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Viewing: Blog Posts Tagged with: Donald Ritchie, Most Recent at Top [Help]
Results 1 - 5 of 5
1. Presidents and Congress as Seen Through a New Deal Prism

Donald A. Ritchie, historian of the U.S. Senate and author of the forthcoming The U.S. Congress: A Very Short History, as well as Our Constitution, and The Congress of the United States: A Student Companion, appeared on a panel about “The Uses and Abuses of New Deal History,” at the meeting of the Organization of American Historians in Washington, on April 8, 2010. Summarized here, his remarks dealt with common misperceptions about Roosevelt and Congress.

All presidents since the 1940s have been held to standards set by Franklin D. Roosevelt with regard to their relations with Congress. There is a common assumption that at least during Roosevelt’s first term, a compliant Congress gave him everything he wanted, and that the New Deal was exclusively an executive branch creation, with legislation written at the White House and promptly passed in Congress, sometimes without being read. This argument has been employed to promote the notion of presidential primacy in the federal government, from the “Imperial Presidency” to the “unitary executive.” While the image contains some truth, it is also clouded with inaccuracies.

The media has measured Presidents from Harry Truman to Barack Obama by what they accomplished in their first hundred days. This prospect was so troubling to John F. Kennedy that he added a disclaimer to his inaugural address that “All this will not be finished in the first 100 days.” Roosevelt’s First Hundred Days were unique. Republicans had lost 100 seats in the House (by comparison, the Democratic sweep in 1964 added 44 seats in the House; and the Republican victory in 1994 election brought a gain of 54). Those new members in 1933 looked to Roosevelt for leadership because the national economy had gone into free fall since the election, creating a sense of dire emergency that required extraordinary measures.

After Roosevelt called Congress into special session, he sent them a banking bill that the House passed that morning, the Senate that afternoon, and the president signed that night, the beginning of an unprecedented burst of legislative activity. But of all the bills Roosevelt signed during the Hundred Days, only two had fully originated with him: the Civilian Conservation Act and the Economy Act–which cut federal salaries and veterans’ pensions. Even the banking bill had been drafted by volunteers who stayed on from Hoover’s Treasury Department. Other ideas bubbled up from congressional sources. Commonly after there has been a change in party control of the White House, Congress will dust off measures that previous presidents vetoed. So Senator George Norris, a progressive Republican from Nebraska, revived the Tennessee Valley Authority, which Roosevelt now signed. Members of Congress also pressed on a skeptical Roosevelt the idea of federal deposit insurance, which today is counted as one of his smartest achievements. Other of Roosevelt’s proposals were designed to head off an activist

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2. Walter Cronkite and the Decline of the Evening News

Donald Ritchie, author of Reporting from Washington: The History of the Washington Press Corps, Our Constitution, and The Congress of the United States: A Student Companion, reflects on Walter Cronkite’s death. Ritchie has been Associate Historian of the United States Senate for more than three decades.

The veteran news anchor Walter Cronkite died disappointed with the trends in network evening news programs since his retirement in 1981. Cronkite had aspired to make the CBS Evening News the New York Times of television, but after he left the air he thought the program went tabloid, reducing serious coverage of foreign and national events in favor of human interest stories, health and consumer reporting. He regarded this as “trivializing,” and lamented the general decline in standards of television news.

The root of problem was the limited time available for news in a half-hour format. Cronkite had begun anchoring when the network news had just fifteen minutes a night, following or preceding fifteen minutes of local news from the network’s affiliates. Over the Labor Day weekend in 1963, CBS inaugurated the half-hour format, featuring Cronkite interviewing President John F. Kennedy at Hyannisport. NBC used CBS’s initiative to overcome resistance from its own affiliates and expand its popular Huntley-Brinkley Report to a half hour. Soon afterwards, surveys showed that more Americans relied on TV than newspapers as their chief source of news. But even at a half hour, with seven minutes subtracted for commercials, there were only twenty-three minutes for news. Cronkite’s program devoted an average of eight minutes each night to its Washington bureau, whose stellar squad of correspondents–including Roger Mudd, Dan Rather, Marvin Kalb, Daniel Schorr, Nancy Dickerson, Bernard Shaw, and Leslie Stahl–jockeyed for air time. They boasted that their deadline of 6:30 PM EST became the deadline for the entire federal government.

