Not Even Amy Poehler and Tina Fey Could Save This Year's Snoozy Golden Globes
Brando, Fonda and Beyond: How Celebs Rallied Around the Alcatraz Occupation
In Golden Age Hollywood, Film Stars Slid Into Each Others' Telegrams
A Cup Of Ambition And Endurance: '9 To 5' Unites Workers Across Decades
Another Look at 'Hanoi Jane,' Vietnam, and Celebrity Activism
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Born and raised in Wales, she started her career in London, as a music journalist for uproarious rock ’n’ roll magazine, \u003cem>\u003ca href=\"https://www.kerrang.com/features/an-oral-history-of-alternative-tentacles-40-years-of-keeping-punk-alive/\">Kerrang!\u003c/a>\u003c/em>. In America, she got her start at alt-weeklies including \u003ca href=\"https://archives.sfweekly.com/sanfrancisco/ArticleArchives?author=2127078&excludeCategoryType=Blog\">\u003cem>SF Weekly\u003c/em>\u003c/a> and the \u003ca href=\"https://www.villagevoice.com/author/raealexandra/\">\u003cem>Village Voice\u003c/em>\u003c/a>, and freelanced for a great many other publications. Her undying love for San Francisco has, more recently, turned her into \u003ca href=\"https://www.kqed.org/arts/tag/bayareahistory/\">a history nerd\u003c/a>. In 2023, Rae was awarded an SPJ Excellence in Journalism Award for Arts & Culture.","avatar":"https://secure.gravatar.com/avatar/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g","twitter":"raemondjjjj","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["editor"]},{"site":"news","roles":["editor"]},{"site":"pop","roles":["editor"]},{"site":"bayareabites","roles":["editor"]},{"site":"science","roles":["editor"]}],"headData":{"title":"Rae Alexandra | KQED","description":"Staff Writer","ogImgSrc":"https://secure.gravatar.com/avatar/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/ralexandra"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"arts","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal Justice","link":"/criminaljustice"},{"name":"Silicon Valley","link":"/siliconvalley"},{"name":"Forum","link":"/forum"},{"name":"The California Report","link":"/californiareport"}]},{"key":"menu2","items":[{"name":"Arts & Culture","link":"/arts","type":"title"},{"name":"Critics’ Picks","link":"/thedolist"},{"name":"Cultural Commentary","link":"/artscommentary"},{"name":"Food & Drink","link":"/food"},{"name":"Bay Area Hip-Hop","link":"/bayareahiphop"},{"name":"Rebel Girls","link":"/rebelgirls"},{"name":"Arts Video","link":"/artsvideos"}]},{"key":"menu3","items":[{"name":"Podcasts","link":"/podcasts","type":"title"},{"name":"Bay Curious","link":"/podcasts/baycurious"},{"name":"Rightnowish","link":"/podcasts/rightnowish"},{"name":"The Bay","link":"/podcasts/thebay"},{"name":"On Our Watch","link":"/podcasts/onourwatch"},{"name":"Mindshift","link":"/podcasts/mindshift"},{"name":"Consider This","link":"/podcasts/considerthis"},{"name":"Political Breakdown","link":"/podcasts/politicalbreakdown"}]},{"key":"menu4","items":[{"name":"Live Radio","link":"/radio","type":"title"},{"name":"TV","link":"/tv","type":"title"},{"name":"Events","link":"/events","type":"title"},{"name":"For Educators","link":"/education","type":"title"},{"name":"Support KQED","link":"/support","type":"title"},{"name":"About","link":"/about","type":"title"},{"name":"Help Center","link":"https://kqed-helpcenter.kqed.org/s","type":"title"}]}]},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"arts_13893446":{"type":"posts","id":"arts_13893446","meta":{"index":"posts_1591205157","site":"arts","id":"13893446","score":null,"sort":[1614595569000]},"guestAuthors":[],"slug":"not-even-amy-poehler-and-tina-fey-could-save-this-years-snoozy-golden-globes","title":"Not Even Amy Poehler and Tina Fey Could Save This Year's Snoozy Golden Globes","publishDate":1614595569,"format":"standard","headTitle":"Not Even Amy Poehler and Tina Fey Could Save This Year’s Snoozy Golden Globes | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>In any given year, awards-season viewers are doing some combination of reveling in the booze-filled loosie-goosey nature of the Golden Globes while bemoaning the ostensible arbitrariness of many of its nominees and winners. Do \u003cem>you \u003c/em>recall the movie \u003cem>Salmon Fishing in the Yemen\u003c/em>? (Three nods in 2012, including best picture.) And really, \u003cem>The Kominsky Method \u003c/em>beat out shows like \u003cem>Barry \u003c/em>and \u003cem>The Good Place\u003c/em> for best TV drama in 2019? How?!\u003c/p>\n\u003cp>The mood going into this year’s Globes ceremony was different, however, and not just because the producers had Covid-related logistics to work out for a mostly virtual event. Just a few days earlier, the \u003cem>Los Angeles Times \u003c/em>published \u003ca href=\"https://www.latimes.com/entertainment-arts/business/story/2021-02-21/hfpa-golden-globes-2021-who-are-the-members\" target=\"_blank\" rel=\"noopener noreferrer\">two\u003c/a> \u003ca href=\"https://www.latimes.com/entertainment-arts/business/story/2021-02-21/hfpa-golden-globes-2021\" target=\"_blank\" rel=\"noopener noreferrer\">investigations\u003c/a> looking into the inner workings of the mysterious Hollywood Foreign Press Association, an organization of 87 “journalists” who vote on the awards. Those exposés unveiled a number of details which suggest the Globes are more frivolous (and corrupt) than even the most cynical among us may have considered. Among the reveals: a number of HFPA members were fabulously flown in to France and wined and dined for a set visit to \u003cem>Emily in Paris\u003c/em>, the wildly popular but critically reviled show which received three head-scratching nominations. Also, there are currently zero Black members in the HFPA.\u003c/p>\n\u003cp>On Sunday night, the ceremony addressed the diversity PR nightmare head-on, first via the opening banter between returning co-hosts Amy Poehler and Tina Fey, who were broadcast from the Beverly Hilton in Beverly Hills and the Rainbow Room in New York City, respectively. Sprinkled in between jokes about the differences between movies and television and an acknowledgement of the pandemic first responders in the audience, were cracks about the HFPA’s membership (“around 90 international—no Black—journalists,” a couple of whom “might be ghosts”) and a more serious admission that worthy Black performances and creators were overlooked this year.\u003c/p>\n\u003cp>And a bit later in the evening, three members of the HFPA emerged from obscurity to pledge that the organization felt bad about all the negative publicity and would commit to doing better about inclusion going forward. (There was no mention of whether or not all-expenses paid trips to fancy cities on a Hollywood studio’s dime was also being reconsidered.)\u003c/p>\n\u003cp>Once the awards-giving kicked off, it was often a bumpy ride. While presenters appeared in person in either New York or L.A., nominees attended remotely from their respective homes. The potential for technical chaos was realized almost immediately, when Daniel Kaluuya, who won the first award of the night for his role as Fred Hampton in \u003cem>Judas and the Black Messiah\u003c/em>, couldn’t be heard while giving his acceptance speech. After a few moments, presenter Laura Dern noted the difficulties and attempted to quickly wrap up and move to the next segment; luckily, Kaluuya was able to jump back in, this time with sound in check, and deliver typically charming remarks.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4FgS6q-xSoY\u003c/p>\n\u003cp>There were many more awkward sound-related issues, merely irritating and occasionally chaotic—was that acceptance speech where Catherine O’Hara, who took home an award for \u003cem>Schitt’s Creek\u003c/em>, kept being interrupted by her husband Bo Welch’s phone, a planned bit or a kerfluffle-turned-on-the-fly bit? I’m not sure, but whatever it was, it was a rare highlight in an otherwise dull night. The producers padded the run time with skits which, even in normal times, would feel forced—save for a perfectly weird skit involving Maya Rudolph and Kenan Thompson donning faux French accents, anything not directly related to the presentation of awards was superfluous.\u003c/p>\n\u003cp>The big winners of the night were a mixed bag of the surprising and predictable. \u003cem>Nomadland \u003c/em>won best motion picture, drama, and its director Chloe Zhao became the first Asian woman to win the best director award—and first woman since Barbra Streisand won for \u003cem>Yentl \u003c/em>nearly 40 years ago. Chadwick Boseman received a posthumous honor for \u003cem>Ma Rainey’s Black Bottom \u003c/em>in the best actor, drama category; his widow, Taylor Simone Ledward gave a stirring, heartbreaking speech on his behalf. Andra Day triumphed for her first feature starring role in \u003cem>The United States vs. Billie Holiday \u003c/em>in a stacked category that included Viola Davis and Frances McDormand.\u003c/p>\n\u003cp>While \u003cem>Emily In Paris \u003c/em>went home empty-handed—Netflix must be wondering, was that all-expenses paid set visit for all those HFPA members worth it after all?—crowd-pleaser \u003cem>The Queen’s Gambit\u003c/em> beat out Steve McQueen’s transformative\u003cem> Small Axe \u003c/em>for best limited series, drama. (Though John Boyega earned his first Globe win for his role in \u003cem>Red, White and Blue\u003c/em>, one of the films in \u003cem>Small Axe.\u003c/em>)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VG58uqZPWsU\u003c/p>\n\u003cp>The show was at its best when the veterans were involved. The 98-year-old Norman Lear was given the Carol Burnett Award for “outstanding contributions to television,” and, perhaps because it was coordinated ahead of time, the TV titan had by far the sharpest audio and visual set-up of all the remote celebrities. He kept his remarks short and sweet, proving yet again that he is a national treasure. Ditto Jane Fonda, who appeared in-person at the Rainbow Room to accept the other honorary award of the evening, the Cecil B. DeMille award. In one of the most riveting moments of the night, she gave a shout out to the recent works that inspired her, including \u003cem>Nomadland, Judas and the Black Messiah\u003c/em>, \u003cem>Minari\u003c/em> (which won after being controversially nominated in the Best Foreign Language category) and \u003cem>I May Destroy You\u003c/em> (which was notably shut out from any nominations despite its critical acclaim).\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Perhaps the one saving grace of this snooze fest was that it ended under three and a half hours. But considering how much time the producers had to execute a smooth and relatively painless event—and that they could have looked to last fall’s comparatively successful \u003ca href=\"https://www.npr.org/2020/09/21/915132850/the-emmys-pull-off-a-good-show-as-schitt-s-creek-and-watchmen-shine\" target=\"_blank\" rel=\"noopener noreferrer\">virtual Emmy Awards\u003c/a> for guidance—this year’s Golden Globes only further solidified the event’s irrelevance, for everyone to witness.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Nomadland%27+And+Chadwick+Boseman+Win+Big+During+A+Mostly+Snoozy+Golden+Globes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"Technical difficulties made things awkward at Sunday night's virtual event. Thank goodness for Catherine O'Hara and Daniel Kaluuya.","status":"publish","parent":0,"modified":1705019412,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":1063},"headData":{"title":"Not Even Amy Poehler and Tina Fey Could Save This Year's Snoozy Golden Globes | KQED","description":"Technical difficulties made things awkward at Sunday night's virtual event. Thank goodness for Catherine O'Hara and Daniel Kaluuya.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprImageCredit":"Kevin Mazur","nprByline":"Aisha Harris","nprImageAgency":"Getty Images for Hollywood Foreign Press Association","nprStoryId":"972386301","nprApiLink":"http://api.npr.org/query?id=972386301&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2021/02/28/972386301/nomadland-and-chadwick-boseman-win-big-during-a-mostly-snoozy-golden-globes?ft=nprml&f=972386301","nprRetrievedStory":"1","nprPubDate":"Mon, 01 Mar 2021 00:06:00 -0500","nprStoryDate":"Sun, 28 Feb 2021 23:58:00 -0500","nprLastModifiedDate":"Mon, 01 Mar 2021 00:06:44 -0500","templateType":"standard","featuredImageType":"standard","path":"/arts/13893446/not-even-amy-poehler-and-tina-fey-could-save-this-years-snoozy-golden-globes","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In any given year, awards-season viewers are doing some combination of reveling in the booze-filled loosie-goosey nature of the Golden Globes while bemoaning the ostensible arbitrariness of many of its nominees and winners. Do \u003cem>you \u003c/em>recall the movie \u003cem>Salmon Fishing in the Yemen\u003c/em>? (Three nods in 2012, including best picture.) And really, \u003cem>The Kominsky Method \u003c/em>beat out shows like \u003cem>Barry \u003c/em>and \u003cem>The Good Place\u003c/em> for best TV drama in 2019? How?!\u003c/p>\n\u003cp>The mood going into this year’s Globes ceremony was different, however, and not just because the producers had Covid-related logistics to work out for a mostly virtual event. Just a few days earlier, the \u003cem>Los Angeles Times \u003c/em>published \u003ca href=\"https://www.latimes.com/entertainment-arts/business/story/2021-02-21/hfpa-golden-globes-2021-who-are-the-members\" target=\"_blank\" rel=\"noopener noreferrer\">two\u003c/a> \u003ca href=\"https://www.latimes.com/entertainment-arts/business/story/2021-02-21/hfpa-golden-globes-2021\" target=\"_blank\" rel=\"noopener noreferrer\">investigations\u003c/a> looking into the inner workings of the mysterious Hollywood Foreign Press Association, an organization of 87 “journalists” who vote on the awards. Those exposés unveiled a number of details which suggest the Globes are more frivolous (and corrupt) than even the most cynical among us may have considered. Among the reveals: a number of HFPA members were fabulously flown in to France and wined and dined for a set visit to \u003cem>Emily in Paris\u003c/em>, the wildly popular but critically reviled show which received three head-scratching nominations. Also, there are currently zero Black members in the HFPA.\u003c/p>\n\u003cp>On Sunday night, the ceremony addressed the diversity PR nightmare head-on, first via the opening banter between returning co-hosts Amy Poehler and Tina Fey, who were broadcast from the Beverly Hilton in Beverly Hills and the Rainbow Room in New York City, respectively. Sprinkled in between jokes about the differences between movies and television and an acknowledgement of the pandemic first responders in the audience, were cracks about the HFPA’s membership (“around 90 international—no Black—journalists,” a couple of whom “might be ghosts”) and a more serious admission that worthy Black performances and creators were overlooked this year.