s erratic shifts in the trade war. In his remarks on Tuesday, Mr. Xi also gave a possible hint of the government’s pragmatism.

“On matters of principle, not an inch will be yielded,” he said, “but on matters of tactics there can be flexibility.”

Journalist John Stossel once told me during an interview in New York City that real news, i.e., the first draft of history, happens slowly. I think this is true. What happens in Hong Kong matters.

I’ve been writing about Asia, China, Korea, Vietnam and the Orient for decades and it’s impossible for me to ignore that, in this singular act of rebellion led by brave Mr. Wong and his comrades, the East comes to a climax which has the potential to uproot Communist China and pivot to buy time to save the West. The rational individual ought to dispense with the meaningless and instead watch, think, evaluate, judge and exercise free speech to support the rebellion for liberty in Hong Kong.

Joshua Wong, who was arrested for crimes against the state and is out on bail, strikes me as savvy enough to know that even the best minds in the West are too easily distracted by pictures and other sensory diversions. So, he’s posted a painting as propaganda to support his noble cause. But in words and deeds, nothing less than his life, and his love of it, is at stake.

 

Hatred, Thought and Mass Murder as Crime

The newest cluster of mass shootings finally shows a ray of light. I’ve stopped writing about these premeditated acts of mass murder with my summer of 2017 post about what I call the hush of Charlottesville. I think the status quo on mass shootings is wrong and the level and quality of discourse is low to none and getting worse fast.

Nevertheless, when FBI agent Christopher Combs described the Odessa, Texas, shooter, Seth Ator, as one who’d reached out to police in advance of his attack and rambled about his “perceived life’s tragedies” adding that the 36-year-old “was on a long spiral of going down”, I saw a spark of intelligence in the currently prevalent approach to mass American murder.

“[The mass murderer] was on a long spiral of going down,” the FBI agent had said. It’s a crucial statement. His judgment bears repeating, thinking about and contemplating, even examining. Combs went on about Ator’s act of evil: “He didn’t wake up Saturday morning and go into his company and then it happened. He went to that company in trouble and had probably been in trouble for a while.”

As someone who has conducted a kind of cultural study of these mass murders since a mentally disturbed woman went on a shooting rampage on Chicago’s North Shore in the late 1980s, after having been in and out of mental health institutions and the judiciary for crimes against her husband for decades, with the complicity of many in the health care and judicial systems but especially her parents, I’ve come to the conclusion that the predominant voices on mass shootings are fundamentally wrong. With the current atmosphere so highly charged, it’s nearly impossible to have a reasonable discussion of these events.

Combs makes progress, however, by emphasizing — really stressing — the shooter’s death spiral. The policeman is, as America’s president has been trying to do, shifting the focus from residual or secondary issues such as access to guns, safety precautions, etc., to more fundamental issues such as mental health. In the case in Chicagoland, the murderess Laurie Dann could have been prevented from slaughtering and maiming the innocent including her children victims had her parents and others held Dann to account for her mental illness, crime and wrongdoing. Policeman Combs is saying the same thing about the Odessa, Texas, killer.

In fact, nearly every act of mass American murder in recent years, from the Islamic terrorists who gunned down gays in Orlando and athletes in Boston to the gambler who gunned down concert-goers in Las Vegas, sent multiple messages in advance of each siege. In some cases, such as the Boston and Orlando jihadist assaults, police had been warned in advance by the family or intelligence. In others, such as the Las Vegas massacre, women knew something was wrong in advance. But in each case, clear signs of evil, mental distress or impending breakdown were demonstrated, often in repetition. Yet warnings and signs went ignored, denied or evaded.

Why? I’ll leave that to historians and scholars. It’s clear to me, however, that the nation’s in a mass delusion about the philosophical rot eroding us from within, which is why the FBI agent’s comment is somewhat encouraging in today’s context. Few are able or want to acknowledge the reality that bad ideas, such as altruism, also collectivism, are accepted and practiced with consistency in these murderous attacks. These are at least contributing causal factors in most of these mass shootings. It’s not just white men doing the killing. From the Beltway sniper and his partner in crime at the turn of the century to foreigners, women such as Dann, Susan Smith and lesbians driving off cliffs with their children, among others in Santa Barbara and Virginia Tech, the rot spreads and claims countless lives. No one should be shocked to find that those who accept our era’s basic thesis that selfishness is a vice practice this rotten ideal.

Will Americans ever learn that those trained to seek to annihilate themselves are more likely to annihilate others? The ethics of selflessness breeds mass death, damage and disability.

As Fred Rogers once said:

“Part of the problem with the word ‘disabilities’ is that it immediately suggests an inability to see or hear or walk or do other things that many of us take for granted. But what of people who can’t feel? Or talk about their feelings? Or manage their feelings in constructive ways? What of people who aren’t able to form close and strong relationships? And people who cannot find fulfillment in their lives, or those who have lost hope, who live in disappointment and bitterness and find in life no joy, no love? These, it seems to me, are the real disabilities.”

For all their professions of civility, compassion, nuance, intelligence and decency, those who consider themselves to be liberal in my experience are often the most damaged, deficient and disabled in this regard. Again, what the FBI agent says about the spiraling down of the man who shot police and civilians in Texas is that he needed help for himself, cried out and sought help to some extent and ended up going down without help. People should pay more attention to the disaffected, the dejected, the maligned — anyone who’s being ridiculed, persecuted and confused by living in the divisive, strident, hostile society America has become. Especially, though not exclusively, the white male.

Twenty years ago, I wrote an op-ed for newspapers arguing that so-called hate crime legislation pushed by religious conservatives and leftists alike would lead to total suppression of speech, more hatred and total contempt and disregard for thought, as such, as a crime. Read my essay, reprinted in publications such as the Los Angeles Daily News, Philadelphia Inquirer, Pittsburgh Post-Gazette, Casper Star-Tribune and San Francisco Chronicle, here.

Hate crimes became law anyway and, sadly, my forecast became reality. Hate crimes, which are tantamount to thought crimes, evoking Orwell’s dystopian literature, led to the asinine, anti-conceptual term hate speech, which poisons American society with suppression of thought, ideas and civil discourse. With now-daily mass murder coupled with calls for total government control of speech, media, guns, medicine and life, as the troubled individual about whom the FBI’s Christopher Combs spoke sacrifices himself as instructed, each American should challenge and reject the idea that hatred is bad, wrong and toxic.

After 20 years of nonstop, incessant preaching against hate, as such, distorting a perfectly legitimate emotion by extrapolating it universally as inherently and always wrong, bad and evil, the nation is utterly consumed by Americans’ hatred of one another. The hatred manifests in mass death as lonely, troubled people lash out against anyone who seems responsible for the nation’s or their real or perceived downward spiral.

The Second Amendment of the U.S. Constitution does not preclude steps toward laws governing guns, as Trump and some in Congress support.

But America’s epidemic of daily mass murder can only be causally mitigated by listening, not sniveling, to others. The snide, hostile, vitriolic quips, memes and digs substituting for discourse destroy one’s ability to project a better, happier future. Every time a leftist, an anarchist or a conservative hurls invective, the otherwise decent human is dehumanized, demoralized and more susceptible to bad ideals, especially self-abnegation as an alleviating solution to his — or her — pain, suffering and agony.