Cronkite wanted to expand his news program to an hour, opening with hard news and then turning to lighter features. Even at the height of network domination in the 1960s and ‘70s, half of all television owners never bothered to watch the evening news and only one in fifty watched the network news every night. News drew its viewers from older, better-educated, middle- and upper-income professionals, who were disproportionately male. To expand their audience the networks needed to attract more women, racial and ethnic minorities, and younger people–consumers that advertisers were anxious to reach. The networks’ affiliates pioneered with local news programs heavy on crime, disaster, scandal, celebrities, and sports, which Cronkite dismissed as more show business than news reporting. No matter, local news grew so profitable that the affiliates resisted his efforts to expand network news to an hour.

The passing of the old era became evident as early as August 16, 1977, when Elvis Presley died. ABC News–being managed by the sports producer Roone Arledge–led off with Presley, while on CBS Cronkite opened with a report on the pending Panama Canal treaty. (Compare that to the way all of the networks covered Michael Jackson.) With Cronkite’s retirement, the local news approach finally penetrated the CBS Evening News. Cable networks challenged the three original networks–whose share of the news audience shrank from 98 percent in the 1960s to less than half today–and Cronkite lamented that too often the newcomers replaced sober news analysis with “polarizing diatribes.” He regretted that networks’ business managers replaced serious news documentaries with “trashy syndicated ‘news’ shows” on prime time. The Federal Communications Commission dropped the public service requirements for broadcast licensing, and the networks’ new corporate owners saw news budgets as ripe for trimming. CBS’s Washington bureau, which employed 21 correspondents at its peak under Cronkite, shrank to nine by the end of the twentieth century. Meanwhile, a new generation of news consumers was turning to the Internet as its major source, abandoning the evenings news along with the newspaper. The number of patent medicines sponsoring the evening news clearly demonstrate its aging demographics. “And that’s the way it is,” Cronkite had famously signed off his program, but what he saw of television news was not the way he wanted it to be.

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3. Why Does the Transition Take So Long?

The election seems like old news at this point and yet we are still over a month away from inauguration day.  Donald Ritchie, author of Reporting from Washington: The History of the Washington Press Corps, Our Constitution, and The Congress of the United States: A Student Companion, looks at this lag in historical perspective. Ritchie, who has been Associate Historian of the United States Senate for more than three decades, explains why a President-elect may need this time prepare to take over.

Many Americans, and the rest of the world, wonder why so much time elapses between the U.S. presidential election in November and the inauguration on January 20. Why not reform the system and reduce the interval? The answer is we did reform it–the interregnum used to last twice as long.

Under the original Constitutional scheme, the new president took office on March 4, four months after the November elections. The new Congress would not convene until the first Monday in December, thirteen months after the election. This made sense to the framers in the eighteenth century, when transportation was slow and treacherous. The incoming president would call the Senate into special session for a week in March to confirm his cabinet, and then have the rest of the year to get his administration underway free from congressional interference.

By the twentieth century, the old system had grown obsolete. The second session of every Congress did not meet until after the next election had taken place, meaning that senators and representatives who had been defeated or retired came back as lame ducks. They proved especially susceptible to lobbyists, and since the short session had to end at midnight on March 3, they could easily filibuster to block needed legislation. George Norris, a progressive Republican from Nebraska who chaired the Senate Judiciary Committee, led the effort to amend the Constitution and move the presidential inauguration from March 4 to January 20, and the opening of Congress from December up to January 3. By staggering the closing dates of the terms of the president and Congress, the amendment also eliminated the need for outgoing presidents to spend their last night on Capitol Hill signing and vetoing last-minute legislation.

Beyond getting rid of most lame duck sessions, Norris’ amendment halved the transition between presidential administrations, from four months down to two. Transitions had grown increasingly awkward. During peaceful and prosperous times, the incoming president had to keep out of the way of his predecessor. Herbert Hoover, for instance, sailed off to South America after the 1928 election to avoid upstaging Calvin Coolidge’s final months in office. During periods of conflict and crisis, however, the interregnum cost the nation needed leadership. Outgoing presidents tried to coerce their successors into continuing their policies, as James Buchanan attempted with Abraham Lincoln in 1861, and Herbert Hoover did with Franklin D. Roosevelt in 1933. Lincoln and Roosevelt wisely avoided committing themselves to failed ideas, but these impasses did nothing to resolve the crises they faced, which grew worse by the time they took office.

The transition between Hoover and Roosevelt took place against a dramatic collapse of the American financial system, with the nation’s banking system shutting down, credit drying up, and unemployment soaring. Congress had passed the Twentieth Amendment in March 1932 and sent it to the states, but the necessary three quarters of the states did not ratify it until January 23, 1933, three days after the new date for inaugurations, making it too late for that year. The first inauguration on January 20 took place in 1937.