\u003c/p>\n\u003cp>And a bit later in the evening, three members of the HFPA emerged from obscurity to pledge that the organization felt bad about all the negative publicity and would commit to doing better about inclusion going forward. (There was no mention of whether or not all-expenses paid trips to fancy cities on a Hollywood studio’s dime was also being reconsidered.)\u003c/p>\n\u003cp>Once the awards-giving kicked off, it was often a bumpy ride. While presenters appeared in person in either New York or L.A., nominees attended remotely from their respective homes. The potential for technical chaos was realized almost immediately, when Daniel Kaluuya, who won the first award of the night for his role as Fred Hampton in \u003cem>Judas and the Black Messiah\u003c/em>, couldn’t be heard while giving his acceptance speech. After a few moments, presenter Laura Dern noted the difficulties and attempted to quickly wrap up and move to the next segment; luckily, Kaluuya was able to jump back in, this time with sound in check, and deliver typically charming remarks.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4FgS6q-xSoY'\n title='//www.youtube.com/embed/4FgS6q-xSoY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There were many more awkward sound-related issues, merely irritating and occasionally chaotic—was that acceptance speech where Catherine O’Hara, who took home an award for \u003cem>Schitt’s Creek\u003c/em>, kept being interrupted by her husband Bo Welch’s phone, a planned bit or a kerfluffle-turned-on-the-fly bit? I’m not sure, but whatever it was, it was a rare highlight in an otherwise dull night. The producers padded the run time with skits which, even in normal times, would feel forced—save for a perfectly weird skit involving Maya Rudolph and Kenan Thompson donning faux French accents, anything not directly related to the presentation of awards was superfluous.\u003c/p>\n\u003cp>The big winners of the night were a mixed bag of the surprising and predictable. \u003cem>Nomadland \u003c/em>won best motion picture, drama, and its director Chloe Zhao became the first Asian woman to win the best director award—and first woman since Barbra Streisand won for \u003cem>Yentl \u003c/em>nearly 40 years ago. Chadwick Boseman received a posthumous honor for \u003cem>Ma Rainey’s Black Bottom \u003c/em>in the best actor, drama category; his widow, Taylor Simone Ledward gave a stirring, heartbreaking speech on his behalf. Andra Day triumphed for her first feature starring role in \u003cem>The United States vs. Billie Holiday \u003c/em>in a stacked category that included Viola Davis and Frances McDormand.\u003c/p>\n\u003cp>While \u003cem>Emily In Paris \u003c/em>went home empty-handed—Netflix must be wondering, was that all-expenses paid set visit for all those HFPA members worth it after all?—crowd-pleaser \u003cem>The Queen’s Gambit\u003c/em> beat out Steve McQueen’s transformative\u003cem> Small Axe \u003c/em>for best limited series, drama. (Though John Boyega earned his first Globe win for his role in \u003cem>Red, White and Blue\u003c/em>, one of the films in \u003cem>Small Axe.\u003c/em>)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/VG58uqZPWsU'\n title='//www.youtube.com/embed/VG58uqZPWsU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The show was at its best when the veterans were involved. The 98-year-old Norman Lear was given the Carol Burnett Award for “outstanding contributions to television,” and, perhaps because it was coordinated ahead of time, the TV titan had by far the sharpest audio and visual set-up of all the remote celebrities. He kept his remarks short and sweet, proving yet again that he is a national treasure. Ditto Jane Fonda, who appeared in-person at the Rainbow Room to accept the other honorary award of the evening, the Cecil B. DeMille award. In one of the most riveting moments of the night, she gave a shout out to the recent works that inspired her, including \u003cem>Nomadland, Judas and the Black Messiah\u003c/em>, \u003cem>Minari\u003c/em> (which won after being controversially nominated in the Best Foreign Language category) and \u003cem>I May Destroy You\u003c/em> (which was notably shut out from any nominations despite its critical acclaim).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Perhaps the one saving grace of this snooze fest was that it ended under three and a half hours. But considering how much time the producers had to execute a smooth and relatively painless event—and that they could have looked to last fall’s comparatively successful \u003ca href=\"https://www.npr.org/2020/09/21/915132850/the-emmys-pull-off-a-good-show-as-schitt-s-creek-and-watchmen-shine\" target=\"_blank\" rel=\"noopener noreferrer\">virtual Emmy Awards\u003c/a> for guidance—this year’s Golden Globes only further solidified the event’s irrelevance, for everyone to witness.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Nomadland%27+And+Chadwick+Boseman+Win+Big+During+A+Mostly+Snoozy+Golden+Globes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13893446/not-even-amy-poehler-and-tina-fey-could-save-this-years-snoozy-golden-globes","authors":["byline_arts_13893446"],"categories":["arts_1","arts_74","arts_75","arts_990"],"tags":["arts_9943","arts_11327","arts_549","arts_10278","arts_977","arts_12322","arts_6174","arts_2388","arts_13605"],"affiliates":["arts_137"],"featImg":"arts_13893447","label":"arts_137"},"arts_13869074":{"type":"posts","id":"arts_13869074","meta":{"index":"posts_1591205157","site":"arts","id":"13869074","score":null,"sort":[1574118010000]},"guestAuthors":[],"slug":"brando-fonda-and-beyond-how-celebs-rallied-around-the-alcatraz-occupation","title":"Brando, Fonda and Beyond: How Celebs Rallied Around the Alcatraz Occupation","publishDate":1574118010,"format":"standard","headTitle":"Brando, Fonda and Beyond: How Celebs Rallied Around the Alcatraz Occupation | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>It was a moment that would become seared into American cultural history. Sacheen Littlefeather, an Apache and the President of the National Native American Affirmative Image Committee, stepped onto the 1973 Academy Awards stage, and very politely refused to take Marlon Brando’s Best Actor Oscar for \u003cem>The Godfather\u003c/em>, from a bemused-looking Roger Moore.\u003c/p>\n\u003cp>When Littlefeather calmly explained that Brando was unable to “accept this very generous award” because of “the treatment of American Indians today by the film industry and on television in movie re-runs,” boos immediately erupted in some corners of the room. Littlefeather stayed calm, offering a simple “Excuse me,” before audience cheers drowned out the objections.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2QUacU0I4yU\u003c/p>\n\u003cp>It had been two years since the “\u003ca href=\"https://www.history.com/news/native-american-activists-occupy-alcatraz-island-45-years-ago\" target=\"_blank\" rel=\"noopener noreferrer\">Indians of All Tribes\u003c/a>” had ceased their 19-month occupation of Alcatraz, but Brando had visited the island during that period and become so deeply concerned about the Native American cause, he remained outspoken on their behalf for the rest of his life.\u003c/p>\n\u003cp>[aside postid='arts_13889944']“I don’t think that people generally realize what the motion picture industry has done to the American Indian,” \u003ca href=\"https://www.youtube.com/watch?v=LAPDQ5MlLxE\" target=\"_blank\" rel=\"noopener noreferrer\">Brando told Dick Cavett\u003c/a> in 1973. “How deeply these people are injured… Children… seeing Indians represented as savage, vicious, ugly, nasty, treacherous, drunken. They grow up with only a negative image of themselves and it lasts a lifetime.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Brando’s engagement was a perfect example of how support for Indigenous rights underwent a momentous and visible shift during one of the most socially turbulent times in recent American history. “For centuries, most Americans and their government believed Indians were an obstacle to national progress or, by the mid-twentieth century, anachronisms which had no place in the modern world,” writes Sherry L. Smith in \u003ca href=\"https://www.amazon.com/Hippies-Indians-Fight-Red-Power/dp/0199855595\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hippies, Indians and the Fight For Red Power\u003c/em>\u003c/a>. “Extinguishing all remnants of native life characterized federal policy by the 1950s. By the 1960s, they found support outside their communities.”\u003c/p>\n\u003cp>A major factor in garnering that support was the Alcatraz occupation and the celebrities who went out of their way to draw attention to it and offer financial support. Creedence Clearwater Revival, for example, donated $10,000 that, among other things, enabled activists to buy a boat (reportedly dubbed “\u003ca href=\"https://www.history.com/news/native-american-activists-occupy-alcatraz-island-45-years-ago\" target=\"_blank\" rel=\"noopener noreferrer\">The Clearwater\u003c/a>“) to get supplies to and from the island.\u003c/p>\n\u003cp>Jane Fonda also \u003ca href=\"https://books.google.com/books?id=vHHbsjThmKAC&pg=PA258&lpg=PA258&dq=jane+fonda+donated+generators+to+alcatraz&source=bl&ots=_LWUGlGHM8&sig=ACfU3U1cVED2zNFNKWvXfFauMLAX_i_kcA&hl=en&sa=X&ved=2ahUKEwjzwfrkpdnlAhXJGDQIHbuuBA8Q6AEwDnoECAoQAQ#v=onepage&q=jane%20fonda%20donated%20generators%20to%20alcatraz&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">spent a night on Alcatraz\u003c/a>, reportedly bringing her own sleeping bag, smoking weed with the occupiers, and donating a rototiller for gardening, as well as six generators—much needed at the time, after Alcatraz’s power was cut by the \u003ca href=\"https://www.gsa.gov/blog/2016/06/17/Celebrating-67-Years-of-American-Service\" target=\"_blank\" rel=\"noopener noreferrer\">General Services Administration\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13882943']“She got on the Indian bandwagon, but did not come to Alcatraz empty-handed like a lot of big shots,” a Blackfoot activist named \u003ca href=\"https://books.google.com/books?id=vHHbsjThmKAC&pg=PA258&lpg=PA258&dq=jane+fonda+donated+generators+to+alcatraz&source=bl&ots=_LWUGlGHM8&sig=ACfU3U1cVED2zNFNKWvXfFauMLAX_i_kcA&hl=en&sa=X&ved=2ahUKEwjzwfrkpdnlAhXJGDQIHbuuBA8Q6AEwDnoECAoQAQ#v=onepage&q=jane%20fonda%20donated%20generators%20to%20alcatraz&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">Morris later noted\u003c/a> of Fonda. “She was an answer to the Alcatraz Indian prayers, giving us some light and refrigeration.”\u003c/p>\n\u003cp>Fonda subsequently visited Sacramento’s State Assembly to support a resolution to turn Alcatraz into a Native American cultural center. The measure passed but was later defeated in the Senate.\u003c/p>\n\u003cp>Because of this kind of celebrity involvement, prominent talk shows got on board too. Dick Cavett talked about the occupation, and Grace Thorpe, the negotiator and PR person for the Alcatraz protesters was a guest on the \u003cem>Merv Griffin Show\u003c/em>. Griffin also filmed a short segment on the island.\u003c/p>\n\u003cp>While most of the occupation’s famous supporters made perfect sense—a visit from comedian and civil rights activist Dick Gregory shocked no-one, Gregory having previously gone to jail for supporting \u003ca href=\"https://newsmaven.io/indiancountrytoday/archive/dick-gregory-friend-of-indian-country-walks-on-cBcL_NPYfkWwoLtcs7wMOg/\" target=\"_blank\" rel=\"noopener noreferrer\">“fish-in” protests\u003c/a> by Pacific-Northwest tribes—others were more surprising.\u003c/p>\n\u003cfigure id=\"attachment_13869598\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13869598\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/MPW-92135.jpg\" alt=\"'Flap' starred Anthony Quinn and referenced the Alcatraz occupation in its promotional materials.\" width=\"300\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/MPW-92135.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/MPW-92135-160x314.jpg 160w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">‘Flap’ starred Anthony Quinn and referenced the Alcatraz occupation in its promotional materials.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.imdb.com/name/nm0000063/?ref_=nv_sr_1?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener noreferrer\">Anthony Quinn \u003c/a>took a break from filming \u003cem>Flap \u003c/em>near Stockton, to make a high profile visit to the island. As an actor of Mexican-Irish descent who played Indigenous people throughout his movie career, Quinn’s position was, by 2019 standards, a problematic one. \u003cem>Flap\u003c/em> itself was based on a book titled \u003cem>Nobody Loves a Drunken Indian, \u003c/em>written by \u003ca href=\"https://www.fantasticfiction.com/h/clair-huffaker/\" target=\"_blank\" rel=\"noopener noreferrer\">Clair Huffaker\u003c/a>, a white man who traditionally wrote about the Old West.\u003c/p>\n\u003cp>But the movie took major steps to sympathize with the plight of marginalized Native people and set Quinn’s Flapping Eagle character up as a hero facing impossible odds. Promotion for the movie capitalized on the Alcatraz occupation, with posters that read: “A warning to the Mayor: \u003cem>Flap\u003c/em> is here! The Indians have already claimed Alcatraz. City Hall may be next. You have been warned.”\u003c/p>\n\u003cp>After his Alcatraz visit, Quinn, who financially contributed to Native American causes, \u003ca href=\"https://books.google.com/books?id=ovASzp51gmcC&pg=PA96&lpg=PA96&dq=Hippies,+Indians+and+the+Fight+For+Red+Power+anthony+quinn&source=bl&ots=3p9I_pi8uS&sig=ACfU3U065XJCFs0ntmTWH5gjCqcyHkN8tA&hl=en&sa=X&ved=2ahUKEwiDx8GhyOXlAhWVvJ4KHYuyD8gQ6AEwCXoECAkQAQ#v=onepage&q=Hippies%2C%20Indians%20and%20the%20Fight%20For%20Red%20Power%20anthony%20quinn&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">told a press conference\u003c/a> he was \u003ca href=\"https://cdnc.ucr.edu/?a=d&d=DS19691215.2.39&e=-------en--20--1--txt-txIN--------1\" target=\"_blank\" rel=\"noopener noreferrer\">impressed\u003c/a> by the occupiers’ aims. “Alcatraz is a small price,” he said, “for all the sins we committed and indignities we forced on the Indians.”\u003c/p>\n\u003cp>Back on the mainland, the counterculture was rallying too. On December 12, 1969, a benefit for the occupiers took place at Stanford’s Memorial Chapel, headlined by \u003ca href=\"https://en.wikipedia.org/wiki/Buffy_Sainte-Marie\" target=\"_blank\" rel=\"noopener noreferrer\">Buffy Sainte-Marie\u003c/a>. (The singer went on to be the first Indigenous person to win an Academy Award, for writing 1982’s “\u003ca href=\"https://www.youtube.com/watch?v=rLCk066o9sU\" target=\"_blank\" rel=\"noopener noreferrer\">Up Where We Belong\u003c/a>.”)