This is compounded by the confusion, experienced as causeless among generations taught not to think but instead to go scoreless, refuse to judge and instead prattle slogans to reduce, conserve and recycle or just blank out, feel, gaze at one’s navel and go toward God, “the light” and whatever rave, idiotic video challenge or drug-induced mania is trending. Self-denial and confusion are a volatile mix for mass death.

The solution? Listening, really listening, and speaking in turn but with civility, strength, purpose, benevolence and, above all, rationality. This means knowing, understanding and loving the First, before the Second, Amendment. And this means hating — really having contempt for — those who seek to wipe it out and replace it with government control.

 

TV Review: The Vietnam War (PBS)

TV Review: The Vietnam War (PBS)

The Vietnam War, a 10-part series for PBS which aired in 2017, is flawed, biased and incomplete. It is also a compelling and important examination of the Southeast Asia war America lost.

Written by Geoffrey C. Ward and directed by Ken Burns and Lynn Novick, with key military guidance from certain war intellectuals and participants, this is a generally honest account of a terrible, impossible war.

I welcome feedback on this long, episodic review, which I’ve composed from my notes after watching the series on Apple TV. I apologize in advance for any errors or omissions, so please feel free to let me know if I’ve missed something important or misspelled the name of a soldier, a village or a battle. Know that I especially want to hear from the reader who served in Vietnam.

This war loomed over my childhood and life. It still does. Generations in America suffered irreparable harm and year after year, president after president, election after election, Americans make the same mistakes. I want my post to prompt the reader to think about the Vietnam War … or to think twice.

I’m giving this program the long, deep and detailed analysis I think the topic deserves, especially in an increasingly anti-intellectual culture in which the individual, the press and the government give asinine topics all their attention at the expense of topics that matter. Going to war without purpose and for the sake of helping others and the men who were forced to wage it matters and it matters very much to your daily life. I want you to learn from what I found in this series even if you never watch this series, which I hope you do.

Each episode, produced by Florentine Films for public television and presented without commercial interruption, is approximately 90 minutes.

Buy the DVD

Episode One

Starting with the sound of a helicopter, the continuing symbol of the Vietnam War from its origins to its end to its aftermath in movies and Broadway musicals, The Vietnam War on PBS commences with its first installment, aptly titled “Deja Vu” marking the years 1858 through 1961.

Here, you will learn why the war was born of misguided conquest. Today, this would be reduced to the vulgar term clusterf**k. Vietnam’s agrarian society was primitive with multiple forces and influences, especially through mysticism and religions, none of which is delved into here.

But there’s enough material here to see that the mid-20th century precedes this major turning point with a worldwide war engulfing Asia, especially mystical, Imperial Japan, which allied the worst evil of the century, Communism, with the West.

This alliance happened under an American president who sought statism in America. The authoritarian war president, Franklin Roosevelt, previously studied by documentary filmmaker Ken Burns in his series The Roosevelts, set the course for an exotic jungle war in Vietnam. The Vietnam War does not make these observations. But it documents the evidence for the rational mind to make the connection.

Enter the monstrous Ho Chi Minh, a spindly figure who merges faith, nationalism, collectivism and pieces of civilization into a mongrel mixture that dazzles or sedates nearly everyone. Under dozens of pseudonyms, the charismatic leader travels the world in “Deja Vu”, from New York City and Paris to Boston and London from his native Vietnam. He studies America, writing to President Woodrow Wilson in 1919 pleading for Wilson to support Ho Chi Minh’s nationalism. He plans, goes to Soviet Russia and gains sponsors, returning to Vietnam in 1941.

By the time the sick, dying Ho Chi Minh was saved by the American government with Western medicine in 1945, the year the U.S. ended the war by dropping atomic bombs on Japan after the barbaric state refused to surrender, Minh had — like later Islamic terrorists — been nursed, trained and armed by the United States.

Roosevelt had wanted nations to be free to choose Communism.

This left Ho Chi Minh to look to the U.S. as some sort of egalitarian empire. The Vietnam War makes much of Minh’s quoting Thomas Jefferson, downplaying Minh’s other philosophical sources and influences, such as Josef Stalin, Karl Marx and Vladimir Lenin, which tout Communism, nationalism and socialism. But it is clear that Ho Chi Minh’s interest in America was never based on individualism; it was filtered through his worship of the omnipotent state, a fact which this series evades or ignores,. Minh’s outreach to the U.S. is contingent upon his glorification of race, tribe and a people’s state. Ho Chi Minh was indoctrinated and funded by Soviet Russia.

After World War 2, Minh lived, Novick and Burns report with actor Peter Coyote’s narration, in a cave he named after Marx. He named a nearby stream after Lenin. Ho Chi Minh knew exactly his political philosophy. His brigade of Communists, the Vietnam Minh, killed their first American, a peace-making colonel named Peter Dewey, when they supposedly mistook him for a Frenchman when Col. Dewey was brokering a peace deal between the Communists and France.

So, at least this series lets it be known that the first American to die in Vietnam came in peace. Dewey was an innocent who was gunned down by Hi Chi Minh’s Communists. Soon afterward, Communist Mao Tse-Tung, responsible for mass murdering more innocents than perhaps anyone ever to exist on earth, takes over China. The series reports that Mao and the world’s other bloodiest dictator, Josef Stalin, funded the Communists in Vietnam.

In this sense, the first episode of The Vietnam War illustrates how Communist China and Soviet Russia poisoned this poor, farm country in Southeast Asia through a leader nursed, trained and armed by an American government with a socialist bent.

When Franklin Roosevelt died while in office, his vice-president, Harry Truman, became president. Having been accused of being the guilty party on the question of ‘Who lost China [to Communism]?’, President Truman promptly approved of $23 million in aid to France, which ruled Vietnam and Southeast Asia as a kind of colony.

The context is complicated. As Ho Chi Minh advanced against France in Vietnam, Truman was already drafting American men to fight a proxy war with China on the Korean peninsula after Chinese-backed North Koreans invaded South Korea.

All of this is more or less packed into the first episode of The Vietnam War. These are starting points. There’s more, pardon the advertising cliche, much more.

In the autumn of 1951, the culprit in starting the Vietnam War first appears on scene.

His name is Congressman John Kennedy. The series reports that the young war hero was visiting a rooftop bar when he heard guns across the Saigon River. Kennedy returned to his native Massachusetts and told constituents that, unless the U.S. could persuade the Vietnamese that Americans are as opposed to “inequality” as they are opposed to Communism, Truman’s aid to France would result in “foredoomed failure”.

Rep. Kennedy would continue Roosevelt’s statist legacy when he became President Kennedy. Vietnam would become a quagmire and it would chiefly be his doing. But, during the 1950s, U.S. policy on Vietnam was set by Truman and Dwight Eisenhower, whose vice-president, Richard Nixon, is seen in this first episode going over a map of Vietnam on television.

By 1953, France had gone though six commanders in trying to colonize Vietnam and France had failed at what it termed pacification, which then and now is a euphemism for winning the hearts and minds of the people. The French had also widely used a form of gelatinized petroleum called Napalm in its military efforts. This caused Parisian leftists to oppose the war in Vietnam, shown here and intercut with later footage of 1968 New Left American protests, and riot in the streets.

