WEBVTT - The Inner Front

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<v Speaker 1>Pushkin. There's a place in our world where the doubtful

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<v Speaker 1>things go, a morgue of fakes, hoaxes, and frauds. File

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<v Speaker 1>drawers crammed with folders, the Federal Bureau of Investigation classified.

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<v Speaker 1>There must be a thousand pages here, the treason files.

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<v Speaker 1>It's like, not the X files, it's the T files.

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<v Speaker 1>This place, this vault of suspicious claims and dubious evidence,

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<v Speaker 1>lies half hidden in the shadow of doubt, half lost

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<v Speaker 1>in a time between now and then. The sign on

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<v Speaker 1>the door reads the last Archive. The first thing I

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<v Speaker 1>usually do when I come in here is switch on

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<v Speaker 1>this old radio and turn the dial, this time to

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<v Speaker 1>the year nineteen forty four. This is Berlin, Calle Blon

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<v Speaker 1>call the American Mothers, as from some lass, And I'd

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<v Speaker 1>just like to say, girl from the Lion call. If

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<v Speaker 1>I used to listen a lot of calls it going

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<v Speaker 1>used to listen in. The tape is old and wobbly

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<v Speaker 1>and raspy. It can be hard to make out, but

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<v Speaker 1>what you're hearing is the voice of an American woman

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<v Speaker 1>who's working for Nazi Germany. Since the middle of the

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<v Speaker 1>nineteen thirties, Germany had been broadcasting via shortwave radio to Africa,

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<v Speaker 1>Latin America, the Far East, Southeast Asia, Indonesia, and Australia,

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<v Speaker 1>but it's broadcast to the United States outnumbered all of

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<v Speaker 1>its other programs by far. These broadcasts reported on a

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<v Speaker 1>supposed communist Jewish conspiracy newspapers to to calling these broadcasts

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<v Speaker 1>fake news. That's where the expression comes from, and this

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<v Speaker 1>is what it sounds like. I'm on the side. I'm

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<v Speaker 1>not on the side of Rosabel and his two weak

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<v Speaker 1>friends and two friends, because I've came back up to

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<v Speaker 1>be a one and assistent American girl. This broadcaster Americans

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<v Speaker 1>called her Axis Sally. She was trying to destroy American morale,

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<v Speaker 1>trying to convince Americans that the Allies were going to

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<v Speaker 1>lose the war, trying to get Americans to doubt the

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<v Speaker 1>real news that they heard on American radio. But Access

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<v Speaker 1>Sally she was an American too, an American in Berlin.

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<v Speaker 1>Welcome to the Last Archive. This show about how we

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<v Speaker 1>know what we know and why it seems lately because

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<v Speaker 1>if we don't know anything at all. I'm Jillipoor. This season,

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<v Speaker 1>I'm trying to trace the history of doubt. We talk

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<v Speaker 1>a lot these days about all the white nationalist propaganda

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<v Speaker 1>on the Internet, trolls memes neo Nazis. The founder of

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<v Speaker 1>a neo Nazi website is facing a lawsuit for allegedly

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<v Speaker 1>targeting a Jewish woman in Montana with a quote troll storm.

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<v Speaker 1>There are lots of reasons to worry today about how

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<v Speaker 1>this stuff spreads and what it does. But I'm a historian,

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<v Speaker 1>so I thought it might be worth asking, not about

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<v Speaker 1>the neo Nazis, but about the actual Nazis. What did

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<v Speaker 1>their troll storms sound like? They used a different technology,

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<v Speaker 1>not the ethernet, but the airwaves. So this episode Nazi

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<v Speaker 1>radio propaganda, and I have to warn you some of

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<v Speaker 1>the language you're going to hear is explicit and disturbing.

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<v Speaker 1>I mean, it's Nazi radio. Still, I think it's really

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<v Speaker 1>important because her Gamoni with los atamaticis about pads. I'm

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<v Speaker 1>staying off here and having them to accustops. I want

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<v Speaker 1>the week. The Voice of Access ally came broadcast by

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<v Speaker 1>shortwave radio into American homes. Here she was addressing herself

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<v Speaker 1>to American women, mothers, wives, girlfriends. Everything she said was

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<v Speaker 1>animated by anti Semitism, hatred, and venom deception, and then

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<v Speaker 1>in between the racist ranting, she'd play these jaunty little jingles.

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<v Speaker 1>The tape's so hard to make out because of how

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<v Speaker 1>it got recorded in the first place. During the war,

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<v Speaker 1>a federal government listening post in Maryland staffed twenty four

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<v Speaker 1>hours a day tuned in to Radio Berlin. Engineers there

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<v Speaker 1>recorded as best they could whatever broadcast they could catch,

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<v Speaker 1>and then after the war ended, the Justice Department thought

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<v Speaker 1>about whether it might be possible to put access Sally

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<v Speaker 1>on trial for these recordings. I gonna say my country

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<v Speaker 1>right for ham No Bill, that's sentimentality, But I can

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<v Speaker 1>not play by country. I love a manager, but I

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<v Speaker 1>Prontada and all of his tips boyfriends who have thrown

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<v Speaker 1>up into the cremdel good t Look. I just as

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<v Speaker 1>soon forget this lady, good night, crazy lady. But this episode,

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<v Speaker 1>I'm going to play more of this dreck because as

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<v Speaker 1>bad as it is, understanding it still requires what literary

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<v Speaker 1>scholars call a close reading, the way you'd read say

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<v Speaker 1>something completely different a very good poem. Propaganda hijacks language

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<v Speaker 1>and puts it into the service of the state. The

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<v Speaker 1>opposite of propaganda is poetry, which puts language in the

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<v Speaker 1>service of humanity. A really good poem is a lot

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<v Speaker 1>like that badass sticker on Woody Guthrie's guitar. This machine

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<v Speaker 1>kills fascists, This poem kills propaganda. I like to think

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<v Speaker 1>poetry eats propaganda for breakfasts and then spits out the bones.

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<v Speaker 1>Words in Time, bewildered with the broken tongue of wakened

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<v Speaker 1>angels in our sleep. That's the American Archibald McLeish reading

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<v Speaker 1>his post war poem Words in Time. McLeish was a poet,

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<v Speaker 1>but he was also, during the Second World War, the

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<v Speaker 1>US government official charged with countering German propaganda. There is

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<v Speaker 1>a moment when we lie bewildered, wakened out of sleep,

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<v Speaker 1>when light and sound and all reply that moment time

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<v Speaker 1>must tame and keep. McLeish, as a young man, had

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<v Speaker 1>fought in the First World War. His poems about that

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<v Speaker 1>war chronicle its atrocities and most of all, its meaninglessness.

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<v Speaker 1>If it was written at the time four or five

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<v Speaker 1>years after the First World War, when it began to

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<v Speaker 1>dawn on some of us who had not been intelligent

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<v Speaker 1>enough to have it dawn on us earlier, that that

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<v Speaker 1>war had been misfought and for nothing, and that those

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<v Speaker 1>who had died in it had died pretty much for nothing.

