1 00:00:04,120 --> 00:00:06,600 Speaker 1: Hey, this is Annie and this is Samantha, and welcome 2 00:00:06,600 --> 00:00:08,479 Speaker 1: to stuff. I'm never told your protection of I Heart 3 00:00:08,520 --> 00:00:20,280 Speaker 1: Radios how stuff works. And we're super excited today because 4 00:00:20,280 --> 00:00:27,440 Speaker 1: it's time for another female first. Yes, which means thank you. 5 00:00:27,440 --> 00:00:33,879 Speaker 1: You need quiet, Yes, because we don't have a producer 6 00:00:34,040 --> 00:00:39,080 Speaker 1: with you know, we like to make our own here fair. Yeah, 7 00:00:39,159 --> 00:00:42,800 Speaker 1: this is all I can contribute, really perfect, and this 8 00:00:42,880 --> 00:00:45,160 Speaker 1: means that we are once again joined by our friend 9 00:00:45,200 --> 00:00:49,159 Speaker 1: and co workers than to be here. Yes, thank you 10 00:00:49,200 --> 00:00:52,160 Speaker 1: so much for joining us. Eves, Um you can hear 11 00:00:52,280 --> 00:00:53,920 Speaker 1: Eves And I'm sure a lot of you have seven 12 00:00:53,960 --> 00:00:56,120 Speaker 1: days a week on this dand history class and on 13 00:00:56,160 --> 00:01:01,720 Speaker 1: your new show on Popular exciting as such as we record, 14 00:01:01,800 --> 00:01:05,680 Speaker 1: recording times are strange, but as we record debuted today 15 00:01:05,800 --> 00:01:08,800 Speaker 1: and superproducer Andrew was a part of that as well. 16 00:01:08,959 --> 00:01:12,200 Speaker 1: It's really awesome. You want to talk about that briefly, sure, 17 00:01:12,360 --> 00:01:15,000 Speaker 1: I will talk about I'm Popular. So I'm Popular is 18 00:01:15,040 --> 00:01:19,200 Speaker 1: also about history, but the show focuses on one different 19 00:01:19,240 --> 00:01:22,800 Speaker 1: person in every episode, and in each episode we kind 20 00:01:22,800 --> 00:01:25,679 Speaker 1: of chart this path from how they resisted and how 21 00:01:25,800 --> 00:01:28,800 Speaker 1: they rebuild and how they challenge the status quo during 22 00:01:28,800 --> 00:01:32,640 Speaker 1: their time so people like Umalaya Ransom Coutie who stood 23 00:01:32,680 --> 00:01:35,959 Speaker 1: up for women's rights in Nigeria and Nigerian independence and 24 00:01:36,000 --> 00:01:40,520 Speaker 1: anti colonialism, to people like Galileo, who I'm sure a 25 00:01:40,560 --> 00:01:42,360 Speaker 1: lot of us are familiar with his story, but the 26 00:01:42,360 --> 00:01:46,360 Speaker 1: whole Galileo affair and the heliocentric theory of the sun 27 00:01:46,360 --> 00:01:48,920 Speaker 1: being at the center of the universe, and we just 28 00:01:49,040 --> 00:01:52,760 Speaker 1: kind of look at how that can be used to 29 00:01:52,800 --> 00:01:59,840 Speaker 1: think about resistance today and how we think about contrarianism today. 30 00:02:00,000 --> 00:02:06,720 Speaker 1: Samantha's like that might just and UM, that is fitting 31 00:02:06,800 --> 00:02:10,440 Speaker 1: because I think the person that you brought today is 32 00:02:10,520 --> 00:02:14,000 Speaker 1: perfect fits right into that. She does. And you know what, 33 00:02:14,400 --> 00:02:17,080 Speaker 1: you kind of know people's stories and you know that 34 00:02:17,120 --> 00:02:19,280 Speaker 1: they were rebels and you know that they were radical, 35 00:02:19,360 --> 00:02:21,880 Speaker 1: but when you just get deep into their stories and 36 00:02:21,919 --> 00:02:23,880 Speaker 1: you realize how many things they did that were just 37 00:02:23,960 --> 00:02:30,520 Speaker 1: so so challenging and amazing. Yeah, her stories was one 38 00:02:30,560 --> 00:02:34,200 Speaker 1: of those. And I'm talking about Lorraine Hansberry, Yes, and UM. 39 00:02:34,360 --> 00:02:38,720 Speaker 1: As we talked about UM in our first rendition of 40 00:02:38,760 --> 00:02:41,839 Speaker 1: this female first, it is important to keep in mind 41 00:02:41,880 --> 00:02:45,960 Speaker 1: context of when people are accomplishing these these first um 42 00:02:46,040 --> 00:02:52,800 Speaker 1: and what we're talking about today is Broadway Broadway, Yes, so, 43 00:02:52,960 --> 00:02:54,840 Speaker 1: um let's get into it. Can you tell us a 44 00:02:54,880 --> 00:02:59,799 Speaker 1: little bit about Lorraine Handsbury? Sure? So I always to. 45 00:03:00,040 --> 00:03:02,640 Speaker 1: I just want to reiterate your point, because that's something 46 00:03:02,680 --> 00:03:05,360 Speaker 1: I would love to preface this with every time, and 47 00:03:05,480 --> 00:03:09,760 Speaker 1: think how we think about first and Lorraine Handsbury's first 48 00:03:09,800 --> 00:03:12,760 Speaker 1: where that she was the first black playwright and the 49 00:03:12,840 --> 00:03:16,840 Speaker 1: youngest American to win a New York Drama Critics Circle Award, 50 00:03:17,400 --> 00:03:19,760 Speaker 1: And she was also the first black woman to have 51 00:03:19,840 --> 00:03:24,480 Speaker 1: a play produced on Broadway. So those are awesome titles 52 00:03:24,480 --> 00:03:28,440 Speaker 1: and awesome awards, but those didn't give her work anymore, Merritt. 53 00:03:28,520 --> 00:03:31,960 Speaker 1: Her work was already amazing before those things happened. Her 54 00:03:32,000 --> 00:03:34,320 Speaker 1: work stands on its own as a great art. And 55 00:03:34,440 --> 00:03:38,440 Speaker 1: even then, Lorraine did so much more than just her art, 56 00:03:38,520 --> 00:03:41,320 Speaker 1: Like her writing was super important and made a difference 57 00:03:41,400 --> 00:03:44,680 Speaker 1: in the Black community and in arts and drama overall, 58 00:03:45,160 --> 00:03:48,120 Speaker 1: but she also did things outside of it. So those 59 00:03:48,120 --> 00:03:52,160 Speaker 1: are titles that are part of her entire existence. Basically 60 00:03:52,360 --> 00:03:55,080 Speaker 1: getting back to Lorraine, Um, so she I would love 61 00:03:55,120 --> 00:03:59,000 Speaker 1: to start with a quote. So I tried not to 62 00:03:59,040 --> 00:04:01,440 Speaker 1: include a ton of quotes in this, and I just 63 00:04:01,560 --> 00:04:05,320 Speaker 1: love quote. Yeah, I did, so I would love to 64 00:04:05,360 --> 00:04:07,320 Speaker 1: start with then, if that's okay with you any I 65 00:04:07,360 --> 00:04:13,960 Speaker 1: think we need it. So, she said, I was born 66 00:04:14,040 --> 00:04:16,960 Speaker 1: on the South Side of Chicago. I was born black 67 00:04:17,000 --> 00:04:20,200 Speaker 1: and a female. I was born in a depression after 68 00:04:20,320 --> 00:04:24,479 Speaker 1: one World War and came into adolescence during another. While 69 00:04:24,560 --> 00:04:27,400 Speaker 1: I was still in my teens, the first atom bombs 70 00:04:27,400 --> 00:04:30,280 Speaker 1: were dropped on human beings, and by the time I 71 00:04:30,360 --> 00:04:33,520 Speaker 1: was twenty three years old, my government and that of 72 00:04:33,520 --> 00:04:37,000 Speaker 1: the Soviet Union had entered actively into the worst conflict 73 00:04:37,320 --> 00:04:41,080 Speaker 1: of nerves in history, the Cold War. And she said 74 00:04:41,120 --> 00:04:43,599 Speaker 1: this in March of nineteen fifty nine and a speech 75 00:04:43,640 --> 00:04:47,120 Speaker 1: that she gave at the American Society of African Cultures 76 00:04:47,200 --> 00:04:50,960 Speaker 1: First Conference of Negro Writers. And I just wanted to 77 00:04:51,040 --> 00:04:52,840 Speaker 1: start with that quote because I feel like it kind 78 00:04:52,839 --> 00:04:55,880 Speaker 1: of contextualizes the time that she was born in and 79 00:04:56,240 --> 00:04:58,680 Speaker 1: what kind of challenges she and her family faced, and 80 00:04:58,760 --> 00:05:03,040 Speaker 1: like how her ringing could have been. Because I feel 81 00:05:03,080 --> 00:05:06,120 Speaker 1: like it just it helps to frame people's lives in 82 00:05:06,160 --> 00:05:09,080 Speaker 1: that way when we're thinking about the things that they 83 00:05:09,080 --> 00:05:13,279 Speaker 1: faced in what they were up against. Talk about trauma, Yeah, 84 00:05:13,440 --> 00:05:19,520 Speaker 1: very tumultuous period periods, several periods different ones, huge, huge 85 00:05:19,560 --> 00:05:23,360 Speaker 1: homemork periods, right like like you said, she was born 86 00:05:23,680 --> 00:05:26,159 Speaker 1: um in Chicago, or I guess like she said, and 87 00:05:26,200 --> 00:05:31,440 Speaker 1: then you read she was born in Chicago in nineteen 88 00:05:31,600 --> 00:05:35,480 Speaker 1: thirty on May nineteen, and yet she she died January 89 00:05:36,680 --> 00:05:40,279 Speaker 1: very young. Yes, yes, yes, she died very young. And 90 00:05:40,360 --> 00:05:42,080 Speaker 1: I tried not to get in this space because so 91 00:05:42,120 --> 00:05:45,400 Speaker 1: many people who did really important thing that history died early. 