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Newsweek, July 27, 1970: Is Privacy Dead!? IS IT?!
RFK Assassinated 45 Years Ago- A Shocking Contrast In Covers One Month Apart
This week’s cover story—Kill Zone—says gun control isn’t about rights in America’s cities. It’s about survival.
SUMMER IS the killing season in American cities. The temperature rises and, yes, tempers do, too. And many young men who might have been in school are out in the streets taunting, hunting, and shooting at each other. Collateral carnage like the slaughter of Tyquran’s mother is inevitable, and for many innocents it’s inescapable in neighborhoods where young guys spray bullets. In Los Angeles County, with an estimated 450 gangs that have 45,000 members, about half the murders are gang related. Young men get shot again and again, and those who survive show a calm pride when they’re wheeled into the trauma units. As a wide-eyed British correspondent reported last week, the doctors call them “frequent fliers.” In Chicago, gang and gun violence is endemic, with 12 shootings last weekend and one death. And in New York, although the murder rate is much lower than the other cities, in the rougher parts of town that’s no guarantee of immunity. Between Friday and Sunday the first weekend in June, 26 people were shot and seven of them killed.
Over the last few months I’ve spent time with the New York Police Department and alone in parts of the city where guns are a way of life, but not in the way that pro-gun-rights partisans usually mean. I met kids like Tyquran and cops like Deputy Chief Theresa Shortell, head of the department’s fast-growing gangs division. And something that ought to be obvious kept hitting me. The embattled streets of the city and the gunland of the heartland are wildly different places, and the failure to understand that difference, and overcome it, is the great American tragedy of our time.
Joyce DeWitt, John Ritter & Suzanne Somers (Three’s Company) on the cover of Newsweek, February 1978.
Washington, D.C.: not as godless as you’d think!
Kim Jong-un: this week’s cover boy for Planet Pyongyang!
Batter Up! Celebrating Opening Day With Our Baseball Covers
Happy Opening Day!
You should probably read Buzz Bissinger’s cover story on Dennis Rodman’s trip to North Korea, the smartest move the famously eccentric former basketball star has ever made.
This week’s animated Newsweek cover, as seen in the iPad app, features a morphing King Richard III—from legend…to reality!
The cover story, written by historian Simon Schama, looks back at the means Richard III used to create his rock-solid center of power and loyalty—that undid him in the end.
A king, one shoulder higher than the other (an armorer’s nightmare), the golden circlet of the crown upon his helmet, is fighting for his life and his throne. Seeing the odds of a victory, which should have been his for the taking, suddenly shorten when his vanguard flounders in marshy ground, he has made a gambler’s throw: a frontal charge at the enemy with a long column of his most loyal knights behind him, meant to smash its way to his rival and kill him. The wet ground has lost him his mount, but he is cutting his way through the bodies with a swinging battle ax. He makes for the standard bearer of the enemy, fells him. Surely, the Welshman, the Tudor who wants his crown, cannot be far behind. Another swing, another knight, much bigger than his own slight frame, goes crashing down in his clanking hardware. Now Richard is within feet of his quarry when it all goes wrong. A presumed ally, his troops held in reserve, perhaps sensing the shift in the day’s fortunes, has thrown in his lot with the enemy and is attacking his rear; his scarlet-coated men throwing themselves into the fray. Everyone, all those men groaning and stumbling and hacking in the soft ground, feels the beginning of the end. Ranks of them close in on the king from whose helm the crown has ominously fallen. Defying everything and everyone, the king swings and flails, is engulfed, and a halberd slices through his helmet and into his brain. He sinks and folds and it is over. It is always finished when the leader of an army loses his life, for these thousands of men, knights and hardened men at arms, archers and gunners (for there were both cannon and harquebuses on Bosworth Field) are not fighting for an idea or a country, but for the person of the king who, in some way they don’t ask themselves, is England.
The chronicles of the late 15th and early 16th centuries have told us this, but those histories were written either by, or to please, the victors. But now we have Richard III’s story as written on his bones: a forensic romance. Not just the deep cleft in his skull where the halberd penetrated the helmet, but the marks of the subsequent indignities and mutilations inflicted on his corpse. It was always known that the new king, Henry Tudor, made sure to expose Richard’s body for either two or three days (sources differ) in Greyfriars Abbey where it was deposited, and it may have been, as one of the histories describes, half-naked, its lower half covered merely by “a poor black cloth”—the ultimate humiliation for a king who had reveled in royal costume. The skeleton shows signs of lunging stab wounds through the right buttock, another targeted indignity and, more mysteriously, the body’s feet are missing. Most dramatically of all, the backbone is curved like the blade of a scythe: the sign of “idiopathic” scoliosis, a condition that would have come upon the prince, Richard, as a boy and which would have thrust one shoulder up high enough for critics during and after his life to jeer at the deformity. Thomas More, whose unfinished biography is the first thrilling work of historical narrative—more a novel than a true history—and Shakespeare, who drew on More, may have been unjust in making Richard a monster, and there is no sign of the withered arm at the center of one of More’s most dramatic and fanciful scenes. But the bones tell us they were right to picture Richard III as deformed, and entirely of their time to imagine what effect this might have on the self-consciousness of a noble steeped in the chivalric literature of manly perfection, and on those many who feared and hated him.
The Return of Ruthless Richard III, Newsweek
This week’s Newsweek cover: Hil! She’s "the most powerful woman in American history," per our coverline.
Here’s the beginning of the cover story, you can read the whole thing on the website if you’d like:
And now, as of this week, Hillary Rodham Clinton becomes something she has not been in two decades: a private citizen. A mind-boggling thought, really, rich in amusingly prosaic implications. Will she drive a car? Is she going to pop up at the Safeway (you’re supposed to bring your own bags now, Madame Secretary!) or be found standing in line at the Friendship Heights multiplex? She’ll still have Secret Service protection, and she has more than enough money to send other people out on a CVS run. But even so, she is now, for the first time in a very, very long time, just one of us.
The images amuse because, of course, she’s not just one of us. She’s been the most famous and admired woman in America for 20 years. A December Gallup poll had her as the most admired woman in the world, and No. 2 on the list (Michelle Obama) wasn’t remotely close. Not everyone is in on this love-fest, as we well know, by a long shot. But even the seething hatred has, over the years, embroidered her legend—debates about Clinton have somehow always ended up really being about us as a nation, who we are and who we want to be, in such a way that even those who dislike her are implicitly acknowledging that, yes, she is the touchstone.
She’s the most important woman in America. More: she is almost certainly the most important woman in all of our political history. Already, even if this retirement proves to be permanent, which few people think it will be. No? Well, who, then? Who has been first lady, senator, secretary of state? No other woman, that’s for sure. Not many men have held as many high-profile jobs and performed them as well.
And on top of the jobs themselves—in a way, far harder than the jobs themselves—was having to be that barrier breaker, having to be The Woman; the little daughter of a starchy Republican drapery-peddler who would cash in her Goldwater chips and whom fate would eventually select to embody liberation and insolence and cultural transformation, transformation that millions of Americans embraced but that a different set of millions found ruinous, repulsive; having to carry all that on her shoulders, year after year after year, watching people call her all kinds of names and accuse her of all manner of treachery (up to and including criminal behavior and sympathy with terrorists), all that on top of just the normal run-of-the-mill sexism, and knowing that she had to stay above it all and smile, smile, smile, and never take the bait? An impossible job. Who else has had to do all that?