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<v Speaker 1>That war, the First World War, haunted McLeish. The American

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<v Speaker 1>public hadn't wanted to get involved in the war in Europe,

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<v Speaker 1>and once the US got in, Woodrow Wilson had to

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<v Speaker 1>establish a thing called the Committee on Public Information, which

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<v Speaker 1>was charged with whipping up a frenzy for the war.

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<v Speaker 1>It used the tools of mass advertising and mass communication.

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<v Speaker 1>It lied a lot. After the war. One guy wrote

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<v Speaker 1>a book about it. All was called Falsehood in Wartime.

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<v Speaker 1>He argued, there must have been more deliberate lying in

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<v Speaker 1>the world from nineteen fourteen to nineteen eighteen than in

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<v Speaker 1>any other period of the world's history. That might even

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<v Speaker 1>be right. There was so much lying in the First

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<v Speaker 1>World War that lying as a deliberate, well funded, state

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<v Speaker 1>sponsored campaign got another name. People started calling it propaganda.

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<v Speaker 1>McLeish he was sick of that stuff. He'd lost his

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<v Speaker 1>brother in the war. He stood in the field and

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<v Speaker 1>watched his friends fall one by one. So he wrote

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<v Speaker 1>poems that told the truth the disastrous war, and crossed

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<v Speaker 1>the dark defile at last, and found at Roncevaux upon

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<v Speaker 1>the darkening plain, the dead against the dead, dunned on

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<v Speaker 1>the silent ground, the silent slain. McLeish, after he came

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<v Speaker 1>back from the First World War, worked as a reporter

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<v Speaker 1>for Henry Luce, who'd founded Time magazine in nineteen twenty three.

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<v Speaker 1>Luce had wanted to call the magazine simply facts, because

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<v Speaker 1>Luce had fought in that War of lies two and

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<v Speaker 1>like mc leish, he was sick of it. Mcle and

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<v Speaker 1>all these other veterans of the war who became journalists,

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<v Speaker 1>they brought home a passion for truth and clarity and

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<v Speaker 1>stark description. They brought it into their writing. McLeish wrote

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<v Speaker 1>for Loose's magazines, and then he also wrote poems and plays.

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<v Speaker 1>He became one of the nation's best known writers, with

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<v Speaker 1>a deep commitment to public service. Then, in nineteen thirty nine,

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<v Speaker 1>FDR appointed him Librarian of Congress, the keeper of the Keys,

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<v Speaker 1>the man who opens the gate to knowledge, the last Archivist.

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<v Speaker 1>The year McLeish accepted that appointment, the Second World War began,

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<v Speaker 1>a war that would eventually take the lives of over

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<v Speaker 1>sixty million people. By now, propaganda had gotten a lot

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<v Speaker 1>more sophisticated, and it got a new name, psychological warfare.

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<v Speaker 1>Americans came to believe that the Germans were particularly good

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<v Speaker 1>at it, deviously good, and that in top secret psychological

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<v Speaker 1>laboratory worries, they were perfecting methods more dangerous than the

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<v Speaker 1>most potent bomb. One American journalist wrote a book about it,

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<v Speaker 1>called The Strategy of Terror. He said that the Germans

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<v Speaker 1>had defeated the French before even a single German soldier

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<v Speaker 1>had entered France by way of an inner front of

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<v Speaker 1>the mind. Do you wonder what Hitler will do next?

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<v Speaker 1>More often than you wonder what America will do next?

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<v Speaker 1>Do you sit up before the eleven o'clock news broadcast?

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<v Speaker 1>Do the headlines get you down? In nineteen forty, when

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<v Speaker 1>The Strategy of Terror came out, the book's publisher took

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<v Speaker 1>up a splashy ad in The New York Times asking

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<v Speaker 1>Americans to examine their own news consumption. If your answer

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<v Speaker 1>to these three questions is yes, then the psychological barrage

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<v Speaker 1>has reached you. The only defense is understanding. The Strategy

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<v Speaker 1>of Terror will give you this understanding. The publication of

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<v Speaker 1>the Strategy of Terror stirred up a nationwide panic about

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<v Speaker 1>Nazi propaganda coming across the ocean on shortwave radio. But

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<v Speaker 1>did the Nazi strategy of terror really work. The director

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<v Speaker 1>of the radio program at the University of Chicago was

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<v Speaker 1>skeptical radio is a secret weapon. He said, the secret

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<v Speaker 1>is how to use it as a weapon. But the

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<v Speaker 1>alarm about German psychological warfare had achieved its purpose. It

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<v Speaker 1>convinced a lot of Americans that even though the Germans

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<v Speaker 1>were an ocean away, they had already invaded the United States. Today,

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<v Speaker 1>we call this sort of thing a perception hack. Like

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<v Speaker 1>with the election of twenty twenty, Russia didn't need to

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<v Speaker 1>hack our entire election system. They just needed to scare

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<v Speaker 1>Americans into thinking that they could. The United States is

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<v Speaker 1>now subject to a total barrage of the Nazi strategy

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<v Speaker 1>of terror. That's Archibald McLeish again, Okay, except this time

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<v Speaker 1>it's our actor reading what McLeish wrote about all this.

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<v Speaker 1>He'd been Librarian of Congress, but FDR put mclesian charge

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<v Speaker 1>of the Office of Facts and Figures, America's own propaganda operation.

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<v Speaker 1>As it happened before the First World War, a lot

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<v Speaker 1>of Americans didn't want to have anything to do with

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<v Speaker 1>this new war in Europe. They were isolationists. Mcleishi and

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<v Speaker 1>FDR were interventionists and they were trying to convince Americans

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<v Speaker 1>that they were already involved in the war because they

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<v Speaker 1>were being attacked psychologically by way of the airwaves. Hitler

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<v Speaker 1>thinks Americans are suckers. By the very vastness of his

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<v Speaker 1>program of lies, he hopes to frighten us into believing

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<v Speaker 1>that the Nazis are invincible. Mcleshi here was describing exactly

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<v Speaker 1>what Accessali was trying to do with her radio program,

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<v Speaker 1>frightening Americans into believing that the Nazis are invincible. McLeish

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<v Speaker 1>heading up the Office of Facts and Figures, he was

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<v Speaker 1>a little uncomfortable in the role of a propagandist. He

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<v Speaker 1>didn't believe in telling lies to destroy the enemy's morale.

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<v Speaker 1>There had to be a better way. He believed that

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<v Speaker 1>writers have an obligation to fight fascism in the battle

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<v Speaker 1>for public opinion, not by lying, but by telling the truth.

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<v Speaker 1>The truth of journalism was his weapon. The honesty required

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<v Speaker 1>for the proper functioning of a democracy. The duty of

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<v Speaker 1>government is to provide a basis for judgment, and when

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<v Speaker 1>it goes beyond that, it goes beyond the prime scope

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<v Speaker 1>of its duty. McLeish believed a democracy should wage a

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<v Speaker 1>War of facts should bring the same commitment to wartime

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<v Speaker 1>information for the public that journalists bring to good reporting.

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<v Speaker 1>He wanted to oppose the Germans strategy of terror with

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<v Speaker 1>what he called the strategy of truth. It is the

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<v Speaker 1>strategy of truth, the simple and clarifying truths by which

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<v Speaker 1>a nation such as ours must guide itself. But the

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<v Speaker 1>strategy of truth is not because it deals in truth

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<v Speaker 1>devoid of strategy. It is not enough in this war

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<v Speaker 1>of hoaxes and delusions and perpetuated lies to be nearly honest.