92 00:05:45,640 --> 00:05:47,000 Speaker 1: So I try not to get in this space when 93 00:05:47,000 --> 00:05:48,720 Speaker 1: I'm reading about their stories and you get to see 94 00:05:48,760 --> 00:05:50,560 Speaker 1: how much they did in such a short period of 95 00:05:50,600 --> 00:05:53,000 Speaker 1: time and say, what would they have done if they 96 00:05:53,000 --> 00:05:55,920 Speaker 1: were they lived past that point? I can really because 97 00:05:55,920 --> 00:05:58,240 Speaker 1: I get really down when I think about that. You 98 00:05:58,279 --> 00:06:00,480 Speaker 1: think about the legacy that they created in a short 99 00:06:00,520 --> 00:06:03,000 Speaker 1: period of time, and then like what if they would 100 00:06:03,040 --> 00:06:06,160 Speaker 1: have done more of those things in the next decade. 101 00:06:06,800 --> 00:06:09,200 Speaker 1: So that is one thing about her story that's very, 102 00:06:09,320 --> 00:06:13,400 Speaker 1: very saddening. I know there's um a book coming out 103 00:06:13,839 --> 00:06:17,240 Speaker 1: about her, and I think the author kept reiterating like 104 00:06:17,640 --> 00:06:20,960 Speaker 1: don't forget like getting there is that mind space and 105 00:06:21,000 --> 00:06:23,520 Speaker 1: you feel like, oh, it's cut so short, but don't 106 00:06:23,520 --> 00:06:27,240 Speaker 1: forget all of this stuff she did do. I'm a 107 00:06:27,279 --> 00:06:30,000 Speaker 1: little bit like self conscient because I'm older than her. 108 00:06:30,920 --> 00:06:35,040 Speaker 1: Damn all the things that she did, and I'm nowhere 109 00:06:35,200 --> 00:06:37,800 Speaker 1: feeling anywhere in that part of my life. And I'm like, well, 110 00:06:37,800 --> 00:06:42,800 Speaker 1: now I feel bad about myself. Something to aspire. And 111 00:06:42,839 --> 00:06:45,920 Speaker 1: I'm like, yeah, well, I'm just gonna go eat Chacolin 112 00:06:45,960 --> 00:06:48,920 Speaker 1: on my couch. Now, you know you shouldn't COMPARI everybody's 113 00:06:48,920 --> 00:06:52,479 Speaker 1: path and journey is different. I want to celebrate her, 114 00:06:52,600 --> 00:06:58,880 Speaker 1: not be about me. But I'm inspire. Yes, you always 115 00:06:58,880 --> 00:07:04,320 Speaker 1: have a nugget of wisdom. Ye keep you around. So 116 00:07:04,400 --> 00:07:07,400 Speaker 1: let's talk about if you if you don't mind um 117 00:07:07,680 --> 00:07:10,040 Speaker 1: kind of her early early history and what led her 118 00:07:10,560 --> 00:07:14,080 Speaker 1: to Broadway. Yeah, so I think a good place to 119 00:07:14,120 --> 00:07:16,840 Speaker 1: start is just her kind of family experience and family 120 00:07:16,920 --> 00:07:19,600 Speaker 1: environment and what it was like to grow up in Chicago. 121 00:07:19,760 --> 00:07:22,920 Speaker 1: So she was the child of Nanny Perry Handsbury and 122 00:07:23,000 --> 00:07:27,200 Speaker 1: Carl Augustus Handsbury, and she was the youngest of four children. 123 00:07:27,280 --> 00:07:30,400 Speaker 1: Her mother was a teacher and award committee woman, and 124 00:07:30,440 --> 00:07:32,880 Speaker 1: her father worked in real estate. He did pretty well 125 00:07:32,920 --> 00:07:35,800 Speaker 1: in real estate. He actually created this small scale kind 126 00:07:35,840 --> 00:07:38,960 Speaker 1: of kitchen net for small apartments that kind of brought 127 00:07:39,080 --> 00:07:41,880 Speaker 1: him that success. In real estate during the Great Depression. 128 00:07:42,400 --> 00:07:46,280 Speaker 1: And her uncle was named William Leo Handsbury and he 129 00:07:46,320 --> 00:07:49,560 Speaker 1: was a professor of African history at Howard University. So 130 00:07:49,640 --> 00:07:53,320 Speaker 1: you kind of see the scholarship and like the kind 131 00:07:53,360 --> 00:07:55,760 Speaker 1: of parentage and the kind of like role models and 132 00:07:55,840 --> 00:07:58,520 Speaker 1: leadership that was in her life. Um So, her father 133 00:07:58,680 --> 00:08:01,040 Speaker 1: was involved in activism. He was involved with the Inn 134 00:08:01,040 --> 00:08:03,280 Speaker 1: Double a c P as well, and he had a 135 00:08:03,320 --> 00:08:05,840 Speaker 1: huge impact on her activism, and so did her uncle, 136 00:08:06,200 --> 00:08:08,720 Speaker 1: whose influence likely helped shape her views on the Black 137 00:08:08,760 --> 00:08:12,320 Speaker 1: liberation movement. So she went to kindergarten and Chicago South 138 00:08:12,360 --> 00:08:15,440 Speaker 1: Side as well. And so as a child, her as 139 00:08:15,480 --> 00:08:18,600 Speaker 1: we know, her parents were involved in activism. So she 140 00:08:18,680 --> 00:08:22,600 Speaker 1: was around artists and activists like Paul Robeson, Walter White, 141 00:08:22,800 --> 00:08:26,320 Speaker 1: Duke Ellington, Langston Hughes, and W. E. B. Dwo Boys. 142 00:08:26,360 --> 00:08:29,280 Speaker 1: Who's going to come back into her her story later on, 143 00:08:30,080 --> 00:08:32,079 Speaker 1: she was she maintained contact with a lot of these people. 144 00:08:32,120 --> 00:08:34,240 Speaker 1: Paul Robeson is back in the picture later on and 145 00:08:34,679 --> 00:08:37,880 Speaker 1: had like a hand in her activism and her involvement 146 00:08:37,920 --> 00:08:43,839 Speaker 1: in the community. Wow. Yeah, names some big name cameos 147 00:08:43,920 --> 00:08:48,480 Speaker 1: in her story. Names um I wish I was that cool, right, right, 148 00:08:53,360 --> 00:08:57,280 Speaker 1: So this is one of the early experiences that kind 149 00:08:57,320 --> 00:08:59,959 Speaker 1: of a big part of her life in her family 150 00:09:00,160 --> 00:09:03,160 Speaker 1: that had to do with that kind of foundation of activism. 151 00:09:03,200 --> 00:09:06,080 Speaker 1: So in nineteen thirty eight, as you know, the family 152 00:09:06,120 --> 00:09:09,800 Speaker 1: was doing pretty well successfully in business, and so they 153 00:09:09,840 --> 00:09:12,280 Speaker 1: bought a house on the south side of Chicago in 154 00:09:12,320 --> 00:09:16,840 Speaker 1: an all white neighborhood. And so there were racially restrictive 155 00:09:16,840 --> 00:09:19,000 Speaker 1: covenants there at the time in the city, and so 156 00:09:19,080 --> 00:09:21,360 Speaker 1: the white residents that were there in the neighborhood and 157 00:09:21,480 --> 00:09:25,400 Speaker 1: attempted to impose that restrictive covenant so they can bar 158 00:09:25,480 --> 00:09:28,640 Speaker 1: them from living there. And so in these restrictive covenants, 159 00:09:28,640 --> 00:09:31,080 Speaker 1: they had white property owners who agreed not to sell 160 00:09:31,520 --> 00:09:34,760 Speaker 1: property to black people, and so that created this thing 161 00:09:34,800 --> 00:09:37,240 Speaker 1: called the Black Belt in the south south of Chicago, 162 00:09:37,720 --> 00:09:40,000 Speaker 1: which is the thing that happens in a lot of cities. 163 00:09:41,160 --> 00:09:46,319 Speaker 1: But her family challenge that restrictive covenant, and so they 164 00:09:46,320 --> 00:09:49,160 Speaker 1: did a test case for integrated housing and they came 165 00:09:49,160 --> 00:09:51,960 Speaker 1: out victorious in the nineteen forty u. S. Supreme Court 166 00:09:52,000 --> 00:09:56,000 Speaker 1: decision in Handsbury versus Lee, And so that decision it 167 00:09:56,040 --> 00:09:59,760 Speaker 1: reversed an earlier decision on a legal technicality, but that 168 00:10:00,040 --> 00:10:03,040 Speaker 1: isn't like that wasn't the end of racially restrictive covenants, 169 00:10:03,080 --> 00:10:06,160 Speaker 1: but it was a step forward basically. Yeah, yeah, yeah, 170 00:10:06,400 --> 00:10:10,000 Speaker 1: didn't um like a mob form outside their house and 171 00:10:10,080 --> 00:10:12,720 Speaker 1: somebody threw a brick and it almost hit it did 172 00:10:13,800 --> 00:10:18,640 Speaker 1: significant nineteen forties. That is a huge significance in history. 