Then came the debacle between Vietnamese and French forces at Dien Bien Phu on March 13, 1954. As commentator Daniel Gregg puts it: “[Americans] should’ve seen the fall [at Dien Bien Phu] as the end of colonialism…instead we saw it as part of a Communist threat.” The 17th parallel split came after France’s devastating defeat, with French troops forced to retreat into the south, leaving the Vietnam Minh to control the north, separating Vietnam into two countries by a demilitarized zone (DMZ) until an election could be held to reunify north and south.

In the south, the French supported a Saigon crime syndicate which opposed the regime in South Vietnam. This regime was opposed by President Eisenhower, too, but Ike was pressured to support South Vietnam’s corrupt government when the regime was reelected.

President Kennedy, The Vietnam War shows, made support for South Vietnam’s corrupt government explicit — Kennedy was the first American president to do so, really — modeling South Vietnam on Roosevelt’s New Deal and Marshall plan with massive infrastructure rebuilding — after Ike ordered scores of Americans to South Vietnam to rebuild and win hearts and minds.

The moral premise of the Vietnam War had been established: helping others. If Truman and Eisenhower initially aided Vietnam as a hedge against Communism, they did so without a proper study of the people, the culture and the geopolitics of Vietnam. But it would be John Kennedy who would double down on the oversight, turning an error into a blunder.

On July 8, 1959, The Vietnam War shows that six Americans watching a movie in their mess hall in Bien Hoa, 20 miles northeast of Saigon, were attacked by Minh’s guerillas.

The terrorists had silently crept into the U.S. compound to fire their guns through the windows — a New York Times article refers to this act of war as “Communist terrorism” — and two top U.S. soldiers, Major Dale Buis and Master Sergeant Chester Ovnard, were killed. The men were the first American soldiers to die from enemy fire. Pictures of their names on the Vietnam Memorial — Dale R. Buis and Chester N. Ovnard — appear in this initial episode.

Before it concludes, “Deja Vu” shows a clip of a famous speech by President Kennedy — Kennedy vows that Americans “shall pay any price, bear any burden…” on January 20, 1961 — and it is at once striking that the president who undeservedly gets credit for putting an American on the moon never gets blamed for putting Americans in harm’s way, let alone for doing so with neither purpose nor end. Six weeks after Kennedy was elected president, the murderous Viet Minh became a southern Vietnam subversive terrorist force called the Viet Cong — Cong stands for Communist Traitors to the Vietnamese Nation — the military wing of the north’s National Liberation Front.

Episode Two

The title of The Vietnam War‘s second episode, “Riding the Tiger”, is taken from a line in President Kennedy’s inaugural speech. This covers the Vietnam War Kennedy started in earnest from the year 1961 through 1963.

American John Musgrave, a key military combatant interviewed throughout this extremely educational series, talks of a night light when describing the terror of war in the context of being the son of an Army pilot and a father to children. In doing so, Musgrave captures both the ghastly horror of Vietnam and the Kantian sense in which the American deployed there never possessed the power of knowledge to fight in war.

After this harrowing narrative, Jack Todd speaks of wanting to go to war because President Kennedy was to him like a god.

So begins the deifying of the American president. This became worse with every presidency, from Johnson being adored for enacting his Great Society by force and the iconography of Reagan’s melodramatic bootleg romanticism to Bill Clinton as the redeemable hillbilly, the repulsive vilifying or deifying of Barack Obama for his race and the thick-headed cultishness of red-capping the current presidency. This ugly spectacle began with Theodore Roosevelt and spread to cousin Franklin. But the charismatic leader cult ballooned with the president who was a Kennedy.

The Ken Burns series is guilty of this, too, referencing the Berlin Wall as something Kennedy could not stop — it is now known that, at best, Kennedy, in fact, allowed the wall to be built and, at worst, he negotiated for its construction — and failing to account for Kennedy’s Bay of Pigs fiasco. Instead, the series equivocates and rationalizes that Kennedy “had to” act in Vietnam.

Lacking supporting evidence, this is a crucially dubious assertion.

Kennedy’s Secretary of Defense, Robert McNamara, a former Ford Motor Co. systems analyst, is perhaps the first major American military figure to choose foreign policy based on statistics, numbers or “metrics”. It was McNamara who first tried to apply a business model to the most crucial role for government.

The results were a disaster. McNamara’s faith in numbers created the vast, “military-industrial complex” against which President Eisenhower had rightly warned. Watch McNamara for an early example of running the model that the government can be managed like a business; it won’t be hard to connect the dots to the appeal of an anti-capitalist authoritarian like Donald Trump.

Episode two’s lessons detail the faulty war foundation laid by the Kennedy administration. At least it leaves the impression that the men, such as John Musgrave, who were drafted to fight are superior communicators to those in previous generations; Vietnam War veterans who participate in this documentary demonstrate that they have the capacity to think and express themselves. Today’s Americans are the beneficiaries of their ability to communicate with objectivity.

The Vietnam War grants these men ample opportunity.

The 10-part program does so while documenting that President Kennedy, arguably an absent and deficient commander-in-chief, was vacationing when a cable came from South Vietnam regarding a coup — which the administration bungled like it botched everything — and the bloodshed essentially started the Vietnam War. To their credit, Vice-President Lyndon Johnson and McNamara argued against what Kennedy chose to do, which is to cede to the State Department, which steered the 20th Century’s worst American foreign policy blunders, especially Islamic dictatorship in Iran.

Kennedy’s fiasco ends on the eve of his assassination as Buddhist monks self-immolate in Saigon’s streets. Self-sacrifice is an ominous sign of the sacrificial holocaust to come.

Episode Three

Audio recording of President Lyndon Johnson expressing doubts (all vindicated) while cleaning up the mess Kennedy created dominates the third episode of The Vietnam War, “The River Styx”, which covers January 1964 through December 1965. Johnson’s self-doubt lead him to keep Kennedy’s team despite the evidence.

Johnson’s interest in the Vietnam War, however, was secondary to his interest in expanding the Kennedy administration’s legacy of plunging the nation deeper into the welfare state. The results, possibly against Johnson’s intentions, were a military, moral and philosophical disaster. Johnson’s ignorance and deceit in foreign and domestic affairs worsened the quagmire, the militarism and the New Left’s militancy.

Johnson’s lies about the Tonkin Gulf resolution fed distrust among the public, which, in turn, fed subversive factions seeking to overthrow the government. This, in turn, fed the government’s tendency to mislead the press and the public on the grounds that every turn of the war ought not to be shared with everyone.

In video footage of Vietnam War commanding Gen. William Westmoreland speaking to his men, he instructs troops that they must avoid hurting women and children and commands them to win Vietnamese hearts and minds. Thus begins the vicious cycle of waging war by public relations causing massive losses, bad optics and so on. While the enemy waged war by terrorism spawned from the Ho Chi Minh trail, infiltrating South Vietnam’s villages, farms and rice paddies, Americans were ordered to fight with disadvantageous rules of engagement.

Sound familiar?

Gradually, however, an approach of tit for tat by the U.S. military toward North Vietnam complicated the war. It didn’t help that Communist China sent a total of 320,000 troops — pitting American troops against Chinese troops for the second time in the 20th century — and that, with the first war on television in the freest nation on earth, every mistake could be reported in the free press and given absolute expression of freedom of the press and freedom of speech. Magnifying American blunders while the New Left mobilized for the enemy, eventually waving enemy flags in U.S. cities, complicated the Vietnam War.