\u003c/p>\n\u003cp>In addition, Berkeley’s Malvina Reynolds (most famous for writing the hit “\u003ca href=\"https://www.youtube.com/watch?v=XUwUp-D_VV0\" target=\"_blank\" rel=\"noopener noreferrer\">Little Boxes\u003c/a>“) donated $1,000 in royalties from her song “Alcatraz (Pelican Island)” towards the San Francisco American Indian Center, which had \u003ca href=\"https://news.sfsu.edu/news-story/professor-lead-re-establishment-american-indian-cultural-center\" target=\"_blank\" rel=\"noopener noreferrer\">burned down\u003c/a> shortly before the occupation began. “Alcatraz isn’t good enough for them,” Reynolds noted at the time, “but it certainly is a first step.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1FPjQbXvazY\u003c/p>\n\u003cp>As noted in \u003cem>Hippies, Indians and the Fight For Red Power, \u003c/em>much of the progress made for Native visibility in the ’70s may not have occurred without the protesters’ time on the island, and the high profile support it prompted. “In terms of capturing national and even international attention,” the book states. “Alcatraz stands out as a critical turning point for Indian reform. It provided the opportunity and the focus for non-Indian supporters to find a place and a purpose to which they could contribute.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For both activists and progressively-minded celebrities, it stands as a rousing and inspiring example to this day.\u003c/p>\n\n","blocks":[],"excerpt":"The Alcatraz occupation marked a major turning point in the public perception of Native American activism—and support from actors like Marlon Brando, Jane Fonda and Anthony Quinn was a factor in that.","status":"publish","parent":0,"modified":1705021808,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":1099},"headData":{"title":"Brando, Fonda and Beyond: How Celebs Rallied Around the Alcatraz Occupation | KQED","description":"The Alcatraz occupation marked a major turning point in the public perception of Native American activism—and support from actors like Marlon Brando, Jane Fonda and Anthony Quinn was a factor in that.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13869074/brando-fonda-and-beyond-how-celebs-rallied-around-the-alcatraz-occupation","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was a moment that would become seared into American cultural history. Sacheen Littlefeather, an Apache and the President of the National Native American Affirmative Image Committee, stepped onto the 1973 Academy Awards stage, and very politely refused to take Marlon Brando’s Best Actor Oscar for \u003cem>The Godfather\u003c/em>, from a bemused-looking Roger Moore.\u003c/p>\n\u003cp>When Littlefeather calmly explained that Brando was unable to “accept this very generous award” because of “the treatment of American Indians today by the film industry and on television in movie re-runs,” boos immediately erupted in some corners of the room. Littlefeather stayed calm, offering a simple “Excuse me,” before audience cheers drowned out the objections.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/2QUacU0I4yU'\n title='//www.youtube.com/embed/2QUacU0I4yU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It had been two years since the “\u003ca href=\"https://www.history.com/news/native-american-activists-occupy-alcatraz-island-45-years-ago\" target=\"_blank\" rel=\"noopener noreferrer\">Indians of All Tribes\u003c/a>” had ceased their 19-month occupation of Alcatraz, but Brando had visited the island during that period and become so deeply concerned about the Native American cause, he remained outspoken on their behalf for the rest of his life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13889944","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“I don’t think that people generally realize what the motion picture industry has done to the American Indian,” \u003ca href=\"https://www.youtube.com/watch?v=LAPDQ5MlLxE\" target=\"_blank\" rel=\"noopener noreferrer\">Brando told Dick Cavett\u003c/a> in 1973. “How deeply these people are injured… Children… seeing Indians represented as savage, vicious, ugly, nasty, treacherous, drunken. They grow up with only a negative image of themselves and it lasts a lifetime.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Brando’s engagement was a perfect example of how support for Indigenous rights underwent a momentous and visible shift during one of the most socially turbulent times in recent American history. “For centuries, most Americans and their government believed Indians were an obstacle to national progress or, by the mid-twentieth century, anachronisms which had no place in the modern world,” writes Sherry L. Smith in \u003ca href=\"https://www.amazon.com/Hippies-Indians-Fight-Red-Power/dp/0199855595\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hippies, Indians and the Fight For Red Power\u003c/em>\u003c/a>. “Extinguishing all remnants of native life characterized federal policy by the 1950s. By the 1960s, they found support outside their communities.”\u003c/p>\n\u003cp>A major factor in garnering that support was the Alcatraz occupation and the celebrities who went out of their way to draw attention to it and offer financial support. Creedence Clearwater Revival, for example, donated $10,000 that, among other things, enabled activists to buy a boat (reportedly dubbed “\u003ca href=\"https://www.history.com/news/native-american-activists-occupy-alcatraz-island-45-years-ago\" target=\"_blank\" rel=\"noopener noreferrer\">The Clearwater\u003c/a>“) to get supplies to and from the island.\u003c/p>\n\u003cp>Jane Fonda also \u003ca href=\"https://books.google.com/books?id=vHHbsjThmKAC&pg=PA258&lpg=PA258&dq=jane+fonda+donated+generators+to+alcatraz&source=bl&ots=_LWUGlGHM8&sig=ACfU3U1cVED2zNFNKWvXfFauMLAX_i_kcA&hl=en&sa=X&ved=2ahUKEwjzwfrkpdnlAhXJGDQIHbuuBA8Q6AEwDnoECAoQAQ#v=onepage&q=jane%20fonda%20donated%20generators%20to%20alcatraz&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">spent a night on Alcatraz\u003c/a>, reportedly bringing her own sleeping bag, smoking weed with the occupiers, and donating a rototiller for gardening, as well as six generators—much needed at the time, after Alcatraz’s power was cut by the \u003ca href=\"https://www.gsa.gov/blog/2016/06/17/Celebrating-67-Years-of-American-Service\" target=\"_blank\" rel=\"noopener noreferrer\">General Services Administration\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13882943","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“She got on the Indian bandwagon, but did not come to Alcatraz empty-handed like a lot of big shots,” a Blackfoot activist named \u003ca href=\"https://books.google.com/books?id=vHHbsjThmKAC&pg=PA258&lpg=PA258&dq=jane+fonda+donated+generators+to+alcatraz&source=bl&ots=_LWUGlGHM8&sig=ACfU3U1cVED2zNFNKWvXfFauMLAX_i_kcA&hl=en&sa=X&ved=2ahUKEwjzwfrkpdnlAhXJGDQIHbuuBA8Q6AEwDnoECAoQAQ#v=onepage&q=jane%20fonda%20donated%20generators%20to%20alcatraz&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">Morris later noted\u003c/a> of Fonda. “She was an answer to the Alcatraz Indian prayers, giving us some light and refrigeration.”\u003c/p>\n\u003cp>Fonda subsequently visited Sacramento’s State Assembly to support a resolution to turn Alcatraz into a Native American cultural center. The measure passed but was later defeated in the Senate.\u003c/p>\n\u003cp>Because of this kind of celebrity involvement, prominent talk shows got on board too. Dick Cavett talked about the occupation, and Grace Thorpe, the negotiator and PR person for the Alcatraz protesters was a guest on the \u003cem>Merv Griffin Show\u003c/em>. Griffin also filmed a short segment on the island.\u003c/p>\n\u003cp>While most of the occupation’s famous supporters made perfect sense—a visit from comedian and civil rights activist Dick Gregory shocked no-one, Gregory having previously gone to jail for supporting \u003ca href=\"https://newsmaven.io/indiancountrytoday/archive/dick-gregory-friend-of-indian-country-walks-on-cBcL_NPYfkWwoLtcs7wMOg/\" target=\"_blank\" rel=\"noopener noreferrer\">“fish-in” protests\u003c/a> by Pacific-Northwest tribes—others were more surprising.\u003c/p>\n\u003cfigure id=\"attachment_13869598\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13869598\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/MPW-92135.jpg\" alt=\"'Flap' starred Anthony Quinn and referenced the Alcatraz occupation in its promotional materials.\" width=\"300\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/MPW-92135.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/MPW-92135-160x314.jpg 160w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">‘Flap’ starred Anthony Quinn and referenced the Alcatraz occupation in its promotional materials.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.imdb.com/name/nm0000063/?ref_=nv_sr_1?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener noreferrer\">Anthony Quinn \u003c/a>took a break from filming \u003cem>Flap \u003c/em>near Stockton, to make a high profile visit to the island. As an actor of Mexican-Irish descent who played Indigenous people throughout his movie career, Quinn’s position was, by 2019 standards, a problematic one. \u003cem>Flap\u003c/em> itself was based on a book titled \u003cem>Nobody Loves a Drunken Indian, \u003c/em>written by \u003ca href=\"https://www.fantasticfiction.com/h/clair-huffaker/\" target=\"_blank\" rel=\"noopener noreferrer\">Clair Huffaker\u003c/a>, a white man who traditionally wrote about the Old West.\u003c/p>\n\u003cp>But the movie took major steps to sympathize with the plight of marginalized Native people and set Quinn’s Flapping Eagle character up as a hero facing impossible odds. Promotion for the movie capitalized on the Alcatraz occupation, with posters that read: “A warning to the Mayor: \u003cem>Flap\u003c/em> is here! The Indians have already claimed Alcatraz. City Hall may be next. You have been warned.”\u003c/p>\n\u003cp>After his Alcatraz visit, Quinn, who financially contributed to Native American causes, \u003ca href=\"https://books.google.com/books?id=ovASzp51gmcC&pg=PA96&lpg=PA96&dq=Hippies,+Indians+and+the+Fight+For+Red+Power+anthony+quinn&source=bl&ots=3p9I_pi8uS&sig=ACfU3U065XJCFs0ntmTWH5gjCqcyHkN8tA&hl=en&sa=X&ved=2ahUKEwiDx8GhyOXlAhWVvJ4KHYuyD8gQ6AEwCXoECAkQAQ#v=onepage&q=Hippies%2C%20Indians%20and%20the%20Fight%20For%20Red%20Power%20anthony%20quinn&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">told a press conference\u003c/a> he was \u003ca href=\"https://cdnc.ucr.edu/?a=d&d=DS19691215.2.39&e=-------en--20--1--txt-txIN--------1\" target=\"_blank\" rel=\"noopener noreferrer\">impressed\u003c/a> by the occupiers’ aims. “Alcatraz is a small price,” he said, “for all the sins we committed and indignities we forced on the Indians.”\u003c/p>\n\u003cp>Back on the mainland, the counterculture was rallying too. On December 12, 1969, a benefit for the occupiers took place at Stanford’s Memorial Chapel, headlined by \u003ca href=\"https://en.wikipedia.org/wiki/Buffy_Sainte-Marie\" target=\"_blank\" rel=\"noopener noreferrer\">Buffy Sainte-Marie\u003c/a>. (The singer went on to be the first Indigenous person to win an Academy Award, for writing 1982’s “\u003ca href=\"https://www.youtube.com/watch?v=rLCk066o9sU\" target=\"_blank\" rel=\"noopener noreferrer\">Up Where We Belong\u003c/a>.”)\u003c/p>\n\u003cp>In addition, Berkeley’s Malvina Reynolds (most famous for writing the hit “\u003ca href=\"https://www.youtube.com/watch?v=XUwUp-D_VV0\" target=\"_blank\" rel=\"noopener noreferrer\">Little Boxes\u003c/a>“) donated $1,000 in royalties from her song “Alcatraz (Pelican Island)” towards the San Francisco American Indian Center, which had \u003ca href=\"https://news.sfsu.edu/news-story/professor-lead-re-establishment-american-indian-cultural-center\" target=\"_blank\" rel=\"noopener noreferrer\">burned down\u003c/a> shortly before the occupation began. “Alcatraz isn’t good enough for them,” Reynolds noted at the time, “but it certainly is a first step.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1FPjQbXvazY'\n title='//www.youtube.com/embed/1FPjQbXvazY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As noted in \u003cem>Hippies, Indians and the Fight For Red Power, \u003c/em>much of the progress made for Native visibility in the ’70s may not have occurred without the protesters’ time on the island, and the high profile support it prompted. “In terms of capturing national and even international attention,” the book states. “Alcatraz stands out as a critical turning point for Indian reform. It provided the opportunity and the focus for non-Indian supporters to find a place and a purpose to which they could contribute.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For both activists and progressively-minded celebrities, it stands as a rousing and inspiring example to this day.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13869074/brando-fonda-and-beyond-how-celebs-rallied-around-the-alcatraz-occupation","authors":["11242"],"categories":["arts_7862","arts_74","arts_235","arts_75"],"tags":["arts_3701","arts_1118","arts_2388","arts_9200","arts_3178","arts_3698"],"featImg":"arts_13870035","label":"arts"},"arts_13867152":{"type":"posts","id":"arts_13867152","meta":{"index":"posts_1591205157","site":"arts","id":"13867152","score":null,"sort":[1569449123000]},"guestAuthors":[],"slug":"in-golden-age-hollywood-film-stars-slid-into-each-others-telegrams","title":"In Golden Age Hollywood, Film Stars Slid Into Each Others' Telegrams","publishDate":1569449123,"format":"standard","headTitle":"In Golden Age Hollywood, Film Stars Slid Into Each Others’ Telegrams | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>Ingrid Bergman was a so-so typist. Katharine Hepburn’s signature was indecipherable. Marlene Dietrich signed her letter to Ernest Hemingway as “Your Kraut.”\u003c/p>\n\u003cp>A collection of letters, memos, telegrams and other written communiques from the golden age of Hollywood are collected in a new book. \u003cem>Letters from Hollywood\u003c/em>, edited and compiled by Barbara Hall and Rocky Lang, is a delicious peek into very famous people’s private lives.\u003c/p>\n\u003cp>Take Audrey Hepburn. On screen, she was perfection: the bangs, the long cigarette-holder in \u003cem>Breakfast at Tiffany’s\u003c/em>, the lavish hat at Ascot in \u003cem>My Fair Lady\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13867154\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867154\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-800x1037.jpg\" alt=\"In a letter to the director of 'My Fair Lady,' Audrey Hepburn asks for costume designer Cecil Beaton to send her the designs for her footwear—such that her bootmaker could replicate them. A replication of the note appears in 'Letters from Hollywood.'\" width=\"800\" height=\"1037\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-800x1037.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-768x995.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-1020x1322.