That last long interregnum convinced everyone that a shorter transition was preferable, but is the current system still too long? In a parliamentary system such as Great Britain’s, the new prime minister can move into 10 Downing Street the day after the election and the new cabinet can show up ready for work. The American system of separation of powers, however, makes no provision for a shadow cabinet in waiting. The president-elect needs time to select cabinet members and a host of other executive branch nominees who will be confirmed by the Senate. It may not do the new president any favor to shorten the interregnum further, although when times are tough the inauguration still looks awfully far away.

6 Comments on Why Does the Transition Take So Long?, last added: 12/8/2008
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4. Scoops, Packs, and Clubs

Donald Ritchie, author of Reporting from Washington: The History of the Washington Press Corps, Our Constitution, and The Congress of the United States: A Student Companion, has been Associate Historian of the United States Senate for more than three decades. Earlier this week he sent me this blog along with the following introduction: Even though I study news rather than make it, last week I was invited to give a “newsmaker” luncheon talk at the National Press Club. The occasion was the club’s centennial, the video of that talk is online here. I thought the condensed version below would make a good blog.

Boy was he right!  Below Ritchie talks about the National Press Club and its place in history.

The National Press Club is celebrating its centennial, raising a question about why journalistic competitors feel compelled to band together. Founded in 1908, the club had many short-lived predecessors. The Washington Correspondents’ Club, for instance, held several dinners designed to reduce tensions between reporters and their political sources during the difficult days of Reconstruction. Such nineteenth-century press clubs failed because they let their members run up a tab at the bar (the National Press Club has never extended credit), and because they were either press clubs, founded by reporters for Washington, D.C., papers that excluded national correspondents, or correspondents’ clubs that barred the local press, indicating the animosity between them. The genius of the National Press Club was that it combined reporters for both the local and the national press.

But only men. The club left women and minorities outside the parameters of mainstream journalism. Not until 1955 did it hold a vote of its entire membership to admit Louis Lautier, a reporter for the National Negro Publishers Association. Radio news broadcasters were also treated as second-class citizens at first, being permitted to join the club only as non-voting members. Women reporters founded the Women’s National Press Club, but the separation prevented them from covering the National Press Club’s regular “newsmaker” luncheons.

In 1956, the men offered a compromise by inviting women to attend the luncheons, so long as they sat in the balcony and left as soon as the lunch was over. While the men dined below, the women shared the balcony with television cameras, hot lights, and coils of electrical wiring. Women reporters appealed to the famous guest speakers not to participate unless they could dine below with the men. Among the few to comply was Soviet Premier Nikita Khrushchev, eager to publicize an American injustice. One who failed to offer solidarity was Martin Luther King, Jr., desperate to attract national press attention to the March on Washington. Dr. King spoke to an audience segregated by gender rather than race. Economic pressures on the club, whose membership declined during the 1960s, finally persuaded the men to admit women as members in 1971. Fittingly, the club’s centennial-year president is Sylvia Smith of the Fort Wayne Journal Gazette.

Regardless of race, gender, or media, Washington correspondents have historically been caught in a creative tension between the scoop and the pack–between professional rivalries and forces that pull the competitors together. They spend much time together outside the same closed doors, riding the same campaign trains, planes, and vans, being handed the same press releases, attending the same press conferences, cultivating the same high-placed sources. This pack journalism is counteracted by each reporter’s dream of the scoop, beating everyone else to the big story that makes a difference.

Somewhere between the scoop and the pack, the club has provided a welcome respite for the working press. Formed for reasons of camaraderie, the club has helped to shape the press corps and to define legitimate reporting. Unique among world governments, the U.S. allows reporters themselves to determine who deserves a press pass. Both the press galleries and the press clubs have guarded this prerogative jealously, and have labored diligently to decide whom to admit. Sometimes they have been too narrow in their definition and too slow to diversify. But ultimately the galleries and clubs have expanded to accommodate a more diffuse news business, one that continues to evolve with each startling technological breakthrough. The Internet will not be the last. A central institution in this transformation, the National Press Club has provided a common ground for newsmakers and news reporters. It would be hard to image the Washington press corps operating without it.

