Hollywood’s First Weight Loss Surgery: Molly O’Day (Make Me Over, Episode 1) by Karina Longworth

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Listen to this episode on Apple Podcasts

At the age of 18, actress Molly O’Day’s career showed great promise—the only thing holding her back was a bit of pubescent pudge. When diets failed, she became the guinea pig of Hollywood's first highly-publicized weight loss surgery. This was in 1929, and the procedure was, as one fan magazine described it "dangerous...and all in vain." What lead Molly to such desperation? And what happened after the surgery her former lover, actor George Raft, declared “ruined her health, her career, and damn near killed her”?

This episode was written and performed by Megan Koester. Megan Koester is a writer, comedian, and Daughter of the Golden West; LA Weekly (before it was taken over by right-wingers, mind you) listed her as a "comic to watch," saying her "sets are as dark, self-effacing and in-the-moment as they come." She co-authored the Audible Original The Indignities of Being a Woman with Merrill Markoe and recently released her debut stand up album, Tertium Non Datur, on aspecialthing records.

SHOW NOTES:  

This episode touches on an aspect of Buster Keaton’s post-MGM attempt at a comeback. For more context on Buster and how his disastrous stint at MGM left his career crippled at the point that his story dovetails with Molly O’Day’s, listen to our episode on Keaton from 2015.

Sources specific to this episode:

“Diet, the Menace of Hollywood” by Katherine Albert, Photoplay, January 1929 

“The Flesh and Blood Racket: Vanity Drives Hollywood to Suffer the Horrors of the Surgeon’s Knife” by Dorothy Manners, Motion Picture Magazine, April 1929

"Love Scene Recipe is Discovered: Cultivate Mild Infatuation with Leading Man, Advice of Molly O’Day” Los Angeles Times, October 16, 1927 

"Does Nicely, Thank You: Sally O'Neil is Irish, Lovely and 18, and Well on Way to Stardom” by Alma Whitaker, Los Angeles Times, March 13, 1927 

“‘Kid’ Nearly Flawless Film: Richard Barthelmess Gives Great Performance” by Marquis Busby, Los Angeles Times, March 2, 1928

“Molly Has Own ‘Slogan’ as She Plans Comeback” Mansfield News Journal, January 21, 1937

“‘Vagabond’ Nominates Its Baby Star; Defies Wampas Selections” Hollywood Vagabond, March 31, 1927

“Hollywood High Lights” by Edwin and Eliza Schallert, Picture-Play Magazine, December 1928

“Starving Back to Stardom: The Sad Story of Molly O’Day, Whose Career Was Blighted by Ice Cream and Candy” by Lois Shirley, Photoplay, August 1928

“Molly Gives Up ‘Three Squares,’ Two Very Meager Meals Every 24 Hours Now Miss O’Day’s Limit” by Dan Thomas, Syracuse Herald, June 3, 1928

“3 Mos for 25 Lbs” Variety, October 26, 1927

“F.N. Abandons Molly to Own Weight Fight” Variety, July 4, 1928 

“Sliced Hips and Legs Save Miss Molly O’Day” Variety, September 19, 1928

Hollywood and the Rise of Physical Culture by Heather Addison

“Reducing Herself to Riches: Doris Dawson’s Soul-Struggle is Caused by a Hunger for Both Cake and a Career” by Dorothy Manners, Motion Picture Classic, July 1928

“Avoirdupois is Stern Foe for Film Actresses” Indiana Evening Gazette, August 8, 1928

“Liposuction — the Evolution of the Classical Technique” by Yves-Gerard Illouz, PMFA Journal, April 1, 2014

“Surgeon Carved Off Mollie O’Day’s Fat — But It Came Back” San Antonio Light January 20, 1929 

“Beauty Doc Sued Again for ‘Error’: Dr. Griffith Once Paid Minnie Chaplin $30,000 — Now W.H. Scott Wants $100,000” Variety, August 10, 1927

George Raft by Lewis Yablonsky

“Weight-Reducing Molly O’Day is Losing Out” Variety, December 12, 1928

“Gossip of All the Studios” by Cal York, Photoplay, April 1929

“Am I My Brother’s Keeper?” by Jane Stewart, The Modern Screen Magazine, November 1930

“Easy Come, Easy Go in Movies; Sisters Now Are Bankrupt” Albuquerque Journal, November 10, 1930

“R-K-O Does Everything But Act for Picture Duo” Variety, May 14, 1930 

“Sally O’Neil and Molly O’Day: Talk and Singing”, Variety, June 4, 1930

“One-Day Stars: Were These Players Equipped for One, and Only One, Great Role?” by Madeline Glass, Picture Play Magazine, April 1932

My Wonderful World of Slapstick by Buster Keaton

“Hot From Hollywood...With the News Sleuth” by Hal E. Wood, Hollywood Magazine, May 1934

“Hollywood’s Film Shops” by Alanson Edwards, South Haven Daily Tribune, May 21, 1934

“Scene as Flames Rage in Motion-Picture Plant: Actors Flee for Their Lives as Fire Sweeps Film Studio” Los Angeles Times, June 7, 1937

“Divorces” Billboard, July 28, 1951

“Sand Doin’s” Palm Springs Desert Sun, December 15, 1950

“Molly O’Day Hit By Egg, Gets Decree” Long Beach Press Telegram, August 9, 1956 

“Divorce, Molly O' Day” Los Angeles Examiner Photographs Collection, July 10, 1951

Silent Stars Speak: Interviews with Twelve Cinema Pioneers by Tony Villecco

For more information on Molly O'Day, check out "Reels and Rivals: Sisters in Silent Films" by Jennifer Ann Redmond

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Music:

The music used in this episode was sourced from royalty-free music libraries and licensed music collections. The intro includes a clip from the film Casablanca.  

Excerpts from the following songs were used throughout the episode: The Black Dahlia - Paul Martin Pritchard

Devil Heart -  Daniel Horacio Diaz, Andre Paul Marie Charlier
The Silver Screen - David Francis
Life is Harsh - Sophia Lydie, Ginette Domancich
Maze - Piotr Moss
Exotique - Paul Lenart, Bill Novick
Dreamy Reflection - Lorne David Roderick Balfe
Mysterioso Melancholia - Howard Lucraft
Le Clair, l'Obscur - 1st movement - Denis Jean, Maurice Levaillant
Lost In Paris - Geoffrey Peter Gascoyne
La Mondaine - Daniel Horacio Diaz & Andre Paul Marie Charlier
Dixie Blues - Geoffrey Peter Gascoyne
Blue Moan - Keith Charles Nichols

Credits:

Make Me Over is a special presentation of You Must Remember This. It was created and directed by Karina Longworth, who also edited the scripts.

This episode was written and performed by Megan Koester. 

Research and production assistant: Lindsey D. Schoenholtz.

Social media assistant: Brendan Whalen.

Producer: Tomeka Weatherspoon. 