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-926x1200.jpg 926w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa.jpg 1353w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In a letter to the director of ‘My Fair Lady,’ Audrey Hepburn asks for costume designer Cecil Beaton to send her the designs for her footwear—such that her bootmaker could replicate them. A replication of the note appears in ‘Letters from Hollywood.’ \u003ccite>(Courtesy of Sean Hepburn Ferrer & Luca Dotti/Abrams Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1963, after seeing \u003cem>the My Fair Lady\u003c/em> script for the first time, she wrote the director (in perfect schoolgirl penmanship) of her delight.\u003c/p>\n\u003cblockquote>\u003cp>It’s MARVELLOUS, I am beyond myself with happiness and excitement! It is all so good and so solid, warm funny and enchanting. I just pray every day to be as good as the role, or is that too much to ask for? All the wonder of the musical and the play are there, it’s just smashing!\u003c/p>\u003c/blockquote>\n\u003cp>But perfect Audrey, it seems, had bad feet. Hepburn asks for the designer’s sketches of her shoes so that her private bootmaker in Paris can cobble them for the movie.\u003c/p>\n\u003cblockquote>\u003cp>One is an awful lot on ones feet when working—and since my days in the ballet I have had “trouble with me feet” unless properly “shoed.” … It does make all the difference.\u003c/p>\u003c/blockquote>\n\u003cp>“I think it’s the kind of thing that it’s great to learn about an actress,” co-author and film historian Barbara Hall says. “We think of them—sort of put them on a pedestal, but really, she was a regular person, and obviously a very charming one.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In other words, she was a great star who knew what she needed to do her best work.\u003c/p>\n\u003cp>Bette Davis was also like that. A winner of two Oscars, she’s \u003ca href=\"https://www.youtube.com/watch?v=LPPJdOGshUM\">famous for the immortal line\u003c/a> from \u003cem>All About Eve\u003c/em>: “Fasten your seatbelts. It’s going to be a bumpy night.”\u003c/p>\n\u003cp>Years before \u003cem>Eve\u003c/em>, Bette Davis was exhausted, overworked. Hollywood studios controlled their actors in those days, and there was little rest for Warner Brothers’ biggest star.\u003c/p>\n\u003cp>“They just kept putting her in more and more films,” Hall says. “And she felt like she needed more time between projects.”\u003c/p>\n\u003cp>Davis wanted to make fewer pictures every year—more time off between movies. So she wrote (again, by hand) to studio head Jack Warner, protesting her contract. She ended her very firm letter:\u003c/p>\n\u003cblockquote>\u003cp>Would appreciate your not communicating with me—it upsets me very much. I must be allowed to completely forget business. … Also arguing with me is no use—nor do I want to come back until it is settled—\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_13867163\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13867163\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/9781419738098_vert-7bbdaba24c3e706b9c2cd6742b89d419a9554094-s600-c85.jpg\" alt=\"‘Letters from Hollywood’ by Rocky Lang, Barbara Hall and Peter Bogdanovich.\" width=\"400\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/9781419738098_vert-7bbdaba24c3e706b9c2cd6742b89d419a9554094-s600-c85.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/9781419738098_vert-7bbdaba24c3e706b9c2cd6742b89d419a9554094-s600-c85-160x219.jpg 160w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘Letters from Hollywood’ by Rocky Lang, Barbara Hall and Peter Bogdanovich. \u003ccite>(Harry N. Abrams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another letter-writer in this collection is Hattie McDaniel, the first African American to win an Oscar (for best supporting actress) as Mammy in 1939’s \u003cem>Gone with the Wind\u003c/em>.\u003c/p>\n\u003cp>McDaniel was a busy actor in the 1930s and ’40s—always playing a maid or servant. In 1947, she thanked gossip columnist Hedda Hopper for printing kind words about her. But others criticized her for taking so many servant roles. McDaniel wrote:\u003c/p>\n\u003cblockquote>\u003cp>Truly, a maid or butler in real life is making an honest dollar, just as we are on the screen. I only hope that producers will give us Negro actors and actresses more roles, even if there will be those who call us Uncle Toms.\u003c/p>\u003c/blockquote>\n\u003cp>The NAACP and other civil rights organizations had started pressuring studios to get rid of stereotypical roles like McDaniel was playing—the only parts African Americans could get then. The protests had a bitter result for the Oscar-winner: Hattie McDaniel found that she was getting fewer and fewer roles in the immediate postwar years, because they weren’t being written.\u003c/p>\n\u003cp>Among the 137 items in this book is a telegram to director William Wyler, sent in 1937 by an extremely precocious star-to-be.\u003c/p>\n\u003cblockquote>\u003cp>I ADMIRE YOUR PICTURES AND WOULD LIKE TO WORK FOR YOU I AM EIGHTEEN MINUTES OLD BLONDE HAIR BLUE EYES WEIGHT EIGHT POUNDS, AND I HAVE BEEN CALLED BEAUTIFUL MY FATHER WAS AN ACTOR=\u003cbr>\nJAYNE SEYMOUR FONDA.\u003c/p>\u003c/blockquote>\n\u003cp>The real author of the telegram was Henry Fonda—Jane Fonda’s father. So in his reply to the new baby, Wyler wrote that he wanted to make a screen test of her as soon as possible. But he also took a playful shot at her dad: “WE FEEL IT OUR DUTY TO CORRECT ANY ILLUSION YOU MAY HAVE BEEN UNDER IN THE PAST … YOUR FATHER NEVER WAS AN ACTOR.”\u003c/p>\n\u003cp>\u003cem>Letters from Hollywood \u003c/em>is subtitled \u003cem>Inside the Private World of Classic American Moviemaking\u003c/em>. These are very personal letters from stars, directors, heads of studios. So is it an invasion of privacy to publish them?\u003c/p>\n\u003cp>“I don’t think so,” says Peter Bogdanovich, the director, writer, actor, film historian and author of the book’s foreword. “It’s history.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Nina Gregory edited this story for broadcast.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+Golden+Age+Hollywood%2C+Film+Stars+Slid+Into+Each+Others%27+Telegrams&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"The new book 'Letters from Hollywood' offers a peek inside the inner workings of the film industry through 137 communiques from luminaries like Audrey Hepburn, Bette Davis and a very young Jane Fonda.","status":"publish","parent":0,"modified":1705022088,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":26,"wordCount":976},"headData":{"title":"In Golden Age Hollywood, Film Stars Slid Into Each Others' Telegrams | KQED","description":"The new book 'Letters from Hollywood' offers a peek inside the inner workings of the film industry through 137 communiques from luminaries like Audrey Hepburn, Bette Davis and a very young Jane Fonda.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprByline":"Susan Stamberg","nprImageAgency":"AP","nprStoryId":"763542386","nprApiLink":"http://api.npr.org/query?id=763542386&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2019/09/25/763542386/in-golden-age-hollywood-film-stars-slid-into-each-others-telegrams?ft=nprml&f=763542386","nprRetrievedStory":"1","nprPubDate":"Wed, 25 Sep 2019 11:49:00 -0400","nprStoryDate":"Wed, 25 Sep 2019 05:03:19 -0400","nprLastModifiedDate":"Wed, 25 Sep 2019 05:03:19 -0400","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/me/2019/09/20190925_me_in_golden_age_hollywood_film_stars_slid_into_each_others_telegrams.mp3?orgId=1&topicId=1161&d=343&p=3&story=763542386&ft=nprml&f=763542386","nprAudioM3u":"http://api.npr.org/m3u/1764116773-799398.m3u?orgId=1&topicId=1161&d=343&p=3&story=763542386&ft=nprml&f=763542386","audioTrackLength":343,"templateType":"standard","featuredImageType":"standard","path":"/arts/13867152/in-golden-age-hollywood-film-stars-slid-into-each-others-telegrams","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/me/2019/09/20190925_me_in_golden_age_hollywood_film_stars_slid_into_each_others_telegrams.mp3?orgId=1&topicId=1161&d=343&p=3&story=763542386&ft=nprml&f=763542386","parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ingrid Bergman was a so-so typist. Katharine Hepburn’s signature was indecipherable. Marlene Dietrich signed her letter to Ernest Hemingway as “Your Kraut.”\u003c/p>\n\u003cp>A collection of letters, memos, telegrams and other written communiques from the golden age of Hollywood are collected in a new book. \u003cem>Letters from Hollywood\u003c/em>, edited and compiled by Barbara Hall and Rocky Lang, is a delicious peek into very famous people’s private lives.\u003c/p>\n\u003cp>Take Audrey Hepburn. On screen, she was perfection: the bangs, the long cigarette-holder in \u003cem>Breakfast at Tiffany’s\u003c/em>, the lavish hat at Ascot in \u003cem>My Fair Lady\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13867154\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867154\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-800x1037.jpg\" alt=\"In a letter to the director of 'My Fair Lady,' Audrey Hepburn asks for costume designer Cecil Beaton to send her the designs for her footwear—such that her bootmaker could replicate them. A replication of the note appears in 'Letters from Hollywood.'\" width=\"800\" height=\"1037\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-800x1037.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-768x995.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-1020x1322.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-926x1200.jpg 926w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa.jpg 1353w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In a letter to the director of ‘My Fair Lady,’ Audrey Hepburn asks for costume designer Cecil Beaton to send her the designs for her footwear—such that her bootmaker could replicate them. A replication of the note appears in ‘Letters from Hollywood.’ \u003ccite>(Courtesy of Sean Hepburn Ferrer & Luca Dotti/Abrams Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1963, after seeing \u003cem>the My Fair Lady\u003c/em> script for the first time, she wrote the director (in perfect schoolgirl penmanship) of her delight.\u003c/p>\n\u003cblockquote>\u003cp>It’s MARVELLOUS, I am beyond myself with happiness and excitement! It is all so good and so solid, warm funny and enchanting. I just pray every day to be as good as the role, or is that too much to ask for? All the wonder of the musical and the play are there, it’s just smashing!\u003c/p>\u003c/blockquote>\n\u003cp>But perfect Audrey, it seems, had bad feet. Hepburn asks for the designer’s sketches of her shoes so that her private bootmaker in Paris can cobble them for the movie.\u003c/p>\n\u003cblockquote>\u003cp>One is an awful lot on ones feet when working—and since my days in the ballet I have had “trouble with me feet” unless properly “shoed.” … It does make all the difference.\u003c/p>\u003c/blockquote>\n\u003cp>“I think it’s the kind of thing that it’s great to learn about an actress,” co-author and film historian Barbara Hall says. “We think of them—sort of put them on a pedestal, but really, she was a regular person, and obviously a very charming one.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In other words, she was a great star who knew what she needed to do her best work.\u003c/p>\n\u003cp>Bette Davis was also like that. A winner of two Oscars, she’s \u003ca href=\"https://www.youtube.com/watch?v=LPPJdOGshUM\">famous for the immortal line\u003c/a> from \u003cem>All About Eve\u003c/em>: “Fasten your seatbelts. It’s going to be a bumpy night.”\u003c/p>\n\u003cp>Years before \u003cem>Eve\u003c/em>, Bette Davis was exhausted, overworked. Hollywood studios controlled their actors in those days, and there was little rest for Warner Brothers’ biggest star.\u003c/p>\n\u003cp>“They just kept putting her in more and more films,” Hall says. “And she felt like she needed more time between projects.”\u003c/p>\n\u003cp>Davis wanted to make fewer pictures every year—more time off between movies. So she wrote (again, by hand) to studio head Jack Warner, protesting her contract. She ended her very firm letter:\u003c/p>\n\u003cblockquote>\u003cp>Would appreciate your not communicating with me—it upsets me very much. I must be allowed to completely forget business. … Also arguing with me is no use—nor do I want to come back until it is settled—\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_13867163\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13867163\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/9781419738098_vert-7bbdaba24c3e706b9c2cd6742b89d419a9554094-s600-c85.jpg\" alt=\"‘Letters from Hollywood’ by Rocky Lang, Barbara Hall and Peter Bogdanovich.\" width=\"400\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/9781419738098_vert-7bbdaba24c3e706b9c2cd6742b89d419a9554094-s600-c85.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/9781419738098_vert-7bbdaba24c3e706b9c2cd6742b89d419a9554094-s600-c85-160x219.jpg 160w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘Letters from Hollywood’ by Rocky Lang, Barbara Hall and Peter Bogdanovich. \u003ccite>(Harry N. Abrams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another letter-writer in this collection is Hattie McDaniel, the first African American to win an Oscar (for best supporting actress) as Mammy in 1939’s \u003cem>Gone with the Wind\u003c/em>.\u003c/p>\n\u003cp>McDaniel was a busy actor in the 1930s and ’40s—always playing a maid or servant. In 1947, she thanked gossip columnist Hedda Hopper for printing kind words about her. But others criticized her for taking so many servant roles. McDaniel wrote:\u003c/p>\n\u003cblockquote>\u003cp>Truly, a maid or butler in real life is making an honest dollar, just as we are on the screen. I only hope that producers will give us Negro actors and actresses more roles, even if there will be those who call us Uncle Toms.\u003c/p>\u003c/blockquote>\n\u003cp>The NAACP and other civil rights organizations had started pressuring studios to get rid of stereotypical roles like McDaniel was playing—the only parts African Americans could get then. The protests had a bitter result for the Oscar-winner: Hattie McDaniel found that she was getting fewer and fewer roles in the immediate postwar years, because they weren’t being written.\u003c/p>\n\u003cp>Among the 137 items in this book is a telegram to director William Wyler, sent in 1937 by an extremely precocious star-to-be.\u003c/p>\n\u003cblockquote>\u003cp>I ADMIRE YOUR PICTURES AND WOULD LIKE TO WORK FOR YOU I AM EIGHTEEN MINUTES OLD BLONDE HAIR BLUE EYES WEIGHT EIGHT POUNDS, AND I HAVE BEEN CALLED BEAUTIFUL MY FATHER WAS AN ACTOR=\u003cbr>\nJAYNE SEYMOUR FONDA.