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5. A Report from the Lethem-PKD Event

The Jonathan Lethem/Philip K. Dick event at Cooper Union was a real delight. It began with Max Rudin, publisher of the Library of America, announcing that a second volume of PKD's novels will be released from the LOA in August 2008, also edited by Lethem. He rattled off the titles of the five novels quite quickly, but -- assuming I heard him correctly and nobody involved with the book changes their mind between now and then -- the included novels will be:

Lethem then read some excerpts from his introduction to the selected stories collection from a few years ago (which, Lethem informed us, would not be released in paperback because the paperback rights to the stories are owned by somebody else) and the whole of his own story "Phil in the Marketplace". Lethem then answered a number of questions from the audience. I took some notes, but missed as much as I got, and all of it is at best paraphrase. Nonetheless, here 'tis:

To a question about why, when other writers also write about paranoia and such, Dick is so special, Lethem replied that when he speaks of Dick, he often also finds himself (or other people) bringing up Pynchon, DeLillo, and Vonnegut, among others, but that for him the difference is a matter of distance and emotional reserve -- Dick's difference is defined by his emotional investment in the situations. His empathy is his only compass. He possessed an obvious satirical impulse (or worldview, even), but he doesn't make fun of his characters' situations. He seems to grapple with the world and seek for solace.

Lethem had mentioned early on that one of the things he found most interesting and challenging about putting together the first LOA volume was working on the timeline, where 40 years of disappointments and struggles were not buffered by a biographical narrative, but were, instead, tied to particular dates. An audience member asked him to elaborate on this, and on the timeline's effect on his story "Phil in the Marketplace". He got a bit off topic and talked for a while about Hampton Fancher, who wrote the first version of the script of Blade Runner, mostly as a way to explain that it seemed Dick was deeply uncomfortable with his growing fame, and feared the encroaching outer world as much as he desired it. Who knows, for instance, how uncomfortable he might be with the kind of canonization he's recently received? Yet he would also, hopefully, be hugely gratified. "Phil in the Marketplace" is about his exile temperament -- he wrote from the margin and drew energy from what he saw as the fate of the pulp writer. Lethem said he wants, and has wanted since he was young, what every PKD fan vociferously wants -- legitimacy for Dick. And yet he noted that he and many fans also have another side, one that no matter what sort of accolades or canonization Dick receives, still feels slighted, denied, defiant. But, Lethem noted, Dick is now in the Library of America, and nobody can remove him.

The next question referred to I Am Alive and You Are Dead, and the questioner asked if Lethem thought Dick was ever really in control. Lethem said he admired that book, but thought it played to the Romantic view of Dick as a crazy artist, and that we have to remember that he had other sides to his life and personality, and that he also really enjoyed wearing masks (playing a role) and being a raconteur. He loved to create theories, test them, and test the credibility (and gullibility) of his audience with them. He didn't stand on one patch of ground. It's as hopeless, Lethem said, to defend him against the word "crazy" as it is to defend Faulkner against the word "alcoholic", but we also have to recognize how generally functional Dick was, and how much more to him there is than just the crazy stuff.

Another questioner asked if he liked Dick's Transmigration of Timothy Archer, and Lethem said he did, and he thought it was, as Dick's last completed novel, a very encouraging place for his career to end up, because it's a sensitively-written novel told from a woman's point of view -- and if you're going to have trouble with any element of Dick's writing, Lethem said, you're going to have trouble with the female characters in many of his books, because they are often treated as [I think this is the term he used, but had some trouble hearing it:] dark lords. Dick wrote 40+ novels, Lethem said, and on any day at least 8-10 of them seem to him to be among PKD's best, and Transmigration is up there.

He then made a point I think is insightful -- that you have to read at least 3 Dick novels, preferably in different modes, to really understand his accomplishment. (I should have raised my hand and asked him to elaborate on this, but he's probably done so in an essay or interview somewhere.)

Finally, someone asked what Lethem thought of the movies made from Dick's writings. He said two or three are worthwhile. Blade Runner he said he hated when he first saw it, because of its huge divergences from the original novel, but that later, and particularly with the director's cut, he decided it was one of the great American movies, something any PKD fan could be grateful for the way a Hemingway fan, for instance, could be grateful that something by Hemingway inspired a movie as great as To Have and Have Not [the obvious difference being, though, that that great movie -- with a script that William Faulkner, among others, worked on -- was based on one of Hemingway's lesser novels, whereas Blade Runner was based on one of Dick's best]. Lethem said he liked A Scanner Darkly, though it certainly shows some of the limits of adaptation. Of the other films, he said there are some scenes that he likes very much, and wished he could put together a movie just from some of those. He said we can be grateful that most of the movies based on Dick's writings have been made from the short stories, leaving the major works for future Richard Linklaters. Or so we can hope.

9 Comments on A Report from the Lethem-PKD Event, last added: 10/2/2007
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