Editor: Jared O'Connell.

Audio engineers: Jared O'Connell, Andrea Kristins and Brendan Burns. 

Supervising Producer: Josephine Martorana. 

Executive Producer: Chris Bannon. 

Logo design: Teddy Blanks and Aaron Nestor.

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Make Me Over - You Must Remember This Companion Series Coming January 21 by Karina Longworth

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In this companion series to You Must Remember This, Karina Longworth will introduce eight stories about Hollywood’s intersection with the beauty industry. Told by writers/reporters known for their work at The New Yorker, The New York Times and other publications, Make Me Over will explore a range of topics, including Hollywood’s first weight loss surgery, the story of the star whose unique skills led to the development of waterproof mascara, black beauty in the 1990s, and much more. Join us, won’t you?

SIX DEGREES OF SONG OF THE SOUTH ARCHIVE by Karina Longworth

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The most controversial film in the history of Disney Animation, Song of the South is a live-action/animated hybrid about a little white boy and the former slave he befriends on a plantation in post-Civil War Georgia. The film was planned by Walt Disney to cash-in on nostalgia inspired by the release of Gone with the Wind. On its release in 1946, the movie was considered technically innovative, but hopelessly retrograde in its presentation of African-Americans as grinning, singing servants who were happy to continue their circumstances of slavery post-Emancipation. And yet, Song of the South would go on to have a long, strange life into the 1980s and beyond.

Episodes:

  • DISNEY’S MOST CONTROVERSIAL FILM (SIX DEGREES OF SONG OF THE SOUTH, EPISODE 1): Disney Plus is launched with the stated intention of streaming the entire Disney library...except for Song of the South, the 1946 animation/live-action hybrid film set on a post-Civil War plantation, which was theatrically re-released as recently as 1986, served as the basis for the ride Splash Mountain, but has never been available in the US on home video. What is Song of the South, why did Disney make it, and why have they held the actual film from release, while finding other ways to profit off of it? Listen

  • HATTIE MCDANIEL (SIX DEGREES OF SONG OF THE SOUTH, EPISODE 2):

    Song of the South co-stars Hattie McDaniel, the first black performer to win an Oscar, for her supporting role as “Mammy” in Gone with the Wind. By the time Song of the South was released, McDaniel was the subject of much criticism in the black community for propagating outdated stereotypes in her roles. But McDaniel actually began her career subverting those same stereotypes, first in black minstrel shows and then in Hollywood movies. Listen

  • “ZIP-A-DEE-DOO-DAH,” MINSTRELS IN HOLLYWOOD AND THE OSCARS (SIX DEGREES OF SONG OF THE SOUTH, EPISODE 3):

    Song of the South’s most famous element is “Zip-a-Dee-Doo-Dah,” a song written for the movie but reminiscent of a racist standard popularized in blackface minstrel shows of the 1830s. Today we’ll explore this song and the other ways in which minstrel imagery and tropes made their way into Song of the South and other animated and live action films of the first half of the 20th century. And, we'll talk about how all of this is related to Walt Disney's push to net Song of the South Oscars. Listen

  • WHITE ALLIES AND THE BLACKLIST: MAURICE RAPF (SIX DEGREES OF SONG OF THE SOUTH, EPISODE 4)

    Concerned that his movie about a former slave devoting his life to a white child’s emotional needs might be perceived as racist, Walt Disney hired known Communist Maurice Rapf to rewrite Song of the South. Rapf, the son of an MGM exec, was radicalized as a college student and, shortly after Song of the South was released, he was blacklisted. Today we’ll discuss Rapf’s life and career, and talk about how white leftists in Hollywood tried to subvert the industry’s racial status quo--and how their mission to “make movies less bad” led to their own persecution. Listen

  • BLAXPLOITATION AND THE WHITE BACKLASH (SIX DEGREES OF SONG OF THE SOUTH, EPISODE 5):

    Song of the South’s most successful re-release came in 1972, at a time when Hollywood was dealing with race by making two very different kinds of movies: Blaxploitation films, which gave black audiences a chance to see black characters triumph against white authority figures; and movies like Dirty Harry, which were emblematic of a concurrent cultural and political shift away from the Civil Rights Movement and toward Reagan-style Republicanism. Listen

  • SPLASH MOUNTAIN (SIX DEGREES OF SONG OF THE SOUTH, EPISODE 6):

    After two more successful theatrical releases, in 1980 and 1986, Disney decided to put Song of the South in the “Disney Vault,” and never released it on home video or theatrically in the US ever again. And yet, at the same time, the company was developing a theme park ride around Song of the South’s characters and its most memorable song--but without Uncle Remus, or any signifiers of the complicated racial and historical dynamics the film, however clumsily, portrayed. Listen

Splash Mountain (Six Degrees of Song of the South, Episode 6) by Karina Longworth

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Listen to this episode on Apple Podcasts.

After two more successful theatrical releases, in 1980 and 1986, Disney decided to put Song of the South in the “Disney Vault,” and never released it on home video or theatrically in the US ever again. And yet, at the same time, the company was developing a theme park ride around Song of the South’s characters and its most memorable song--but without Uncle Remus, or any signifiers of the complicated racial and historical dynamics the film, however clumsily, portrayed.

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Sources specific to this episode:

Dream it! Do it! My Half Century Creating Disney’s Magic Kingdoms by Marty Sklar

Designing Disney: Imagineering and the Art of the Show by John Hench

Imagineering: A Behind the Dreams Look at Making the Magic Real by Disney Editions
Birth of an Industry By Nicholas Sammond

“Animation Sings In Song of the South” by Charles Solomon, Los Angeles Times, November 21, 1986

“Song not Ended for Disney” by James A. Snead, Los Angeles Times, December 27, 1986 

“Should dated films see the light of day?” Donald Liebenson, Los Angeles Times, May 7 2003

Song of South: A Fascist Film?” by Thomas Pleasure, Los Angeles Times, August 2, 1981

“'Beulah Land' has something in it to offend almost…” by Joan Hanauer, October 7, 1980, UPI Archives

“Exploring Disney's Fascinating Dark Phase of the 70s and 80s” by Ryan Lambie

Jun 26, 2019, https://www.denofgeek.com

“Eisner's 19 Years At Walt Disney” by David Leonhardt, December 1, 2003, The New York Times 

http://legacy.aintitcool.com/node/6325

http://vintagedisneylandtickets.blogspot.com/2010/07/remembering-deborah-july-8-1974.html

Music:

The music used in this episode, with the exception of the intro and outro, was sourced from royalty-free music libraries and licensed music collections. The intro includes a clip from the film Casablanca. The outro song this week is “South is Only a Home” by The Fiery Furnaces. 