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<v Speaker 1>It is necessary also to be wise. McLeish said that

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<v Speaker 1>Americans could count on truth because of the nation's extraordinary

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<v Speaker 1>tradition of journalistic excellence, accuracy, and fairness. So he tried

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<v Speaker 1>to run this Office of Facts and Figures getting information

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<v Speaker 1>out to the public, real information, the way a magazine

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<v Speaker 1>might work. But that's not what a wartime propaganda office does.

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<v Speaker 1>His idealism did not survive the war. In nineteen forty two,

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<v Speaker 1>McLeish scaled back his involvement at the Office of Facts

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<v Speaker 1>and Figures FDR, then hired an ad man from Coca

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<v Speaker 1>Cola to work there. People who used to work for

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<v Speaker 1>McLeish made fun of this new guy, as if American

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<v Speaker 1>propaganda was now going to sound like this, that right

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<v Speaker 1>up and get your four delicious freedoms. It's a refreshing war.

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<v Speaker 1>So yeah, there was Allied propaganda. Still, let me be clear,

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<v Speaker 1>selling the four freedoms, freedom of speech, freedom of worship,

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<v Speaker 1>freedom from fear, and freedom from want is a world

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<v Speaker 1>of difference from selling anti semitism, race hatred and white

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<v Speaker 1>nationalism and committing genocide and the females a world of difference.

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<v Speaker 1>Google of America, I don't know all. I think you

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<v Speaker 1>are a law Ali him to get to ask you

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<v Speaker 1>out of my head women in America. Starting in nineteen

0:16:14.956 --> 0:16:19.076
<v Speaker 1>forty two, Access Sally's broadcasts went out to American troops.

0:16:19.596 --> 0:16:24.116
<v Speaker 1>She also visited pow camps and interviewed American prisoners and

0:16:24.236 --> 0:16:26.876
<v Speaker 1>then sent word of them on broadcasts that were meant

0:16:26.916 --> 0:16:29.156
<v Speaker 1>to go all the way back across the Atlantic and

0:16:29.316 --> 0:16:35.356
<v Speaker 1>into American homes. Now of all time, sit at the

0:16:35.476 --> 0:16:39.996
<v Speaker 1>town of the Gong. It was exactly nine o'clock Eastern

0:16:40.116 --> 0:16:44.316
<v Speaker 1>War times. There were actually a couple of wartime broadcasters

0:16:44.436 --> 0:16:49.036
<v Speaker 1>known as Axis Sally. This one's real name was Mildred Gillers.

0:16:50.676 --> 0:16:53.116
<v Speaker 1>She'd been born in Portland, Maine. For a while, she

0:16:53.196 --> 0:16:55.596
<v Speaker 1>was an actress in New York. In the nineteen thirties,

0:16:55.756 --> 0:16:58.596
<v Speaker 1>she moved to Germany. How she ended up working for

0:16:58.756 --> 0:17:00.836
<v Speaker 1>Radio Berlin is kind of a big mess, but she

0:17:00.956 --> 0:17:03.516
<v Speaker 1>was a star there. One thing she had a sinister

0:17:03.676 --> 0:17:07.276
<v Speaker 1>talent for was baiting American listeners who were desperate to

0:17:07.316 --> 0:17:10.556
<v Speaker 1>hear news, any kind of news of their loved ones.

0:17:11.476 --> 0:17:15.116
<v Speaker 1>Are you women in America waiting for the one you love?

0:17:15.916 --> 0:17:19.156
<v Speaker 1>Waiting and weeping in the sky of your own room,

0:17:19.996 --> 0:17:26.076
<v Speaker 1>thinking of Ustan or the brother we've been sacrificed? Salcuncan

0:17:26.356 --> 0:17:33.636
<v Speaker 1>d Rosberg Pari show on the Fringe about her. In

0:17:33.796 --> 0:17:36.796
<v Speaker 1>order for American officials to try Gillers for treason, they

0:17:36.916 --> 0:17:40.276
<v Speaker 1>first had to find her, and that proved to be

0:17:40.356 --> 0:17:46.596
<v Speaker 1>a challenge. Germline has surrendered unconditionally. Ethonie have just officially

0:17:46.756 --> 0:18:04.316
<v Speaker 1>laid down their own. Berlin nineteen forty six, a city

0:18:04.356 --> 0:18:08.516
<v Speaker 1>in ruins, piles of rubble towering on street corners, alongside

0:18:08.556 --> 0:18:13.796
<v Speaker 1>the empty husks of bombed buildings. Hans Winson, an American

0:18:13.876 --> 0:18:18.676
<v Speaker 1>counterintelligence agent, put up wanted posters looking for acts Sally.

0:18:19.636 --> 0:18:32.316
<v Speaker 1>He knocked on doors, flashing a photographs fall mine. She

0:18:32.516 --> 0:18:35.956
<v Speaker 1>carried an alligator purse and clutched a cigarette like a dagger.

0:18:36.636 --> 0:18:39.196
<v Speaker 1>She was pushing fifty. She wore the clothes of a

0:18:39.276 --> 0:18:43.236
<v Speaker 1>college girl. She was about as natural as a hydrogen bomb.

0:18:44.036 --> 0:18:50.436
<v Speaker 1>American reporters would later call her Hitler's girlfriend. One day,

0:18:50.556 --> 0:18:53.316
<v Speaker 1>Winson got lucky. He got a tip that acts as Sally.

0:18:53.796 --> 0:18:57.116
<v Speaker 1>Mildred Gillers was selling her furniture to second hand shops

0:18:57.156 --> 0:19:00.676
<v Speaker 1>all around town. Before she'd gone into hiding. She'd stored

0:19:00.756 --> 0:19:02.676
<v Speaker 1>some of her things in the basement of her old

0:19:02.676 --> 0:19:07.836
<v Speaker 1>apartment building. Winson got the superintendent to let him in. Well,

0:19:07.876 --> 0:19:13.276
<v Speaker 1>I'll be damned. Thus is the alice Jack Pott stowed

0:19:13.316 --> 0:19:16.636
<v Speaker 1>in a basement. Winson found exactly what US authorities had

0:19:16.676 --> 0:19:21.676
<v Speaker 1>been searching for records of Mildred Gillers's radio broadcasts. You

0:19:21.796 --> 0:19:24.876
<v Speaker 1>can hear listening to those records how this stuff might

0:19:24.916 --> 0:19:29.516
<v Speaker 1>have worked as propaganda. It's pretty subtle. That would make

0:19:29.636 --> 0:19:33.636
<v Speaker 1>bringing her to trial tricky. Grow well, don't cook up

0:19:33.676 --> 0:19:41.716
<v Speaker 1>the patibul fool, don't have a home. Two years after

0:19:41.796 --> 0:19:44.756
<v Speaker 1>Winston tracked Gillers down, she was brought to the US

0:19:44.916 --> 0:19:48.196
<v Speaker 1>to face charges of treason. The case against her would

0:19:48.236 --> 0:19:50.796
<v Speaker 1>have to establish that she had given aid and comfort

