
Princeton University Press
Heather Hendershot, When the News Broke: Chicago 1968 and the Polarizing of America (Chicago: University of Chicago Press, 2022)
Katherine Cramer Brownell, 24/7 Politics: Cable Television and the Fragmenting of America from Watergate to Fox News (Princeton: Princeton University Press, 2023)
What Winston Smith, the protagonist in George Orwell’s 1949 novel "1984," keeps trying to avoid in the book is the telescreen. It’s a screen, a speaker and a microphone all in one; it’s in every home and every workplace, every street and forest and park; it’s always on, always listening, always seeing. Finishing the novel on the remote Scottish island of Jura in 1948, as Stalin was ascendant, after we had dropped two atomic bombs on Japan, and seeing the national security and surveillance state forming, Orwell imagined it to be oblong, a “metal plaque” – something that looks like “a dulled mirror,” he wrote. This was before television and well before desktops, laptops, and cell phones had become omnipresent. In 2024, of course, we can imagine it as an endless Zoom call (Good G-d!) – always on, on every device beside and surrounding you. And connected to Google. And the people controlling Google are the government. And the main thing the government is interested in using it all for is – to Google you!
Orwell had figured out that what goes into our heads – all the sights, all the sounds, sensations from the other senses, too – determines our reality, and that we can be conditioned by the media we absorb, especially if we are forced to absorb it, to believe anything that producers of that media want us to. “If one is to rule, and to continue ruling, one must be able to dislocate the sense of reality,” the novel tells us. And “reality,” Orwell writes, “is inside the skull.”
Orwell imagined a single Ministry of Truth, the “primary job” of which, he wrote, is not only to reconstruct the past but “to supply the citizens” with “newspapers, films, textbooks, telescreen programs, plays, novels – with every conceivable kind of information, instruction or entertainment, from a statue to a slogan, from a lyric poem to a biological treatise, and from a child’s spelling book to a Newspeak dictionary.” The Ministry in 1984 has “huge printing shops with their sub-editors, their typography experts, and their elaborately equipped studios for the faking of photographs”; a “teleprograms section with its engineers, its producers, and its teams of actors”; a records department, with “armies of reference clerks” whose job it is to draw up lists of books and periodicals “due for recall.” The Ministry produces music, too – songs that are “composed entirely by mechanical means” (ChatGPT, anyone?) “on a special kind of kaleidoscope known as a versificator.” But it’s the telescreen that’s the key instrument in dystopian Oceania for delivering what Orwell calls “reality control.”
Media scholars like Heather Hendershot (at MIT) and Katherine Cramer Brownell (at Purdue) do readers a huge favor in their work when they write extraordinary books like the ones above about television and look at its relationship to state power and control. These two books tell us how the national leaders we vote into power now are increasingly television, or telescreen, people. Kennedy was our first television president – the first to hold live press conferences in front of the cameras – and definitely our first telegenic chief executive. Lyndon Johnson’s family empire was based on broadcasting holdings across Texas; his wife, Ladybird, owned so many of them in her name, LBJ called himself the “broadcaster-in-law.” Nixon came out of the country’s biggest TV market – California. Reagan had been a movie actor on the silver screen and then a television spokesperson for General Electric. And Trump had been a TV star in NBC’s “The Apprentice,” one of our reality (reality-control) teleprograms, to use Orwell’s word, that portrayed him as a self-made millionaire and genius decisionmaker in front of millions of American viewers every week. With Trump, all this happened as Rupert Murdoch was building up a whole pro-Trump Teleprograms Department – Teledep, in Newspeak – at the Fox equivalent, replete with radio, internet, books, newspapers, a film studio, you name it, of a modern Ministry of Truth.
Control over media technology is never a quiet battlefield: it’s always the seat of warfare. Hendershot’s book – ostensibly about four days in Chicago – explores in extraordinary detail the fights – including the physical ones – over communications technology here. The Democratic Party set to nominate the party’s candidate for president at a time of war in Vietnam, violence against the Civil Rights movement, and the assassinations of President Kennedy, Martin Luther King, Jr., and JFK’s brother Robert F. Kennedy, among others. There were three and only three television networks then, and all three covered the proceedings. It became the top-rated television event of 1968. Fifty-one million households wound up tuning in.
Mayor Richard J. Daley, the party boss of Chicago, wanted the cameras and print journalists to cover it only the way he wanted. He told the International Brotherhood of Electrical Workers to go on strike in order to limit the number of new telephone lines available to reporters for voice calls and the transmission of live images out of the city. He had pay phones near the convention jammed with dimes so journalists couldn’t call out. He made sure the phones in office buildings next to the convention site had their wires slashed, too. He denied parking permits for the networks. He sealed manhole covers with tar so that protestors couldn’t hide in the sewers. He threw barbed-wire around the convention amphitheater and put the entire police force of 12,000 men on 12-hour shifts. But he could not wield absolute control, and the extraordinary violence that erupted in Chicago that summer became the story that was broadcast live on our telescreens.