Excerpts from the following songs were used throughout the episode:

Great Hopes - Bjarni Biering Margeirsson
The Missing Pie - Jeffrey S Lippencott, Mark Thomas Williams, James Miles Hankins
Fancy Footwalk - Daniel Horacio Diaz
Curious Affairs - Daryl Neil Alexander Griffith
Gumshoe Blues - Paul Martin Pritchard
Linger Awhile - Marian Mcpartland
Mists of Antiquity - Sidney John Kay
Serene Pastoral Folk Blues - Alexandre Stephane Rusian Toukaeff, Baptiste Vayer
Sneak Easy - John Neille Rufus Altman
Whimsicality - Laurent Dury
The Setup - Daniel Horacio Diaz
Looking for Clues - Daryl Neil Alexander Griffith
Our Man in Miami - Daniel Horacio Diaz, Andre Paul Marie CHISL Charlier
Yacht Club - Alain Francois Edouard Bernard
Illustrious Prince - Laurent Dury
Lazy Pastoral Folk Blues - Alexandre Stephane Rusian Toukaeff, Baptiste Vayer
Free Stylin - Daryl Neil Alexander Griffith
The Pleasure Handiwork - Mathieu Claude Laurent

Credits:

This episode was written, narrated and produced by Karina Longworth.

Editor: Andi Kristins.

Research and production assistant: Lindsey D. Schoenholtz.

Social media assistant: Brendan Whalen.

Logo design: Teddy Blanks.

Blaxploitation and the White Backlash (Six Degrees of Song of the South, Episode 5) by Karina Longworth

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Listen to this episode on Apple Podcasts

Song of the South’s most successful re-release came in 1972, at a time when Hollywood was dealing with race by making two very different kinds of movies: Blaxploitation films, which gave black audiences a chance to see black characters triumph against white authority figures; and movies like Dirty Harry, which were emblematic of a concurrent cultural and political shift away from the Civil Rights Movement and toward Reagan-style Republicanism. 

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Music:

The music used in this episode, with the exception of the intro and outro, was sourced from royalty-free music libraries and licensed music collections. The intro includes a clip from the film Casablanca. The outro song this week is “Pusherman” by Curtis Mayfield. 

Excerpts from the following songs were used throughout the episode:

Serene Pastoral Folk Blues - Alexandre Stephane Rusian Toukaeff, Baptiste Vayer
Cotton Flower - Paul Martin Pritchard
Yacht Club - Alain Francois Edouard Bernard
Whimsicality - Laurent Dury
Reflections Underscore - Jack Richard Pierce
Converted Livestock Farmers - Baptiste Francois Guillaume Thiry
Hanging Tree - Wayne Anthony Murray, Tobias Macfarlaine, Elmore King
Rattle Them Chains - Wayne Anthony Murray, Tobias Macfarlaine, Elmore King
Free Stylin - Daryl Neil, Alexander Griffith
Memory Echoes - Hiroki Ishikura
Foxy Brown - David Oliver Rieu
Black Gumshoe - David Oliver Rieu
Blue Sophisticate - Marian McPartland
Ain't No Money in the Blues - Eric John LaBrosse, Jason Michael Carter, Joshua Phillip Cass Matthew Robert Danbeck, Adam Patrick Tremel
Gumshoe Blues - Paul Martin Pritchard
Nightly - Ilan Moshe Abou, Thierry Oliver Faure
Monsieur Taxi - Renaud Vincent Garcia Fons
Fancy Footwalk - Daniel Horacio Diaz
South Border - Olivier Jean Roger Samoillan

Credits:

This episode was written, narrated and produced by Karina Longworth.

Editor: Andi Kristins.

Research and production assistant: Lindsey D. Schoenholtz.

Social media assistant: Brendan Whalen.

Logo design: Teddy Blanks.

White Allies and the Blacklist: Maurice Rapf (Six Degrees of Song of the South, Episode 4) by Karina Longworth

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Listen to this episode on Apple Podcasts

Concerned that his movie about a former slave devoting his life to a white child’s emotional needs might be perceived as racist, Walt Disney hired known Communist Maurice Rapf to rewrite Song of the South. Rapf, the son of an MGM exec, was radicalized as a college student and, shortly after Song of the South was released, he was blacklisted. Today we’ll discuss Rapf’s life and career, and talk about how white leftists in Hollywood tried to subvert the industry’s racial status quo--and how their mission to “make movies less bad” led to their own persecution.

Walt Disney, c. 1940’s

Walt Disney, c. 1940’s

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Music:

The music used in this episode, with the exception of the intro and outro, was sourced from royalty-free music libraries and licensed music collections. The intro includes a clip from the film Casablanca. The outro song this week is “Jesus Was a Communist” by Reagan Youth.

Excerpts from the following songs were used throughout the episode:

Whimsicality - Laurent Dury
Illustrious Prince - Laurent Dury
Serene Pastoral Folk Blues - Alexandre Stephane Rusian Toukaeff, Baptiste Vayer
Lazy Pastoral Folk Blues - Alexandre Stephane Rusian Toukaeff, Baptiste Vayer
Blue Moan - Keith Charles Nichols
Dance Of The Peasants - Keith Charles Nichols
The Iron Curtain - Anthony J K Hymas
Solutions - Anthony J K Hymas
Ambitions - Anthony J K Hymas
Disney Land - Johnny Pearson
Gumshoe Blues - Paul Martin Pritchard
Cotton Flower - Paul Martin Pritchard
Hanging Tree - Wayne Anthony Murray, Tobias Macfarlaine, Elmore King
Crime and Danger Sign - Hans Conzelmann, Delle Haensch
Prologue Of A Drama #1 - Hans Conzelmann, Delle Haensch -

Credits:

This episode was written, narrated and produced by Karina Longworth.

Editor: Jared O'Connell.

Research and production assistant: Lindsey D. Schoenholtz.

Social media assistant: Brendan Whalen.

Logo design: Teddy Blanks.

“Zip-a-Dee-Doo-Dah,” Minstrels in Hollywood and the Oscars (Six Degrees of Song of the South, Episode 3) by Karina Longworth

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Listen to this episode on Apple Podcasts.

Song of the South’s most famous element is “Zip-a-Dee-Doo-Dah,” a song written for the movie but reminiscent of a racist standard popularized in blackface minstrel shows of the 1830s. Today we’ll explore this song and the other ways in which minstrel imagery and tropes made their way into Song of the South and other animated and live action films of the first half of the 20th century. And, we'll talk about how all of this is related to Walt Disney's push to net Song of the South Oscars.

James Baskett in Song of the South (1946)

James Baskett in Song of the South (1946)

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Music:

The music used in this episode, with the exception of the intro and outro, was sourced from royalty-free music libraries and licensed music collections. The intro includes a clip from the film Casablanca. The outro song this week is “Zip-a-Dee-Doo-Dah” sung by Rik Ocasek.

