{"id":403,"date":"2026-03-17T22:26:01","date_gmt":"2026-03-17T22:26:01","guid":{"rendered":"https:\/\/dev5.myvtd.site\/wordfoundations\/?p=403"},"modified":"2026-03-19T21:37:23","modified_gmt":"2026-03-19T21:37:23","slug":"misinformed-and-misled-how-a-distorted-perspective-of-rights-is-leading-america-into-tyranny-part-1","status":"publish","type":"post","link":"https:\/\/dev5.myvtd.site\/wordfoundations\/misinformed-and-misled-how-a-distorted-perspective-of-rights-is-leading-america-into-tyranny-part-1\/","title":{"rendered":"Misinformed and Misled: How a Distorted Perspective of Rights Is Leading America into Tyranny, Part 1"},"content":{"rendered":"

A History Lesson from the Golden Age of Radio<\/p>\n

We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights\u2026.
\n\u2014The United States Declaration of Independence<\/a>, 1776\u2014<\/p>\n

A condensed version of this article is available\u00a0here<\/a>.<\/p>\n

Norman Corwin (1910-2011) has been called the\u00a0poet laureate of radio<\/a>. The title is fitting, because during the 1930s and 1940s, he used his writing talent and other creative abilities to produce radio dramas that addressed serious issues in engaging, entertaining ways.\u00a0Among the first<\/a>\u00a0to take this approach, Corwin also was prolific.<\/p>\n

The thirties and forties, you may know, were part of an era called \u201cthe golden age of radio<\/a>.\u201d This period began in the early 1920s when radio programming initially captured the public\u2019s imagination and lasted until the mid-to-late 1950s, when television became the medium of choice for drama. Radio survived, but its dramatic programs were replaced largely by music. Those of us who have lived most of our lives after radio\u2019s golden age will do well to develop an appreciation for the medium’s\u00a0influence over American life, especially during the heart of the period\u2014the 30s and 40s. In 1947, a professional survey\u00a0found<\/a>\u00a0that 82 percent of Americans listened to radio regularly.<\/p>\n

Norman Corwin grew up in Massachusetts. Although he initially worked as a newspaper journalist, he still was in his early adult years when he\u00a0found his niche in radio<\/a>. Corwin became both a beneficiary and a catalyst of the medium\u2019s growing popularity. One job led to another, and on April 25, 1938, he\u00a0began working<\/a>\u00a0for CBS as a\u00a0program director<\/a>. Initially he\u00a0directed<\/a>\u00a0Living History,\u00a0<\/em>a 15-minute program that aired on Wednesday evenings;\u00a0Americans at Work,\u00a0<\/em>a 30-minute program airing Thursday evenings; and\u00a0Adventures in Science,\u00a0<\/em>a 15-minute program airing on Friday evenings.<\/p>\n

Additional directing opportunities followed,\u00a0including<\/a>\u00a0that of directing\u00a0The Red Badge of Courage\u00a0<\/em>for\u00a0Columbia Workshop,\u00a0<\/em>a highly regarded series.\u00a0<\/em>It was a huge break! Other successes followed, and the producer soon was\u00a0given his own show<\/a>\u2014Norman Corwin\u2019s Words Without Music.\u00a0<\/em>The goal of the program, Corwin said, would be to\u00a0make<\/a>\u00a0poetry more enjoyable. One week before the Christmas show was to air, Corwin was asked what he had in mind for holiday episode. Off the top of his head, he replied, \u201cThe Plot to Overthrow Christmas.\u201d Corwin realized that no such poem existed and that he would have to write\u00a0the program<\/a>\u00a0from scratch. He did so,\u00a0impressing<\/a>\u00a0both his listeners and coworkers, Edward R. Murrow among them. You can hear and download a rebroadcast of \u201cThe Plot to Overthrow Christmas\u201d\u00a0here<\/a>. Interestingly, when he hired Corwin to work for CBS, vice-president William B. Lewis\u00a0didn\u2019t know<\/a>\u00a0he also was hiring a writer.<\/p>\n

The months that followed afforded Norman Corwin many additional opportunities to write, direct, and produce dramatic audio programs. In 1941 he had the responsibility for\u00a0Columbia Workshop\u00a0<\/em>for just over six straight months\u201426 weeks. These programs, which began on May 4 and concluded on November 9,\u00a0came to be known<\/a>\u00a0as \u201c26 by Corwin.\u201d Norman Corwin was a major player in radio, yet ironically, following the series, CBS decided to let him go.<\/p>\n

Former CBS vice-president William B. Lewis, the man who had given Corwin a job at the network, now was working at the Office of Facts and Figures in Washington D.C. His job was related\u00a0to the growing war effort, even though the US had not yet entered the war. Keenly aware of the national calendar, President Roosevelt tossed out the idea to Archibald MacLeish,1<\/sup>\u00a0who was\u00a0director<\/a>\u00a0of the Office of Facts and Figures, that radio would be a great platform for a national celebration of the 150th<\/sup>\u00a0anniversary of the ratification of the Bill of Rights. That anniversary would occur on December 15, 1941. Lewis heard about the idea and suggested Corwin to spearhead it. The website that honors Corwin today gives\u00a0this<\/a>\u00a0account.<\/p>\n

