Series Blog

A Brief History of the State of the Union

Presidents are required by the Constitution to present a State of the Union address to Congress; Article II, Section 3 of the U.S. Constitution reads: "He shall from time to time give to the Congress information of the state of the union, and recommend to their consideration such measures as he shall judge necessary and expedient."

Pilgrim Ancestors: Something to be Proud of Even 13 Generations Later

So, how important is Mayflower ancestry, really? To me, it’s a point of pride and reflection. Someone had the courage to make the equivalent of what would be a Mars mission today – and how many of you have signed up for that? Yet, they had a lot less information about their destination and the natives they would encounter.


Coming in January 2016

In January 2016, American Experience has two new documentaries premiering on PBS. Bonnie & Clyde will kick off the new season on January 19 at 9/8c, followed by the premiere of Mine Wars on January 26 at 9/8c. We will also be re-airing our 2012 documentary, Death and the Civil War on January 12. 
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Two Conversations with Rebel Soldiers

On a visit to Cuba in early 2001, I was told William Morgan’s name and something of his story. I had no idea then that this passing moment would lead me on my own quest to track down an Ohio man’s remarkable life. A short time later, however, I began an investigation that took me into a murky world of contested history where I met scholars committed to uncovering facts, bureaucrats whose jobs seemed to be to keep secrets, and aging Cuban Rebel soldiers attempting, after all these years, to make sense of their own lives.

Published here on the American Experience website, the excerpt from my book, The Americano: Fighting with Castro for Cuba’s Freedom, tells the story of two of my conversations with Rebel soldiers. One, Roger Redondo, is featured in the American Experience documentary "American Comandante," left Cuba in 1961. The other, Raul Nieves, stayed in Cuba, loyal to Fidel Castro until his death in 2003. What’s interesting to me about this juxtaposition is the way in which ideological forces in both Cuba and the U.S. have conspired to keep true history from being told. These vignettes offer a glimpse of those ideological forces, their power, and the courage it takes to defy them. Ultimately, these are the same forces that got William Morgan killed on a dark night in March, 1961.

A lot of changes have taken place since I the book was published in 2007. Fidel Castro is no longer on TV every day in Cuba. Eloy Gutierrez Menoyo, Morgan’s great friend and political mentor, returned to Cuba as a dissident and died there in 2012. And, most dramatically, the U.S. and Cuba are experiencing a moment of detente, as the two countries do the complicated work of reestablishing relations. As this happens, I hope that more true stories will be released from behind the propaganda firewalls that have defined dialogue on both sides of the Straits of Florida.

The people who made it possible to write Morgan’s story were the women and men, like Roger Redondo, who were with him in Cuba during those dramatic years between 1958 and 1961, particularly the members of the Second National Front of the Escambray (SNFE). Like so many Cubans on all sides, they have lived with the painful results of decades of Cold War: lost homes, broken families, and the distorting anger and distrust that have stunted lives and divided people more deeply than 90 miles of water ever could. As anti-communist revolutionaries, they were squeezed between Fidel Castro on one side and the interests -- both Cuban and American -- invested in Cuba’s pre-revolution status quo on the other. However, the relative ideological independence of the SNFE men and women allowed them to ask questions and give answers that few others would or could. For this reason, I believe that Morgan’s story and those of the other members of the SNFE still offer a particularly clear lens through which we can begin to understand aspects of the Cuban Revolution.


Aran Shetterly is a writer, independent editor, and writing coach. He splits his time between Mexico and the United States and can be reached through his website:

The Secret Feminism of "Bewitched"

I have never experienced Boston before this summer, when I moved to the city for an internship with American Experience. While living in Boston has been amazing, I am very intrigued by what more Massachusetts has to offer. A few weeks ago, I made the trek to Salem, MA -- the famous "witch town," the location of the infamous Witch Trials of the early 1690s.

Walking down the streets of Salem, I was amazed at how much of the town was devoted to its history. Many of the shops in the downtown district were devoted to selling witch-related memorabilia, some even offering year-round haunted house tours.

I stumbled across a very interesting addition to this collection of devotees to Salem's witch history: a statue commemorating the 1960s television show Bewitched. It depicts the show's main character, witch Samantha Stephens (played by Elizabeth Montgomery), riding a broomstick near a moon in its crescent phase. The statue pays tribute to the show that filmed several episodes on location in Salem.