Excerpts from the following songs were used throughout the episode:

Jackson 5 - Zip-a-Dee-Doo-Dah
Doris Day - Zip-a-Dee-Doo-Dah
Los Lobos - Zip-a-Dee-Doo-Dah
The Hollies - Zip-a-Dee-Doo-Dah
Bob B. Soxx & The Blue Jeans - Zip-a-Dee-Doo-Dah
Miley Cyrus (as Hannah Montana) - Zip-a-Dee-Doo-Dah
Paul Martin Pritchard - Gumshoe Blues
Manuel Galvin, Jean-Jacques Marcel, Maurice Milteau - Memphis Minstrels
John Neville Rufus Altman - Sneak Easy
Jahzzar - Railroad's Whiskey Co
Wayne Anthony Murra, Tobias Macfarlaine, Elmore King - Hanging Tree
Paul Martin Pritchard - Wandering Nights
Daniel Horacio Diaz, Andre Paul Marie, Charlier - Our Man In Miami
Daniel Horacio Diaz - The Setup
Daniel Horacio Diaz - Fancy Footwork
Robert Bernhard Hauser - The Piano Bar Player
Rik Ocasek - Zip-a-Dee-Doo-Dah

Credits:


This episode was written, narrated and produced by Karina Longworth.

Editor: Jared O'Connell.

Research and production assistant: Lindsey D. Schoenholtz.

Social media assistant: Brendan Whalen.

Logo design: Teddy Blanks.

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Hattie McDaniel (Six Degrees of Song of the South, Episode 2) by Karina Longworth

In 1940 Hattie McDaniel became the first black performer to be nominated for and win an Oscar, for her role in Gone with the Wind.

In 1940 Hattie McDaniel became the first black performer to be nominated for and win an Oscar, for her role in Gone with the Wind.

Listen to this episode on Apple Podcasts

Song of the South co-stars Hattie McDaniel, the first black performer to win an Oscar, for her supporting role as “Mammy” in Gone with the Wind. By the time Song of the South was released, McDaniel was the subject of much criticism in the black community for propagating outdated stereotypes in her roles. But McDaniel actually began her career subverting those same stereotypes, first in black minstrel shows and then in Hollywood movies.

Hattie McDaniel, Gone with the Wind (1939)

Hattie McDaniel, Gone with the Wind (1939)

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Music:

The music used in this episode, with the exception of the intro and outro, was sourced from royalty-free music libraries and licensed music collections. The intro includes a clip from the film Casablanca. The outro song this week is “Boo Hoo Blues” sung by Hattie McDaniel.

Excerpts from the following songs were used throughout the episode:

Manuel Galvin, Jean-Jacques Marcel, Maurice Milteau - Memphis Mistrels

Manuel Galvin - No More Baby Please

Paul Martin Pritchard - Gumshoe Blues

Geoffrey Peter Gascoyne - Stripper

Manuel Galvin - Cotton Flower

Manuel Galvin - Keep The Blues On

Johnny Pearson - Disney Land

Daniel Horacio Diaz - Fancy Footwork

John Denis Hawksworth - The Depression Years

Jahzzar - Railroad's Whiskey Co

Eric John LaBrosse, Jason Michael Carter, Joshua Phillip Cass,Matthew Robert Danbeck, Adam Patrick Tremel - Ain't No Money In The Blues

Jules Ruben - Early Morning Blues

Didier Francois Dani Goret - Eyes Only For You

Hattie McDaniel - Boo Hoo Blues 

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Credits:

This episode was written, narrated and produced by Karina Longworth.

Editor: Jared O'Connell.

Research and production assistant: Lindsey D. Schoenholtz.

Social media assistant: Brendan Whalen.

Logo design: Teddy Blanks.

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Disney’s Most Controversial Film (Six Degrees of Song of the South, Episode 1) by Karina Longworth

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Listen to this episode on Apple Podcasts.

Disney Plus is launching with the stated intention of streaming the entire Disney library...except for Song of the South, the 1946 animation/live-action hybrid film set on a post-Civil War plantation, which was theatrically re-released as recently as 1986, served as the basis for the ride Splash Mountain, but has never been available in the US on home video. What is Song of the South, why did Disney make it, and why have they held the actual film from release, while finding other ways to profit off of it? Across six episodes of our new season, we’ll dig into all facets of Song of the South’s strange story. Join us, won’t you?

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SHOW NOTES:  

Sources for the whole season:

Walt Disney by Neal Gabler

Disney's Most Notorious Film: Race, Convergence, and the Hidden Histories of Song of the South By Jason Sperb

Birth of an Industry by Nicholas Sammond

Stony the Road by Henry Louis Gates Jr.

White Screens/Black Images by James Snead

Slow Fade to Black by Thomas Cripps

Making Movies Black by Thomas Cripps

Bright Boulevards, Bold Dreams: The Story of Black Hollywood by Donald Bogle

Toms, Coons, Mulattoes, Mammies, and Bucks: An Interpretive History of Blacks in American Films by Donald Bogle

Joel Chandler Harris: A Biography and Critical Study by Bruce R. Bickley Jr.

Sources specific to this episode:

Who’s Afraid of the Song of the South by Jim Korkis

“What’s the Historical Background of ‘Zip-A-Dee-Doo-Dah’?” by Debi Simons, September 10, 2018, https://www.behind-the-music.com

“10 Zip-A-Dee-Doo-Dah Facts About Song of the South” by Stacy Conradt, November 12, 2016, http://mentalfloss.com

Diversity in Disney Films: Critical Essays by Johnson Cheu

“The Magic Kingdom: Walt Disney and the American Way of Life” by Steven Watts, The Hollywood Reporter, April 22, 2019

Music:

The music used in this episode, with the exception of the intro and outro, was sourced from royalty-free music libraries and licensed music collections. The intro includes a clip from the film Casablanca. The outro song this week is “Controversy” by Prince.

Excerpts from the following songs were used throughout the episode:

Laurent Edmond Gaston Bacri & Jean-Louis Négro - Snow White & The Dwarves
Laurent Edmond Gaston Bacri & Jean-Louis Négro - Tic Tock Clock
Johnny Pearson - Disney Land
Frank Bernard Woodbridge - Creepy Corner Ghost
Jahzzar - Railroad's Whiskey Co
Paul Martin Pritchard - Wandering Nights
Daniel Horacio Diaz - Fancy Footwalk
John Greaves - Serie Noir
Gooding, Charlie H. Bisharat & Jennifer Anne Wood - The Late War
Joel Vandroogenbroeck - Ghost Town
Joel Vandroogenbroeck - Chain Production
Marc-Olivier Nicolas Dupin - Lola Lola
Alexandre Stephane Rusian Toukaeff, Baptiste Vayer - Serene Pastoral Folk Blues
Daryl Neil Alexander Griffith - Freestylin'
Daniel Horacio Diaz - The Setup
Prince - Controversy

Credits:

This episode was written, narrated and produced by Karina Longworth.

Editor: Jared O'Connell.

Research and production assistant: Lindsey D. Schoenholtz.

Social media assistant: Brendan Whalen.

Logo design: Teddy Blanks.