0:19:50.956 --> 0:19:53.876
<v Speaker 1>to the enemies of the United States, and, under the

0:19:53.996 --> 0:19:56.756
<v Speaker 1>terms of a recent Supreme Court decision, that she had

0:19:56.836 --> 0:20:01.156
<v Speaker 1>intended to provide that aid and comfort. There's still a question, though,

0:20:01.316 --> 0:20:05.236
<v Speaker 1>can you commit treason by radio. By the time the

0:20:05.316 --> 0:20:08.076
<v Speaker 1>Justice Department was really putting together its case against Gillers,

0:20:08.556 --> 0:20:12.596
<v Speaker 1>another American who'd broadcast under the name Paul Revere had

0:20:12.636 --> 0:20:16.676
<v Speaker 1>just been tried from the heart of Hitler, Germany. Your messenger,

0:20:16.756 --> 0:20:23.916
<v Speaker 1>Paul Revere, greets you again, countrymen, friends, bows jew haters,

0:20:24.356 --> 0:20:29.556
<v Speaker 1>and Jew's surveys. That guy he was found guilty of treason.

0:20:30.396 --> 0:20:32.996
<v Speaker 1>Well would happened to Gillers, though was still not clear.

0:20:33.876 --> 0:20:36.756
<v Speaker 1>To convict her, prosecutors would have to provide either a

0:20:36.836 --> 0:20:41.396
<v Speaker 1>confession or two witnesses. Gillers wasn't about to confess to treason.

0:20:41.636 --> 0:20:44.796
<v Speaker 1>The punishment for treason could be death, so the prosecution

0:20:44.916 --> 0:20:48.076
<v Speaker 1>needed those two witnesses who could both identify her and

0:20:48.236 --> 0:20:52.596
<v Speaker 1>speak to her intent. Special Agent Joseph T. Jenko, a

0:20:52.716 --> 0:20:56.596
<v Speaker 1>lawyer from Brooklyn, headed the investigation. He'd been tracking Gillers

0:20:56.716 --> 0:21:03.916
<v Speaker 1>for years in the nineteen twenties. Before Gillers went to Germany.

0:21:04.076 --> 0:21:06.516
<v Speaker 1>She'd worked as an actress and a model in New York.

0:21:06.916 --> 0:21:09.956
<v Speaker 1>Djenko interviewed people who'd known her, people like a guy

0:21:10.036 --> 0:21:14.676
<v Speaker 1>named Wilfred Thomas. She was very dumb. I'm at a

0:21:14.796 --> 0:21:17.836
<v Speaker 1>loss to understand how she could be doing anything which

0:21:17.876 --> 0:21:21.476
<v Speaker 1>would be considered animical to the interests of the country.

0:21:22.796 --> 0:21:25.836
<v Speaker 1>Building a case against Gillers took months. Jenko and other

0:21:25.956 --> 0:21:28.956
<v Speaker 1>FBI agents tracked down and interviewed men who might have

0:21:29.036 --> 0:21:33.036
<v Speaker 1>heard Gillers while in prison camps German stallogs. The FBI

0:21:33.276 --> 0:21:35.636
<v Speaker 1>heard rumors that Gillers had coursed some of those men

0:21:35.956 --> 0:21:39.676
<v Speaker 1>into making recordings saying they were being treated well. That

0:21:39.756 --> 0:21:43.116
<v Speaker 1>would have been very damning evidence. But Jenko couldn't find

0:21:43.156 --> 0:21:46.276
<v Speaker 1>those recordings, and I can't find them either. For a while,

0:21:46.516 --> 0:21:50.196
<v Speaker 1>the Justice Department thought about just dropping the case. The

0:21:50.276 --> 0:21:53.116
<v Speaker 1>break came when investigators obtained a recording of a broadcast

0:21:53.236 --> 0:21:57.076
<v Speaker 1>called Vision of Invasion, was a radio play in which

0:21:57.156 --> 0:22:00.916
<v Speaker 1>Gillers had starred. With this evidence, the grand jury issued

0:22:00.956 --> 0:22:05.076
<v Speaker 1>an indictment. It included some pointed legal language, charging her

0:22:05.156 --> 0:22:09.756
<v Speaker 1>with having participated in a phonographic recording that it would

0:22:09.756 --> 0:22:13.236
<v Speaker 1>be broadcast to the United States to its citizens and

0:22:13.356 --> 0:22:16.036
<v Speaker 1>soldiers at home and abroad, as an element of German

0:22:16.116 --> 0:22:24.396
<v Speaker 1>propaganda and an instrument of psychological warfare. Giller's trial began

0:22:24.476 --> 0:22:28.076
<v Speaker 1>early in nineteen forty nine in US District Court in Washington,

0:22:28.156 --> 0:22:33.956
<v Speaker 1>d c. The reporters gasped at their first look at

0:22:33.996 --> 0:22:37.476
<v Speaker 1>her at forty eight. She has the figure of a

0:22:37.556 --> 0:22:40.196
<v Speaker 1>woman of forty eight who has worked hard and sacrifice

0:22:40.316 --> 0:22:43.276
<v Speaker 1>much to keep the figure. She added twenty four. Richard

0:22:43.356 --> 0:22:46.916
<v Speaker 1>Rovera covered the trial for The New Yorker. Her entire

0:22:46.996 --> 0:22:50.636
<v Speaker 1>get up, the type black dresses, the black spike heeled shoes,

0:22:50.716 --> 0:22:54.116
<v Speaker 1>the indigo scarf that she uses for gesturing, the generous

0:22:54.156 --> 0:22:58.156
<v Speaker 1>applications of lipstick and nail polish suggests that she is

0:22:58.276 --> 0:23:02.636
<v Speaker 1>torn by an inner conflict. Although she is trying desperately

0:23:02.756 --> 0:23:06.396
<v Speaker 1>to avoid conviction, she is at the same time determined

0:23:06.436 --> 0:23:08.516
<v Speaker 1>not to destroy the illusion of herself as a woman

0:23:08.556 --> 0:23:15.676
<v Speaker 1>of mystery, glamor, and injury. This is before television. Rivera

0:23:15.756 --> 0:23:19.156
<v Speaker 1>is painting a picture. Also, as he describes Gillars, she

0:23:19.316 --> 0:23:23.676
<v Speaker 1>does sound not only terrible, but fascinatingly clueless. The notion

0:23:23.716 --> 0:23:26.916
<v Speaker 1>of miss Gillars is a woman of glamor, either sinister

0:23:27.196 --> 0:23:29.756
<v Speaker 1>or otherwise is one that at this stage of the

0:23:29.836 --> 0:23:36.076
<v Speaker 1>game anyway, only miss Gillars herself can harbor. And here's

0:23:36.076 --> 0:23:38.996
<v Speaker 1>the part that knocks me out, the novelty of the evidence,

0:23:39.196 --> 0:23:42.796
<v Speaker 1>the technological novelty of it. Gillers was being tried for

0:23:42.876 --> 0:23:45.796
<v Speaker 1>the crime, the treason of having been an instrument of

0:23:45.916 --> 0:23:50.196
<v Speaker 1>psychological warfare. But to accommodate the evidence of this crime,

0:23:50.556 --> 0:23:53.716
<v Speaker 1>the courtroom was outfitted with a record player and forty

0:23:53.796 --> 0:23:58.076
<v Speaker 1>sets of headphones, and only forty the judge, the defendant,

0:23:58.236 --> 0:24:01.596
<v Speaker 1>the lawyers, the jurors, in a handful of reporters. Each

0:24:01.636 --> 0:24:03.916
<v Speaker 1>of them had a set of headphones. Was said that

0:24:03.996 --> 0:24:07.556
<v Speaker 1>it looked like a miniature United Nations in there. The judge.