\"\"

Norman Corwin<\/p><\/div>\n

At first Corwin resisted, having burned himself out on 26 by Corwin and feeling the sting of defeat by not being retained by CBS, but Lewis persisted. Finally, Corwin accepted and headed to Washington DC, arriving on November 17, 1941, to begin research for the program in the Library of Congress\u2014a mere 26-days before the broadcast. Then he came down with the flu; still he persisted. On December 4, 1941, with the script three-quarters complete, Corwin got on the\u00a0Century\u00a0<\/em>train bound for Los Angeles, where the bulk of the show would originate. While en route, on December 7, 1941, Corwin learned of the Japanese attack on Pearl Harbor. The show, he was informed, was now even more vital to a nation newly at war.<\/p>\n

In an interview in 2004, Norman Corwin\u00a0recalled<\/a>\u00a0the program and the events that led up to its airing.<\/p>\n

\"\"

Norman Corwin<\/p><\/div>\nhttps:\/\/dev5.myvtd.site\/wordfoundations\/wp-content\/uploads\/2026\/03\/THE-POET-LAUREATE-OF-RADIO-We-Hold-These-Truths.mp3<\/a><\/audio>\n

 <\/p>\n

Most of the country\u2019s radio stations\u00a0carried<\/a>\u00a0the program. An arrangement had been made for all four of the major radio networks\u2014CBS, Mutual, NBC-Red and NBC-Blue [NBC\u00a0was organized<\/a>\u00a0as 2 networks at the time]\u2014to broadcast it. On the east coast it\u00a0aired<\/a>\u00a0at 7:00 p.m. and on the west coast at 10 p.m. The birthday celebration\u00a0originated<\/a>, not just from Hollywood, but also from Washington, DC and New York. Even President Roosevelt participated. Riding a tide of intense patriotism, Americans gave\u00a0We Hold These Truths\u00a0<\/em>the\u00a0largest radio audience<\/a>\u00a0in history for a dramatic performance. Nearly half the US population\u201463 million people\u2014tuned in.<\/p>\n

Norman Corwin\u00a0won<\/a>\u00a0a George F. Peabody Award for the show. He also was\u00a0reinstated<\/a>\u00a0at CBS, where he would\u00a0remain<\/a>until 1949. And in 1993, the writer-producer-director was\u00a0admitted<\/a>\u00a0into the National Radio Hall of Fame. As for\u00a0We Hold These Truths,\u00a0<\/em>it was recognized as recently as 2005 when it was\u00a0named<\/a>\u00a0to the National Recording Registry.<\/p>\n

Here are a couple of interesting side notes about\u00a0We Hold These Truths.<\/em><\/p>\n

The first of two major narration parts began as Jimmy Stewart highlighted the\u00a0sights and sounds of Washington, DC. Stewart was perfect for this role, given that just two years earlier, he\u00a0had played Jefferson Smith in the 1939 Frank Capra film\u00a0Mr. Smith Goes to Washington<\/em><\/a>.\u00a0<\/em>For playing Smith, Stewart\u00a0earned an Academy Award nomination for best actor; but in the\u00a0end,\u00a0Robert Donat won this\u00a0award for his role as\u00a0Charles Edward Chipping in\u00a0Goodbye, Mr. Chips<\/em><\/a>.\u00a0<\/em>As you may recall, many\u00a0consider<\/a>\u00a01939\u00a0Hollywood’s\u00a0finest year<\/a>.<\/p>\n

\"\"

Claude Rains and James Stewart<\/a> in Mr. Smith Goes to Washington<\/p><\/div>\n

Orson Welles took the sound stage for the second major narration part. During the dress rehearsal for the program Welles began using his voice modestly, gradually increased in intensity, and brought his speech to a powerful crescendo at the end.<\/p>\n

\"\"

Orson Welles in 1937<\/p><\/div>\n

The cast was riveted and applauded Welles when he finished, but Norman Corwin was concerned. Would Welles be able to return to the ground floor before\u00a0he started talking on the actual broadcast? Leonard Maltin writes, \u201cWelles started out at the fever pitch at which he\u2019d concluded the rehearsal\u2014and then had nowhere to go, vocally or emotionally. The show still is impressive today, but Welles\u2019 narration sounds overwrought.\u201d2<\/sup><\/p>\n

You can listen to and download Norman Corwin\u2019s birthday celebration for the Bill of Rights from\u00a0this page<\/a>, and I recommend highly that you do. For your convenience, you also can hear it here.<\/p>\nhttps:\/\/dev5.myvtd.site\/wordfoundations\/wp-content\/uploads\/2026\/03\/we-hold-these-truths.mp3<\/a><\/audio>\n

 <\/p>\n

Why is\u00a0We Hold These Truths\u00a0<\/em>so important?<\/p>\n