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A preview of the new season of You Must Remember This is out NOW! by Karina Longworth

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This season, we explore the most controversial film in the history of Disney Animation.

With the launch of Disney Plus, the company's entire library could be made available for streaming. The one film promised to remain locked away is Song of the South, the 1946 animation/live-action hybrid set on a post-Civil War plantation. 

What is Song of the South? Why did Disney make it even amidst protests? And why have they held the actual film from release for the past thirty-plus years, while finding other ways to profit off of it?

Join us, won’t you? As we uncover this hidden film in the Disney vault. New episodes of You Must Remember This will be released every Tuesday. Subscribe via Stitcher, Apple Podcasts, or wherever you get your podcasts to hear it!

You Must Remember This Presents by Karina Longworth

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You Must Remember This is coming back this fall, but I am also going to produce a spin-off series tentatively titled “You Must Remember This Presents.” In this spin-off, I will curate and introduce researched stories written and told in the You Must Remember This style by other writers. I’m looking for freelance contributors to pitch me stories, which they will then write/report and read on the podcast. We have a budget to pay writers a decent wage for their contributions.

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Each season will have a theme. The first season is called Make Me Over, and will focus on stories about the intersection of Hollywood and the beauty industry. I’m leaving this prompt purposely vague, because I want to see any and all interpretations of it. The only rules are:

  1. Your story must fit into the You Must Remember This universe, which means it must have some connection to Hollywood in the 20th century. “Hollywood” encompasses movies, television, radio, popular music and the nightclub/vaudeville/ live performance circuit in Los Angeles. If you have a story you really want to tell involving other theater I’m open to it, but a pitch set solely in the New York theater world will probably not be successful. Same goes for stories about non-Hollywood film, unless there is some Hollywood angle. For instance, a story about Coco Chanel doing costumes for Jean Renoir’s The Rules of the Game would not be a great fit, but a story about Coco Chanel’s contract with Samuel Goldwyn could be, if you could find enough story there. Which brings us to the next rule…

  2. You must be able to write a reported/researched essay of about 4000 words on this concept (or, if you’re a radio/podcast person and/or want to do something more interview-based, it will need to cut together into about 30 minutes of audio). Many YMRT episodes have a three-act structure, and all have a story arc. You need to convince me that there is enough material behind your concept to create a narrative podcast episode with a beginning, middle and end. Finally…

  3. Ideally, you have a track record in long form storytelling, in print, radio, podcasting or online. With your pitch, please send a link to one thing we should look at or listen to that shows you can do the research/reporting and tell a sustained story. Again, most of these episodes will involve you reading aloud an essay that you wrote of around 4000 words, so you should feel comfortable writing at that length, and also comfortable speaking into a microphone—or at least, enthusiastic about learning how to. 

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Freelancers whose pitches are chosen will work with Karina to shape their story for the format, and will be given access to a studio in which to record. All of the writing and the recording will take place this fall. If you’re interested, please send a 1-3 paragraph pitch along with a link to an example of your previous long-form writing or radio work to youmustrememberthispodcast@gmail.com (subject line YMRT Presents) by September 10, 2019. If we’re interested, we will contact you for more information. Thanks!

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Become a You Must Remember This Patron, Won't You? by Karina Longworth

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Wondering what's next for Karina and You Must Remember This? Become a Patron and get access to a bi-weekly newsletter, podcast scripts, bonus episodes, and more! 

Starting on June 6, Karina will be dropping the You Must Remember This Book Club podcast for Patrons who join at $10 or more. Each month, she'll be talking to a You Must Remember This listener about a book they love related to Hollywood's first century.

Patreon Levels:

Hedda Hopper | $5 or more per month

Get the inside scoop on what Karina is working on and watching. Patrons get access to a biweekly newsletter with news on the progress of Karina's new projects, movie reviews and recommendations, and links to stuff Karina loves.

Barbara Stanwyck | $10 or more per month

Get the biweekly newsletter, as well as special bonus podcast episodes, including the You Must Remember This Book Club, with special guests!

Dorothy Parker | $15 or more per month

In addition to the newsletter and bonus pods, access  scripts or transcript of every episode in the You Must Remember This Archive. Read along with the pod, or go back to check details without having to scroll through episodes. A great option for the hearing impaired! (Scripts for new episodes will be posted once each episode of the season has been made available)

Judy Garland | $25 or more per month

Get the biweekly newsletter, bonus podcast episodes, transcripts, AND Karina will record an outgoing voicemail or other short audio message of your choosing. One recording per Patron.

Join us on Patreon! by Karina Longworth

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As you probably know, You Must Remember This has been on hiatus since early February. Subscribe to our Patreon page to find out what’s next for the podcast!

Patrons who donate $5 per month will receive a biweekly newsletter, which will be the place to get early/exclusive information about what Karina is working on—including new seasons of You Must Remember This— as well as what she’s reading, watching and recommends.

In the future, Patreon patrons will get exclusive access to special podcast episodes, book clubs, film clubs and more — we’ll be revealing more tiers and more benefits in the coming months. Join us, won’t you?

Fake News: Fact Checking Hollywood Babylon Archive by Karina Longworth

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Considered by many to be the urtext of salacious movieland gossip, Kenneth Anger’s Hollywood Babylon has been derided by some readers as a work of dangerous libel for its embellishments and, in some cases, outright fictions about real people and events. This season, we examine some of the stories Anger tells and the way he tells them, and we’ll try to figure out the real story. Throughout, we’ll talk about how the seemingly contemporary concept of “fake news” has played a key role in Hollywood’s star-making (and star-destroying) apparatus from the industry’s earliest days, and how such practices mutated through the work of counter-narrators like Anger and beyond.

Episodes:

  • D.W. GRIFFITH, THE GISH SISTERS AND THE ORIGIN OF HOLLYWOOD BABYLON: The phrase “Hollywood Babylon” entered the vernacular thanks to D.W. Griffith, one of Hollywood’s first great directors, who followed up the racist smash The Birth of a Nation with a less-successful historical epic called Intolerance. Anger’s use of that film’s Babylon set, which was left to stand and decay for years after the film came and went, as the structuring image of his gossip bible, helps to set the ironic tone of the book. But what of Anger’s accusations that Griffith was a known pedophile, and that his stars, sisters Dorothy and Lillian Gish, were incestuous? Listen

  • OLIVE THOMAS: The first Hollywood scandal to attract international intentional was the death-by-poison of Olive Thomas, the twenty-five year old star of au courant Hollywood hit The Flapper. According to Hollywood Babylon, Thomas’s death was the suicide of a woman desperate over her failure to score dope for her junkie husband. What’s the real story—and what role was played by Jack Pickford, Olive’s husband and the brother of the actress then considered “America’s Sweetheart”? Listen