0:24:07.556 --> 0:24:10.196
<v Speaker 1>Set of headphones were necessary because the recordings were hard

0:24:10.236 --> 0:24:12.596
<v Speaker 1>to hear without them, which I think is true. The

0:24:12.716 --> 0:24:15.876
<v Speaker 1>recordings are really difficult to hear. But I also don't

0:24:15.916 --> 0:24:20.156
<v Speaker 1>totally buy the judge's explanation. In a crowded courtroom, forty

0:24:20.196 --> 0:24:22.676
<v Speaker 1>sets of headphones really isn't that many. It meant that

0:24:22.756 --> 0:24:24.836
<v Speaker 1>no one in the audience could hear the evidence, not

0:24:25.036 --> 0:24:28.716
<v Speaker 1>Gillers's family or any of the spectators. Her lawyer later

0:24:28.836 --> 0:24:32.116
<v Speaker 1>filed an appeal saying that she'd been denied a public trial,

0:24:32.276 --> 0:24:35.596
<v Speaker 1>which is a constitutional right. But I think maybe the

0:24:35.716 --> 0:24:39.836
<v Speaker 1>judge had thought these recordings are toxic. Let's not expose

0:24:39.876 --> 0:24:44.996
<v Speaker 1>the whole room to it. The prosecution had first to

0:24:45.076 --> 0:24:48.116
<v Speaker 1>prove that Gillers's voice, not someone else's voice, was the

0:24:48.196 --> 0:24:51.036
<v Speaker 1>voice on those records. I did that by bringing to

0:24:51.116 --> 0:24:54.756
<v Speaker 1>the stand a guy who'd worked at Radio Berlin. They

0:24:54.796 --> 0:24:58.196
<v Speaker 1>asked him if he'd ever seen her speaking into a microphone? Yes,

0:24:58.396 --> 0:25:01.956
<v Speaker 1>many times. Did he recognize her voice on the stack

0:25:01.996 --> 0:25:06.796
<v Speaker 1>of twenty two records right here? Yes. Gillers's lawyer didn't

0:25:06.796 --> 0:25:09.636
<v Speaker 1>have much by way of a defense, that she'd been

0:25:09.716 --> 0:25:12.996
<v Speaker 1>hypnotized in Berlin by a Germans Bengali who, before she

0:25:13.076 --> 0:25:15.356
<v Speaker 1>went to Europe, had been her professor at Hunter College.

0:25:16.596 --> 0:25:20.276
<v Speaker 1>At that point, reporters noted Miss Gillers dabbed her eyes.

0:25:21.356 --> 0:25:24.356
<v Speaker 1>But his argument was undercut by the prosecution bringing in

0:25:24.436 --> 0:25:27.036
<v Speaker 1>witnesses who pointed out the Gillers was the best paid

0:25:27.236 --> 0:25:31.196
<v Speaker 1>of all the Third Reich's broadcasters. And then the prosecution

0:25:31.396 --> 0:25:36.476
<v Speaker 1>began the playback and our Sixtus suns as well about

0:25:36.516 --> 0:25:41.956
<v Speaker 1>the fire the door. The prosecution played those records for

0:25:42.116 --> 0:25:48.396
<v Speaker 1>hours and hours on the arts at once amaticly to

0:25:48.476 --> 0:25:54.676
<v Speaker 1>a novel. Wo not the busy now got a British

0:25:54.676 --> 0:25:58.396
<v Speaker 1>slap up? Where else should say that? But we are

0:25:58.476 --> 0:26:01.716
<v Speaker 1>fighting for them, We're not having all our good wrong

0:26:01.916 --> 0:26:06.356
<v Speaker 1>blood for the high quark from the British war. Oh girls,

0:26:06.476 --> 0:26:10.116
<v Speaker 1>I don't you wake up? The most crucial piece of

0:26:10.156 --> 0:26:14.516
<v Speaker 1>evidence was the poorest quality recording that radio drama Vision

0:26:14.556 --> 0:26:17.996
<v Speaker 1>of Invasion, which had been broadcast just before D Day

0:26:21.996 --> 0:26:28.996
<v Speaker 1>of Invasion. Vision of Invasion was essential to the prosecution's

0:26:29.076 --> 0:26:33.116
<v Speaker 1>argument about intent because it supported the contention that Gillers

0:26:33.156 --> 0:26:37.196
<v Speaker 1>had tried to undermine American morale. Broadcast in the weeks

0:26:37.236 --> 0:26:39.876
<v Speaker 1>before D Day, it tells the story of an American

0:26:39.996 --> 0:26:42.756
<v Speaker 1>mother worrying that her son might drown in the English

0:26:42.836 --> 0:26:55.556
<v Speaker 1>channel during an invasion attempt. Other actors who had performed

0:26:55.556 --> 0:26:58.116
<v Speaker 1>in the radio play testified that Gillers had performed the

0:26:58.196 --> 0:27:00.876
<v Speaker 1>role of the mother. But anyone in the courtroom could

0:27:00.916 --> 0:27:13.516
<v Speaker 1>hear that for themselves. Roosevelt had no right to go

0:27:13.596 --> 0:27:18.276
<v Speaker 1>to war, she said. Richard Rivere, the New Yorker reporter,

0:27:18.476 --> 0:27:20.916
<v Speaker 1>found listening to the stuff in that courtroom with those

0:27:20.956 --> 0:27:25.436
<v Speaker 1>headphones unbearable. Five years ago, one could listen to it

0:27:25.596 --> 0:27:29.396
<v Speaker 1>partly for its comic value and partly dissensed the full

0:27:29.476 --> 0:27:32.436
<v Speaker 1>evil of the thing. But now it has lost its

0:27:32.476 --> 0:27:36.596
<v Speaker 1>power to either amuse or a rouse. Its only effect

0:27:36.716 --> 0:27:38.916
<v Speaker 1>is to make one feel ashamed of one's ownership of

0:27:38.996 --> 0:27:42.756
<v Speaker 1>a human mind. It got worse for Gillers from there

0:27:43.196 --> 0:27:45.916
<v Speaker 1>when the prosecution played another record in which Gillers said,

0:27:46.436 --> 0:27:48.996
<v Speaker 1>damn Roosevelt, and damn Churchill, and damn all of their

0:27:49.076 --> 0:27:52.836
<v Speaker 1>Jews who have made this war possible. Gillers's attorney answered

0:27:53.396 --> 0:27:55.516
<v Speaker 1>she had a right to be anti Roosevelt, a right

0:27:55.596 --> 0:27:58.556
<v Speaker 1>to be anti British, and a right to be anti Jewish.