173 00:10:18,720 --> 00:10:21,880 Speaker 1: Oh my goodness, right, and so they did. Yeah, they 174 00:10:22,480 --> 00:10:25,079 Speaker 1: threw that brick and it almost hit her, and they 175 00:10:25,080 --> 00:10:28,240 Speaker 1: describe it as being able to have had caused serious 176 00:10:28,320 --> 00:10:30,800 Speaker 1: damage if it had hit her. Um. And there was 177 00:10:30,840 --> 00:10:33,000 Speaker 1: a quote that she wrote about her mom in The 178 00:10:33,000 --> 00:10:36,200 Speaker 1: New York Times saying that her mother was patrolling the 179 00:10:36,240 --> 00:10:39,319 Speaker 1: house all night with the loaded German luger, which is 180 00:10:39,360 --> 00:10:45,240 Speaker 1: a pistol, so which you know, just is kind of 181 00:10:45,280 --> 00:10:47,760 Speaker 1: like gives you the imagery of like what kind of 182 00:10:48,600 --> 00:10:51,640 Speaker 1: experience they had living in an all white neighborhood at 183 00:10:51,679 --> 00:10:54,600 Speaker 1: the time. I mean, and that is just like, I know, 184 00:10:54,679 --> 00:10:57,839 Speaker 1: that's an understatement, like we know how much more that 185 00:10:57,920 --> 00:10:59,880 Speaker 1: they had to deal with going into a place in 186 00:11:00,000 --> 00:11:03,160 Speaker 1: knowing that you're not welcome there point for the right 187 00:11:03,240 --> 00:11:08,319 Speaker 1: to actually live there, right, So yeah, that was her 188 00:11:08,360 --> 00:11:11,680 Speaker 1: experience in the Southside Chicago, so she ended up going 189 00:11:11,720 --> 00:11:14,240 Speaker 1: to Englewood High School, which is also in Chicago. She 190 00:11:14,320 --> 00:11:17,640 Speaker 1: graduated from there in nineteen forty eight, and so after 191 00:11:17,720 --> 00:11:20,679 Speaker 1: she went to the University of Wisconsin for two years 192 00:11:20,679 --> 00:11:24,040 Speaker 1: from nine to nineteen fifty. And while she was there, 193 00:11:24,160 --> 00:11:27,920 Speaker 1: she worked to integrate her dorm um, so she was 194 00:11:27,960 --> 00:11:31,000 Speaker 1: already you know, getting involved in things that had to 195 00:11:31,040 --> 00:11:34,440 Speaker 1: do with social issues. She began participating in student theater, 196 00:11:34,760 --> 00:11:38,720 Speaker 1: and she started studying plays and play rights, and she 197 00:11:38,840 --> 00:11:41,400 Speaker 1: was really inspired by a production of shan O Casey's 198 00:11:41,520 --> 00:11:44,440 Speaker 1: Juno and the Paycock. So that kind of got her 199 00:11:44,520 --> 00:11:47,920 Speaker 1: like spirit going when it came to theater. And in 200 00:11:48,000 --> 00:11:50,480 Speaker 1: her second year when she was at the university, she 201 00:11:50,559 --> 00:11:54,199 Speaker 1: became the campus chairman of the Young Progressives of America 202 00:11:54,720 --> 00:11:58,200 Speaker 1: and she supported Henry Wallace's a progressive Henry Wallace's nineteen 203 00:11:58,240 --> 00:12:01,839 Speaker 1: forty eight candidacy, but it kind of like after his loss, 204 00:12:01,880 --> 00:12:05,720 Speaker 1: she became disaffected with party politics, which is understandable if 205 00:12:05,720 --> 00:12:08,920 Speaker 1: you think about her, like her leadership and like how 206 00:12:08,960 --> 00:12:11,520 Speaker 1: her family thought of a black liberation movement and how 207 00:12:12,120 --> 00:12:16,280 Speaker 1: she was like basically radicalizing. Um, I think that's a 208 00:12:16,320 --> 00:12:19,320 Speaker 1: whole another conversation and thinking about how views can change 209 00:12:19,840 --> 00:12:25,080 Speaker 1: on liberation. Um, just I'm not even gonna go there. 210 00:12:25,280 --> 00:12:29,680 Speaker 1: But as the world continues and as we progress in 211 00:12:29,720 --> 00:12:33,400 Speaker 1: the years, yeah, it changes absolutely because even though we 212 00:12:33,480 --> 00:12:38,120 Speaker 1: are not fighting new things as I'm thinking about it today, Um, 213 00:12:38,160 --> 00:12:41,080 Speaker 1: but yeah, it changes because of the perspectives changes, people change, 214 00:12:41,160 --> 00:12:52,880 Speaker 1: ideas change, You're right, yeah, seven episode of that always. 215 00:12:52,920 --> 00:12:56,240 Speaker 1: So while she was at the university, she was in 216 00:12:56,280 --> 00:12:59,440 Speaker 1: a theater class on set design in her second year, 217 00:12:59,640 --> 00:13:01,920 Speaker 1: and the professor of that class gave her a d 218 00:13:02,600 --> 00:13:05,160 Speaker 1: and said that she excelled in her work, but he 219 00:13:05,240 --> 00:13:08,160 Speaker 1: didn't want to encourage a young black woman to enter 220 00:13:08,240 --> 00:13:12,400 Speaker 1: a white dominated field. Um, was that to hold her 221 00:13:12,400 --> 00:13:15,480 Speaker 1: back or two in his mind protect her. I'm going 222 00:13:15,520 --> 00:13:17,800 Speaker 1: to guess to protect her, And that's how I read it. 223 00:13:17,840 --> 00:13:21,720 Speaker 1: But that's speculation because I'm not exactly sure because I wonder, like, 224 00:13:22,000 --> 00:13:26,040 Speaker 1: was it a malicious intent? Right? But I would say 225 00:13:26,040 --> 00:13:29,559 Speaker 1: in this case, the intent kind of doesn't matter, right, absolutely, 226 00:13:29,760 --> 00:13:31,320 Speaker 1: But that's a fair point to bring up. I just 227 00:13:31,320 --> 00:13:33,440 Speaker 1: think it's so interesting when you look back and what 228 00:13:33,520 --> 00:13:35,960 Speaker 1: people think they should do, what is right is so 229 00:13:36,080 --> 00:13:39,280 Speaker 1: upsurred in hindsight. Yeah, I mean, I mean, but we 230 00:13:39,320 --> 00:13:41,440 Speaker 1: can think about things like that, what our parents do 231 00:13:41,559 --> 00:13:44,840 Speaker 1: for us exactly their intent is there, but like the 232 00:13:44,920 --> 00:13:47,640 Speaker 1: outcome protection or whatever. But then in general it holds 233 00:13:47,640 --> 00:13:51,080 Speaker 1: people back, which is absolutely true. That's still an interesting idea. 234 00:13:51,400 --> 00:13:54,440 Speaker 1: And so after a little bit more schooling and realizing 235 00:13:54,480 --> 00:13:56,840 Speaker 1: she wanted to pursue writing in theater, she moved to 236 00:13:56,920 --> 00:14:00,079 Speaker 1: New York and she began attending the New School for 237 00:14:00,280 --> 00:14:03,160 Speaker 1: Social Research. And so while she was in New York, 238 00:14:03,200 --> 00:14:04,960 Speaker 1: this is the point where she links back up with 239 00:14:04,960 --> 00:14:07,280 Speaker 1: Paul Robeson. So while she was in New York, she 240 00:14:07,320 --> 00:14:09,960 Speaker 1: wrote articles for the Young Progressives of America magazine, and 241 00:14:10,000 --> 00:14:15,040 Speaker 1: she became a reporter for Paul Robeson's radical magazine Freedom 242 00:14:15,760 --> 00:14:24,120 Speaker 1: the Connections Right Um, And she said that at one 243 00:14:24,120 --> 00:14:26,280 Speaker 1: point she said that that would become the Journal of 244 00:14:26,360 --> 00:14:28,360 Speaker 1: Negro Liberations. So she had a lot of faith in 245 00:14:28,400 --> 00:14:30,560 Speaker 1: the journal. And she also did a ton while she 246 00:14:30,640 --> 00:14:33,120 Speaker 1: was at the journal. So she covered the civil rights 247 00:14:33,160 --> 00:14:36,720 Speaker 1: movement and other freedom movements around the world, She covered 248 00:14:36,760 --> 00:14:39,880 Speaker 1: women's issues, social issues in New York, she covered the 249 00:14:39,920 --> 00:14:41,640 Speaker 1: arts as well, and a lot of other things. And 250 00:14:41,800 --> 00:14:44,720 Speaker 1: she traveled on his sign hit around the country and 251 00:14:44,840 --> 00:14:47,000 Speaker 1: at the same time she was really active in the 252 00:14:47,080 --> 00:14:49,960 Speaker 1: fight for black rights, um and she got better at 253 00:14:50,000 --> 00:14:52,440 Speaker 1: journalism during the time. She got better at interviewing, she 254 00:14:52,720 --> 00:14:55,080 Speaker 1: got better at getting to the heart of stories. And 255 00:14:55,120 --> 00:15:00,320 Speaker 1: she worked for thirty one seventy a week. Was trying 256 00:15:00,320 --> 00:15:05,880 Speaker 1: to calculated, trying to get in context and that time frame. 257 00:15:07,000 --> 00:15:09,560 Speaker 1: What's the cost of living? We have none of that 258 00:15:09,680 --> 00:15:13,480 Speaker 1: inflation calculators in our Headne's not a good fatty using 259 00:15:15,120 --> 00:15:21,160 Speaker 1: just like panic right, just fizzled it out, like, yeah, 260 00:15:21,160 --> 00:15:24,760 Speaker 1: you're not going to get it seems low to me. 261 00:15:24,840 --> 00:15:33,080 Speaker 1: Now I would say it's not a living wage right now? Yes, yeah, nope, nope, no, 262 00:15:33,120 --> 00:15:36,800 Speaker 1: if like a day dollar menu and I'm already paid 263 00:15:36,800 --> 00:15:40,960 Speaker 1: off car essentially, yeah, essentially, I don't think the dollar menu. 264 00:15:41,440 --> 00:15:44,320 Speaker 1: That's a tangent. We don't need to die because of 265 00:15:44,400 --> 00:15:48,720 Speaker 1: her failure. Yes, yes, that one. This is also a tangent. 