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The 1960 presidential election, won ultimately by John F. Kennedy, was one of the closest and most contentious in American history. The country had never elected a Roman Catholic president, and the last time a Catholic had been nominated—New York Governor Al Smith in 1928—he was routed in the general election. From the outset, Kennedy saw the religion issue as the single most important obstacle on his road to the White House. He was acutely aware of, and deeply frustrated by, the possibility that his personal religious beliefs could keep him out of the White House. This book tells the fascinating story of how the Kennedy campaign transformed the “religion question” from a liability into an asset, making him the first (and still only) Catholic president. Drawing on archival research, including many never-before-seen documents, the book travels inside the campaign to show Kennedy's chief advisors—Ted Sorensen, John Kenneth Galbraith, Archibald Cox—grappling with the staunch opposition to the candidate's Catholicism. The book also reveals many of the Nixon campaign's efforts to tap in to anti-Catholic sentiment, with the aid of Billy Graham and the National Association of Evangelicals, among others. The alliance between conservative Protestants and the Nixon campaign, it shows, laid the groundwork for the rise of the Religious Right.

Based on massive new research, a compelling and surprising account of the twentieth century's closest election The 1960 presidential election between John F. Kennedy and Richard Nixon is one of the most frequently described political events of the twentieth century, yet the accounts to date have been remarkably unbalanced. Far more attention is given to Kennedy's side than to Nixon's. The imbalance began with the first book on that election, Theodore White's The Making of the President 1960 -in which (as he later admitted) White deliberately cast Kennedy as the hero and Nixon as the villain-and it has been perpetuated in almost every book since then. Few historians have attempted an unbiased account of the election, and none have done the archival research that Irwin F. Gellman has done. Based on previously unused sources such as the FBI's surveillance of JFK and the papers of Leon Jaworski, vice-presidential candidate Henry Cabot Lodge, and many others, this book presents the first even-handed history of both the primary campaigns and the general election. The result is a fresh, engaging chronicle that shatters long†'held myths and reveals the strengths and weaknesses of both candidates.

This engaging and unprecedented work captures the compelling story of John F. Kennedy's role in advancing the United States' space program, set against the Cold War with the Soviet Union. The stunning collection of history and photographs crafted by authors John Bisney and J. L. Pickering illustrates Kennedy's close association with the race to space during his legendary time in office. In addition to the exhaustive research and rare photographs, the authors have also included excerpts from Kennedy's speeches, news conferences, and once-secret White House recordings to provide the reader with more context through the president's own words. While Kennedy did not live to see the fruition of many of the endeavors he supported, his legacy lives on in many ways—many of which are captured in this important work.

The perils of equating notions of freedom with artistic vitality Eloquently extolled by President John F. Kennedy, the idea that only artists in free societies can produce great art became a bedrock assumption of the Cold War. That this conviction defied centuries of historical evidence--to say nothing of achievements within the Soviet Union--failed to impact impregnable cultural Cold War doctrine. Joseph Horowitz writes: \"That so many fine minds could have cheapened freedom by over-praising it, turning it into a reductionist propaganda mantra, is one measure of the intellectual cost of the Cold War.\" He shows how the efforts of the CIA-funded Congress for Cultural Freedom were distorted by an anti-totalitarian \"psychology of exile\" traceable to its secretary general, the displaced Russian aristocrat/composer Nicolas Nabokov, and to Nabokov's hero Igor Stravinsky. In counterpoint, Horowitz investigates personal, social, and political factors that actually shape the creative act. He here focuses on Stravinsky, who in Los Angeles experienced a \"freedom not to matter,\" and Dmitri Shostakovich, who was both victim and beneficiary of Soviet cultural policies. He also takes a fresh look at cultural exchange and explores paradoxical similarities and differences framing the popularization of classical music in the Soviet Union and the United States. In closing, he assesses the Kennedy administration's arts advocacy initiatives and their pertinence to today's fraught American national identity. Challenging long-entrenched myths, The Propaganda of Freedom newly explores the tangled relationship between the ideology of freedom and ideals of cultural achievement.