0:27:59.876 --> 0:28:05.956
<v Speaker 1>That was his best argument. Mildred Gillers was convicted of treason,

0:28:06.396 --> 0:28:10.596
<v Speaker 1>of betraying her country, of having become instrument of psychological

0:28:10.676 --> 0:28:13.796
<v Speaker 1>warfare because she had tried to cause Americans to doubt

0:28:13.836 --> 0:28:17.716
<v Speaker 1>their ability to win the war. In nineteen sixty one,

0:28:17.796 --> 0:28:20.356
<v Speaker 1>when she got out of prison, a reporter asked her

0:28:20.476 --> 0:28:24.316
<v Speaker 1>for her thoughts after some fifteen years in prison? What

0:28:24.396 --> 0:28:28.716
<v Speaker 1>am I supposed to say? She was at last speechless.

0:28:41.076 --> 0:28:42.876
<v Speaker 1>There's a lot to be learned about the now by

0:28:42.956 --> 0:28:45.636
<v Speaker 1>looking back to the nineteen forties and at the many

0:28:45.716 --> 0:28:51.316
<v Speaker 1>costs and tragedies of psychological warfare. In nineteen forty two,

0:28:51.556 --> 0:28:55.956
<v Speaker 1>the US War Department created a Psychological Warfare branch. It

0:28:56.116 --> 0:28:59.276
<v Speaker 1>concluded that American troops in the Pacific were being subjected

0:28:59.316 --> 0:29:04.796
<v Speaker 1>to Japanese psychological warfare. Hollywood got interested. In nineteen forty four,

0:29:04.876 --> 0:29:07.956
<v Speaker 1>in a Carried Grant film, Americans were introduced to a

0:29:08.036 --> 0:29:12.436
<v Speaker 1>Japanese radio broadcast called Tokyo Rose. I can't have anything

0:29:12.476 --> 0:29:17.516
<v Speaker 1>sparks history. Tokyo Rose giving out with that nightly guff

0:29:17.596 --> 0:29:21.276
<v Speaker 1>to the USA been defeated in a war, the pseudo

0:29:21.316 --> 0:29:25.316
<v Speaker 1>you Americans realize that Japan is invincible, so perfect of

0:29:25.396 --> 0:29:28.396
<v Speaker 1>the iron ring of defensively after the Japanese bomb Pearl

0:29:28.476 --> 0:29:32.036
<v Speaker 1>Harbor at the end of nineteen forty one, FDR signed

0:29:32.076 --> 0:29:35.556
<v Speaker 1>an executive order calling for the mass evacuation and mass

0:29:35.636 --> 0:29:38.876
<v Speaker 1>imprisonment of over one hundred thousand people of Japanese descent

0:29:39.116 --> 0:29:43.116
<v Speaker 1>living in the United States. Many of them were US citizens,

0:29:43.716 --> 0:29:46.996
<v Speaker 1>And then the government put out an especially despicable piece

0:29:46.996 --> 0:29:53.396
<v Speaker 1>of propaganda defending internment by lying about it evacuation. More

0:29:53.436 --> 0:29:56.236
<v Speaker 1>than a hundred thousand men, women, and children, all of

0:29:56.356 --> 0:29:59.796
<v Speaker 1>Japanese ancestry removed from their homes in the Pacific Coach

0:29:59.836 --> 0:30:04.076
<v Speaker 1>State to wartime community established an out of the way places.

0:30:05.116 --> 0:30:08.756
<v Speaker 1>Their evacuation did not imply individual dis loyalty. They are

0:30:08.836 --> 0:30:12.316
<v Speaker 1>not prisoners, They are not in turney. They are merely

0:30:12.476 --> 0:30:18.436
<v Speaker 1>displicated people, the unwounded casualties of war. After the war,

0:30:18.716 --> 0:30:20.996
<v Speaker 1>about the same time the federal authorities were building a

0:30:21.076 --> 0:30:24.876
<v Speaker 1>case against Mildred Gillers, the Justice Department also got interested

0:30:24.996 --> 0:30:29.036
<v Speaker 1>and finding and prosecuting a Japanese radio broadcaster. Someone who

0:30:29.476 --> 0:30:32.596
<v Speaker 1>liked Gillers was an American citizen and so could be

0:30:32.716 --> 0:30:38.516
<v Speaker 1>charged with treason. Her name was Iva Tuguri, reading everybody

0:30:38.996 --> 0:30:41.716
<v Speaker 1>is your number one enemy, your favorite framemate, often an

0:30:41.876 --> 0:30:45.556
<v Speaker 1>a radio sociate, the little sumby who grosly likes to cut.

0:30:46.276 --> 0:30:49.036
<v Speaker 1>They're ready again for this is her solve on your morale.

0:30:50.356 --> 0:30:53.916
<v Speaker 1>The Justice Department began building a case against Tiguri. Meanwhile,

0:30:54.156 --> 0:30:56.916
<v Speaker 1>the American press decided to refer to her by the

0:30:57.076 --> 0:30:59.716
<v Speaker 1>name of the fictional character from that Carry Grant movie.

0:31:00.076 --> 0:31:04.076
<v Speaker 1>They called her Tokyo Rose. But you lad, it's a

0:31:04.196 --> 0:31:10.756
<v Speaker 1>good guy. I will five helped do that, hopefully. Who

0:31:10.876 --> 0:31:16.156
<v Speaker 1>is the first blow. I killed Morale. Hey, I don't

0:31:16.156 --> 0:31:21.956
<v Speaker 1>want to go away directly. Reporters at the time wrote

0:31:21.956 --> 0:31:25.876
<v Speaker 1>about the radio ladies together Acces Sally in Tokyo, Rose,

0:31:26.556 --> 0:31:30.676
<v Speaker 1>Mildred Gillers, and Ivor Toguri, but Tguri's case was in

0:31:30.756 --> 0:31:36.596
<v Speaker 1>fact nothing like Gillers's case. She was born in Los

0:31:36.636 --> 0:31:39.916
<v Speaker 1>Angeles on the fourth of July nineteen sixteen. Both her

0:31:39.956 --> 0:31:43.236
<v Speaker 1>parents were from Japan. She graduated from UCLA in nineteen

0:31:43.356 --> 0:31:45.996
<v Speaker 1>forty and the next year went to Japan to visit

0:31:46.076 --> 0:31:49.236
<v Speaker 1>an aunt who was dying. While she was there, the

0:31:49.396 --> 0:31:52.756
<v Speaker 1>US and Japan went to war in nineteen forty two.

0:31:52.876 --> 0:31:56.636
<v Speaker 1>FDR issued his infamous Japanese in Tournament order, and both

0:31:56.676 --> 0:32:00.036
<v Speaker 1>of Togury's parents were imprisoned in a relocation center in Arizona.

0:32:00.556 --> 0:32:04.516
<v Speaker 1>Her mother would die there. Tguri was stranded in Japan.