266 00:15:48,760 --> 00:15:52,120 Speaker 1: But wasn't there a guy who ate like McDonald's burgers 267 00:15:52,120 --> 00:15:56,400 Speaker 1: for like a long term and super supersize me and 268 00:15:56,640 --> 00:15:59,840 Speaker 1: he almost like any health problems. Yeah? So um w. 269 00:16:00,000 --> 00:16:05,400 Speaker 1: New Boys also articles for the paper, and he taught 270 00:16:05,440 --> 00:16:08,880 Speaker 1: hands very African history at the Jefferson School of Social Science, 271 00:16:09,200 --> 00:16:11,520 Speaker 1: which was a Marxist school that was shut down by 272 00:16:11,520 --> 00:16:14,800 Speaker 1: the U S government during the McCarthy era, and she 273 00:16:14,840 --> 00:16:17,960 Speaker 1: wrote a paper Lorandeer wrote a paper for his course 274 00:16:18,000 --> 00:16:21,640 Speaker 1: on the Belgian Congo. So these ideas of anti colonialism 275 00:16:21,680 --> 00:16:25,800 Speaker 1: were brewing at the time. She also wrote one of 276 00:16:25,800 --> 00:16:29,240 Speaker 1: her first reports at the magazine was covered over a 277 00:16:29,320 --> 00:16:32,280 Speaker 1: hundred pro communist black women who were called the Sojournerous 278 00:16:32,360 --> 00:16:36,080 Speaker 1: for Truth and Justice, who were convened in Washington by 279 00:16:36,120 --> 00:16:39,240 Speaker 1: Mary Church gerrel Um. And she also covered the case 280 00:16:39,240 --> 00:16:41,800 Speaker 1: of Willie McGee, a black man who was sentenced to 281 00:16:41,840 --> 00:16:45,080 Speaker 1: death for raping a white woman. And so after she 282 00:16:45,240 --> 00:16:49,960 Speaker 1: joined Freedom and this part is understandable. So this is 283 00:16:50,000 --> 00:16:57,000 Speaker 1: where the FBI comes in because it was a woman 284 00:16:57,000 --> 00:17:00,120 Speaker 1: that she's not really a threat exactly. And this is 285 00:17:00,120 --> 00:17:02,000 Speaker 1: still the big kind of the beginning of her story. 286 00:17:02,040 --> 00:17:03,680 Speaker 1: Like we know, her story was kind of cut short. 287 00:17:03,760 --> 00:17:06,080 Speaker 1: But this is before we get to one of the 288 00:17:06,119 --> 00:17:07,960 Speaker 1: biggest things she was known for, which is a raised 289 00:17:07,960 --> 00:17:11,080 Speaker 1: in the sun, which we'll get too later. So after 290 00:17:11,240 --> 00:17:13,800 Speaker 1: she joined the magazine and she went to a peace 291 00:17:13,800 --> 00:17:18,200 Speaker 1: conference in monte Video, Uruguay, the FBI started tracking her 292 00:17:18,840 --> 00:17:21,679 Speaker 1: and they felt the need to determine whether A Raisin 293 00:17:21,760 --> 00:17:24,760 Speaker 1: in the Sun had any kind of communist bent. So 294 00:17:24,920 --> 00:17:28,840 Speaker 1: even before it went to Broadway, they had agents watching 295 00:17:28,840 --> 00:17:31,080 Speaker 1: it saying like this is what one ag is it. 296 00:17:31,320 --> 00:17:35,520 Speaker 1: The play contains no comments of any nature about communism 297 00:17:35,560 --> 00:17:41,440 Speaker 1: as such, but deals essentially with Negro aspirations, the problems 298 00:17:41,480 --> 00:17:45,920 Speaker 1: inherent in their efforts to advance themselves and varied attempts 299 00:17:46,000 --> 00:17:51,439 Speaker 1: at arriving at solutions, arriving as solutions. But the but 300 00:17:51,880 --> 00:17:55,240 Speaker 1: that means still dangerous, yeah, meaning that they actually have 301 00:17:55,359 --> 00:18:03,240 Speaker 1: the answer to get a quality they're dangerous doing. Wow, 302 00:18:04,000 --> 00:18:06,480 Speaker 1: I think this is a good place to pass for 303 00:18:06,600 --> 00:18:09,639 Speaker 1: an ad break. But we have a lot more for you, 304 00:18:09,800 --> 00:18:20,520 Speaker 1: So stick around, don't go away, and we're back. Thank you, sponsor. 305 00:18:21,640 --> 00:18:26,560 Speaker 1: So we've got an appearance by the FBI, um investigating 306 00:18:26,640 --> 00:18:30,359 Speaker 1: this this work that that we're I think we're getting 307 00:18:30,359 --> 00:18:34,920 Speaker 1: close to discussing. Yes, we are getting very close. Um. 308 00:18:34,920 --> 00:18:38,439 Speaker 1: But the FBI, they stayed on her. So she was 309 00:18:38,520 --> 00:18:41,520 Speaker 1: on the list. She was on the list was essentially yeah, 310 00:18:41,680 --> 00:18:45,480 Speaker 1: so yeah, basically yeah, her father was one thousand and 311 00:18:45,520 --> 00:18:50,439 Speaker 1: twenty pages. Oh my god. Um, so that's like a 312 00:18:50,560 --> 00:18:53,520 Speaker 1: little merit for her, like yeah, yeah, that is kind 313 00:18:53,520 --> 00:18:57,200 Speaker 1: of strange way, like you were saying, it's kind of impressive. 314 00:18:57,640 --> 00:19:00,280 Speaker 1: It is. There's probably a list somewhere are there have 315 00:19:00,320 --> 00:19:02,359 Speaker 1: been a list of all the names of people in 316 00:19:02,359 --> 00:19:05,840 Speaker 1: like ranks of how many FBI like how many pages 317 00:19:05,920 --> 00:19:07,800 Speaker 1: was in their FBI foul. I think James Followin was 318 00:19:07,840 --> 00:19:13,480 Speaker 1: a one thousand, eight hundred and something. I think Malcolm 319 00:19:13,600 --> 00:19:18,879 Speaker 1: X was like twice that. Um So, I don't know 320 00:19:18,960 --> 00:19:22,400 Speaker 1: if those are backing rights to look like this one 321 00:19:22,520 --> 00:19:27,440 Speaker 1: person is a threat. That's phenomenal in a great way. Yeah, 322 00:19:28,000 --> 00:19:32,800 Speaker 1: phenomenal and terrible the thing depending on pleas. Please don't 323 00:19:32,800 --> 00:19:36,000 Speaker 1: add papers online. I'm a circumspect person. I'm a cautious person, 324 00:19:36,080 --> 00:19:38,159 Speaker 1: but I'm not a paranoid person, is what I like 325 00:19:38,200 --> 00:19:41,720 Speaker 1: to say. But um yeah, so they kept they kept 326 00:19:41,720 --> 00:19:44,359 Speaker 1: following her throughout her life, like through a raising in 327 00:19:44,400 --> 00:19:47,720 Speaker 1: the Sun, through her fundraising that you did on behalf 328 00:19:47,760 --> 00:19:52,000 Speaker 1: of snick, and there's civil rights related doings. Um she 329 00:19:52,080 --> 00:19:55,160 Speaker 1: called for abolition of the House of an American Activities 330 00:19:55,160 --> 00:20:00,000 Speaker 1: Committee and through her second play on Broadway. So basically 331 00:20:00,280 --> 00:20:02,880 Speaker 1: up from that point until her death or later death. 332 00:20:03,880 --> 00:20:07,320 Speaker 1: So back to the magazine though by now nineteen fifty three, 333 00:20:07,359 --> 00:20:10,280 Speaker 1: she was an editor at Freedom, but that same year 334 00:20:10,320 --> 00:20:14,560 Speaker 1: she resigned from her post at Freedom to further pursue playwriting. 335 00:20:14,680 --> 00:20:17,440 Speaker 1: And then she married Robert Nimrov, who was a writer 336 00:20:17,520 --> 00:20:20,119 Speaker 1: and a graduate student at New York University at that time. 337 00:20:20,560 --> 00:20:23,719 Speaker 1: And so the two of them kind of like hit 338 00:20:23,760 --> 00:20:25,919 Speaker 1: the streets together, like they picketed, and they went to 339 00:20:25,960 --> 00:20:29,760 Speaker 1: vigils for a desegregation, and so they were like similar, 340 00:20:29,840 --> 00:20:34,159 Speaker 1: they were vibing, um had similar ideals in like practices, 341 00:20:35,000 --> 00:20:39,040 Speaker 1: and Freedom as a Note went bankrupt in nineteen fifty five, 342 00:20:39,480 --> 00:20:42,560 Speaker 1: which was after she left, but they kind of like 343 00:20:42,600 --> 00:20:45,320 Speaker 1: fizzled like a lot of other radical magazines have done. 344 00:20:46,160 --> 00:20:48,800 Speaker 1: So this is the point where we kind of get 345 00:20:48,840 --> 00:20:54,040 Speaker 1: to her artistry picking up. And so in nineteen fifty six, 346 00:20:54,240 --> 00:20:57,560 Speaker 1: her husband, Robert was a writer on the song Cindy 347 00:20:57,680 --> 00:21:01,040 Speaker 1: of Cindy, and he made a lot of money from that, 348 00:21:01,520 --> 00:21:04,840 Speaker 1: and so the two of them, he and Lorraine, were 349 00:21:04,880 --> 00:21:07,680 Speaker 1: able to use that money to kind of fund their writing, 350 00:21:08,280 --> 00:21:11,159 Speaker 1: and they were able to devote all their time to 351 00:21:11,240 --> 00:21:13,960 Speaker 1: that essentially, So she began a play that she called 352 00:21:14,000 --> 00:21:17,480 Speaker 1: The Crystal Stare, and that turned into a Raisin in 353 00:21:17,520 --> 00:21:20,560 Speaker 1: the Sun, which is the play that she got all 354 00:21:20,640 --> 00:21:26,560 Speaker 1: those awards from and is her best remembered work of art, right, 355 00:21:26,600 --> 00:21:30,200 Speaker 1: really significant in the film world. Very Sydney Party won 356 00:21:30,359 --> 00:21:33,439 Speaker 1: award for that Academy Awards, all right, I think so 357 00:21:33,760 --> 00:21:35,720 Speaker 1: well Sydney Party, he did. He did get a lot 358 00:21:35,760 --> 00:21:38,480 Speaker 1: more acclaim after the movie came out, And that movie 359 00:21:38,520 --> 00:21:41,680 Speaker 1: came out in nineteen sixty one, after the few years 360 00:21:41,720 --> 00:21:44,280 Speaker 1: after the play itself came out. So in nineteen fifty 361 00:21:44,320 --> 00:21:47,160 Speaker 1: seven was when she completed the manuscript for a Raisin 362 00:21:47,160 --> 00:21:50,080 Speaker 1: in the Sun. The play is about a black family 363 00:21:50,160 --> 00:21:52,680 Speaker 1: that lives in South South Chicago in the nineteen fifties. 