\u003c/p>\u003c/blockquote>\n\u003cp>The real author of the telegram was Henry Fonda—Jane Fonda’s father. So in his reply to the new baby, Wyler wrote that he wanted to make a screen test of her as soon as possible. But he also took a playful shot at her dad: “WE FEEL IT OUR DUTY TO CORRECT ANY ILLUSION YOU MAY HAVE BEEN UNDER IN THE PAST … YOUR FATHER NEVER WAS AN ACTOR.”\u003c/p>\n\u003cp>\u003cem>Letters from Hollywood \u003c/em>is subtitled \u003cem>Inside the Private World of Classic American Moviemaking\u003c/em>. These are very personal letters from stars, directors, heads of studios. So is it an invasion of privacy to publish them?\u003c/p>\n\u003cp>“I don’t think so,” says Peter Bogdanovich, the director, writer, actor, film historian and author of the book’s foreword. “It’s history.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Nina Gregory edited this story for broadcast.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+Golden+Age+Hollywood%2C+Film+Stars+Slid+Into+Each+Others%27+Telegrams&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13867152/in-golden-age-hollywood-film-stars-slid-into-each-others-telegrams","authors":["byline_arts_13867152"],"categories":["arts_73","arts_7862","arts_74","arts_75"],"tags":["arts_928","arts_2388"],"affiliates":["arts_137"],"featImg":"arts_13867161","label":"arts_137"},"arts_13861201":{"type":"posts","id":"arts_13861201","meta":{"index":"posts_1591205157","site":"arts","id":"13861201","score":null,"sort":[1562968231000]},"guestAuthors":[],"slug":"a-cup-of-ambition-and-endurance-9-to-5-unites-workers-across-decades","title":"A Cup Of Ambition And Endurance: '9 To 5' Unites Workers Across Decades","publishDate":1562968231,"format":"standard","headTitle":"A Cup Of Ambition And Endurance: ‘9 To 5’ Unites Workers Across Decades | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>\u003cem>This story is part of American Anthem, a yearlong series on songs that rouse, unite, celebrate and call to action. Find more at\u003c/em> \u003ca href=\"https://www.npr.org/series/622671774/american-anthem\">NPR.org/Anthem\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>This year at the Grammy Awards, backed by a chorus of contemporary Nashville stars, \u003ca href=\"https://www.npr.org/artists/15750509/dolly-parton\">Dolly Parton\u003c/a> brought the house down with a song older than most of the performers onstage. It’s the same song Elizabeth Warren walked out to when she announced her presidential run in February. The story of that song begins decades ago, behind a desk.\u003c/p>\n\u003cp>“It was the kind of job where you were just not seen.” Karen Nussbaum has spent most of her career as a labor leader and organizer, but she started in the early 1970s as an office worker, in a job she says she does not remember fondly. “You were just part of the wallpaper,” she says. “I remember sitting at my desk one day and a student came in — I worked at a university — and looked me dead in the eye and said, ‘Isn’t anybody here?’ It was those kinds of things that just got under your skin a lot.”\u003c/p>\n\u003cp>Nussbaum and some friends got together to talk about their frustrations. The result was a new organization with the mission of supporting women in the workplace, which they called \u003ca href=\"https://9to5.org/\">9to5\u003c/a>. When their story made its way to Jane Fonda, whom Nussbaum knew through the antiwar movement, it helped inspire something else: A movie starring Fonda, Lily Tomlin and Dolly Parton as three fed-up working women, with Dabney Coleman as their insufferable boss.\u003c/p>\n\u003cp>\u003cem>9 to 5\u003c/em> was a revenge fantasy for women who felt overworked, underpaid and disrespected. The film hit No. 2 at the box office in 1980, beaten only by \u003cem>The Empire Strikes Back\u003c/em>. But its \u003ca href=\"https://www.youtube.com/watch?v=UbxUSsFXYo4\">original theme song\u003c/a>, written and performed by Parton, had a life of its own, reaching No. 1 on three different Billboard charts and earning an Oscar nomination. It begins with a sound like a typewriter, which Parton happened on by clicking her fingernails.\u003c/p>\n\u003cp>https://youtu.be/UbxUSsFXYo4\u003c/p>\n\u003cp>“I think the song is brilliant,” Nussbaum says. “It starts with pride: ‘Pour myself a cup of ambition.’ It goes to grievances: ‘Barely getting by.’ It then goes to class conflict: ‘You’re just a step on the bossman’s ladder.’ And then it ends with collective power: ‘In the same boat with a lot of your friends.’ So in the space of this wildly popular song with a great beat, Dolly Parton just puts it all together by herself.”\u003c/p>\n\u003cp>Rebecca Traister, a \u003cem>New York\u003c/em> magazine writer who comments frequently on feminism and politics (her most recent book, \u003cem>Good and Mad\u003c/em>, is about the power of women’s anger), says the song had a similar effect on her when she worked as an administrative assistant. Though the song was more than 20 years old by then, she and her friends would still sing along to it on the local bar’s jukebox when work left them stressed out and feeling stuck.\u003c/p>\n\u003cp>“It’s a song that contains complaints about so many frustrations and inequities and injustices within a workplace — some of them gendered, some of them capitalist, some of them about how power is so unequally distributed,” Traister says. “It is simultaneously a song of angry complaint and immense good cheer. And there is something about that combination that makes it kind of addictive and fun.”\u003c/p>\n\u003cp>A different take on the song emerged last spring, when \u003cem>This American Life\u003c/em> commissioned Merrill Garbus of \u003ca href=\"https://www.npr.org/tags/578943585/tune-yards\">Tune-Yards\u003c/a> to record \u003ca href=\"https://www.thisamericanlife.org/extras/9-to-5-by-merrill-garbus-of-tune-yards\">a cover of “9 to 5”\u003c/a> for an episode dealing with workplace harassment. Garbus, who was a secretary, cleaned houses and stocked grocery shelves on her way to a music career, says Parton’s lyrics capture so much about the reality of workers’ daily lives — and their dreams.\u003c/p>\n\u003cp>https://youtu.be/AqUKOV27tAM\u003c/p>\n\u003cp>“How much dreaming it takes to get through some of those days, some of those miserable days that feel dehumanizing, cleaning up other peoples’ messes and generally being treated like trash, how much dreaming is needed in those times to get up the next morning and do it all again,” she says.\u003c/p>\n\u003cp>Garbus’ version of the song ends abruptly on the line “It’s a rich man’s game, no matter what they call it,” leaving things on a far more pointed note than the original. “I felt like I didn’t want to be cute with it,” she explains. “I wanted it to end with a period, exclamation point, question mark.”\u003c/p>\n\u003cp>Whether one is ending it with a question mark, belting it out in a bar, organizing labor or running for president “9 to 5” is a song that pretty much anyone who’s ever had to work for a living can relate to — especially women.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Dolly Parton's classic singalong aims a catchy beat at a serious point, listing the ways the daily grind exploits and exhausts people — some more than others.","status":"publish","parent":0,"modified":1705022544,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":858},"headData":{"title":"A Cup Of Ambition And Endurance: '9 To 5' Unites Workers Across Decades | KQED","description":"Dolly Parton's classic singalong aims a catchy beat at a serious point, listing the ways the daily grind exploits and exhausts people — some more than others.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprByline":"Lynn Neary","nprStoryId":"738587297","nprApiLink":"http://api.npr.org/query?id=738587297&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2019/07/11/738587297/a-cup-of-ambition-and-endurance-9-to-5-unites-workers-across-decades?ft=nprml&f=738587297","nprRetrievedStory":"1","nprPubDate":"Thu, 11 Jul 2019 13:43:00 -0400","nprStoryDate":"Thu, 11 Jul 2019 05:22:00 -0400","nprLastModifiedDate":"Thu, 11 Jul 2019 13:43:22 -0400","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/me/2019/07/20190711_me_a_cup_of_ambition_and_endurance_9_to_5_unites_workers_across_decades.mp3?orgId=1&topicId=613820055&aggIds=622671774&d=418&p=3&story=738587297&ft=nprml&f=738587297","nprAudioM3u":"http://api.npr.org/m3u/1740608364-539f26.m3u?orgId=1&topicId=613820055&aggIds=622671774&d=418&p=3&story=738587297&ft=nprml&f=738587297","audioTrackLength":428,"path":"/arts/13861201/a-cup-of-ambition-and-endurance-9-to-5-unites-workers-across-decades","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/me/2019/07/20190711_me_a_cup_of_ambition_and_endurance_9_to_5_unites_workers_across_decades.mp3?orgId=1&topicId=613820055&aggIds=622671774&d=418&p=3&story=738587297&ft=nprml&f=738587297","parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story is part of American Anthem, a yearlong series on songs that rouse, unite, celebrate and call to action. Find more at\u003c/em> \u003ca href=\"https://www.npr.org/series/622671774/american-anthem\">NPR.org/Anthem\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>This year at the Grammy Awards, backed by a chorus of contemporary Nashville stars, \u003ca href=\"https://www.npr.org/artists/15750509/dolly-parton\">Dolly Parton\u003c/a> brought the house down with a song older than most of the performers onstage. It’s the same song Elizabeth Warren walked out to when she announced her presidential run in February. The story of that song begins decades ago, behind a desk.\u003c/p>\n\u003cp>“It was the kind of job where you were just not seen.” Karen Nussbaum has spent most of her career as a labor leader and organizer, but she started in the early 1970s as an office worker, in a job she says she does not remember fondly. “You were just part of the wallpaper,” she says. “I remember sitting at my desk one day and a student came in — I worked at a university — and looked me dead in the eye and said, ‘Isn’t anybody here?’ It was those kinds of things that just got under your skin a lot.”\u003c/p>\n\u003cp>Nussbaum and some friends got together to talk about their frustrations. The result was a new organization with the mission of supporting women in the workplace, which they called \u003ca href=\"https://9to5.org/\">9to5\u003c/a>. When their story made its way to Jane Fonda, whom Nussbaum knew through the antiwar movement, it helped inspire something else: A movie starring Fonda, Lily Tomlin and Dolly Parton as three fed-up working women, with Dabney Coleman as their insufferable boss.\u003c/p>\n\u003cp>\u003cem>9 to 5\u003c/em> was a revenge fantasy for women who felt overworked, underpaid and disrespected. The film hit No. 2 at the box office in 1980, beaten only by \u003cem>The Empire Strikes Back\u003c/em>. But its \u003ca href=\"https://www.youtube.com/watch?v=UbxUSsFXYo4\">original theme song\u003c/a>, written and performed by Parton, had a life of its own, reaching No. 1 on three different Billboard charts and earning an Oscar nomination. It begins with a sound like a typewriter, which Parton happened on by clicking her fingernails.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/UbxUSsFXYo4'\n title='//www.youtube.com/embed/UbxUSsFXYo4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I think the song is brilliant,” Nussbaum says. “It starts with pride: ‘Pour myself a cup of ambition.’ It goes to grievances: ‘Barely getting by.’ It then goes to class conflict: ‘You’re just a step on the bossman’s ladder.’ And then it ends with collective power: ‘In the same boat with a lot of your friends.’ So in the space of this wildly popular song with a great beat, Dolly Parton just puts it all together by herself.”\u003c/p>\n\u003cp>Rebecca Traister, a \u003cem>New York\u003c/em> magazine writer who comments frequently on feminism and politics (her most recent book, \u003cem>Good and Mad\u003c/em>, is about the power of women’s anger), says the song had a similar effect on her when she worked as an administrative assistant. Though the song was more than 20 years old by then, she and her friends would still sing along to it on the local bar’s jukebox when work left them stressed out and feeling stuck.\u003c/p>\n\u003cp>“It’s a song that contains complaints about so many frustrations and inequities and injustices within a workplace — some of them gendered, some of them capitalist, some of them about how power is so unequally distributed,” Traister says. “It is simultaneously a song of angry complaint and immense good cheer. And there is something about that combination that makes it kind of addictive and fun.”\u003c/p>\n\u003cp>A different take on the song emerged last spring, when \u003cem>This American Life\u003c/em> commissioned Merrill Garbus of \u003ca href=\"https://www.npr.org/tags/578943585/tune-yards\">Tune-Yards\u003c/a> to record \u003ca href=\"https://www.thisamericanlife.org/extras/9-to-5-by-merrill-garbus-of-tune-yards\">a cover of “9 to 5”\u003c/a> for an episode dealing with workplace harassment. Garbus, who was a secretary, cleaned houses and stocked grocery shelves on her way to a music career, says Parton’s lyrics capture so much about the reality of workers’ daily lives — and their dreams.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/AqUKOV27tAM'\n title='//www.youtube.com/embed/AqUKOV27tAM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“How much dreaming it takes to get through some of those days, some of those miserable days that feel dehumanizing, cleaning up other peoples’ messes and generally being treated like trash, how much dreaming is needed in those times to get up the next morning and do it all again,” she says.\u003c/p>\n\u003cp>Garbus’ version of the song ends abruptly on the line “It’s a rich man’s game, no matter what they call it,” leaving things on a far more pointed note than the original. “I felt like I didn’t want to be cute with it,” she explains. “I wanted it to end with a period, exclamation point, question mark.”\u003c/p>\n\u003cp>Whether one is ending it with a question mark, belting it out in a bar, organizing labor or running for president “9 to 5” is a song that pretty much anyone who’s ever had to work for a living can relate to — especially women.