Brownell’s book is a fantastic read covering a much longer time period but also about reality control. People in charge – at the helm of media companies, the financial analysts, the politicians, even the journalists – sold us the coming of network television and then the coming of cable television as the answer to previous media systems that had failed democracy. But as Brownell puts it, the rise of cable, much like the rise of all the other media here, “was never about enhancing democracy.” “It was about making money and forging strategic partnerships between an industry and the elected politicians who wrote the rules in which that industry operated.” It was about “how to structure media institutions [. . .] central to political power.” It was Marshall McLuhan who said, “We shape our tools, and thereafter they shape us.” If that’s the case, we had better understand what’s coming next – and fast!
Peter B. Kaufman lives in Lakeville and works at MIT Open Learning and is the author of “The New Enlightenment and the Fight to Free Knowledge.”
Kaufman will discuss the award-winning book "Overreach, The Inside Story of Putin and Russia's War Against Ukraine" by journalist Owen Matthews on Saturday, Jan. 6, at 4 p.m. at Scoville Memorial Library.
The Mobile Health Unit will be returning to Millerton on April 9 to provide basic health services and guidance on insurance and addressing greater health needs.
MILLERTON – Dutchess County’s Mobile Health Unit is returning to Millerton. On April 9, members of the public can receive vaccinations, STI screenings and assistance with general health needs.
Public health education coordinators will be on-site to provide information on tick removal as well as hands-only CPR and Narcan training. For those in need of further care, guidance will be provided as will assistance with insurance navigation.
The Mobile Health Unit will be located at the rail trail parking lot from 2 p.m. to 6 p.m., just down the street from the North East Community Center, located at 51 South Center St. in Millerton.
Paquito D’Rivera performs at the Mahaiwe in Great Barrington on April 5.
Natalia Bernal is the Mahaiwe Performing Arts Center’s education and community engagement manager and is, in her own words, “the one who makes sure that Mahaiwe events are accessible to all.”
The Mahaiwe’s community engagement program is rooted in the belief that the performing arts should be for everyone. “We are committed to establishing and growing partnerships with neighboring community and arts organizations to develop pathways for overcoming social and practical barriers,” Bernal explained. “Immigrants, people of color, communities with low income, those who have traditionally been underserved in the performing arts, should feel welcomed at the Mahaiwe.”
Partnerships with organizations like Volunteers in Medicine Berkshires (VIM), the W.E.B. Du Bois Legacy Committee, and Community Access to the Arts (CATA) have helped bridge that gap. But for the Latinx community, there’s an even more targeted effort: the Spanish-language Community Advisory Network (SCAN).
“Six years ago, we started an advisory group of Spanish speakers in the community,” Bernal said. “They tell us what the community wants to see, how they’d like their culture represented. Today, SCAN has 12 members. We meet four times a year and are in constant communication. It’s because of them that we’ve hosted free Spanish-language film screenings and live performances.”
For Bernal, this work is personal. “When I first moved to the U.S. in 2003, it was because I got a Latin American scholarship to study at Berklee College of Music. That first year, I went home to Uruguay for Christmas and saw Paquito D’Rivera perform at a jazz festival. I was determined to meet him, and I did. Later that year, Paquito came to Berklee and invited me on stage.”
Now, two decades and 16 Grammys later, Paquito D’Rivera is coming to the Mahaiwe on April 5, and there’s a chance history might repeat itself. “He saw a post we made about his concert and commented, ‘Ay, chica, que maravilla, are you gonna sing a song with us?’ I almost died,” Bernal laughed. “I don’t know if it will happen, but it would be a dream.”
About the possibility of a guest appearance by Bernal, D’Rivera said, “Natalia is a very dear, valuable colleague, and jazz is about improvisation, so the surprise factor is always part of the fun here.”
D’Rivera’s concert is just one example of how the Mahaiwe is making world-class performances accessible. “My whole day has been about offering ‘pay what you can’ tickets for this show,” Bernal says. “We also issued a 50% discount to our partners. We work with ESL teachers, public libraries, literacy agencies, anyone who can help us get the word out.”
That kind of grassroots effort has been transformative. “Last year, we screened ‘Florencia en el Amazonas,’ the first opera written in Spanish ever performed at the Met,” Bernal said. “I sat in the Mahaiwe in tears. As someone who loves opera, it was the first time I heard one written in my own language. It was so powerful.”
Natalia Bernal, Mahaiwe’s education and community engagement managerPhoto by Martin Cohen
For Bernal, it all comes back to representation, on stage and in the audience. “My son is eight. I bring him to everything I can. Spanish shouldn’t just be something that happens at the dinner table. It should be in the world, in all these shapes and forms.”