364 00:21:52,720 --> 00:21:55,480 Speaker 1: It kind of mirrors her own experience and living in 365 00:21:55,480 --> 00:21:57,840 Speaker 1: a white neighborhood and having to deal with those kind 366 00:21:57,840 --> 00:22:01,440 Speaker 1: of struggles. Had themes of black idea entity and black liberation. 367 00:22:02,119 --> 00:22:05,359 Speaker 1: So in March nineteen fifty nine, that's when the play 368 00:22:05,400 --> 00:22:09,040 Speaker 1: opened on Broadway at the Ethel Barrymore Theater, making her 369 00:22:09,119 --> 00:22:12,280 Speaker 1: the first black woman to have a play produced on Broadway. 370 00:22:12,359 --> 00:22:15,959 Speaker 1: And so the play ran for five hundred and thirty performances, 371 00:22:16,160 --> 00:22:19,280 Speaker 1: and like you said earlier, put Sydney Pottier later the 372 00:22:19,480 --> 00:22:21,200 Speaker 1: when the movie came out that put Sindy Pointier in 373 00:22:21,280 --> 00:22:25,640 Speaker 1: the spotlight, and the play itself got her national recognition. 374 00:22:26,200 --> 00:22:30,320 Speaker 1: So James Baldwin said the following about raising here I 375 00:22:30,359 --> 00:22:34,680 Speaker 1: go with the quotes. I had never in my life 376 00:22:34,880 --> 00:22:37,800 Speaker 1: seen so many black people in the theater. And the 377 00:22:37,880 --> 00:22:41,439 Speaker 1: reason was that never before in the entire history of 378 00:22:41,480 --> 00:22:44,960 Speaker 1: the American theater had so much of the truth of 379 00:22:45,040 --> 00:22:48,919 Speaker 1: black people's lives been seen on the stage. Black people 380 00:22:48,960 --> 00:22:54,400 Speaker 1: had ignored the theater because the theater had always ignored them. 381 00:22:54,440 --> 00:22:56,320 Speaker 1: So I think it's interesting to think that this was 382 00:22:56,680 --> 00:22:59,040 Speaker 1: not that long ago, Like this is nineteen sixteen, and 383 00:22:59,080 --> 00:23:02,159 Speaker 1: he's saying, like nobody had ever seen this on the stage, 384 00:23:02,160 --> 00:23:05,440 Speaker 1: and it's like all these black people were around creating art. 385 00:23:05,560 --> 00:23:08,159 Speaker 1: So it just kind of like a dissonance there of 386 00:23:08,240 --> 00:23:11,080 Speaker 1: like thinking about how many black people were creating art 387 00:23:11,560 --> 00:23:16,720 Speaker 1: and making plays and writing, um, and you know this 388 00:23:16,800 --> 00:23:22,200 Speaker 1: is that it took this long. Um. So yeah, that's 389 00:23:22,240 --> 00:23:24,359 Speaker 1: just I like that quote because it kind of like 390 00:23:24,440 --> 00:23:26,960 Speaker 1: gave a little bit of context and insight to how 391 00:23:27,480 --> 00:23:30,199 Speaker 1: people at the time who were going to see the 392 00:23:30,240 --> 00:23:32,760 Speaker 1: plays and who were writing about it. The critics we 393 00:23:32,840 --> 00:23:34,680 Speaker 1: were writing about it, and people who are reading about 394 00:23:34,720 --> 00:23:38,159 Speaker 1: it felt about it, right, Yeah, again with the the 395 00:23:38,160 --> 00:23:42,000 Speaker 1: importance of context and why this is a very importance. 396 00:23:42,359 --> 00:23:44,960 Speaker 1: They felt represented, and you know what, that's kind of 397 00:23:45,320 --> 00:23:48,680 Speaker 1: even though when it's still an argument right now for 398 00:23:49,080 --> 00:23:51,240 Speaker 1: black people of people of color to be represented in 399 00:23:51,240 --> 00:23:54,640 Speaker 1: the industry in itself and it's still slow rolling after 400 00:23:54,720 --> 00:23:58,359 Speaker 1: all of that, even Yeah, and I did want to 401 00:23:58,400 --> 00:24:01,400 Speaker 1: say just because uh, I think it's amazing. She's twenty 402 00:24:01,520 --> 00:24:06,600 Speaker 1: nine when this bappeared on Broadway, I know, and like 403 00:24:06,640 --> 00:24:09,600 Speaker 1: we kind of alluded to, the critics really liked it 404 00:24:09,720 --> 00:24:12,760 Speaker 1: as well. Yeah they did. Um, they really loved a 405 00:24:12,880 --> 00:24:15,920 Speaker 1: raise it in the sun and it's like it's classroom 406 00:24:15,960 --> 00:24:19,040 Speaker 1: reading material, you know now, like a lot of students 407 00:24:19,040 --> 00:24:21,080 Speaker 1: read them in high school. Yeah, I won the New 408 00:24:21,160 --> 00:24:25,080 Speaker 1: York Drama Critics Circle Award. Um. It ran for nineteen months, 409 00:24:25,200 --> 00:24:29,360 Speaker 1: translated into thirty five languages, and like you're saying, um. 410 00:24:29,400 --> 00:24:31,679 Speaker 1: In ninety sixty one, the film version got a special 411 00:24:31,720 --> 00:24:38,160 Speaker 1: word at the Cannon Film because Yeah, that's phenomenal. It is. 412 00:24:38,359 --> 00:24:41,280 Speaker 1: The ball just kept on ruling basically like it's just 413 00:24:41,320 --> 00:24:43,240 Speaker 1: really cool that that could be turned into a film 414 00:24:43,520 --> 00:24:46,359 Speaker 1: and still do well and just a testament to the 415 00:24:46,680 --> 00:24:48,600 Speaker 1: how good the content in the art was and how 416 00:24:48,600 --> 00:24:50,720 Speaker 1: good of a playwright and writer she was. Yeah, it's 417 00:24:50,720 --> 00:24:53,320 Speaker 1: still of standard in the movie industry, is one of 418 00:24:53,320 --> 00:24:56,240 Speaker 1: the best, and even in the like entertainment industry is 419 00:24:56,240 --> 00:25:00,359 Speaker 1: one of the most. Over thinking yeah um material. Yeah, 420 00:25:00,440 --> 00:25:04,600 Speaker 1: and the people she was competing against are that the 421 00:25:04,680 --> 00:25:07,520 Speaker 1: play was competing against. In UM the New York Critics 422 00:25:07,560 --> 00:25:12,520 Speaker 1: Circle Award was like Eugene O'Neill and Kinnessee Williams. So 423 00:25:12,520 --> 00:25:15,360 Speaker 1: so not only was she one of the first the 424 00:25:15,359 --> 00:25:19,960 Speaker 1: first person, she was one of the earliest women. That 425 00:25:20,080 --> 00:25:23,520 Speaker 1: double whammy. I think there were five or four women 426 00:25:23,560 --> 00:25:27,320 Speaker 1: who wanted before her, so not that many. That's so significant. 427 00:25:28,080 --> 00:25:31,600 Speaker 1: So she also wrote other plays, and those plays didn't 428 00:25:31,600 --> 00:25:34,200 Speaker 1: do quite as well. One was The Sign in Sydney 429 00:25:34,240 --> 00:25:38,080 Speaker 1: Bruce Steam's Window. That one the last performance of that 430 00:25:38,160 --> 00:25:41,720 Speaker 1: was the day she died. Um. But that one received 431 00:25:41,800 --> 00:25:44,959 Speaker 1: mixed reviews. Basically people weren't really feeling it, definitely not 432 00:25:45,000 --> 00:25:46,760 Speaker 1: feeling it as much as they felt e Raised in 433 00:25:46,760 --> 00:25:49,760 Speaker 1: the Sun. And then she had another one called That 434 00:25:49,800 --> 00:25:52,360 Speaker 1: One was staged after her death. Um, and that one 435 00:25:52,520 --> 00:25:56,119 Speaker 1: wasn't well received kind of at all. Her work was 436 00:25:56,600 --> 00:26:00,119 Speaker 1: radical like it wasn't really there was a lot of 437 00:26:00,119 --> 00:26:03,600 Speaker 1: people who didn't accept her work. Essentially, so when NBC 438 00:26:03,720 --> 00:26:06,880 Speaker 1: commissioned her to write a TV drama about slavery for 439 00:26:06,960 --> 00:26:10,119 Speaker 1: a commemoration of the Civil War, her resulting work was 440 00:26:10,200 --> 00:26:14,239 Speaker 1: The Drinking Gourd, and they deemed it too controversial and 441 00:26:14,280 --> 00:26:18,520 Speaker 1: they discontinued it. So so, as I mentioned earlier, she 442 00:26:18,600 --> 00:26:22,359 Speaker 1: raised funds for the Student Non Violent Coordinating Committee or SNICK, 443 00:26:22,960 --> 00:26:25,320 Speaker 1: and she wrote the text for a snake photo book 444 00:26:25,359 --> 00:26:29,399 Speaker 1: that was called The Movement Documentary of a Struggle for Equality. 445 00:26:30,040 --> 00:26:32,560 Speaker 1: So more of these ways that we see that she 446 00:26:32,640 --> 00:26:37,560 Speaker 1: was participating in activism. And so Nina Simone, who if 447 00:26:37,560 --> 00:26:40,439 Speaker 1: you don't know, is an amazing singer, musician and activists. 