Don’t Blame Me, I Voted for Helen Gahagan Douglas

Don’t Blame Me, I Voted for Helen Gahagan Douglas

Don’t Blame Me, I Voted for Helen Gahagan Douglas

Facebook
Twitter
Email
Flipboard
Pocket

If California’s historic 1950 US Senate race had gone the other way there would have been no Checkers speech, no Watergate break-in, no Woodward and Bernstein, perhaps an earlier exit from the Vietnam war. The race pitted the popular Democratic Congresswoman and former actress Helen Gahagan Douglas against a thiry-eight year old Republican member of the House named Richard Nixon. The election, destined to become one of the nation’s most infamous, was notable as the race that Nixon acquired his “Tricky-Dick” moniker.

Nixon waged an unrelenting red-baiting campaign, calling Gahagan Douglas “pink right down to her underwear.” Two weeks before election day in 1950, according to Greg Mitchell’s 1998 book on the race, the Republican Senatorial candidate even accused his opponent of being the conduit through which decisions made by Josef Stalin in the Kremlin flowed to the United States Congress. (This wasn’t true.) The contest is also well-known as the first “modern election” in that dirty campaigning was married to sophisticated media technology for the first time making money (for massive ad buys) even more critical to political success.

Don’t Blame Me, I Voted for Helen Gahagan Douglas, a new comedy/drama by Michelle Willens and Wendy Kout tells the true story of the infamous race in which the young Nixon destroyed the elegant Congresswoman (and wife of Melvyn Douglas). A finalist for the prestigious Eugene O’Neill Conference, the play offers an amusing and insightful window into a formative time for modern American politics.

On May 1, thanks to the playwrights’ generosity, there will be a special May 1 reading and reception of the play starring award-winning actors Christine Lahti and James Naughton with all proceeds going to The Nation magazine. As an added benefitNation writer John Nichols will be speaking at the post-reading reception. Taking place at 7:30 on May 1 at Symphony Space in Manhattan. Click here for info and to buy tickets. This reading kicks off the playwrights’ series of readings on behalf of groups and organizations which they feel Gahagan Douglas would have approved.

We cannot back down

We now confront a second Trump presidency.

There’s not a moment to lose. We must harness our fears, our grief, and yes, our anger, to resist the dangerous policies Donald Trump will unleash on our country. We rededicate ourselves to our role as journalists and writers of principle and conscience.

Today, we also steel ourselves for the fight ahead. It will demand a fearless spirit, an informed mind, wise analysis, and humane resistance. We face the enactment of Project 2025, a far-right supreme court, political authoritarianism, increasing inequality and record homelessness, a looming climate crisis, and conflicts abroad. The Nation will expose and propose, nurture investigative reporting, and stand together as a community to keep hope and possibility alive. The Nation’s work will continue—as it has in good and not-so-good times—to develop alternative ideas and visions, to deepen our mission of truth-telling and deep reporting, and to further solidarity in a nation divided.

Armed with a remarkable 160 years of bold, independent journalism, our mandate today remains the same as when abolitionists first founded The Nation—to uphold the principles of democracy and freedom, serve as a beacon through the darkest days of resistance, and to envision and struggle for a brighter future.

The day is dark, the forces arrayed are tenacious, but as the late Nation editorial board member Toni Morrison wrote “No! This is precisely the time when artists go to work. There is no time for despair, no place for self-pity, no need for silence, no room for fear. We speak, we write, we do language. That is how civilizations heal.”

I urge you to stand with The Nation and donate today.

Onwards,

Katrina vanden Heuvel
Editorial Director and Publisher, The Nation

Ad Policy
x