Diplomat George Ball’s ominous warning and prediction loomed large by 1965.

Episode Four

“Resolve”, chronicling the war from January, 1966 to June, 1967, compounds the misery depicted in Ken Burns’ and Lynn Novick’s documentary The Vietnam War.

With wrenching family memories, this film recalls those killed in action and the rippling, shocking impact on Americans back home. The series provides new audio-visual evidence of Lyndon Johnson’s conflicts. Unlike Johnson’s predecessor, he seems terribly frustrated, involved and affected by every facet of the Vietnam War.

This happens as Robert McNamara, the tactician who, like a social media programmer, reassured everyone by citing statistics and calculations to justify what turned out to be wildly off-track projections, is reported to meekly harbor his doubts.

Meanwhile, the government of South Vietnam lies in constant crisis near impending collapse, especially after a Buddhist general is fired. That the war was sanctioned while Johnson schemed what he termed a Great Society — having enacted socialized medicine for people over the age of 65, Medicare, on the false premise that the old were feebly desperate for medical care — is an unexplored abomination.

Gruesome Vietnam War battles are explored in graphic detail. Titles are indispensable in guiding the viewer to better understanding of the war. If ever America was to turn, counter and win this war, which never seems remotely possible during the entire 10-part series, it is in these crucial months. But there is never the will to win because there is never the purpose, drive or clarity, let alone national unity, and this is lacking because Johnson was spun into Kennedy’s quagmire from the start.

In retrospect, all Americans could’ve done in these years was to get out. Yet the moral grayness — war as moral duty for the sake of others; the altruism which infects American war policy to this day — was accepted by the Johnson administration, the American press and, to a large extent, by the American people. The fourth episode shows that altruism was grinding away at the optimistic American sense of life.

Episode Five

A Marine tells the tale of exacting moral duty in practice in a powerful midway installment of The Vietnam War. “This is what we do”, he shrugs with helplessness, pronouncing having to implement emergency ethics under orders from a government which abnegated its primary function. The poor Marine explains this amid opening footage of Johnson and riots in Newark and Detroit.

America was splitting part, this fifth episode reports, while punch card metrics at the Pentagon actually miscalculated that the United States won the Vietnam War in 1965. McNamara and his band of technologists who had been empowered and activated by Kennedy — and retained by Johnson — had executed their “war of attrition” in numbers and statistics with deadly and devastating failure.

Bean-counting bureaucrats were taking over. The surveillance and welfare state was getting its omnipotent place in power. All of this comes through for the discerning audience in The Vietnam War‘s fifth episode, “This Is What We Do”, detailing the bitter, cruel and monumentally unjust acts of war between July and December of 1967.

This is when anarchy seems to break out in both America and Vietnam. The late Sixties, a disgustingly romanticized period of time, begins. Here, one learns the origins of the terms gook, etc., however there is no explanation of their genesis into wider acceptance. One learns, too, that the enemy fired upon Americans from the DMZ — which Americans dubbed the Dead Marine Zone — while Americans were ordered to abide discarded rules of engagement.

Without proper leadership, without basic decency, honesty and functional supplies, is it any wonder they took their lives and missions into their own hands?

Marine Musgrave tells of not wanting to look in the mirror as a 63-year-old and see someone who had not done everything in support of what he believed — he didn’t want to leave the toughest job to other men. This is what leaves Musgrave psychologically crippled and physically delivered as young flesh for slaughter.

For example, he speaks of seeing humans as animals — viewing subjects as objects — to make himself ready to fight for his life. “This is what happens when you send children to fight war [without reason],” he tells The Vietnam War: racism.

His scathing analysis, among the most searing and important insights in the series, reminds me of what the late Nothing Less Than Victory author and Duke University war historian John David Lewis told and taught about rational motivation during war, including in the interview he granted before he died (read it here). Musgrave, showing restraint and impeccable powers of self-awareness and objective communication, discloses that his government reduced him and his comrades to raw hatred as a driving motivation for going to war.

“This Is What We Do” reports that 20 percent of U.S. troops, men such as John Musgrave, did most of the combat fighting — 80 percent of U.S. troops were in South Vietnam for support — and that one of the primary weapons, the M-16 rifle, malfunctioned, jammed and failed, killing many Americans. It’s sickening.

Four sectors of a South Vietnamese map offer a good breakdown, though the map should’ve come sooner in the series. Also, rock and folk songs incessantly overlap men’s voices, which is a constant irritant and distraction.

Other audio clips provide rare insights. Illinois Senator Everett Dirksen speaking with the president about the Vietnam quagmire includes a clip of Johnson telling the truth that what the anti-war protestors were demanding — that the U.S. stop bombing North Vietnam —would lead to more dead Americans.

Ho Chi Minh’s chief accomplice, Communist Le Duan, was preparing for the Tet Offensive during this time. So was the U.S. Tiger Force, accused of rape by an Army reporter, engaging in combat. And an antiwar radical named Jerry Rubin was giving a press conference threatening to seize the Pentagon. Look, too, for footage of the late Senator John McCain, captured when his Navy plane was shot down by the North Vietnamese and tortured by the Communists.

Some of these stories — of a Marine left for dead time and again by American medics — may never leave you. This episode features a CBS News report by journalist Walter Cronkite giving a detailed account with a large model re-creating the terrain in South Vietnam, explaining with markers and a pointer the battle of Dak To where U.S. Marines in three companies were pinned down.

Forty-two Americans were killed during the battle — by an American bomber.

Episode Six

The 1968 Tet Offensive, North Vietnam’s assault on South Vietnam named after an Asian new year date, begins with incredible combat footage. Tet marks a turning point in The Vietnam War. This episode, “Things Fell Apart”, ranges from events of January in 1968 to July of the same, awful year.

Memories by a black Marine from Boston’s Roxbury neighborhood and an American doctor captured by the enemy after his helicopter crashed into a mountain provide further background. The doctor, whose harrowing tale is a stark counterpoint to the New Left’s propaganda claims against America, summons strength in singing patriotic songs while the Communists force him into a brutal 30-day march on his bare feet while refusing to properly treat his severe bullet wound.

These reports and oral histories contextualize one of the worst years in Western history. It’s here; the Los Angeles assassination of Robert Kennedy after winning California’s presidential primary, the Memphis assassination of Martin Luther King, the pacifism of presidential candidate Eugene McCarthy, whose candidacy was based on opposition to the war, and President Johnson’s address to the nation announcing that he would not run for re-election. And Tet.

In fact, press coverage of the Tet Offensive is as distorted as Johnson charged, as he expresses in audio shared here. A key foreign adviser’s advice to withdraw troops from the Vietnam War is included, though without the context that he’s the holdover from the Truman administration whose blunder arguably started the Korean War, another American quagmire which was a war America neither declared nor won.

That, too, like Vietnam and today’s quagmires in Afghanistan, Syria and Iraq, cost lives and treasure and wiped out American resolve. The Vietnam War never makes this historical connection but it presents the evidence from which to draw the conclusion.