448 00:26:41,000 --> 00:26:43,919 Speaker 1: And she said that there were buddies so she was 449 00:26:43,960 --> 00:26:50,240 Speaker 1: just cool. Like, yes, she said the following about Lorraine. 450 00:26:50,440 --> 00:26:53,800 Speaker 1: We never talked about men or clothes or other such 451 00:26:53,880 --> 00:26:57,640 Speaker 1: inconsequential things when we got together. It was always marks, 452 00:26:57,760 --> 00:27:06,639 Speaker 1: linen and revolution real girls. Oh yes, yes, that's awesome. 453 00:27:08,200 --> 00:27:12,399 Speaker 1: So something that was often glossed over about her life 454 00:27:12,600 --> 00:27:16,600 Speaker 1: was how she identified as lesbian. Her queerness was glossed 455 00:27:16,640 --> 00:27:20,200 Speaker 1: over her her story was kind of straight washed, as 456 00:27:20,240 --> 00:27:25,040 Speaker 1: it's been called. So she supported the lesbian liberation movement. 457 00:27:25,240 --> 00:27:30,320 Speaker 1: She wrote about radical feminism, misogyny, and homophobia, and she 458 00:27:30,480 --> 00:27:34,359 Speaker 1: often linked homophobia with sexism and racism, and so she 459 00:27:34,760 --> 00:27:37,560 Speaker 1: kind of took what we call now intersectionality into account 460 00:27:37,640 --> 00:27:40,199 Speaker 1: before it was being termed. So in a letter to 461 00:27:40,280 --> 00:27:43,800 Speaker 1: the latter, which was a subscription based lesbian magazine, she 462 00:27:43,880 --> 00:27:46,399 Speaker 1: used a pen name, and she said, I wanted to 463 00:27:46,480 --> 00:27:50,840 Speaker 1: leap into the questions raised on heterosexually married lesbians. I 464 00:27:50,880 --> 00:27:53,399 Speaker 1: am one of those. How could we ever begin to 465 00:27:53,440 --> 00:27:56,200 Speaker 1: guess the numbers of women who are not prepared to 466 00:27:56,320 --> 00:27:58,560 Speaker 1: risk a life alien to what they have been taught 467 00:27:58,640 --> 00:28:03,359 Speaker 1: all their lives to believe their natural destiny. So a 468 00:28:03,440 --> 00:28:06,639 Speaker 1: lot of biographies are a lot of like text on 469 00:28:06,680 --> 00:28:10,600 Speaker 1: her don't really I mean now it's better, but like, 470 00:28:10,760 --> 00:28:14,160 Speaker 1: don't really mention or haven't mentioned that part of her life. 471 00:28:14,160 --> 00:28:17,240 Speaker 1: But she also kept it very private. There weren't many 472 00:28:17,320 --> 00:28:20,399 Speaker 1: people who knew about it. Only some people in her 473 00:28:20,440 --> 00:28:23,960 Speaker 1: life knew about her sexuality. And it's also an understatement 474 00:28:24,000 --> 00:28:26,360 Speaker 1: to say that, like, it wasn't that easy to be 475 00:28:26,440 --> 00:28:29,240 Speaker 1: a black gay woman at the time. I was gonna 476 00:28:29,280 --> 00:28:31,240 Speaker 1: say it's already has the struggle of being a black 477 00:28:31,280 --> 00:28:33,919 Speaker 1: woman in that time frame. And then on top of 478 00:28:33,960 --> 00:28:36,680 Speaker 1: that awareness on edge, she's like, it's gonna be harder 479 00:28:36,680 --> 00:28:39,720 Speaker 1: for me to communicate all the things because one thing 480 00:28:39,760 --> 00:28:42,400 Speaker 1: could be a blot for one person as it can 481 00:28:42,440 --> 00:28:44,760 Speaker 1: still be this that way this day, but obviously it's 482 00:28:45,000 --> 00:28:51,360 Speaker 1: more significant when it was completely considered as a deviant behavior, right, 483 00:28:51,400 --> 00:28:54,360 Speaker 1: And she did kind of like she really struggled with 484 00:28:54,400 --> 00:28:56,600 Speaker 1: that kind of balance, and she did talk about like 485 00:28:56,800 --> 00:28:59,440 Speaker 1: the respectability of like when it comes to appearance when 486 00:28:59,480 --> 00:29:02,200 Speaker 1: trying to me, it's those identities. UM. So that's a 487 00:29:02,200 --> 00:29:04,800 Speaker 1: conversation that I'm sure she had a lot. She thought 488 00:29:04,800 --> 00:29:08,240 Speaker 1: a lot about it herself in conversations she had with herself, um, 489 00:29:08,280 --> 00:29:10,440 Speaker 1: in terms of that balance. And so she also kept 490 00:29:10,480 --> 00:29:12,800 Speaker 1: in contact with one of the first lesbian organizations in 491 00:29:12,840 --> 00:29:15,640 Speaker 1: the country, which was the Daughters of Beldis, And she 492 00:29:15,720 --> 00:29:19,160 Speaker 1: also subscribed to the magazine one UM and she corresponded 493 00:29:19,200 --> 00:29:23,600 Speaker 1: with women who she had close relationships with. So there 494 00:29:23,640 --> 00:29:27,120 Speaker 1: were these lists that she wrote of her likes, her dislikes, 495 00:29:27,200 --> 00:29:32,160 Speaker 1: her regrets, her prides that she did for several years, UM, 496 00:29:32,200 --> 00:29:35,120 Speaker 1: which are I wish I could quote them, but like 497 00:29:35,200 --> 00:29:38,120 Speaker 1: it's just there's two. There's there's too many. I mean, 498 00:29:38,760 --> 00:29:40,840 Speaker 1: if you want to go read them, I would highly 499 00:29:40,840 --> 00:29:43,479 Speaker 1: recommend you going to read their like her likes and 500 00:29:43,520 --> 00:29:45,800 Speaker 1: dislikes and all those those lists that she wrote because 501 00:29:45,800 --> 00:29:48,920 Speaker 1: they're just so personal, you know, like they're just I 502 00:29:49,040 --> 00:29:52,240 Speaker 1: love that kind of insights, so honest. It's cool to 503 00:29:52,480 --> 00:29:56,520 Speaker 1: know that we know about all her accomplishments and her achievements, 504 00:29:56,520 --> 00:29:58,840 Speaker 1: but she had her own felt about it. Yeah, how 505 00:29:58,840 --> 00:30:01,040 Speaker 1: she felt about it, Like we know her her struggles, 506 00:30:01,200 --> 00:30:05,280 Speaker 1: and she mentions her homosexuality, Like in one of them, 507 00:30:05,360 --> 00:30:09,520 Speaker 1: she said, she puts under her dislikes my homosexuality. So 508 00:30:09,760 --> 00:30:12,400 Speaker 1: you just kind of get that insight into Like a 509 00:30:12,480 --> 00:30:14,520 Speaker 1: person is a person, and at the end of the day, 510 00:30:14,640 --> 00:30:17,160 Speaker 1: even though they have this public persona and presence and 511 00:30:17,200 --> 00:30:21,080 Speaker 1: all this public work, doesn't mean that they're perfect and 512 00:30:21,120 --> 00:30:23,560 Speaker 1: that they're not struggling with their own personal things in 513 00:30:23,600 --> 00:30:25,960 Speaker 1: addition to all the social issues she was thinking about. 514 00:30:26,440 --> 00:30:29,280 Speaker 1: It's not just like I'm the strong, passionate woman who 515 00:30:29,360 --> 00:30:31,320 Speaker 1: is a figure to be reckoned with, but I also 516 00:30:31,360 --> 00:30:35,280 Speaker 1: have these securities and anxieties. It's much like everyone else, 517 00:30:35,320 --> 00:30:37,720 Speaker 1: So that that's really encouraging to be like, oh, good, 518 00:30:38,040 --> 00:30:48,360 Speaker 1: I can do things right, all these regrets right, but wow, 519 00:30:48,400 --> 00:30:51,600 Speaker 1: that yeah, that is so personal and so opening, Like 520 00:30:51,760 --> 00:30:54,880 Speaker 1: I wonder her mindset and how open she had to 521 00:30:54,880 --> 00:30:57,480 Speaker 1: be in honest with herself even to be like, this 522 00:30:57,520 --> 00:30:59,400 Speaker 1: is what I have problems with myself. And this is 523 00:30:59,440 --> 00:31:01,520 Speaker 1: where I really love myself because either one of those 524 00:31:01,560 --> 00:31:05,320 Speaker 1: are hard to talk about, definitely, you know, and to 525 00:31:05,480 --> 00:31:08,560 Speaker 1: now for them to be on display, right, right? Which 526 00:31:08,600 --> 00:31:10,560 Speaker 1: did she mean to? I don't want to display. I 527 00:31:10,600 --> 00:31:12,400 Speaker 1: don't think she meant to put them on display, but 528 00:31:12,440 --> 00:31:15,920 Speaker 1: they were in an exhibition, and honestly, that's this is 529 00:31:15,920 --> 00:31:18,120 Speaker 1: a tangent too. But this is one thing that I 530 00:31:18,120 --> 00:31:20,880 Speaker 1: am concerned about. I do not want my diary, right, 531 00:31:21,120 --> 00:31:23,320 Speaker 1: That's what I'm thinking to like, Oh, I have so 532 00:31:23,360 --> 00:31:27,000 Speaker 1: many embarrassing things in my old diaries, and I would 533 00:31:27,080 --> 00:31:29,480 Speaker 1: love to have the sort of prominence to where people 534 00:31:29,520 --> 00:31:31,760 Speaker 1: want to know these things about me, But I don't 535 00:31:31,760 --> 00:31:35,040 Speaker 