  • ROSCOE "FATTY" ARBUCKLE AND VIRGINIA RAPPE: At a boozy party over Labor Day weekend 1921, Roscoe “Fatty” Arbuckle, silent Hollywood’s superstar plus-size comedian, followed sometime actress Virginia Rappe into a hotel room. They were alone together for only a few minutes, but in that time, Rappe fell ill, and died several days later from her sickness. Arbuckle was tried for murder, and accused of rape in the newspapers. The story of the definitive sex-and-death scandal in early Hollywood history, which left a woman dead and effectively killed off a star comedian’s career, has been plagued with misinformation and distortions for nearly 100 years. Today we’ll closely examine Anger’s text to demonstrate how he implies both Arbuckle and Rappe’s guilt, and we’ll also use more recent scholarship on the case to try to suss out what really happened in that hotel room, and how the facts were distorted throughout Arbuckle’s three trials. Listen

  • WILLIAM DESMOND TAYLOR: The killing of director William Desmond Taylor was the third in a trifecta of scandals which, over the course of about a year and a half, painted such a sordid a picture of the movie colony as a hotbed of sin that the industry was forced to fundamentally change its way of conducting business. Anger’s telling implies that Taylor’s murder may have been a consequence of the affairs he supposedly conducted simultaneously with several women, including both a starlet and her mother, or related to the fact that Taylor was living under an assumed identity and employing his own brother as his butler. Today we’ll sort out fact from fiction in the Taylor case, and demonstrate how the media frenzy surrounding it had wide-ranging consequences despite the fact that no one was ever arrested for the crime. Listen

  • MABEL NORMAND: A frequent co-star of Roscoe Arbuckle’s, Mabel Normand was the definitive female screen comedienne of her generation. But it wasn’t her association with Arbuckle that brought Normand’s career to an abrupt close and her life to an early end. Today we’ll interrogate Hollywood Babylon’s claim that Normand was a cocaine addict, explore Normand’s involvement in various scandals which did more damage than drugs, and talk about the disease that led to her early death. Listen

  • WALLACE REID: According to Hollywood Babylon, actor Wallace Reid —a morphine addict who died in an asylum at the age of 31—was the first sacrificial lamb of the post-sandal era, and Reid’s wife, a former teen star named Dorothy Davenport, was the ultimate opportunistic hypocrite. What made Reid’s case different from the other scandals around this time? Was Davenport the black widow that Anger suggests, or should she be remembered as a pioneering female writer, producer and director? Listen

  • WILL HAYS AND "PRE-CODE" HOLLYWOOD: Who was Will Hays, and how did he come to put his name on the censorship “Code” that would shape the content of movies more than any other single force from the early 1930s into the 1960s? How much power did Hays really have in 1920s Hollywood, how corrupt was he, and why did it take a decade before the Hays Code was fully enforced? Listen

  • PEGGY HOPKINS JOYCE AND CHARLIE CHAPLIN: The Kim Kardashian of her day, Peggy Hopkins Joyce was famous for being rich and famous—and for her marriages and involvements with rich and famous men, including Charlie Chaplin. Did Peggy really ask Chaplin on their first date if he was “hung like a horse?” We’ll investigate this and other claims made about the affair in Hollywood Babylon, and chart how the dalliance with Hopkins Joyce inspired Chaplin’s first dramatic film A Woman of Paris, and explain how a woman of the 1910s-1920s could come from nothing and become internationally famous before ever arriving in Hollywood. Listen

  • THOMAS INCE AND THE HEARST "COVERUP": Thomas Ince was one of early Hollywood’s most pioneering producers—in fact, some credit him for popularizing “producer” as a job title and for codifying what it meant to do the job, as well as helping to develop the Western as a genre. But today, if Ince is remembered at all, it’s for his death aboard a yacht owned by William Randolph Hearst, amidst a star-studded party attended by Chaplin, writer Elinor Glyn, and actress/Hearst’s mistress Marion Davies. For decades, rumors have swirled that Ince was felled not by “acute indigestion,” as Hearst’s papers claimed, but by “a bullet hole in [his] head,” as Kenneth Anger put it. Who was Ince, what really happened on that yacht, and why have fictionalizations of his death (spread by Anger and others) flourished for so long? Listen

  • RUDOLPH VALENTINO: Rudolph Valentino was Hollywood’s first “latin lover.” His shocking death at the age of 31 was attributed to side effects from an appendectomy, but Hollywood Babylon forwards theories that Valentino may have actually been poisoned, or killed by the husband of a lover, and/or secretly gay and recently divorced from his second secretly lesbian wife. What was the real story of Valentino’s marriages, and what really led to his untimely demise? Listen

  • CLARA BOW: We’ll close this half of our Hollywood Babylon season with one of that book’s most famously distorted stories: the tale of “It” Girl Clara Bow’s supposed nymphomania and alleged “tackling” of the entire USC football team. The real story of Clara Bow’s life and career is a much richer tale, involving changing sexual mores, and the change in the audience’s tastes that overlapped with the end of the silent era. Listen

  • MAE WEST: Today we begin part two of our season, Fake News: Fact Checking Hollywood Babylon. Mae West was the biggest new star in Hollywood in 1933, thanks to two hit films she co-wrote and starred in as a sexually implicit, wisecracking broad who romanced a young Cary Grant. In Hollywood Babylon, Anger credits West’s abrupt decline in movies to a coordinated conspiracy organized by William Randolph Hearst and carried out by the Hays Office. Today we’ll explore West’s background, her history of pushing the censors past the limits of legality, and the truth of her lightning-fast rise in Hollywood and somewhat slower descent back to earth. Featuring special guest Natasha Lyonne. Listen

  • MARY ASTOR'S DIARY: In 1936, actress Mary Astor (who had not yet made her most famous film, The Maltese Falcon) and her husband went to court to fight for custody of their four year-old daughter. The trial made international news thanks to both sides’ use of Astor’s diary, in which she had recorded details of her affair with playwright George S. Kaufman. How much did Astor truly reveal in her diary, and what role did the scandal play in her life and career? Listen

  • LUPE VELEZ: Mexican actress Lupe Velez was the victim of one of Anger’s cruelest invented stories. His fabrication of her manner of death lays bare a vicious racism in addition to Hollywood Babylon’s usual sexism. Today we will sort out the fact of Velez’s life from Anger’s fiction, and consider the star of the Mexican Spitfire series as comedienne ahead of her time. Listen

  • MARLENE DIETRICH AND CLAUDETTE COLBERT: The bisexuality of Marlene Dietrich was not exactly a secret in 1930s Hollywood -- in fact, her ambiguous sexuality was part of her on-screen brand. But there is some debate as to who Dietrich counted among her lovers, and which of her fellow stars participated in what has been called the “sewing circle” of female intimacy. Anger alleges that Dietrich had a “passionate affair” with Claudette Colbert, an Oscar-winning actress with an extremely heteronormative persona. We’ll explore what was going on in Dietrich’s life and career around the time when this affair could have taken place, and then delve into Colbert’s image as a very different kind of on-screen sex symbol, and her complicated off-screen personal life. Listen