Communist butchery during the Tet Offensive was apparently not filmed, or the evidence is unavailable to Novick and Burns. As is always the case, the freedom to express oneself in the press thanks to freedom of speech exhibits some of the most horrifying images. Rightly or wrongly, these pictures contributed to the war’s being opposed at home and arguably exacerbated the perceptual-based culture in which decent Americans now find themselves struggling to communicate complex ideas in words which are concepts, not pictures, looping videos and memes.

So, in this episode you see the famous picture of the South Vietnamese executing an insurrectionist who betrayed South Vietnam. You see that it “got play” and spread in the West where one is free to think, write, take pictures and associate with those who trade to distribute the picture across multiple platforms. However, you do not see evidence of the mass slaughter and suffering at the hands of the other side in war.

And no one asks you to make note of this distinction.

To its credit, the series correctly and repeatedly notes that the United States under Johnson’s leadership and South Vietnam defended against the historic Tet Offensive with success. In fact, Tet was a massive disaster for North Vietnam. The Communists lost. They failed to achieve their goal to spark Communist revolution in the South. They failed miserably and at great cost.

The perception, that America was being challenged and taken aback, was widespread. America lost the upper hand in terms of controlling the optics and public relations. Not without reason, the upshot moved the nation against the Vietnam War.

Episode Seven

“The Veneer of Civilization” capably covers the dreadful 11 months from June of 1968 through May of 1969. The 1968 Democratic National Convention in Chicago, for instance, was so chaotic that it almost made Chicago’s notoriously brutish mayor, Richard J. Daley, referred to as “boss” because he was like a mafia boss due to his authoritarianism, look reasonable.

Mayor Daley was one of many government officials in the horrendous late Sixties to be forced into a corner by New Left and other terrorists, anarchists and radicals. After watching Chicago’s terrorism, anarchism and assaults on TV, President Johnson considered traveling to Chicago to re-enter the 1968 presidential campaign.

The Vietnam War reports that Johnson did not attend because the Secret Service advised the president that his safety could not be assured.

This — a nation on the brink of anarchy, civil war and recklessness fed by Communists, racists and other collectivists amid mass death in an unwinnable war and total government compulsion of young men’s military service — is what the late 1960s meant in daily American life.

Dead soldiers are pictured. One American combatant who wanted to dodge the draft, addressed here as an existential fact, not as a nationwide policy or historical fact, expresses regret that he decided not to dodge the draft. Other soldiers, too, are forced by the moral ambiguity of the Vietnam War into an ethical crisis or dilemma.

Burns and Novick are respectful of the Vietnam War veteran. The American who served in Vietnam is given preferential treatment in interviews, though New Left radicals, such as Bill Zimmerman, are also interviewed and much or some of what they say is totally anti-American. The series rightly focuses on the war from the perspective of the men who were sent to fight it.

U.S. POWs are interviewed, including Maj. Kushner, who shares an absorbing story of bonding with fellow American POWs in Communist captivity, who, while emaciated and starving, conspire to kill a camp commander’s cat so they can consume food. He explains that they were caught by a guard and describes what came next.

Kushner details being united with POW comrades in an I am Spartacus moment when the POWs are forced to divulge who came up with the idea. He remembers one American being beaten to death. He recalls what his captors did to his body. The testament to Kushner being alive adds to the segment’s emotional power. Kushner’s account puts New Left protests, which include waving an enemy flag, in context.

It also clarifies North Vietnam’s brutality, which was not lost on their own soldiers and civilians, who never knew any political system but enslavement. “Saigon was freer,” one of several former North Vietnamese soldiers interviewed recalls, adding that, among families in Hanoi, there was no communication from Ho Chi Minh’s government about the war dead. Of course, there were no press reports — “I don’t recall reading about a lost battle,” someone says, even after Tet — in state-run media.

Among the people, there was no knowledge of the war in Vietnam in North Vietnam.

Accordingly, one gets a sense in these accounts of how Vietnam changed from a simple farm society to dictatorship. The U.S., too, is radically transformed, as presidential candidate Richard Nixon reportedly reached out to Hanoi during the war talks, which Johnson considered treasonous. Illicit drugs take a toll, as stories of the Harrison family — a tale of two brothers, one the draft dodger, the other a soldier — disclose the cost of an overdose in Hong Kong, foreshadowing 1978’s The Deer Hunter.

Savagery ruled. Civilians were killed, often, though this is not explained, partly because of the nature of the fighting; i.e., North Vietnam infiltrating South Vietnam with a stream of sleeper cells. South Vietnam’s corruption is rampant. It’s widespread or overlooked in the U.S. military, too. American contraband, supplies and machinery, from cigarettes to helicopters, sold on Vietnam’s black market via Saigon’s rotting corpse, cost U.S. taxpayers billions of dollars. The U.S. lost $2 billion in a single year.

No one paid attention to those numbers. “All these metrics,” someone recalls, “—[were] a waste of time.”

Some initiatives worked; projects Misty and Phoenix undermined the Viet Cong along the Ho Chi Minh trail, kept going by persistent North Vietnamese truck drivers. Soon after Nixon was inaugurated as president in 1969, he sought to make peace with Communist China, which had implications for South Vietnam. America’s new national security adviser, a pragmatic college professor named Henry Kissinger, geared secretly bombing Cambodia.

When the New York Times reported the bombing, in a preview of the coming surveillance state, the U.S. wiretapped 17 reporters.

Throughout The Vietnam War, titles condensing certain group, faction and agency names — including breaking down certain acronyms — are extremely helpful in understanding military jargon on both sides.

Episode Eight

In the eighth episode, “The History of the World,” covering April, 1969 through May, 1970, the audience gets to experience President Nixon’s promised withdrawal from the Vietnam War.

This was not satisfying, however, for a terrorist group called the Weathermen.

Their terrorist attacks shocked the nation. With stoned hippies at Woodstock in upstate New York, the enemy flag flying above antiwar marches (which is downplayed in the series) and anarchy by Black Panthers (also minimized), Nixon delivers his stirring Silent Majority speech.

After telling combat stories, U.S. soldiers returning home explain reactions to their homecoming, including several choosing to become antiwar activists. John Musgrave, who settled in Kansas, is shocked at the hatred for his military service in the Vietnam War. In compelling interviews, Marine Musgrave talks about contemplating suicide.

Other Vietnam War flashpoints, from the My Lai massacre reported by Seymour Hersh to National Guard shootings at Kent State and Jackson State, get partial reporting. For example, while Peter Coyote’s narrative covers that antiwar radicals burned down the ROTC building at Kent State — physically preventing firemen from extinguishing the fire — there’s no apparent attempt to interview guardsmen, historians or those working with Ohio’s governor, James Rhodes, about the tragic events at Kent State.

Other imbalances or incomplete versions include a reference to Massachusetts Sen. Edward Kennedy‘s opposition to the Vietnam War, with no mention of the death he caused, knew about and covered up at Chappaquiddick in the summer of 1969. While the crime may have had no bearing on his opposition to the war, the crime, cover-up and aftermath had direct relevance to Kennedy’s credibility on issues of life and death. In this context, the unmentioned historic event in 1969 is a glaring omission.

Episode Nine

The depth of the nation’s division emerges in the time period covered from May, 1970 to March, 1973 in The Vietnam War‘s ninth episode, “A Disrespectful Loyalty”.