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13861201/a-cup-of-ambition-and-endurance-9-to-5-unites-workers-across-decades","authors":["byline_arts_13861201"],"categories":["arts_69","arts_235","arts_75"],"tags":["arts_7534","arts_7535","arts_4088","arts_1962","arts_2388","arts_2639","arts_6013","arts_596"],"affiliates":["arts_137"],"featImg":"arts_13861313","label":"arts_137"},"arts_13807771":{"type":"posts","id":"arts_13807771","meta":{"index":"posts_1591205157","site":"arts","id":"13807771","score":null,"sort":[1505335212000]},"guestAuthors":[],"slug":"another-look-at-hanoi-jane-vietnam-and-celebrity-activism","title":"Another Look at 'Hanoi Jane,' Vietnam, and Celebrity Activism","publishDate":1505335212,"format":"image","headTitle":"Another Look at ‘Hanoi Jane,’ Vietnam, and Celebrity Activism | KQED","labelTerm":{"term":2070,"site":"arts"},"content":"\u003cp>\u003ci>“I have spent the last two years working with GIs and Vietnam veterans, and have spoken in front of hundreds of thousands of anti-war protesters, telling them that our men in uniform aren’t the enemy. Now by mistake, I appear in a photograph to be their enemy. I carry this heavy in my heart. I always will.” — \u003cstrong>Jane Fonda\u003c/strong>\u003c/i>\u003c/p>\n\u003cp>Confronting the images of popular culture and deconstructing their myths is what drives \u003ca href=\"http://www.youmustrememberthispodcast.com/\">\u003ci>You Must Remember This\u003c/i>\u003c/a> (YMRT), the acclaimed podcast by film historian Karina Longworth. The show lays bare “the secret and/or forgotten histories of Hollywood’s first century” and, over the course of 100 episodes, Longworth repeatedly revisits stories from the Golden Age of Film that were once considered gospel and turns the narrative on its head — like the tale of “Hanoi Jane” Fonda. \u003c/p>\n\u003cp>As images go, the photograph of actress and activist Jane Fonda sitting astride a North Vietnamese anti-aircraft gun during the Vietnam War is indelible, and it’s one that Longworth examines at length in ‘Jean and Jane,’ a 9-episode season of YMRT. A deep dive into the storied lives of two movie stars, the season follows these women’s fortunes as they intersect and diverge down the decades from the 1950s onward, culminating in Fonda’s reinvention as the \u003ca href=\"https://www.janefonda.com/workout/\" target=\"_blank\" rel=\"noopener\">first queen of home fitness\u003c/a>, and Seberg’s \u003ca href=\"https://en.wikipedia.org/wiki/Jean_Seberg\" target=\"_blank\" rel=\"noopener\">tragic decline and death\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=deKHYCsjseg\u003c/p>\n\u003cp>Throughout the season, Longworth identifies several similarities between these two women. They both start as consistently underestimated blonde ingenues, they both make films with Jean-Luc Godard, and they both have professional and personal ties to France. Yet the fact that both actresses were “hounded” by the FBI as a result of their outspoken activism was, Longworth says, a major motivation for combining their narratives. Both Fonda and Seberg advocated for civil rights and supported the Black Panthers, and both were vilified by the media (at the behest of J. Edgar Hoover’s FBI). But Fonda became a target for right-wing ire after she aligned herself with the anti-Vietnam war movement, and the “Hanoi Jane” image would haunt Fonda even to this day.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/programs/vietnamwar/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/ww2.kqed_.orgTheVietnamWar_web-banners-8e41141478cf5fd9f2d0ea4bb13e8ea52dd8bf00.png\" alt=\"\" width=\"301\" height=\"301\" class=\"alignright size-full wp-image-13808215\">\u003c/a>\u003c/p>\n\u003cp>Beyond that iconic photograph, the details of Jane Fonda’s anti-Vietnam War activism aren’t widely remembered in 2017. Longworth herself says that before entering the exhaustive research phase for ‘Jean and Jane,’ she only “knew what a lot of people think they know — which is, ‘that she did something \u003ci>really bad\u003c/i> in Vietnam that some people have never forgiven her for.’” Those unfamiliar with the extent of Fonda’s involvement in the anti-war movement could be forgiven for assuming that the extent of her involvement was that fateful 1972 trip to Vietnam where she climbed on top of a North Vietnamese gun.\u003c/p>\n\u003cp>But as ‘Jean and Jane’ makes clear, Fonda’s fight against the Vietnam War went far deeper than the popular image. She was no part-time activist, effectively placing her career on hold just after 1969’s Academy Award-winning \u003ci>They Shoot Horses, Don’t They?\u003c/i> to dedicate herself to the cause. Fonda later said that her desire to learn about social causes was sparked after seeing a magazine with a Native American activist on the cover, accompanied by the words “Red Power.” \u003c/p>\n\u003cfigure id=\"attachment_13808309\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi4-800x520.jpg\" alt=\"Jane Fonda, holding a camera, visits 25 July 1972 a Hanoi site bombed by US airplanes. Fonda's trip to North Vietnam was part of her protest campaign against the US involvement in the Vietnam war. US bombers, including B-52 strato-fortresses, started to bomb the North Vietnamese capital and its port Haiphong in April 1972. \" width=\"800\" height=\"520\" class=\"size-medium wp-image-13808309\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi4-800x520.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi4-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi4-768x499.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi4-1020x662.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi4-1180x766.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi4-960x624.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi4-240x156.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi4-375x244.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi4-520x338.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jane Fonda, holding a camera, visits 25 July 1972 a Hanoi site bombed by US airplanes. Fonda’s trip to North Vietnam was part of her protest campaign against the US involvement in the Vietnam war. US bombers, including B-52 strato-fortresses, started to bomb the North Vietnamese capital and its port Haiphong in April 1972. \u003ccite>(AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In recognition of her hitherto-charmed life as the talented, privileged daughter of actor Henry Fonda, Fonda said later that “it took a moment in history where millions of people were changing to show me that there was another way to be.” At that time she was interested in a number of causes, including the civil rights movement, the rise of the Black Panthers, the Native American struggle — the latter of which inspired a 1970 visit to Alcatraz Island during its occupation by Native American protesters. But it wouldn’t be long before Fonda focused all her energy on the growing anti-war movement. \u003c/p>\n\u003cp>Fonda’s evolution into political activist coincided with a period of personal reinvention away the conventionally alluring, sex-kittenish persona she cultivated in movies like \u003cem>Barbarella\u003c/em> and toward an entirely new image. This new-look Fonda had short hair, defiantly unglamorous clothes and minimal makeup — a seismic shift that Longworth calls “symbolic in the culture.” In the anti-war cause and in this new guise, Longworth explains, Fonda “found her identity as an activist” — one that she would ultimately “find impossible to shake.” \u003c/p>\n\u003cp>At first, Fonda worked to remedy her lack of understanding of the war. She went on her own version of a fact-finding tour: speaking with the enlisted men she encountered during her time in the “G.I. coffeehouses” that had sprung up around military bases. \u003c/p>\n\u003cp>“I was just realizing that this war was going on and I didn’t know anything about it. I didn’t even know where Vietnam was,” Fonda recalled later.\u003c/p>\n\u003cfigure id=\"attachment_13808310\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hnaoi3-800x487.jpg\" alt=\"Jane Fonda (R) meets with Vice Prime Minister of the North Vietnam government Nguyen Duy Trinh in Hanoi 21 July 1972.\" width=\"800\" height=\"487\" class=\"size-medium wp-image-13808310\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hnaoi3-800x487.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hnaoi3-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hnaoi3-768x467.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hnaoi3-1020x621.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hnaoi3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hnaoi3-1180x718.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hnaoi3-960x584.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hnaoi3-240x146.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hnaoi3-375x228.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hnaoi3-520x316.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jane Fonda (R) meets with Vice Prime Minister of the North Vietnam government Nguyen Duy Trinh in Hanoi 21 July 1972. \u003ccite>(STF/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>One Photo’s Permanent Damage\u003c/h2>\n\u003cp>In 1972, Fonda traveled to Hanoi to witness the war’s destruction. Her North Vietnamese hosts insisted the actress visit an anti-aircraft installation — a request she agreed to, recounts Longworth in her podcast, out of politeness to those who had treated her well thus far. After a boozy luncheon with some reporters, Fonda’s hosts placed a helmet on her head and suggested she climb into the seat of an anti-aircraft gun, to much laughter.\u003c/p>\n\u003cp>She was “up there less than a minute,” recounts Longworth — but as the surrounding journalists took pictures and film footage, Fonda realized instantaneously the magnitude of what she’d just done. She begged her translator to ensure the photos were destroyed, and was assured they would be. \u003c/p>\n\u003cp>It was, of course, too late. Fonda returned to the United States to screen the footage she filmed of war-torn Vietnam: footage that exposed the Nixon administration’s lies regarding the U.S. bombing in the area, which the president had promised to stop. But its impact was hobbled after the \u003cem>New York Post\u003c/em> ran the gun photo, accompanied by the now-immortal phrase “Hanoi Jane.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eBViVboG0Mk\u003c/p>\n\u003cp>“It wasn’t a \u003ci>smart thing\u003c/i> to be photographed on this gun,” Longworth said during an interview with KQED. “As much as you can say that she had good intentions, and that she actually did important work in terms of proving that some lies that the U.S. government were saying about the war were lies, she walked into a North Vietnamese publicity stunt. It was a mistake. And she said it was a mistake.”\u003c/p>\n\u003cfigure id=\"attachment_13808313\" class=\"wp-caption alignright\" style=\"max-width: 468px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/515305896.jpg\" alt=\"American actress and antiwar activist Jane Fonda looks though the scope of an anti-aircraft gun during her tour of the North Vietnamese capital. She arrived July 8 at the invitation of the Vietnam Committee for Solidarity with the American People.\" width=\"468\" height=\"594\" class=\"size-full wp-image-13808313\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/515305896.jpg 468w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/515305896-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/515305896-240x305.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/515305896-375x476.jpg 375w\" sizes=\"(max-width: 468px) 100vw, 468px\">\u003cfigcaption class=\"wp-caption-text\">American actress and antiwar activist Jane Fonda looks though the scope of an anti-aircraft gun during her tour of the North Vietnamese capital. She arrived July 8 at the invitation of the Vietnam Committee for Solidarity with the American People. \u003ccite>(Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It didn’t take long for Fonda to admit publicly that she’d made a mistake, and she \u003ca href=\"http://www.hollywoodreporter.com/news/jane-fonda-regrets-vietnam-photo-764710\" target=\"_blank\" rel=\"noopener\">continues today\u003c/a> to express her regret over the picture and what it did to her work.\u003c/p>\n\u003cp>“I made it easy for the media to choose a dubious if not downright hostile lens through which to view me, pronouncing myself a revolutionary woman while \u003ci>Barbarella\u003c/i> had just played in a theater around the corner,” Fonda stated in a later interview. \u003c/p>\n\u003ch2>A ‘Gender Betrayal’ of Male Fantasy\u003c/h2>\n\u003cp>Early in ‘Jean and Jane’, Longworth draws the listener’s attention to a video online which crystallizes the sense of betrayal some still feel about Fonda’s transformation from sex kitten to anti-war activist. In it, images of Fonda in full \u003cem>Barbarella\u003c/em> garb appear with the words “What we wanted” — before being replaced by Fonda in her makeup-less protester role, and the words “What we got.”\u003c/p>\n\u003cp>It’s hard not to see the sheer vehemence of the anti-Fonda sentiment as saying a great deal about what men thought women — particularly famous women — were here to do, to look and to be. One thing they were not here to do: fiercely criticize the masculine sphere of war.\u003c/p>\n\u003cp>“This idea that she had this period, like, her most stringent as an activist was coinciding with her deliberate refusal to play into the male gaze, is obviously really interesting,” Longworth said. \u003c/p>\n\u003cp>The fantasy of womanhood peddled in movies like \u003ci>Barbarella\u003c/i> in the late 1960s was, Longworth says, “really convincing — and there wasn’t a lot of media that asked consumers of it to think about how they were being manipulated… So when [Fonda] very abruptly — or so it seemed to the public and the media — changed the way she looked and changed her stated ideology and even walked away from making movies so she could spend her whole day doing activism, I think that felt like a betrayal to the people who had bought into the sexual fantasy.”\u003c/p>\n\u003cp>Fonda herself was all too aware of this. \u003c/p>\n\u003cp>“I realize,” Fonda said, “that it is not just a U.S. citizen laughing and clapping on a Vietnamese anti-aircraft gun. I am Henry Fonda’s privileged daughter who appears to be thumbing my nose at the country that has provided me these privileges. More than that, I am a woman, which makes my sitting there even more of a betrayal. A gender betrayal. And I am a woman who is seen as \u003ci>Barbarella\u003c/i>, a character who exists on some subliminal level as an embodiment of men’s fantasies. Barbarella has become their enemy.”\u003c/p>\n\u003cfigure id=\"attachment_13808311\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi2-800x495.jpg\" alt=\"A photo dated 25 July 1972 of US actress Jane Fonda visiting Hanoi. \" width=\"800\" height=\"495\" class=\"size-medium wp-image-13808311\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi2-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi2-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi2-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi2-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi2-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi2-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi2-240x149.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi2-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi2-520x322.