New Orleans district attorney Jim Garrison's decision to arrest Clay Shaw on March 1, 1967, set off a chain of events that culminated in the only prosecution undertaken in the assassination of John F. Kennedy. In the decades since Garrison captured headlines with this high-profile legal spectacle, historians, conspiracy advocates, and Hollywood directors alike have fixated on how a New Orleans-based assassination conspiracy might have worked. Cruising for Conspirators settles the debate for good, conclusively showing that the Shaw prosecution was not based in fact but was a product of the criminal justice system's long-standing preoccupation with homosexuality. Tapping into the public's willingness to take seriously conspiratorial explanations of the Kennedy assassination, Garrison drew on the copious files the New Orleans police had accumulated as they surveilled, harassed, and arrested increasingly large numbers of gay men in the early 1960s. He blended unfounded accusations with homophobia to produce a salacious story of a New Orleans-based scheme to assassinate JFK that would become a national phenomenon. At once a dramatic courtroom narrative and a deeper meditation on the enduring power of homophobia, Cruising for Conspirators shows how the same dynamics that promoted Garrison's unjust prosecution continue to inform conspiratorial thinking to this day.

Late in his life, former president Lyndon B. Johnson told a reporter that he didn't believe the Warren Commission's finding that Lee Harvey Oswald acted alone in killing President John F. Kennedy. Johnson thought Cuban president Fidel Castro was behind it. After all, Johnson said, Kennedy was running \"a damned Murder, Inc., in the Caribbean,\" giving Castro reason to retaliate. Murder, Inc., tells the story of the CIA's assassination operations under Kennedy up to his own assassination and beyond. James H. Johnston was a lawyer for the Senate Intelligence Committee in 1975, which investigated and first reported on the Castro assassination plots and their relation to Kennedy's murder. Johnston examines how the CIA steered the Warren Commission and later investigations away from connecting its own assassination operations to Kennedy's murder. He also looks at the effect this strategy had on the Warren Commission's conclusions that assassin Lee Harvey Oswald acted alone and that there was no foreign conspiracy. Sourced from in-depth research into the \"secret files\" declassified by the JFK Records Act and now stored in the National Archives and Records Administration,Murder, Inc. is the first book to narrate in detail the CIA's plots against Castro and to delve into the question of why retaliation by Castro against Kennedy was not investigated.

One of the most popular presidents of the twentieth century, John F. Kennedy has been the subject of countless books, documentaries, and portrayals both on television and in feature films. Whether depicting his exploits during World War II (PT-109), capturing crucial moments during his presidency (Thirteen Days), or providing a fictionalized account of his assassination (Executive Action), films continue to portray Kennedy and his legacy. In The JFK Image: Profiles in Docudrama, Raluca Lucia Cimpean examines John F. Kennedy's representations in motion pictures, focusing on how the late president's image has been constructed to keep the myths of the Kennedy era and Camelot alive. The volumeexplores those myths through docudramas, which combine the aesthetic and narrative codes of documentaries with those of fiction to portray the characters and events of the Kennedy era as classic battles between good and evil. Beginning with an examination of the docudrama and its uses, this book analyzes the Kennedy image—with its focus on the New Frontier, Camelot, and revisionist approaches—and then provides in-depth examinations of such films as JFK, In the Line of Fire, and The Rat Pack. Drawing on archival research and Kennedy letters only recently released to the public, The JFK Image will be of great interest to scholars of film and popular culture, as well as those working in political science, the culture of the 1960s, and, of course, Kennedy studies.

It was September 12, 1962, when Pres.John F.Kennedy delivered a speech at Rice University before nearly 50,000 people.By that time, America had launched but four men into space--the suborbital flights of Alan Shepard and Gus Grissom and the nearly identical three-orbit journeys of John Glenn and Scott Carpenter.

The first serious study of his discourse in nearly a quarter century,John F. Kennedy and the Liberal Persuasionexamines the major speeches of Kennedy's presidency, from his famed but controversial inaugural address to his belated but powerful demand for civil rights. It argues that his eloquence flowed from his capacity to imagine anew the American liberal tradition-Kennedy insisted on the intrinsic moral worth of each person, and his language sought to make that ideal real in public life. This book focuses on that language and argues that presidential words matter. Kennedy's legacy rests in no small part on his rhetoric, and here Murphy maintains that Kennedy's words made him a most consequential president. By grounding the study of these speeches both in the texts themselves and in their broader linguistic and historical contexts, the book draws a new portrait of President Kennedy, one that not only recognizes his rhetorical artistry but also places him in the midst of public debates with antagonists and allies, including Dwight Eisenhower, Barry Goldwater, Richard Russell, James Baldwin, Martin Luther King Jr., and Robert Kennedy. Ultimately this book demonstrates how Kennedy's liberal persuasion defined the era in which he lived and offers a powerful model for Americans today.