As Nixon attempts to apply the policy of what he called Vietnamization, ostensibly letting South Vietnam militarize its own war during a gradual and certain withdrawal of U.S. troops, construction workers in New York City rally to defend themselves against raging antiwar radicals. Vets returning from Vietnam are attacked, having their cars assaulted, rocked and pounded as they arrive home to America.

Soviet and Viet Cong flags fly over American protests — while Nixon, like his predecessor, Johnson, becomes convinced that Communists are actively infiltrating American society and instigating, sustaining and sponsoring the antiwar protests, an assertion which is certainly vindicated by post-Soviet archives and today’s reports of Russian and Chinese spying and propaganda campaigns to influence American life.

The drug culture also took root in the wake of the Vietnam War.

“Heroin was cheap, pure and everywhere”, someone reports, and the Pentagon would eventually admit that 40,000 American troops were addicted to heroin. This episode covers the so-called Pentagon Papers, later depicted in Steven Spielberg’s The Post, disclosed by Daniel Ellsberg in a 1971 article series published in the New York Times. The report, which shows that Presidents Kennedy and Johnson lied and misled the public about the Vietnam War, led to a key free speech ruling by the Supreme Court.

Also look for a Pulitzer Prize-winning photograph of a naked South Vietnamese girl running with Napalm tearing off her skin after having been bombed by South Vietnam. The picture further fortified people’s war opposition with another example of South Vietnamese and U.S. inability to plan, wage and win a war against the aggressor.

South Dakota Sen. George McGovern, too, like the man he sought to replace in the White House, was caught meddling in the peace process, trying to cut a deal with North Vietnam, as POW Kushner‘s wife seconds his nomination at the 1972 Democratic National Convention in Miami, Florida.

Miami’s also the site of the 1972 Republican National Convention. This is where Richard Nixon is nominated for his second and final term before winning a landslide victory over McGovern and resigning in August of 1974. The documentary includes nothing substantial, unfortunately, about Nixon eliminating the draft. I find it telling that such a historic act goes unaccounted for during the series. Nixon’s Watergate break-in is covered. But what is arguably his best achievement, abolition of the draft, made possible to abolish during the Vietnam War, is all but ignored.

Instead, the infamous, arguably treasonous, two-week visit to the enemy state by an accomplished if vacuous American actress in 1972 is rationalized. Jane Fonda, reduced to a sexual fantasy, shown nude with no commentary or defense of her actions, nor an attempt to account for whether she was approached for an interview, appears in a short segment consisting of a few minutes showing her collaboration with the enemy.

At least The Vietnam War reports for historical purposes that, in fact, Fonda called for the execution of American soldiers.

Fonda is not alone in collaborating with the enemy, however. Kissinger secretly negotiated with North Vietnam without the knowledge, consent or involvement of South Vietnam. The South Vietnamese president, a corrupt official like most South Vietnamese leaders, learned about the Nixon administration’s secret negotiations from a document found in a Communist bunker.

Other parts of this episode include the Christmas bombing of Hanoi after peace talks start in Paris and footage of President Nixon’s televised address to the nation the day after Lyndon Johnson died at his ranch in Texas in 1973.

The ninth episode ends after ABC News journalist Harry Reasoner announces a climactic homecoming for American prisoners of war.

Episode Ten

The Vietnam War comes to an end in the 10th episode, “The Weight of Memory”, which picks up in March of 1973.

To understand the Vietnam War, watch this series and episode. It covers essential facts from the date the last troops leave Vietnam, March 29, 1973, to the same date two years later when South Vietnam’s second largest city, Da Nang, falls to Communists. You will learn about the country where tens of thousands of Americans had been killed, tortured and wounded and glimpse history as Vietnam begins to fall under dictatorship. For this alone, the final episode ought to be seen.

Much of this comes as an afterword. President Nixon welcomes POWs at the White House. There goes John McCain in footage from May 24, 1973, limping in his naval uniform to the ceremony at the White House. Watch interviews with some of the few hundred United States Marines posted to guard American consulates and the embassy in Saigon. See the photograph of a man upside down flying through the air for a snapshot of the deadly frenzy that took place in South Vietnam’s final months. Contemplate the 2.5 million American troops who served in the Vietnam War.

South Vietnam attempted to reclaim itself with an army that had been unsuccessful in eradicating South Vietnam of its enemies even with the help of 600,000 American troops. When U.S. war funds halted on August 15, 1973, and supplies, spare parts and ammunition ceased, conditions in South Vietnam quickly deteriorated.

“Defeat was inevitable,” someone recalls. “Da Nang was not captured,” an American reporter remembered, “it disintegrated in its own terror.“

Remembers one who is South Vietnamese in words that ought to be taken seriously: “You have to lose a nation to feel that humiliation.” On April 27, 1975, rockets were landing in the heart of Saigon. Finally, at 7:53 AM on April 30, 1975, the last helicopter lifted off the U.S. embassy roof in Saigon with the United States Marines who had remained. Master Sergeant Juan Valdez was the last American to climb aboard.

Darkness fell. Mass executions, torture and worse followed. South Vietnam soon ceased to exist. The Americans and their press, cameras and attention were gone. Then, came the Communists’ re-education camps.

“Some believed they were going for a short time,” one South Vietnamese man remembers. With a deep sense of weary knowing and bitterness, he adds: “But not me.”

He goes on: “I was detained in a re-education camp for 17 and a half years. I was among the last 100 people to be released.” Today, one Communist North Vietnamese man admits, “the nation is more divided than ever.”

After the fall of Saigon, Le Duan sought to make Vietnam “an impregnable outpost of the socialist system”. Capitalism was abolished. Inflation rose 700 percent a year. People starved. Some 400,000 of the boat people made it to the United States and settled in America, many in Orange County and other areas of Southern California. Many among the boat people died. Refugees often drowned.

The Vietnam War leaves the ensuing mayhem, disorder and panic to one’s imagination. You can almost hear the screams. You may be haunted by the faces of those left behind.

What was ahead for departing Americans? What used to be called combat fatigue, now known as post-traumatic stress disorder (PTSD). One Vietnam War veteran, Jan Scruggs, created a private charity in 1981 called the Vietnam War Memorial Fund.

His charity earned more than $8 million from voluntary, private gifts or donations from 650,000 Americans who sought to have a memorial. Though writer Tom Wolfe commented that he thought the memorial was a tribute to Jane Fonda, most of those interviewed who visit the two black walls of granite embedded into the ground in Washington, DC, are left sobbing, relieved or more understanding of the war in Vietnam. One antiwar radical apologizes to the Vietnam War veteran.

Pictures appear of President Clinton becoming the first American president to visit Vietnam in 2000. Barack Obama is also pictured visiting Communist Vietnam.

Major Kushner, whose valiant resistance to the enemy’s monstrosity is chronicled in earlier episodes, gets a postscript, too. The doctor remarried and became an ophthalmologist in Florida. The series closes with the Beatles song, “Let It Be”, which fits the documentary’s somber tone.

Despite the incompleteness, The Vietnam War skillfully reports part of an American experience that sheds light on a long war we lost through which America continues to divide, remain ignorant, lose confidence and evade reality. Over 40 years after Saigon fell, with innocents “yearning to breathe free” clinging to U.S. helicopters, Americans remain mired in unwinnable wars that never end. 