1: want them to know myself. Were talking about how he 536 00:31:35,120 --> 00:31:37,320 Speaker 1: wrote poetry way back in the day, and she was like, 537 00:31:37,320 --> 00:31:40,000 Speaker 1: we're gonna we would read these. I was like, no, 538 00:31:40,280 --> 00:31:41,880 Speaker 1: that's gonna be something I really kind of wish it 539 00:31:41,920 --> 00:31:44,480 Speaker 1: was gone. I used to do what I called a 540 00:31:44,560 --> 00:31:46,240 Speaker 1: purge at the end of every year, and I had 541 00:31:46,280 --> 00:31:48,560 Speaker 1: a bucket, a metal bucket, and I would burn all 542 00:31:48,600 --> 00:31:51,600 Speaker 1: everything I wrote. And now I actually really regret it. Yeah, 543 00:31:51,680 --> 00:31:53,920 Speaker 1: I was gonna say I couldn't do that. Is that 544 00:31:53,960 --> 00:31:55,840 Speaker 1: because you would want to read them again? Or because 545 00:31:55,880 --> 00:31:58,240 Speaker 1: you want people to share them? I would want I 546 00:31:58,280 --> 00:32:00,920 Speaker 1: want to read that four hundred and fifty book I 547 00:32:00,960 --> 00:32:05,920 Speaker 1: wrote you burn y pages. I'm sure it was terrible 548 00:32:05,960 --> 00:32:09,120 Speaker 1: for but I wrote it. But that's your words and 549 00:32:09,160 --> 00:32:11,760 Speaker 1: your efforts and your time. But yeah, that's kind of heartbreaking. 550 00:32:11,760 --> 00:32:13,640 Speaker 1: You just want to know what middle school and he 551 00:32:13,720 --> 00:32:18,680 Speaker 1: thought she had for about that would be a deep 552 00:32:18,800 --> 00:32:24,800 Speaker 1: insight for sure. Anyway, this isn't about any regrets, I understand. 553 00:32:24,920 --> 00:32:27,640 Speaker 1: I understand where you're cover from THANKT Bonus episode. Everybody 554 00:32:27,640 --> 00:32:34,240 Speaker 1: writes regrets and talk about it in the studio. Then 555 00:32:34,280 --> 00:32:41,920 Speaker 1: we're fired again. Anyways, all of the network getting picked out, 556 00:32:42,000 --> 00:32:45,520 Speaker 1: and then we're double fired. Oh no, well, well we'll 557 00:32:45,560 --> 00:32:49,200 Speaker 1: pause here for one more break for a word from 558 00:32:49,200 --> 00:33:01,280 Speaker 1: our sponsor, and we're back. Thank you sponsor. So I 559 00:33:01,320 --> 00:33:05,120 Speaker 1: feel like we're we're coming too close here on on 560 00:33:05,520 --> 00:33:08,080 Speaker 1: UM Lorraine's story. There are a couple of things that 561 00:33:08,120 --> 00:33:09,440 Speaker 1: I would like to touch on it. I feel like 562 00:33:09,440 --> 00:33:11,000 Speaker 1: you probably have some more that you would like to 563 00:33:11,000 --> 00:33:14,000 Speaker 1: touch on a little bit. All right, this is like 564 00:33:14,040 --> 00:33:19,040 Speaker 1: a negotiation. You go first, I'll go first, concede. So 565 00:33:19,200 --> 00:33:21,400 Speaker 1: in nineteen sixty three, she was part of a group 566 00:33:21,440 --> 00:33:25,400 Speaker 1: of prominent black people UM, including folks like James Baldwin 567 00:33:25,480 --> 00:33:28,160 Speaker 1: and Harry Bella Fonte, who met with Attorney General Robert 568 00:33:28,200 --> 00:33:31,120 Speaker 1: Kennedy to get him to help protect civil rights in 569 00:33:31,160 --> 00:33:33,520 Speaker 1: the South. And so when the group said that the 570 00:33:33,560 --> 00:33:37,120 Speaker 1: federal government wasn't doing enough to protect black civil rights, 571 00:33:37,680 --> 00:33:41,600 Speaker 1: Kennedy didn't agree, and Lorraine ended up leaving the room. 572 00:33:41,720 --> 00:33:44,479 Speaker 1: There's a story that James Baldwyn tells about Lorraine, like 573 00:33:45,320 --> 00:33:50,800 Speaker 1: walking out protests. Yeah. Yeah. But then after that President 574 00:33:50,880 --> 00:33:53,320 Speaker 1: Kennedy dimped stuff with civil rights and so had a 575 00:33:53,320 --> 00:33:56,320 Speaker 1: meeting in nineteen sixty four. She also called for the 576 00:33:56,400 --> 00:33:59,680 Speaker 1: white liberal to stop being a liberal and become an 577 00:33:59,680 --> 00:34:02,520 Speaker 1: amor a kin radical, which I feel like relates to 578 00:34:02,560 --> 00:34:07,640 Speaker 1: so many conversations that we're having today. So that's more 579 00:34:07,720 --> 00:34:09,399 Speaker 1: of the things that she did in terms of being 580 00:34:09,400 --> 00:34:12,560 Speaker 1: involved in activism in her community. So she died of 581 00:34:12,600 --> 00:34:17,680 Speaker 1: pancreatic cancer in ve she was thirty four. Over seven 582 00:34:17,719 --> 00:34:21,200 Speaker 1: hundred people attended her funeral. Some stood outside in the 583 00:34:21,239 --> 00:34:27,400 Speaker 1: suite and uh, she had previously criticized Um. Again, she 584 00:34:27,440 --> 00:34:31,160 Speaker 1: had all these cool friends, right, she had. Malcolm X 585 00:34:31,200 --> 00:34:34,560 Speaker 1: had previously criticized her for having a white husband, and 586 00:34:34,640 --> 00:34:38,160 Speaker 1: she was like, not there for it. And he apologized 587 00:34:38,560 --> 00:34:40,480 Speaker 1: and he came to her funeral even when he was 588 00:34:40,600 --> 00:34:44,919 Speaker 1: under a public death threat. And Nina Simone sung at 589 00:34:44,920 --> 00:34:48,160 Speaker 1: her funeral, and to be Young Gifted in Black was 590 00:34:48,239 --> 00:34:52,200 Speaker 1: a tribute to her. And that's an amazing song as well. 591 00:34:53,920 --> 00:34:59,640 Speaker 1: On the list to correctly. Yeah. Yeah, she was diagnosed 592 00:34:59,640 --> 00:35:01,760 Speaker 1: to night sixty three. She was struggling with that cancer 593 00:35:01,800 --> 00:35:05,680 Speaker 1: for a couple of years, and she divorced her husband 594 00:35:05,719 --> 00:35:09,680 Speaker 1: in nineteen sixty four, but they have been separated for 595 00:35:10,040 --> 00:35:13,279 Speaker 1: a while at that point. Um. But even after they 596 00:35:13,280 --> 00:35:18,360 Speaker 1: had separated, they continue to collaborate professionally. This is another 597 00:35:18,400 --> 00:35:20,440 Speaker 1: thing and thinking about how she thought about herself and 598 00:35:20,480 --> 00:35:23,160 Speaker 1: the work that she did. Even after all of her 599 00:35:23,200 --> 00:35:26,640 Speaker 1: activism and her journalism and all of the art that 600 00:35:26,719 --> 00:35:30,440 Speaker 1: she did, she still kind of questioned her contributions and 601 00:35:30,480 --> 00:35:36,080 Speaker 1: her worthiness. She said, do I remain a revolutionary intellectually 602 00:35:36,239 --> 00:35:38,680 Speaker 1: without a doubt? But am I prepared to give my 603 00:35:38,760 --> 00:35:41,840 Speaker 1: body to the struggle or even my comforts? This is 604 00:35:41,880 --> 00:35:44,120 Speaker 1: what I puzzle about. And she went on to say 605 00:35:44,400 --> 00:35:46,359 Speaker 1: a little bit later, when I get my health back, 606 00:35:46,480 --> 00:35:48,560 Speaker 1: I think I'll shall have to go into the South 607 00:35:48,640 --> 00:35:52,240 Speaker 1: to find out what kind of revolutionary I am. And 608 00:35:52,480 --> 00:35:54,640 Speaker 1: that that quote really got to me because just thinking 609 00:35:54,640 --> 00:35:57,360 Speaker 1: about how much Black people put their bodies on the line, 610 00:35:57,920 --> 00:36:00,799 Speaker 1: and different people have different roles in the movement and 611 00:36:00,920 --> 00:36:05,759 Speaker 1: the struggle, and the fact that she was this she 612 00:36:05,840 --> 00:36:09,400 Speaker 1: was still young at this point, like right before she died. Um, 613 00:36:09,480 --> 00:36:12,200 Speaker 1: because this very young and she was this is she 614 00:36:12,239 --> 00:36:13,960 Speaker 1: was saying. To set the point where she was struggling 615 00:36:13,960 --> 00:36:17,520 Speaker 1: with cancer at the end of her years and questioning 616 00:36:18,920 --> 00:36:22,840 Speaker 1: all of the work that she did to reverse national 617 00:36:22,920 --> 00:36:27,879 Speaker 1: ideas about race, to reverse racism, to to think about 618 00:36:27,920 --> 00:36:31,520 Speaker 1: homophobia too, to say, oh, am I revolutionary, I have 619 00:36:31,600 --> 00:36:33,080 Speaker 1: to go. I have to go put my body on 620 00:36:33,120 --> 00:36:37,279 Speaker 1: the line, you know, very interesting more I could do. 621 00:36:37,920 --> 00:36:41,600 Speaker 1: And then possibly a little bit of imposter syndrome right there. 