And that’s what SCAN is helping build: a future where Latinx voices aren’t just included, they are central. “Our SCAN advisors are volunteers, cultural ambassadors,” Bernal said. “They help us distribute surveys, talk to the audience, and strengthen the community. Nobody should feel alone. Everybody should feel like they belong here.”
Education and outreach are central to D’Rivera’s work as well. He said, “It is an important part of our mission to plant and nurture the seed of quality music in our communities.” He continued to say, “Using our visibility and influence in favor of justice is always a very effective vehicle in denouncing violations of human rights around the world.”
This shared mission of education and social justice extends beyond the Mahaiwe. “We are one of the few arts organizations in a monthly meeting with BASIC (Berkshire Alliance for Immigrant Services). We have direct ties to the Berkshire Immigrant Center, VIM, and others so that we are well-informed and ready to serve,” said Bernal.
That commitment to community, culture, and access is why Bernal’s dream panel—Women in the Music Business—would feature Paquito’s wife and longtime manager, Brenda Feliciano. “She’s a tower of power. She’s been managing his career for at least 45 years. If I could organize an event one day, she would be the cherry on the cake.”
Until then, Bernal will keep doing what she does best: making sure the Mahaiwe is a place where everyone, regardless of language, income, or background, feels at home. And maybe, just maybe, she’ll find herself back on stage with Paquito D’Rivera, just like that first time, all those years ago.
For more info and tickets to Paquito D’Rivera, visit mahaiwe.org
There is magic in a home filled with the things we love, and Mary Randolph Carter, affectionately known as “Carter,” has spent a lifetime embracing that magic. Her latest book, “Live with the Things You Love … and You’ll Live Happily Ever After,” is about storytelling, joy, and honoring life’s poetry through the objects we keep.
“This is my tenth book,” Carter said. “At the root of each is my love of collecting, the thrill of the hunt, and living surrounded by things that conjure up family, friends, and memories.”
The creative director at Ralph Lauren for almost four decades, Carter began writing this book during the pandemic, a time of rediscovering comfort. “I found more time to appreciate those special things that give our homes warmth and connection.” Working with Ralph Lauren, she learned that the best spaces tell a personal story. “His desk was filled with toy cars, miniature shoes, superheroes, English dandies, cowboys on horseback. The walls? A gallery of his children’s paintings, iconic photos of Frank Sinatra and Gary Cooper. Everything told a story.”
Carter acknowledges how homes can become overwhelmed with stuff but sees a difference between clutter and collection. “To live happily, create environments that inspire and comfort rather than encumber you! Look around and ask, ‘What is truly meaningful? What makes you smile? What recalls the people and places you cherish?’” Then, she added, “weed out the rest with discipline and courage!”
Provided
Each home in Carter’s book reflects its inhabitant’s spirit. “The first time I walked into Bethann Hardison’s apartment, I knew right away how authentic it was to who she is.” Hardison’s walls are lined with artwork from friends Keith Haring, Jean-Michel Basquiat, and Haitian paintings, testaments to a life well lived. “Though her mantra is, ‘the lighter the load, the freer the journey,’ she also admits some things ‘delight your environment’ and can’t be parted with. Amen to that!”
Having survived two childhood fires, Carter deeply understands what truly matters. “It’s not the things, but the people and memories they evoke.” She loves her collections, but they don’t possess her. “They make me happy, but they do not define me.”
She delights in how people showcase treasures. Paula Grief, for instance, lives in a ten-foot-wide house and had to part with many books. “She tucks the ones she can’t live without through the rungs of her staircase. I love that ingenuity!”
When asked about her most cherished possession, Carter tells a story of loss and serendipity. A childhood portrait of her in a blue velvet dress was lost in a fire. “Years later, the artist’s daughter found another version. Now, it hangs in our apartment, surrounded by flea market art and one of my favorite saints, Our Lady of Guadalupe.”
Adding to the cozy feeling of this book, Carter’s son, Carter Berg, took the photographs, and her sister, Cary, contributed the illustrations. “Cary once stayed in our apartment and painted a dozen objects from our cluttered kitchen. I hung them immediately. When I started this book, I knew she had to capture my favorite objects.”
Four of the featured homes are local to the Northwest Corner, including Carter’s in Millerton, Joan Osofsky’s in Lakeville, Robin Bell’s in Salisbury, and Paula Grief’s in Hudson. They all gathered at the White Hart/Oblong Speaker Series on March 27.
After perusing the richly colored pages of this book, you may feel tempted to shop. “You don’t need money to create a meaningful home,” Carter insisted. “Some of my favorite paintings cost no more than $10 or $25. Value is personal. It’s not about provenance but the story an object tells you or the one you make up.”
Carter’s advice? “Fall in love with the wackiest thing. Surround yourself with what matters, and you’ll live happily ever after.”