  • BUGSY SIEGEL: Jewish gangster Benjamin “Bugsy” Siegel is frequently credited with corrupting Hollywood’s unions and “inventing” Las Vegas. Siegel did have movie star friends, but the true story of his involvement with the Flamingo casino is also the story of a much bigger movieland player: Hollywood Reporter founder/publisher/columnist Billy Wilkerson. Listen

  • DOROTHY DANDRIDGE AND THE CONFIDENTIAL MAGAZINE TRIAL: Over two episodes, we will explore Hollywood Babylon’s coverage of Confidential Magazine and the two celebrities who testified against the scandal rag in the 1957 trial that helped end what Anger rightfully refers to as its “reign of terror.” We’ll begin with Dorothy Dandridge, the first black actress to be nominated for a Best Actress Oscar. Dandridge’s testimony against Confidential reveals the publication’s racist agenda, as well as the double standards that governed her real private and public lives. Listen

  • MAUREEN O'HARA AND THE CONFIDENTIAL MAGAZINE TRIAL: In part two of our two-parter on the demise of the biggest and most pernicious tabloid of the 1950s, we’ll explore what happened after the magazine’s claim that redheaded star Maureen O’Hara was caught having sex at Grauman’s Chinese Theater. O’Hara positioned herself the “Joan of Arc” of Hollywood, single-handedly defending a cowardly industry against the existential threat posed by Confidential. As we’ll see, this is one story where the Kenneth Anger version is more credible than the version related by one of the subjects. Listen

  • RAMON NOVARRO: Ramon Novarro was a Mexican actor and singer whose stardom at MGM in the 1920s and 30s was not impeded by his offscreen life as a gay man. In Hollywood Babylon, Anger focuses only on Novarro’s grisly murder in 1968 -- which outed Novarro to a public that had largely forgotten him--and needlessly embellishes a crime scene that was already pretty horrible. Today, in our final episode of Fact-Checking Hollywood Babylon, we will explore the life which Anger left out of Hollywood Babylon, and correct that book’s version of Novarro’s death. Listen

Ramon Novarro (Fake News: Fact-Checking Hollywood Babylon Episode 19) by Karina Longworth

Listen to this episode on Apple Podcasts and Spotify.

Ramon Novarro was a Mexican actor and singer whose stardom at MGM in the 1920s and 30s was not impeded by his offscreen life as a gay man. In Hollywood Babylon, Anger focuses only on Novarro’s grisly murder in 1968 -- which outed Novarro to a public that had largely forgotten him--and needlessly embellishes a crime scene that was already pretty horrible. Today, in our final episode of Fact-Checking Hollywood Babylon, we will explore the llife which Anger left out of Hollywood Babylon, and correct that book’s version of Novarro’s death.

Ramon Novarro, Francis X Bushman, and Kathleen Key in Ben Hur: A Tale of the Christ, 1925

Ramon Novarro, Francis X Bushman, and Kathleen Key in Ben Hur: A Tale of the Christ, 1925

Ramon Novarro & Dorothy Janis in The Pagan, 1929

Ramon Novarro & Dorothy Janis in The Pagan, 1929

Music:

The music used in this episode, with the exception of the intro and outro, was sourced from royalty-free music libraries and licensed music collections. The intro includes a clip from the film Casablanca. The outro song this week is “Bye Bye Baby” by Madonna.

Novarro with Greta Garbo in Mata Hari, 1931

Novarro with Greta Garbo in Mata Hari, 1931

Credits:

This episode was written, narrated and produced by Karina Longworth.

Editor: Cameron Drews.

Research and production assistant: Lindsey D. Schoenholtz.

Social media assistant: Brendan Whalen.

Logo design: Teddy Blanks.

ramon-novarro-breakfast.jpg

Maureen O'Hara and the Confidential Magazine Trial (Fake News: Fact-Checking Hollywood Babylon Episode 18) by Karina Longworth

Listen to this epsiode on Apple Podcasts and Spotify.

In part two of our two-parter on the demise of the biggest and most pernicious tabloid of the 1950s, we’ll explore what happened after the magazine’s claim that redheaded star Maureen O’Hara was caught having sex at Grauman’s Chinese Theater. O’Hara positioned herself the “Joan of Arc” of Hollywood, single-handedly defending a cowardly industry against the existential threat posed by Confidential. As we’ll see, this is one story where the Kenneth Anger version is more credible than the version related by one of the subjects.

Maureen O'Hara in Modern Screen Magazine, 1947

Maureen O'Hara in Modern Screen Magazine, 1947

Maureen O'Hara in Confidential Magazine, March 1957

Maureen O'Hara in Confidential Magazine, March 1957

Music:

The music used in this episode, with the exception of the intro and outro, was sourced from royalty-free music libraries and licensed music collections. The intro includes a clip from the film Casablanca. The outro song this week is “Like a Prayer” by Madonna.

Excerpts from the following songs were used throughout the episode:

Yellow Leaves 5 - Peter Sandberg
Club Noir 2  - John Allen
Unsolved - Mythical Score Society
Southern Flavors 3 - Martin Gauffin
One Two Three 5 - Peter Sandberg
Tomorrow I'll Be Gone - Franz Gordon
City Fashion 3 - Björn Skogsberg 
In The Lounge 02 - Lars Olvmyr
Eventually Maybe - Oakwood Station

Maureen O'Hara, at the Confidential Magazine trial, 1957

Maureen O'Hara, at the Confidential Magazine trial, 1957

Credits:

This episode was written, narrated and produced by Karina Longworth.

Editor: Cameron Drews.

Research and production assistant: Lindsey D. Schoenholtz.

Social media assistant: Brendan Whalen.

Logo design: Teddy Blanks.

1957_confidential_liberace.jpg

Dorothy Dandridge and the Confidential Magazine Trial (Fake News: Fact Checking Hollywood Babylon Episode 17) by Karina Longworth

Listen to this episode on Apple Podcasts and Spotify.

Over two episodes, we will explore Hollywood Babylon’s coverage of Confidential Magazine and the two celebrities who testified against the scandal rag in the 1957 trial that helped end what Anger rightfully refers to as its “reign of terror.” We’ll begin with Dorothy Dandridge, the first black actress to be nominated for a Best Actress Oscar. Dandridge’s testimony against Confidential reveals the publication’s racist agenda, as well as the double standards that governed her real private and public lives.

Dorothy Dandridge and Harry Belafonte in Carmen Jones (1954)

Dorothy Dandridge and Harry Belafonte in Carmen Jones (1954)

Dorothy Dandridge, Harry Belafonte, Robert Mitchum and Otto Preminger

Dorothy Dandridge, Harry Belafonte, Robert Mitchum and Otto Preminger

Music:

The music used in this episode, with the exception of the intro and outro, was sourced from royalty-free music libraries and licensed music collections. The intro includes a clip from the film Casablanca. The outro song this week is “Over and Over” by Madonna.