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A photo dated 25 July 1972 of US actress Jane Fonda visiting Hanoi. \u003ccite>(STF/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Precursor to Today’s Celebrity-Political Complex\n\u003ch2>\n\u003c/h2>\u003c/h2>\u003cp>It’s this notion of betrayal — of femininity, of cultural expectation, of one’s country and its military mission against another nation — that continually resounds in Fonda’s story. Longworth won’t go so far as to equate Fonda’s criticism of the war with an implicit criticism of masculinity, but thinks that the actress, with her defiantly unglamorous look, “was an affront to masculinity in some ways.” \u003c/p>\n\u003cp>When a person — an actress, from a storied acting dynasty, no less — expresses political views, it’s as if every subsequent move, every statement that follows must be perfect, in a way that leaves no room for human error or moral complexity. Any misstep, and everything that’s come before, can be immediately invalidated. Perhaps it’s this degree of judgement and scrutiny that assuming a political platform invites which dissuades today’s stars from speaking out like Fonda did.\u003c/p>\n\u003cp>Social media, Longworth says, can dupe us into “the illusion we’re getting the ‘real stuff’” from our celebrities, when in reality “their personas and their personalities in the public space are so mediated and so protected. So I don’t think anybody’s really putting themselves out there like that.” The ones that do dare to express political leanings and notions are often mocked for it, she reminds me. Just look at Kanye West: “He’s so dismissed and so discredited, always. So… that kind of thing becomes so scary for [other stars]. They don’t want to even try to wade into those waters.”\u003c/p>\n\u003cfigure id=\"attachment_13808312\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Stockholm-800x1063.jpg\" alt=\"Jane Fonda, American actress and peace activist, addresses media 20 December 1972 in Stockholm during a press conference protesting United States military involvement in the Vietnam war. \" width=\"800\" height=\"1063\" class=\"size-medium wp-image-13808312\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Stockholm.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Stockholm-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Stockholm-768x1020.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Stockholm-240x319.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Stockholm-375x498.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Stockholm-520x691.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jane Fonda, American actress and peace activist, addresses media 20 December 1972 in Stockholm during a press conference protesting United States military involvement in the Vietnam war. \u003ccite>(AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s telling that when you when you ask most people to name any recent public figures that met with Fonda-level opprobrium for their activism, they’ll probably name the Dixie Chicks. In 2003, lead singer Natalie Maines’ outspoken comments on George W. Bush’s imminent invasion of Iraq (“We do not want this war, this violence, and we’re ashamed that the President of the United States is from Texas”) invoked a backlash that all but halted the band’s career — but in the 14 years since, have we really avoided more scandalous political stances? \u003c/p>\n\u003cp>Longworth is keen that we don’t forget current-day figures like Shailene Woodley, the young actress who was arrested protesting the Dakota Access Pipeline in 2016. But it’s been a long while since a star’s activism had a truly scarring impact on their career and reputation. When I ask if she can imagine one of today’s actors or actresses stumbling into an on-camera “Hanoi Jane” moment, Longworth is skeptical. \u003c/p>\n\u003cp>“I think that an equivalent person to Jane Fonda today would be too scared to do something like that,” she says. “I don’t see anyone putting themselves on the line like that. So they wouldn’t even risk a ‘two-minute lapse of sanity.’” \u003c/p>\n\u003cp>Later, in an email, Longworth drew my attention to \u003ca href=\"http://www.nationalreview.com/article/450827/miley-cyrus-weed-hillary-no-longer-preoccupations\" target=\"_blank\" rel=\"noopener\">an article in the conservative-leaning National Review\u003c/a> that casts an approving eye on the transformation of singer Miley Cyrus back into the country-loving, long-locked, unthreatening presence which defined the earlier years of her career. Equating Cyrus’s move away from pro-Clinton, anti-Trump political statements with her transition back to being “wholesome”, it notes how she appears “chastened by her ill-advised foray into lefty activism and the annoy-the-bourgeoisie gonzo aesthetic that went with it.”\u003c/p>\n\u003cp>This 24-year-old woman, it implies, has never been more attractive than when she finally abandoned all that politics stuff. Forty-five years after Fonda straddled the gun and became “Hanoi Jane,” perhaps some things stay the same.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n","blocks":[],"excerpt":"The latest season of the podcast 'You Must Remember This' revisits Jane Fonda's \"Hanoi Jane\" scandal — and what the incident truly signified.","status":"publish","parent":0,"modified":1705029555,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":34,"wordCount":2480},"headData":{"title":"Another Look at 'Hanoi Jane,' Vietnam, and Celebrity Activism | KQED","description":"The latest season of the podcast 'You Must Remember This' revisits Jane Fonda's "Hanoi Jane" scandal — and what the incident truly signified.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/13807771/another-look-at-hanoi-jane-vietnam-and-celebrity-activism","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>“I have spent the last two years working with GIs and Vietnam veterans, and have spoken in front of hundreds of thousands of anti-war protesters, telling them that our men in uniform aren’t the enemy. Now by mistake, I appear in a photograph to be their enemy. I carry this heavy in my heart. I always will.” — \u003cstrong>Jane Fonda\u003c/strong>\u003c/i>\u003c/p>\n\u003cp>Confronting the images of popular culture and deconstructing their myths is what drives \u003ca href=\"http://www.youmustrememberthispodcast.com/\">\u003ci>You Must Remember This\u003c/i>\u003c/a> (YMRT), the acclaimed podcast by film historian Karina Longworth. The show lays bare “the secret and/or forgotten histories of Hollywood’s first century” and, over the course of 100 episodes, Longworth repeatedly revisits stories from the Golden Age of Film that were once considered gospel and turns the narrative on its head — like the tale of “Hanoi Jane” Fonda. \u003c/p>\n\u003cp>As images go, the photograph of actress and activist Jane Fonda sitting astride a North Vietnamese anti-aircraft gun during the Vietnam War is indelible, and it’s one that Longworth examines at length in ‘Jean and Jane,’ a 9-episode season of YMRT. A deep dive into the storied lives of two movie stars, the season follows these women’s fortunes as they intersect and diverge down the decades from the 1950s onward, culminating in Fonda’s reinvention as the \u003ca href=\"https://www.janefonda.com/workout/\" target=\"_blank\" rel=\"noopener\">first queen of home fitness\u003c/a>, and Seberg’s \u003ca href=\"https://en.wikipedia.org/wiki/Jean_Seberg\" target=\"_blank\" rel=\"noopener\">tragic decline and death\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/deKHYCsjseg'\n title='//www.youtube.com/embed/deKHYCsjseg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Throughout the season, Longworth identifies several similarities between these two women. They both start as consistently underestimated blonde ingenues, they both make films with Jean-Luc Godard, and they both have professional and personal ties to France. Yet the fact that both actresses were “hounded” by the FBI as a result of their outspoken activism was, Longworth says, a major motivation for combining their narratives. Both Fonda and Seberg advocated for civil rights and supported the Black Panthers, and both were vilified by the media (at the behest of J. Edgar Hoover’s FBI). But Fonda became a target for right-wing ire after she aligned herself with the anti-Vietnam war movement, and the “Hanoi Jane” image would haunt Fonda even to this day.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/programs/vietnamwar/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/ww2.kqed_.orgTheVietnamWar_web-banners-8e41141478cf5fd9f2d0ea4bb13e8ea52dd8bf00.png\" alt=\"\" width=\"301\" height=\"301\" class=\"alignright size-full wp-image-13808215\">\u003c/a>\u003c/p>\n\u003cp>Beyond that iconic photograph, the details of Jane Fonda’s anti-Vietnam War activism aren’t widely remembered in 2017. Longworth herself says that before entering the exhaustive research phase for ‘Jean and Jane,’ she only “knew what a lot of people think they know — which is, ‘that she did something \u003ci>really bad\u003c/i> in Vietnam that some people have never forgiven her for.’” Those unfamiliar with the extent of Fonda’s involvement in the anti-war movement could be forgiven for assuming that the extent of her involvement was that fateful 1972 trip to Vietnam where she climbed on top of a North Vietnamese gun.\u003c/p>\n\u003cp>But as ‘Jean and Jane’ makes clear, Fonda’s fight against the Vietnam War went far deeper than the popular image. She was no part-time activist, effectively placing her career on hold just after 1969’s Academy Award-winning \u003ci>They Shoot Horses, Don’t They?\u003c/i> to dedicate herself to the cause. Fonda later said that her desire to learn about social causes was sparked after seeing a magazine with a Native American activist on the cover, accompanied by the words “Red Power.” \u003c/p>\n\u003cfigure id=\"attachment_13808309\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi4-800x520.jpg\" alt=\"Jane Fonda, holding a camera, visits 25 July 1972 a Hanoi site bombed by US airplanes. Fonda's trip to North Vietnam was part of her protest campaign against the US involvement in the Vietnam war. US bombers, including B-52 strato-fortresses, started to bomb the North Vietnamese capital and its port Haiphong in April 1972. \" width=\"800\" height=\"520\" class=\"size-medium wp-image-13808309\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi4-800x520.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi4-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi4-768x499.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi4-1020x662.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi4-1180x766.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi4-960x624.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi4-240x156.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi4-375x244.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi4-520x338.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jane Fonda, holding a camera, visits 25 July 1972 a Hanoi site bombed by US airplanes. Fonda’s trip to North Vietnam was part of her protest campaign against the US involvement in the Vietnam war. US bombers, including B-52 strato-fortresses, started to bomb the North Vietnamese capital and its port Haiphong in April 1972. \u003ccite>(AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In recognition of her hitherto-charmed life as the talented, privileged daughter of actor Henry Fonda, Fonda said later that “it took a moment in history where millions of people were changing to show me that there was another way to be.” At that time she was interested in a number of causes, including the civil rights movement, the rise of the Black Panthers, the Native American struggle — the latter of which inspired a 1970 visit to Alcatraz Island during its occupation by Native American protesters. But it wouldn’t be long before Fonda focused all her energy on the growing anti-war movement. \u003c/p>\n\u003cp>Fonda’s evolution into political activist coincided with a period of personal reinvention away the conventionally alluring, sex-kittenish persona she cultivated in movies like \u003cem>Barbarella\u003c/em> and toward an entirely new image. This new-look Fonda had short hair, defiantly unglamorous clothes and minimal makeup — a seismic shift that Longworth calls “symbolic in the culture.” In the anti-war cause and in this new guise, Longworth explains, Fonda “found her identity as an activist” — one that she would ultimately “find impossible to shake.” \u003c/p>\n\u003cp>At first, Fonda worked to remedy her lack of understanding of the war. She went on her own version of a fact-finding tour: speaking with the enlisted men she encountered during her time in the “G.I. coffeehouses” that had sprung up around military bases. \u003c/p>\n\u003cp>“I was just realizing that this war was going on and I didn’t know anything about it. I didn’t even know where Vietnam was,” Fonda recalled later.\u003c/p>\n\u003cfigure id=\"attachment_13808310\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hnaoi3-800x487.jpg\" alt=\"Jane Fonda (R) meets with Vice Prime Minister of the North Vietnam government Nguyen Duy Trinh in Hanoi 21 July 1972.\" width=\"800\" height=\"487\" class=\"size-medium wp-image-13808310\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hnaoi3-800x487.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hnaoi3-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hnaoi3-768x467.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hnaoi3-1020x621.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hnaoi3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hnaoi3-1180x718.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hnaoi3-960x584.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hnaoi3-240x146.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hnaoi3-375x228.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hnaoi3-520x316.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jane Fonda (R) meets with Vice Prime Minister of the North Vietnam government Nguyen Duy Trinh in Hanoi 21 July 1972. \u003ccite>(STF/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>One Photo’s Permanent Damage\u003c/h2>\n\u003cp>In 1972, Fonda traveled to Hanoi to witness the war’s destruction. Her North Vietnamese hosts insisted the actress visit an anti-aircraft installation — a request she agreed to, recounts Longworth in her podcast, out of politeness to those who had treated her well thus far. After a boozy luncheon with some reporters, Fonda’s hosts placed a helmet on her head and suggested she climb into the seat of an anti-aircraft gun, to much laughter.