622 00:36:42,200 --> 00:36:45,440 Speaker 1: I mean again, that's comforting know that the strong Powerhouse 623 00:36:46,280 --> 00:36:49,759 Speaker 1: as some of the same figures that we do. So 624 00:36:49,800 --> 00:36:53,080 Speaker 1: she was writing it's very sad, but she was writing 625 00:36:53,080 --> 00:36:56,520 Speaker 1: about her diminishing health, and she noted that things just 626 00:36:56,719 --> 00:36:58,600 Speaker 1: weren't looking good at the end of her life. And 627 00:36:58,640 --> 00:37:01,000 Speaker 1: she said like she she felt like she was being 628 00:37:01,120 --> 00:37:05,640 Speaker 1: sucked away and that she wouldn't mind something drastic like 629 00:37:05,800 --> 00:37:08,920 Speaker 1: death is what she said. It's like, I don't mean operation, 630 00:37:08,960 --> 00:37:12,799 Speaker 1: I mean death. So that hit me, that hit me hard. 631 00:37:14,000 --> 00:37:17,240 Speaker 1: But the like Annie said, she died in nineteen sixty 632 00:37:17,320 --> 00:37:21,160 Speaker 1: five and her ex husband became the executive her the 633 00:37:21,280 --> 00:37:25,319 Speaker 1: executor of her literary estate. And there's a lot of 634 00:37:25,360 --> 00:37:28,160 Speaker 1: controversy in terms of the influence that he had over 635 00:37:28,239 --> 00:37:30,480 Speaker 1: her literary works and how he changed them, and like 636 00:37:30,520 --> 00:37:33,160 Speaker 1: what he kept secret, like putting the lock lockbox, and 637 00:37:33,239 --> 00:37:35,840 Speaker 1: like was it made only made available to certain people, 638 00:37:36,040 --> 00:37:40,360 Speaker 1: things like that. Um, So that's all the things that 639 00:37:40,400 --> 00:37:43,640 Speaker 1: happened posthumously, that he did posthumously, or that they did, 640 00:37:43,719 --> 00:37:46,480 Speaker 1: because I think he and his family did afterward kind 641 00:37:46,520 --> 00:37:49,120 Speaker 1: of owned that a state. Um is a huge point 642 00:37:49,120 --> 00:37:53,640 Speaker 1: of contention. So in thinking about all the things that 643 00:37:53,800 --> 00:37:58,239 Speaker 1: Lorraine didn't wasn't able to get to but did obviously. 644 00:37:58,280 --> 00:38:00,920 Speaker 1: As we all know in here as creators, we write 645 00:38:00,960 --> 00:38:05,600 Speaker 1: a lot of things down and maybe don't finish them. 646 00:38:06,760 --> 00:38:13,560 Speaker 1: I just sit back and look at I can already 647 00:38:13,600 --> 00:38:18,239 Speaker 1: tell you it's not bad. So she was working on 648 00:38:18,280 --> 00:38:21,279 Speaker 1: a bunch of projects that remained unfinished at the time 649 00:38:21,320 --> 00:38:24,480 Speaker 1: of her death, including an epic opera about to startlo Mature, 650 00:38:24,680 --> 00:38:28,920 Speaker 1: and an idle biographical novel called All the Dark and 651 00:38:28,960 --> 00:38:35,520 Speaker 1: Beautiful Warriors It's a Great Time. She also had written 652 00:38:35,520 --> 00:38:38,480 Speaker 1: down ideas for other plays, including one about the faraka 653 00:38:38,560 --> 00:38:42,040 Speaker 1: Naton and another one on an eighteenth century writer Mary 654 00:38:42,080 --> 00:38:46,120 Speaker 1: Woolstone Kraft, and another one on Native Americans called Laughing Boy, 655 00:38:46,320 --> 00:38:49,759 Speaker 1: and one on the fiction writer Charles Chestnut's novel The 656 00:38:49,840 --> 00:38:53,920 Speaker 1: Marrow of Tradition. So she had a lot of works 657 00:38:53,960 --> 00:38:57,960 Speaker 1: that weren't done um and maybe she was, you know, 658 00:38:58,320 --> 00:39:03,120 Speaker 1: hoping to finish them, but unfortunately she died it thirty four. M. Yeah, 659 00:39:03,200 --> 00:39:07,160 Speaker 1: all of those I sound amazing. I really wish I 660 00:39:07,200 --> 00:39:10,520 Speaker 1: get a hand on some of these non existent words. M. 661 00:39:11,000 --> 00:39:13,480 Speaker 1: I was able to finish that. The person I was 662 00:39:13,480 --> 00:39:16,960 Speaker 1: talking about earlier, who was writing the book A Monty Perry. 663 00:39:17,160 --> 00:39:20,080 Speaker 1: She she wrote Looking for Lorraine, The Radiant and Radical 664 00:39:20,120 --> 00:39:23,120 Speaker 1: Life of Loraine Handsbury, and she said of Lorraine, she 665 00:39:23,160 --> 00:39:25,920 Speaker 1: was a feminist before the feminist movement. She identified as 666 00:39:25,920 --> 00:39:29,040 Speaker 1: a lesbian and thought about LGBTQ organizing before there was 667 00:39:29,080 --> 00:39:33,399 Speaker 1: gay rights movement. She was an anti colonialist before independences 668 00:39:33,440 --> 00:39:36,600 Speaker 1: had been one in Africa and the Caribbean. So she 669 00:39:37,719 --> 00:39:43,440 Speaker 1: was really but it's it's important. A lot of this 670 00:39:43,520 --> 00:39:48,400 Speaker 1: stuff is important to us. Owl. So UM, I always 671 00:39:48,400 --> 00:39:50,680 Speaker 1: want to ask you, like, why did you choose this person? 672 00:39:50,880 --> 00:39:55,480 Speaker 1: And I feel this was a very timely and excellent choice, 673 00:39:55,520 --> 00:40:02,200 Speaker 1: But why did you choose this was the one? I 674 00:40:02,280 --> 00:40:06,640 Speaker 1: like that inflection you put on one. Um. So her 675 00:40:06,680 --> 00:40:09,680 Speaker 1: birthday was not that long ago, May night, May nineteenth, 676 00:40:09,719 --> 00:40:11,920 Speaker 1: so we did an episode on her for this day 677 00:40:11,920 --> 00:40:15,040 Speaker 1: in history class, and being selfish again, I wanted to. 678 00:40:15,600 --> 00:40:17,200 Speaker 1: I just want to spend more time with her story. 679 00:40:17,920 --> 00:40:22,880 Speaker 1: And she is just so inspirational. So, like you said, 680 00:40:23,080 --> 00:40:25,840 Speaker 1: a lot of her work is relevant today. I'm always 681 00:40:25,880 --> 00:40:30,479 Speaker 1: partial to artists, so there's that. But it's just worth 682 00:40:30,560 --> 00:40:32,920 Speaker 1: learning more about her, and it's worth hearing more about her, 683 00:40:32,960 --> 00:40:37,880 Speaker 1: and it's always worth of lifting stories like hers. Absolutely, 684 00:40:38,800 --> 00:40:42,759 Speaker 1: um and we're so glad that. I'm personally very glad 685 00:40:42,760 --> 00:40:45,719 Speaker 1: you chose this because I thought it's fascinating. Questions was 686 00:40:45,800 --> 00:40:50,520 Speaker 1: give me all that? Give me all that? Yeah, we're 687 00:40:50,560 --> 00:40:53,000 Speaker 1: so glad that you you took the time and joined 688 00:40:53,000 --> 00:40:54,600 Speaker 1: does Is there anything else you wanted to add before 689 00:40:54,600 --> 00:40:57,759 Speaker 1: we close up here? No? I think that's all. Okay, 690 00:40:58,160 --> 00:41:03,600 Speaker 1: evil wonderful. You are wonderful, wonderful. Thank you so much 691 00:41:03,640 --> 00:41:07,279 Speaker 1: for joining us. Awhere can the listeners find you so 692 00:41:07,320 --> 00:41:09,200 Speaker 1: you can look up this day in History class on 693 00:41:09,320 --> 00:41:14,640 Speaker 1: social media. You can find it on Facebook, Instagram, and Twitter. 694 00:41:15,000 --> 00:41:19,440 Speaker 1: You can also find unpopular podcast on Facebook, Twitter, and 695 00:41:19,800 --> 00:41:24,000 Speaker 1: Instagram too, and we'll make sure to tag you for 696 00:41:24,120 --> 00:41:27,520 Speaker 1: all of the things. Thank you social media things when 697 00:41:27,560 --> 00:41:31,279 Speaker 1: we highlight the show on our social media as well. 698 00:41:31,640 --> 00:41:34,719 Speaker 1: Thank you, and you can if it wasn't clear, these 699 00:41:34,719 --> 00:41:36,680 Speaker 1: are podcasts that you can listen to and that you 700 00:41:36,719 --> 00:41:41,399 Speaker 1: should listen. Thank you again, you for joining us, Thank 701 00:41:41,440 --> 00:41:44,120 Speaker 1: you for having me, both of you and um. You 702 00:41:44,160 --> 00:41:47,120 Speaker 1: can find us on our social media. You can find 703 00:41:47,200 --> 00:41:50,360 Speaker 1: us on Twitter at mom Stuff Podcasts and on Instagram 704 00:41:50,400 --> 00:41:52,600 Speaker 1: at stuff I've Never Told You. You You can also email 705 00:41:52,680 --> 00:41:55,759 Speaker 1: us at stuff Media, mom Stuff at iHeart media dot com. 706 00:41:55,760 --> 00:41:58,600 Speaker 1: If you have any female first for this recurring segment 707 00:41:58,600 --> 00:42:01,120 Speaker 1: you'd like to suggest, we would love to hear them. 708 00:42:01,200 --> 00:42:04,000 Speaker 1: Come at Me. Thanks as always to our super producer 709 00:42:04,080 --> 00:42:07,600 Speaker 1: Andrew Howard Angel Hall, and thanks to you for listening. 710 00:42:07,760 --> 00:42:10,200 Speaker 1: Thank you Stuff, I'm never told you the protection of 711 00:42:10,239 --> 00:42:12,839 Speaker 1: I heart Radios how stuff works. For more podcast from 712 00:42:12,880 --> 00:42:14,799 Speaker 1: I Heart Radio, visit the I heart Radio app, Apple 713 00:42:14,840 --> 00:42:16,680 Speaker 1: podcast or where if you listen to your favorite shows