America still sacrifices thousands of Americans. We remain plagued by doubt, shame and guilt. Ho Chi Minh’s political philosophy is taking root here, too, with nationalism, collectivism and socialism on the rise.

The Vietnam War does not document why we lost the Vietnam War. The series capably reports only that we withdrew from the mid-century war with everything less than victory. These ten parts are a shocking testimony which proves the hard and bleak truth that waging aimless war for the sake of others makes Americans stop wanting to win.

Movie Review: Apollo 11

Have you ever wondered what it was like to put a man on the moon?

Billed as Apollo 11: The IMAX Experience, this exciting new documentary by Todd Douglas Miller, which features never-before-seen 70mm footage, opens for a one week engagement in IMAX theaters on March 1st. Apollo 11 answers the question in pictures, with some titles and journalistic narration. It’s a purely manmade cinematic adventure in 90 minutes.

With the low rumble of the gigantic vehicle that moved the rocket ship into place, followed by a cautionary yellow light, the movie begins with wordless, scoreless archival motion pictures. listen to the sound of a helicopter. See the launchpad bathed in light the night before the rocket launch. Hear CBS News anchorman Walter Cronkite’s voice telling his audience that the ship is perched on pad 39A.

As long as you don’t expect straight, narrative reporting, let alone storytelling, this stark movie’s a rare chance to experience the historic mission to put a man on the moon in a movie theater. Except for television programming, including Apollo 11 programs for PBS and HBO, this “one giant leap for mankind” has never been depicted as a cohesive movie. Last year’s movie about the first man on the moon, Neil Armstrong, originated with stories about Armstrong. 1978’s fictional Capricorn One starring O.J. Simpson, James Brolin and Sam Waterston implied that it might have never happened. In the 50 years since Americans put a man on the moon, the most popular space movie based on fact, Apollo 13, focused on what Americans did when something went wrong with a moon mission.

Apollo 11 isn’t going to be the definitive movie about this great moment in history. It is too limited and journalistic for that. With black and white pictures of the astronauts and their families at various stages of their lives and careers, it also moves too fast without any titles or exposition.

But the tale of the grand and sacred achievement by Neil Armstrong, Edwin Aldrin (inexplicably known as Buzz) and Michael Collins and NASA comes through and, in Miller’s careful reconstruction, it is magnificent. There are several flaws, such as modern music with its distortions and folksiness, a lack of subtitles and titles and lack of clarity in explaining basic rocket science for a general audience, which detract from the filmmaker’s apparent goal to let the mission impress for itself. As a whole piece, however, Apollo 11 can’t help but induce wonder despite the minimalism.

With rows and rows of computerized banks of men smoking cigarettes, amid machines and paraphernalia emblazoned with the distinctive logo of Apollo 11, the movie matches the 1969 mission’s march toward what Ayn Rand rightly described as a sight of the sublime. Indeed, when Miller chooses to impose the image of a vehicle marked “Family wagon”, it reminded me of Ayn Rand’s brilliant writings about her thoughts on the rocket launch, which she witnessed as a guest at Cape Canaveral, including her contrast of this historic event with the year’s philosophically opposing event, the disastrous concert in the mud at Woodstock in upstate New York.

Aside from the pictures of Neil Armstrong on the moon, which linger in sequence from multiple actions and angles aligned with the astronauts’ recorded voices, and the footage of hundreds of men and women, black and white, working to achieve this remarkable goal, the pictures of middle class Americans converging along central Florida’s coastline are among the most striking. Father and child sleeping in the back of a station wagon, footage of a pool of reporters on pay phones and typewriters (did I spot ABC News space journalist Jules Bergman?) and a young woman excitedly looking up to the skies with her pair of binoculars add to the tension, enthusiasm and historical thrill of Apollo 11.

What amounts to the film’s second part begins with the countdown, which included a hydrogen leak as technicians furiously worked to tighten bolts to fix a valve before the three astronauts were launched into the sky. All of this is on display, occasionally with small titles, with American company logos and names such as Bell + Howell, Canon, Boeing and Rockwell International. Look for American VIPs who chose to attend the launch, too, such as actor Hugh O’Brian and Johnny Carson.

As Apollo 11 soars into outer space, the film shifts to Houston. If you’re young, it may take an adjustment to watch the movie without infographics. This is not like a Google’s YouTube amateur production, a meme or a slick video with accompanying words if the sound’s turned off. These are rare historical pictures and footage culled from NASA which reflect the seriousness with which Americans once took, celebrated and revered the manmade. I couldn’t help but notice the meticulous archiving, chronicling, sketching, photographing and recording with which Americans made these films, drawings and pictures. Miller employs simplicity in excellent animation sequences outlining man’s voyage to the moon.

America appears in snapshot with references to Chappaquiddick, the Vietnam War and President Nixon, a mixed-to-bad president who added to the occasion with eloquence. Neil Armstrong comments on “cohesive material” and compares the surface of the moon to the American high desert. Following displays of uniquely American humor, cigar and cigarette smoking and flag waving in mission control and a biblical reference, the aircraft carrier Hornet appears, the musical score distracts and Apollo 11 enters its third, final and re-entry phase. This, too, sneaks up and thrills the audience whether you know this historic event or not.

A jarring appearance by the overly credited President Kennedy lurches the audience back to earth, though, again, Miller shows the Americans in Florida, adding footage of welcome home banners and parades in Chicago and New York City, of all places, as if unearthing cinematic proof that, once upon a time 50 years ago, Americans even in New York cheered for the manmade. Some even worshipped the best in man.

The few who remain should not hesitate to see this short film in theaters.

Podcast Review: Mobituaries with Mo Rocca

CBS Sunday Morning correspondent Mo Rocca’s podcast episode on three American forerunners who may have been forgotten centers upon three favorite topics: activism, baseball and movies.

The newest episode of Rocca’s podcast, Mobituaries, begins with the story of a New York woman who, over 100 years before individualist Rosa Parks refused to be persecuted based on her race on a Montgomery, Ala., bus, demanded justice after being forcibly thrown off a segregated streetcar in lower Manhattan.

In fact, I learned that the woman, a black schoolteacher named Elizabeth Jennings, sought legal aid from a future president of the United States to sue the rail company for breaking the law. What’s more, her father, an inventor and businessman, enlisted others by waging a crowdfunding campaign for his daughter.

Jennings, who had additionally been physically assaulted during the crime by both the streetcar’s conductor and a New York City policeman, focused on a fundamental legal challenge which led to integrated transportation in New York. Her lawyer, Chester Arthur, was an abolitionist. He became an American president.

Listen to Mobituaries

I also learned about an Ohio historical marker honoring the first African-American major league ballplayer who is not Jackie Robinson. What in Toledo, Ohio, is now called Moses Fleetwood Walker Square is dedicated to the Negro catcher who broke the color barrier when the Toledo Blue Stockings briefly joined the majors in 1884. Rocca details Walker’s little-known story.

Rocca tells another story about an early Hollywood filmmaker, a woman named Lois Weber, whose movies were both successful and unusual. He explores a birth control-themed picture this highly paid director made, how she may have leveraged her status to achieve success and that she became the mayor of Universal City, which today is still home to a major movie studio — one which released Green Book and Get Out and is owned by Comcast.