\u003c/p>\n\u003cp>She was “up there less than a minute,” recounts Longworth — but as the surrounding journalists took pictures and film footage, Fonda realized instantaneously the magnitude of what she’d just done. She begged her translator to ensure the photos were destroyed, and was assured they would be. \u003c/p>\n\u003cp>It was, of course, too late. Fonda returned to the United States to screen the footage she filmed of war-torn Vietnam: footage that exposed the Nixon administration’s lies regarding the U.S. bombing in the area, which the president had promised to stop. But its impact was hobbled after the \u003cem>New York Post\u003c/em> ran the gun photo, accompanied by the now-immortal phrase “Hanoi Jane.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/eBViVboG0Mk'\n title='//www.youtube.com/embed/eBViVboG0Mk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“It wasn’t a \u003ci>smart thing\u003c/i> to be photographed on this gun,” Longworth said during an interview with KQED. “As much as you can say that she had good intentions, and that she actually did important work in terms of proving that some lies that the U.S. government were saying about the war were lies, she walked into a North Vietnamese publicity stunt. It was a mistake. And she said it was a mistake.”\u003c/p>\n\u003cfigure id=\"attachment_13808313\" class=\"wp-caption alignright\" style=\"max-width: 468px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/515305896.jpg\" alt=\"American actress and antiwar activist Jane Fonda looks though the scope of an anti-aircraft gun during her tour of the North Vietnamese capital. She arrived July 8 at the invitation of the Vietnam Committee for Solidarity with the American People.\" width=\"468\" height=\"594\" class=\"size-full wp-image-13808313\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/515305896.jpg 468w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/515305896-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/515305896-240x305.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/515305896-375x476.jpg 375w\" sizes=\"(max-width: 468px) 100vw, 468px\">\u003cfigcaption class=\"wp-caption-text\">American actress and antiwar activist Jane Fonda looks though the scope of an anti-aircraft gun during her tour of the North Vietnamese capital. She arrived July 8 at the invitation of the Vietnam Committee for Solidarity with the American People. \u003ccite>(Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It didn’t take long for Fonda to admit publicly that she’d made a mistake, and she \u003ca href=\"http://www.hollywoodreporter.com/news/jane-fonda-regrets-vietnam-photo-764710\" target=\"_blank\" rel=\"noopener\">continues today\u003c/a> to express her regret over the picture and what it did to her work.\u003c/p>\n\u003cp>“I made it easy for the media to choose a dubious if not downright hostile lens through which to view me, pronouncing myself a revolutionary woman while \u003ci>Barbarella\u003c/i> had just played in a theater around the corner,” Fonda stated in a later interview. \u003c/p>\n\u003ch2>A ‘Gender Betrayal’ of Male Fantasy\u003c/h2>\n\u003cp>Early in ‘Jean and Jane’, Longworth draws the listener’s attention to a video online which crystallizes the sense of betrayal some still feel about Fonda’s transformation from sex kitten to anti-war activist. In it, images of Fonda in full \u003cem>Barbarella\u003c/em> garb appear with the words “What we wanted” — before being replaced by Fonda in her makeup-less protester role, and the words “What we got.”\u003c/p>\n\u003cp>It’s hard not to see the sheer vehemence of the anti-Fonda sentiment as saying a great deal about what men thought women — particularly famous women — were here to do, to look and to be. One thing they were not here to do: fiercely criticize the masculine sphere of war.\u003c/p>\n\u003cp>“This idea that she had this period, like, her most stringent as an activist was coinciding with her deliberate refusal to play into the male gaze, is obviously really interesting,” Longworth said. \u003c/p>\n\u003cp>The fantasy of womanhood peddled in movies like \u003ci>Barbarella\u003c/i> in the late 1960s was, Longworth says, “really convincing — and there wasn’t a lot of media that asked consumers of it to think about how they were being manipulated… So when [Fonda] very abruptly — or so it seemed to the public and the media — changed the way she looked and changed her stated ideology and even walked away from making movies so she could spend her whole day doing activism, I think that felt like a betrayal to the people who had bought into the sexual fantasy.”\u003c/p>\n\u003cp>Fonda herself was all too aware of this. \u003c/p>\n\u003cp>“I realize,” Fonda said, “that it is not just a U.S. citizen laughing and clapping on a Vietnamese anti-aircraft gun. I am Henry Fonda’s privileged daughter who appears to be thumbing my nose at the country that has provided me these privileges. More than that, I am a woman, which makes my sitting there even more of a betrayal. A gender betrayal. And I am a woman who is seen as \u003ci>Barbarella\u003c/i>, a character who exists on some subliminal level as an embodiment of men’s fantasies. Barbarella has become their enemy.”\u003c/p>\n\u003cfigure id=\"attachment_13808311\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi2-800x495.jpg\" alt=\"A photo dated 25 July 1972 of US actress Jane Fonda visiting Hanoi. \" width=\"800\" height=\"495\" class=\"size-medium wp-image-13808311\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi2-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi2-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi2-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi2-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi2-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi2-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi2-240x149.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi2-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi2-520x322.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A photo dated 25 July 1972 of US actress Jane Fonda visiting Hanoi. \u003ccite>(STF/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Precursor to Today’s Celebrity-Political Complex\n\u003ch2>\n\u003c/h2>\u003c/h2>\u003cp>It’s this notion of betrayal — of femininity, of cultural expectation, of one’s country and its military mission against another nation — that continually resounds in Fonda’s story. Longworth won’t go so far as to equate Fonda’s criticism of the war with an implicit criticism of masculinity, but thinks that the actress, with her defiantly unglamorous look, “was an affront to masculinity in some ways.” \u003c/p>\n\u003cp>When a person — an actress, from a storied acting dynasty, no less — expresses political views, it’s as if every subsequent move, every statement that follows must be perfect, in a way that leaves no room for human error or moral complexity. Any misstep, and everything that’s come before, can be immediately invalidated. Perhaps it’s this degree of judgement and scrutiny that assuming a political platform invites which dissuades today’s stars from speaking out like Fonda did.\u003c/p>\n\u003cp>Social media, Longworth says, can dupe us into “the illusion we’re getting the ‘real stuff’” from our celebrities, when in reality “their personas and their personalities in the public space are so mediated and so protected. So I don’t think anybody’s really putting themselves out there like that.” The ones that do dare to express political leanings and notions are often mocked for it, she reminds me. Just look at Kanye West: “He’s so dismissed and so discredited, always. So… that kind of thing becomes so scary for [other stars]. They don’t want to even try to wade into those waters.”\u003c/p>\n\u003cfigure id=\"attachment_13808312\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Stockholm-800x1063.jpg\" alt=\"Jane Fonda, American actress and peace activist, addresses media 20 December 1972 in Stockholm during a press conference protesting United States military involvement in the Vietnam war. \" width=\"800\" height=\"1063\" class=\"size-medium wp-image-13808312\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Stockholm.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Stockholm-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Stockholm-768x1020.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Stockholm-240x319.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Stockholm-375x498.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Stockholm-520x691.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jane Fonda, American actress and peace activist, addresses media 20 December 1972 in Stockholm during a press conference protesting United States military involvement in the Vietnam war. \u003ccite>(AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s telling that when you when you ask most people to name any recent public figures that met with Fonda-level opprobrium for their activism, they’ll probably name the Dixie Chicks. In 2003, lead singer Natalie Maines’ outspoken comments on George W. Bush’s imminent invasion of Iraq (“We do not want this war, this violence, and we’re ashamed that the President of the United States is from Texas”) invoked a backlash that all but halted the band’s career — but in the 14 years since, have we really avoided more scandalous political stances? \u003c/p>\n\u003cp>Longworth is keen that we don’t forget current-day figures like Shailene Woodley, the young actress who was arrested protesting the Dakota Access Pipeline in 2016. But it’s been a long while since a star’s activism had a truly scarring impact on their career and reputation. When I ask if she can imagine one of today’s actors or actresses stumbling into an on-camera “Hanoi Jane” moment, Longworth is skeptical. \u003c/p>\n\u003cp>“I think that an equivalent person to Jane Fonda today would be too scared to do something like that,” she says. “I don’t see anyone putting themselves on the line like that. So they wouldn’t even risk a ‘two-minute lapse of sanity.’” \u003c/p>\n\u003cp>Later, in an email, Longworth drew my attention to \u003ca href=\"http://www.nationalreview.com/article/450827/miley-cyrus-weed-hillary-no-longer-preoccupations\" target=\"_blank\" rel=\"noopener\">an article in the conservative-leaning National Review\u003c/a> that casts an approving eye on the transformation of singer Miley Cyrus back into the country-loving, long-locked, unthreatening presence which defined the earlier years of her career. Equating Cyrus’s move away from pro-Clinton, anti-Trump political statements with her transition back to being “wholesome”, it notes how she appears “chastened by her ill-advised foray into lefty activism and the annoy-the-bourgeoisie gonzo aesthetic that went with it.”\u003c/p>\n\u003cp>This 24-year-old woman, it implies, has never been more attractive than when she finally abandoned all that politics stuff. Forty-five years after Fonda straddled the gun and became “Hanoi Jane,” perhaps some things stay the same.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13807771/another-look-at-hanoi-jane-vietnam-and-celebrity-activism","authors":["3243"],"programs":["arts_2070"],"categories":["arts_835","arts_71","arts_235"],"tags":["arts_1118","arts_2388","arts_596","arts_989","arts_2126"],"featImg":"arts_13807993","label":"arts_2070"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. 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But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. 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As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. 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On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. 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For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us","airtime":"SUN 2pm-3pm, MON 12am-1am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png","officialWebsiteLink":"https://www.wnycstudios.org/shows/otm","meta":{"site":"news","source":"wnyc"},"link":"/radio/program/on-the-media","subscribe":{"apple":"https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2","tuneIn":"https://tunein.com/radio/On-the-Media-p69/","rss":"http://feeds.wnyc.org/onthemedia"}},"our-body-politic":{"id":"our-body-politic","title":"Our Body Politic","info":"Presented by KQED, KCRW and KPCC, and created and hosted by award-winning journalist Farai Chideya, Our Body Politic is unapologetically centered on reporting on not just how women of color experience the major political events of today, but how they’re impacting those very issues.","airtime":"SAT 6pm-7pm, SUN 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Our-Body-Politic-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://our-body-politic.simplecast.com/","meta":{"site":"news","source":"kcrw"},"link":"/radio/program/our-body-politic","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/our-body-politic/id1533069868","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zaW1wbGVjYXN0LmNvbS9feGFQaHMxcw","spotify":"https://open.spotify.com/show/4ApAiLT1kV153TttWAmqmc","rss":"https://feeds.simplecast.com/_xaPhs1s","tuneIn":"https://tunein.com/podcasts/News--Politics-Podcasts/Our-Body-Politic-p1369211/"}},"pbs-newshour":{"id":"pbs-newshour","title":"PBS NewsHour","info":"Analysis, background reports and updates from the PBS NewsHour putting today's news in context.","airtime":"MON-FRI 3pm-4pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.pbs.org/newshour/","meta":{"site":"news","source":"pbs"},"link":"/radio/program/pbs-newshour","subscribe":{"apple":"https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2","tuneIn":"https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/","rss":"https://www.pbs.org/newshour/feeds/rss/podcasts/show"}},"perspectives":{"id":"perspectives","title":"Perspectives","tagline":"KQED's series of of daily listener commentaries since 1991","info":"KQED's series of of daily listener commentaries since 1991.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Perspectives-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/perspectives/","meta":{"site":"radio","source":"kqed","order":"15"},"link":"/perspectives","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/id73801135","npr":"https://www.npr.org/podcasts/432309616/perspectives","rss":"https://ww2.kqed.org/perspectives/category/perspectives/feed/","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"}},"planet-money":{"id":"planet-money","title":"Planet Money","info":"The economy explained. 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The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.","airtime":"SAT 4pm-5pm","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png","officialWebsiteLink":"https://www.revealnews.org/episodes/","meta":{"site":"news","source":"npr"},"link":"/radio/program/reveal","subscribe":{"apple":"https://itunes.apple.com/us/podcast/reveal/id886009669","tuneIn":"https://tunein.com/radio/Reveal-p679597/","rss":"http://feeds.revealradio.org/revealpodcast"}},"says-you":{"id":"says-you","title":"Says You!","info":"Public radio's game show of bluff and bluster, words and whimsy. 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