0:32:05.276 --> 0:32:07.436
<v Speaker 1>She got a job as a typist, first at a

0:32:07.516 --> 0:32:11.236
<v Speaker 1>news agency and then at Radio Tokyo. Meanwhile, the head

0:32:11.236 --> 0:32:14.996
<v Speaker 1>of propaganda for the Japanese Army instructed Radio Tokyo to

0:32:15.116 --> 0:32:19.556
<v Speaker 1>make its propaganda more effective. The station found three prisoners

0:32:19.596 --> 0:32:21.836
<v Speaker 1>of war who had been radio announcers before the war,

0:32:22.196 --> 0:32:26.036
<v Speaker 1>an American, an Australian and a Filipino, and these three

0:32:26.116 --> 0:32:28.516
<v Speaker 1>men hired to Guri as the host of a new

0:32:28.636 --> 0:32:32.196
<v Speaker 1>variety show called The Zero Hour. She was mainly what

0:32:32.316 --> 0:32:36.516
<v Speaker 1>we'd call a DJ not bad, not bad and now

0:32:36.636 --> 0:32:41.956
<v Speaker 1>the judikanasi widneys from the American Hall Fronts. Tiguri and

0:32:42.036 --> 0:32:45.076
<v Speaker 1>the three prisoners of war she worked with were instructed

0:32:45.116 --> 0:32:48.476
<v Speaker 1>to make propaganda on behalf of Japan to be broadcast

0:32:48.556 --> 0:32:51.316
<v Speaker 1>to Allied troops, but they seem to have decided to

0:32:51.436 --> 0:32:55.716
<v Speaker 1>make fun of access propaganda. Seventy five little sidneys geeks

0:32:55.756 --> 0:32:58.356
<v Speaker 1>for our friends, I mean I am leaving the South

0:32:58.436 --> 0:33:03.076
<v Speaker 1>provided Later, Tiguri told the FBI that she tried to

0:33:03.156 --> 0:33:05.836
<v Speaker 1>give the show a double meaning so that it just

0:33:05.876 --> 0:33:09.476
<v Speaker 1>wouldn't work as propaganda, and that seems to be borne

0:33:09.516 --> 0:33:11.796
<v Speaker 1>out by the evidence, which consists of a handful of

0:33:11.876 --> 0:33:15.356
<v Speaker 1>scripts and a reconstruction of her recordings that Tiguri made

0:33:15.396 --> 0:33:19.756
<v Speaker 1>in nineteen forty five after the Japanese surrender. Then, two

0:33:19.876 --> 0:33:22.556
<v Speaker 1>the people who had worked at Radio Tokyo interrogated by

0:33:22.596 --> 0:33:26.316
<v Speaker 1>the FBI refused to implicate her. They said she'd been

0:33:26.356 --> 0:33:30.756
<v Speaker 1>trying not to produce propaganda, but to undermine it. Tiguri

0:33:30.836 --> 0:33:38.356
<v Speaker 1>was arrested but released for lack of evidence. One reason

0:33:38.436 --> 0:33:41.316
<v Speaker 1>the evidence against Tiguri was so flimsy was that during

0:33:41.356 --> 0:33:44.636
<v Speaker 1>the war, Tokyo rose had become a catch all term

0:33:44.996 --> 0:33:48.636
<v Speaker 1>for any English speaking woman's voice on Japanese radio. There

0:33:48.676 --> 0:33:51.316
<v Speaker 1>really was Japanese propaganda on the radio, of course, it

0:33:51.476 --> 0:33:56.036
<v Speaker 1>just sounded like this. I was the United States trans

0:33:56.156 --> 0:34:00.196
<v Speaker 1>meeting her years of the full freedoms into her leaving

0:34:00.756 --> 0:34:04.996
<v Speaker 1>into her labor and the ratio programs. What about her

0:34:05.316 --> 0:34:09.876
<v Speaker 1>ever present negro problem? Her a notorious slee choose, a

0:34:10.116 --> 0:34:16.596
<v Speaker 1>rare practice even among savages the Americans. I've completely forgotten

0:34:17.196 --> 0:34:19.876
<v Speaker 1>that the Negroes are just as much a part of

0:34:19.916 --> 0:34:25.316
<v Speaker 1>a humanity of the air themselves. That's what real Japanese

0:34:25.396 --> 0:34:29.716
<v Speaker 1>propaganda sounded like. Radio Tokyo propagandists talked about race relations

0:34:29.756 --> 0:34:33.276
<v Speaker 1>in the US all the time. Here's what Iva Takuri

0:34:33.436 --> 0:34:37.516
<v Speaker 1>sounded like. Thank you, thank you, thank you. It's all

0:34:37.556 --> 0:34:40.276
<v Speaker 1>an enemy. But there'll be more to thank you night.

0:34:40.556 --> 0:34:44.476
<v Speaker 1>Until then, there's your number one enemy. G I always

0:34:44.516 --> 0:34:49.996
<v Speaker 1>will be good good right now? Is that psychological warfare?

0:34:50.476 --> 0:34:52.516
<v Speaker 1>To me? It really does sound a lot more like

0:34:52.596 --> 0:34:57.396
<v Speaker 1>a satire of psychological warfare. Anyway. To convict Aguri of treason.

0:34:57.516 --> 0:35:01.596
<v Speaker 1>As with Gillers, the government needed two witnesses. He couldn't

0:35:01.596 --> 0:35:05.316
<v Speaker 1>find them, so it pressured two American born Japanese men,

0:35:05.796 --> 0:35:09.676
<v Speaker 1>George Mitsushio and Kenichi Oki, who'd go on to Japan

0:35:09.836 --> 0:35:13.156
<v Speaker 1>during the war and become Japanese citizens. They agreed to

0:35:13.236 --> 0:35:16.596
<v Speaker 1>testify that Tuguri had taunted American sailors on the air,

0:35:17.116 --> 0:35:22.236
<v Speaker 1>that she'd said three damning sentences. You fellows have lost

0:35:22.316 --> 0:35:26.236
<v Speaker 1>all your ships. You really are orphans of the Pacific. Now,

0:35:26.356 --> 0:35:29.556
<v Speaker 1>how do you think you will ever get home? On

0:35:29.676 --> 0:35:32.996
<v Speaker 1>the basis of these words, these three sentences of which

0:35:33.076 --> 0:35:38.236
<v Speaker 1>no recording survives, the jury found Iva Tuguri guilty of treason.

0:35:39.156 --> 0:35:41.436
<v Speaker 1>She was sentenced to ten years in prison at the

0:35:41.516 --> 0:35:45.516
<v Speaker 1>Federal Reformatory for Women in West Virginia, the same prison

0:35:45.556 --> 0:35:48.956
<v Speaker 1>where Mildred Gillers was serving her time. I don't know

0:35:49.076 --> 0:35:51.716
<v Speaker 1>if they ever met or what they could possibly have

0:35:51.796 --> 0:35:59.396
<v Speaker 1>said to one another. Iva Tiguri was released in nineteen

0:35:59.476 --> 0:36:02.356
<v Speaker 1>fifty six. She went on to run a gift shop

0:36:02.396 --> 0:36:06.476
<v Speaker 1>in Chicago. Twenty years after her release. A reporter for

0:36:06.556 --> 0:36:10.076
<v Speaker 1>the Chicago Tribune tracked down the witness is who testified

0:36:10.116 --> 0:36:13.716
<v Speaker 1>in her trial. They told the reporter that they'd lied,