What I like about Mobituaries, in particular this episode, is the curious, easygoing and investigative manner in which Rocca discusses, interviews and goes by facts. With an enthusiasm one rarely hears on today’s broadcasting, especially modern programs including podcasts, Rocca examines each individual as an individual and provokes serious thought. He expends the right amount of time, effort and energy on certain facets and details. He doesn’t overstate certain aspects. Rocca emphasizes each individual’s achievements — for example, that Jennings’ father was a wealthy businessman who had been granted his own patent — in terms of what is essential.

Also, Rocca reaches a logical conclusion, while allowing the listener to judge for himself. In this case, as the period of time known as Black History Month begins, he cautions against overemphasizing who’s the first this or that in a given field of endeavor. Clearly, but gently, his implication is that such emphasis comes at the expense of the truth.

Never has this been a more relevant cautionary note.

Fall Exhibition: Los Angeles Architecture at the Huntington

“Architects of a Golden Age: Highlights from the Huntington’s Southern California Architecture Collection” debuted this weekend at the Huntington Library, Art Collections, and Botanical Gardens. The small exhibition is on view in the West Hall of the Library through January 21, 2019.

Documenting what curators rightly call “one of the most creative and influential periods in Southern California architecture”, the Huntington presents 21 original plans and drawings depicting various distinctive buildings designed or built between 1920 and 1940, coinciding with LA’s growth and the arrival of individuals of ability from across the U.S.

“Architects of a Golden Age” features renderings of Downtown LA’s Union Station, Los Angeles Stock Exchange and buildings in Chinatown, which was reshaped when city government seized control of private property in the early 1930s through eminent domain law.

In press materials, the Huntington suggests that the private research and educational institution founded in 1919 by businessman and industrialist Henry Huntington (1850-1927) began to focus on collecting architectural documentation in the late 1970s, when building conservation and the preservationism movement took root.

“For curators at the Huntington, that was the time to actively seek out and salvage as much of the architectural record as possible, as dozens of significant buildings fell to the wrecking ball and the downtown skyline was forever changed,” said Erin Chase, assistant curator of architecture and photography. “This show is an opportunity to showcase our collection, which has become invaluable in the study of the history of the region’s built environment.”

The Huntington says that its collection has grown to thousands of plans, sketches, photographs and records. “Architects of a Golden Age” includes a charcoal drawing of the façade of LA’s Union Station, designed by Edward Warren Hoak (1901-1978), illustrating his blend of Spanish, Mission Revival, Southwest and Art Deco styles. Also, look for a detailed sketch of the Mayan Theater on Hill Street mapping the ornate 1927 building’s façade, with its stylized pre-Columbian reliefs by Mexican sculptor Francisco Cornejo (1892-1963).

The 12-story granite Los Angeles Stock Exchange building by Samuel Lunden (1897-1995) is captured in two gouache renderings by Roger Hayward; one of the building’s exterior, the other of the cavernous trading floor. Completed in 1931, its edifice was designed to instill a sense of financial stability. The LA Stock Exchange, which opened eight days before the crash of 1929, was designed with a goal by the exchange’s board of directors to advance three hallmarks of capitalism: finance, production and research and discovery.

Today, the space is used as a nightclub. Architect Lunden’s papers were left to the Huntington, which points out that he left a mark across Los Angeles with, besides the Stock Exchange building, USC’s Doheny Library and the 1928 wing of the Biltmore Hotel.

Featured collections include architect Wallace Neff’s (1895-1982) papers, which include an elevation drawing (graphite on tracing paper) for Neff’s 1923 horse stables for glass tycoon Edward Libbey, original owner of the Ojai Valley Inn, along with renderings for an Airform house, Neff’s solution to the mass-housing shortage during and after World War 2.

Roger Hayward (1899–1979), Los Angeles Stock Exchange, interior of trading room floor © Courtesy of Dr. James and Mrs. Miriam Kramer, 2018.

One of the greatest assets of this new exhibit is its representation of our remarkably enterprising history of businessmen, industrialists and capitalists in Southern California. Besides the place’s namesake Huntington and Edward Libbey, works include elaborate residential plans for English immigrant Arthur Letts, who took a bankrupt store in downtown Los Angeles and remade it into The Broadway department store and, later, Bullock’s.

The rendering of Mr. Letts’ magnificent Holmby Park estate, constructed in 1908, must be seen up close to be fully appreciated. Arthur Letts bought 60 acres in the city’s northeastern section now known as Los Feliz, where Letts built a Tudor mansion. He hired William Adolph Peschelt (1853-1919) to landscape it with a unique selection of trees, succulents and other plants. The botanical specimens eventually were dispersed and sold to nurseries and private collectors, including Huntington founder Henry Huntington. The drawing of this private property includes a simple home on top of a small hill overlooking an entirely private estate with greenery and walking paths amid a few fluttering birds and the early LA backdrop of surrounding foothills near what is now Griffith Park.

A recently acquired archive of landscape architects Florence Yoch and Lucile Council includes a 30 x 36 inch ink drawing on tracing paper for movie director George Cukor’s 1936 garden at his home in West Hollywood. Yoch and Council, who apparently were quite skilled in botany, horticulture and design, worked on a range of projects, from the Vroman’s Bookstore courtyard in Pasadena to prominent estates. The pair survived the Depression by designing sets for movies such as Gone with the Wind (1939).

An opaque watercolor on board from 1925 by another artist, Elmer Grey (1871-1962), architect of the Pasadena Playhouse and Henry Huntington’s residence in San Marino, shows the first conception of a community playhouse in Pasadena, the city of roses. The curator notes that Grey’s architectural philosophy was peculiar to Southern California’s climate; he regarded its Mediterranean-like climate as ideal for informality in design with a new type of Spanish-influenced architecture, which he simply referred as Californian.

The Huntington’s new, one-room exhibition includes a rendering of a luxurious, post-World War 2 era living room designed by architect A. Quincy Jones and interior designer William Haines (1900-1973) in 1952 for Sidney and Frances Brody’s home in the Holmby Hills neighborhood of Los Angeles. Curator Chase calls this mid-century modern depiction of the Southern California lifestyle “the pinnacle of what can be achieved with California innovation…It beautifully brings the pre-war history of architecture in the region to an uplifting sendoff.”

Be sure to pick up the exhibit’s official brochure, which provides in colorful detail with reprints a numbered guide to the collections’ documents. Also included in the fold-out supplement are exhibit, architectural, cooking and downtown LA bus tour information and a fun, music playlist which ties into the Huntington exhibit with songs such as “West Coast” by Lana Del Rey, “Skyscrapers” by OK Go and “Downtown” by Petula Clark.

“Architects of a Golden Age: Highlights from the Huntington’s Southern California Architecture Collection” is made possible by the Robert F. Erburu Exhibition Endowment and the Tracy S. and Kenneth S. McCormick Endowment for the Study of Architecture and Design.

The Huntington is located at 1151 Oxford Road in the San Gabriel Vallley’s tiny San Marino, 12 miles from downtown Los Angeles near Pasadena. The place is open to the public Wednesday through Monday from 10 a.m. to 5 p.m. For details about membership, parking and admission, call (626) 405-2100 or visit Huntington.org