0:36:14.236 --> 0:36:18.356
<v Speaker 1>that they'd been coached and threatened. President Gerald Ford, on

0:36:18.516 --> 0:36:22.516
<v Speaker 1>his final day in office, pardoned her. But I am

0:36:22.596 --> 0:36:25.236
<v Speaker 1>still haunted by how she answered a question about her

0:36:25.276 --> 0:36:29.716
<v Speaker 1>trial on sixty minutes. Had that experience a better ye

0:36:29.796 --> 0:36:33.316
<v Speaker 1>towards this country. I don't think bid in this is

0:36:33.356 --> 0:36:41.076
<v Speaker 1>the word. I'm kind of disappointed that I had to

0:36:41.156 --> 0:36:46.156
<v Speaker 1>go through what I did because of some untruths, and

0:36:47.636 --> 0:36:54.796
<v Speaker 1>it couldn't separate the myths from facts. That's one cost,

0:36:55.276 --> 0:37:00.076
<v Speaker 1>a big cost of conducting psychological warfare. It requires so

0:37:00.276 --> 0:37:02.996
<v Speaker 1>much lying during a war that when it's all over,

0:37:03.476 --> 0:37:06.596
<v Speaker 1>it can be hard ever again to separate myths from facts,

0:37:07.236 --> 0:37:11.716
<v Speaker 1>to sort truth from lies. This is called geography of

0:37:11.796 --> 0:37:16.436
<v Speaker 1>this time. This is a poem. Archibald McLeish wrote at

0:37:16.476 --> 0:37:18.876
<v Speaker 1>the end of the war. He was trying to reckon

0:37:19.076 --> 0:37:21.876
<v Speaker 1>with what the war had done to time, to nations,

0:37:22.316 --> 0:37:27.276
<v Speaker 1>to language and to knowledge. What is required of us

0:37:27.476 --> 0:37:31.836
<v Speaker 1>is the recognition of the frontiers between the centuries. McLeish

0:37:31.876 --> 0:37:35.076
<v Speaker 1>had the idea that in the aftermath of atrocity, people

0:37:35.156 --> 0:37:38.516
<v Speaker 1>have to work out all over again how change happens

0:37:39.116 --> 0:37:43.076
<v Speaker 1>what separates one time from another, one place from another.

0:37:43.116 --> 0:37:47.076
<v Speaker 1>As if the signposts have fallen, the street signs, the

0:37:47.276 --> 0:37:53.676
<v Speaker 1>lamp posts, the land is barren, seemingly timeless. Who thought

0:37:54.356 --> 0:37:58.796
<v Speaker 1>tomorrow was of the same nation as today. There are

0:37:58.876 --> 0:38:01.316
<v Speaker 1>many who came to the frontiers between the times and

0:38:01.436 --> 0:38:04.556
<v Speaker 1>did not know them. Who looked for the sentry box

0:38:04.636 --> 0:38:07.436
<v Speaker 1>at the stone bridge, for the barricade, and the pines,

0:38:07.516 --> 0:38:10.316
<v Speaker 1>and the declaration and two lang, which is the warning

0:38:11.116 --> 0:38:15.396
<v Speaker 1>and the opportunity to turn. They are dead there in

0:38:15.516 --> 0:38:20.396
<v Speaker 1>the down light, in the sheep's barren. This, I think,

0:38:20.516 --> 0:38:25.116
<v Speaker 1>is the actual strategy of truth, reposting the street signs,

0:38:25.596 --> 0:38:32.436
<v Speaker 1>attaching meaning towards fighting propaganda, with poetry, finding our way

0:38:32.596 --> 0:38:36.796
<v Speaker 1>on the long road to knowledge in the aftermath of atrocity.

0:38:39.316 --> 0:38:43.796
<v Speaker 1>What is required of us is the recognition with no sign,

0:38:43.916 --> 0:38:46.916
<v Speaker 1>with no word, with the roads raveled out into ruts,

0:38:46.956 --> 0:38:49.916
<v Speaker 1>and the ruts into dust, and the dust stirred by

0:38:49.956 --> 0:38:53.996
<v Speaker 1>the wind, the roads from behind us ending in the dust.

0:38:55.196 --> 0:38:58.116
<v Speaker 1>What is required of us is the recognition of the

0:38:58.236 --> 0:39:06.876
<v Speaker 1>frontiers where the roads end. We are very far. That's

0:39:06.916 --> 0:39:09.436
<v Speaker 1>the place I'm trying to get to on this season

0:39:09.676 --> 0:39:14.996
<v Speaker 1>of the Last Archive across the frontiers of history over Rhodes,

0:39:15.116 --> 0:39:20.636
<v Speaker 1>rutted by lies and doubt. That place is very far.

0:39:34.276 --> 0:39:37.276
<v Speaker 1>The Last Archive is written and hosted by me Joe Lapour.

0:39:37.676 --> 0:39:40.956
<v Speaker 1>It's produced by Sophie Crane, mckibbon and Ben Natt of Hafrey.

0:39:41.276 --> 0:39:44.276
<v Speaker 1>Our editor is Julia Barton, and our executive producer is

0:39:44.356 --> 0:39:48.676
<v Speaker 1>Mia Lobel. Martin Gonzalez is our engineer. Fact checking by

0:39:48.756 --> 0:39:52.516
<v Speaker 1>Amy Gaines. Original music by Matthias boss and John Evans

0:39:52.596 --> 0:39:56.596
<v Speaker 1>of Stellwagen Symfinett. Our research assistants are Michelle Gau, Olivia

0:39:56.636 --> 0:40:00.156
<v Speaker 1>Oldham and Oliver Riskin. Cuts special thanks to Joan Donovan

0:40:00.316 --> 0:40:03.796
<v Speaker 1>and Simon Leake. Our full proof players are Yoshia Mao,

0:40:03.996 --> 0:40:07.956
<v Speaker 1>Raymond Blankenhorne, Matthias Bossi, Dan Epstein, Ethan Herschenfeld, Becca A.

0:40:08.116 --> 0:40:12.116
<v Speaker 1>Lewis and Ruper Hello, Robert Roccatta and Nick Saxton. The

0:40:12.236 --> 0:40:15.276
<v Speaker 1>Last Archive is a production of Pushkin Industries. At Pushkin

0:40:15.516 --> 0:40:19.236
<v Speaker 1>thanks to Jacob Weisburg, Heather Fame, John Schnarz, Harley Migliori,

0:40:19.476 --> 0:40:23.876
<v Speaker 1>Christina Sullivan, Eric Sandler, Emily Rostak, Maggie Taylor, Maya Kanig

0:40:24.076 --> 0:40:27.316
<v Speaker 1>and Daniella Lacan Many of us out effects are from Harry,

0:40:27.356 --> 0:40:30.636
<v Speaker 1>Janette Junior, and the Star Jenette Foundation. If you like

0:40:30.796 --> 0:40:33.516
<v Speaker 1>the show, please remember to rate, share, and review. To

0:40:33.596 --> 0:40:37.796
<v Speaker 1>find more Pushkin podcasts, listen on the iHeartRadio app, Apple Podcasts,

0:40:38.156 --> 0:40:41.156
<v Speaker 1>or wherever you listen at podcasts. I'm Jill Lapoor.