Excerpts from the following songs were used throughout the episode:

Yellow Leaves 5 - Peter Sandberg
Club Noir 2  - John Allen
City Fashion 3 - Björn Skogsberg 
A Playful Mood 2 - Peter Sandberg
Downtown Alley 2 - Magnus Ringblom
In The Lounge 02 - Lars Olvmyr
Tomorrow I'll Be Gone - Franz Gordon
In The Lounge 05 - Lars Olvmyr
One Two Three 5 - Peter Sandberg
The Piano And Me 3 - Peter Sandberg
Goofy Moments 3 - Magnus RingblomSay It Is So - Magnus Ringblom Quartet
Eventually Maybe - Oakwood Station

Dorothy Dandridge arrives at the Academy Awards ceremony in 1955, where we was the first African American actress to receive a nomination for Best Actress

Dorothy Dandridge arrives at the Academy Awards ceremony in 1955, where we was the first African American actress to receive a nomination for Best Actress

Credits:

This episode was written, narrated and produced by Karina Longworth.

Editor: Cameron Drews.

Research and production assistant: Lindsey D. Schoenholtz.

Social media assistant: Brendan Whalen.

Logo design: Teddy Blanks.

Dorothy Dandridge in LIFE Magazine 1954

Dorothy Dandridge in LIFE Magazine 1954

Bugsy Siegel (Fake News: Fact Checking Hollywood Babylon Episode 16) by Karina Longworth

Listen to this episode on Apple Podcasts and Spotify.

Jewish gangster Benjamin “Bugsy” Siegel is frequently credited with corrupting Hollywood’s unions and “inventing” Las Vegas. Siegel did have moviestar friends, but the true story of his involvement with the Flamingo casino is also the story of a much bigger movieland player: Hollywood Reporter founder/publisher/columnist Billy Wilkerson.

Bugsy Siegel mugshot, 1928

Bugsy Siegel mugshot, 1928

Virginia Hill, 1940's

Virginia Hill, 1940's

Music:

The music used in this episode, with the exception of the intro and outro, was sourced from royalty-free music libraries and licensed music collections. The intro includes a clip from the film Casablanca. The outro song this week is “More” by Madonna.

Excerpts from the following songs were used throughout the episode:

Yellow Leaves 5 - Peter Sandberg
Club Noir 2  - John Allen
One Two Three 5 - Peter Sandberg
Goofy Moments 3 - Magnus Ringblom
The Piano And Me 3 - Peter Sandberg
Kansas City Flashback 2 - Magnus Ringblom
In The Lounge 02 - Lars Olvmyr
City Fashion 3 - Björn Skogsberg 
Eventually Maybe - Oakwood Station

Billy Wilkerson and his Hollywood Reporter staff

Billy Wilkerson and his Hollywood Reporter staff

Credits:

This episode was written, narrated and produced by Karina Longworth.

Editor: Cameron Drews.

Research and production assistant: Lindsey D. Schoenholtz.

Social media assistant: Brendan Whalen.

Logo design: Teddy Blanks.

The Flamingo, Las Vegas, 1947

The Flamingo, Las Vegas, 1947

Marlene Dietrich and Claudette Colbert (Fake News: Fact Checking Hollywood Babylon Episode 15) by Karina Longworth

Listen to this episode on Apple Podcasts and Spotify.

The bisexuality of Marlene Dietrich was not exactly a secret in 1930s Hollywood -- in fact, her ambiguous sexuality was part of her on-screen brand. But there is some debate as to who Dietrich counted among her lovers, and which of her fellow stars participated in what has been called the “sewing circle” of female intimacy. Anger alleges that Dietrich had a “passionate affair” with Claudette Colbert, an Oscar-winning actress with an extremely heteronormative persona. We’ll explore what was going on in Dietrich’s life and career around the time when this affair could have taken place, and then delve into Colbert’s image as a very different kind of on-screen sex symbol, and her complicated off-screen personal life.

Josef von Sternberg and Marlene Dietrich in Berlin 1928

Josef von Sternberg and Marlene Dietrich in Berlin 1928

Marlene Dietrich, Blonde Venus, 1932

Marlene Dietrich, Blonde Venus, 1932

Claudette Colbert and Clark Gable, It Happened One Night, 1934

Claudette Colbert and Clark Gable, It Happened One Night, 1934

Music:

The music used in this episode, with the exception of the intro and outro, was sourced from royalty-free music libraries and licensed music collections. The intro includes a clip from the film Casablanca. The outro song this week is “Secret Garden” by Madonna.

Excerpts from the following songs were used throughout the episode:

Yellow Leaves 5 - Peter Sandberg
Club Noir 2  - John Allen
City Fashion 3 - Björn Skogsberg
Tomorrow I'll Be Gone - Franz Gordon
The Piano And Me 3 - Peter Sandberg
Some Autumn Waltz 1 - Jonatan Järpehag
In The Lounge 05 - Lars Olvmyr
In The Lounge 02 - Lars Olvmyr
A Playful Mood 2 - Peter Sandberg
Goofy Moments 3 - Magnus Ringblom
Eventually Maybe - Oakwood Station
Secret Garden - Madonna

Director Cecil B. DeMille with Claudette Colbert on the set of The Sign of the Cross, 1932

Director Cecil B. DeMille with Claudette Colbert on the set of The Sign of the Cross, 1932

Credits:

This episode was written, narrated and produced by Karina Longworth.

Editor: Cameron Drews.

Research and production assistant: Lindsey D. Schoenholtz.

Social media assistant: Brendan Whalen.

Logo design: Teddy Blanks.

Marlene Dietrich and Claudette Colbert, c. 1935

Marlene Dietrich and Claudette Colbert, c. 1935

The Many Loves of Howard Hughes Archive by Karina Longworth

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Throughout the history of You Must Remember This, one character we’ve returned to frequently is Howard Hughes, whose story dovetails with the stories of some of the most interesting actresses of the Golden Era, from silent star Billie Dove to Katharine Hepburn, to a series of brunette bombshells, including Ava Gardner, Jane Russell, Gina Lollobrigida and more.

Episodes:

  • The Many Loves of Howard Hughes, chapter 1: The first episode of a multi-part series on the Hollywood romances of Howard Hughes traces Hughes’ arranged marriage at age 18 to Southern society belle Ella Rice; his affairs with silent star Billie Dove and Jean Harlow, who Hughes helped to establish as a sex symbol whose body was used to evoke both money and military might; and his attempt to invent himself as the most powerful independent producer in town, with his directorial debut, Hell’s Angels. [Listen]

  • The Many Loves of Ida Lupino: In this second installment of our ongoing series, The Many Loves of Howard Hughes, we explore the life, loves and work of Ida Lupino. Hughes dated Lupino when she was a teenage starlet; nearly 20 years later, after Lupino had become the only working female feature director in 1940s Hollywood, Hughes signed his ex-girlfriend’s production company to a deal at RKO. [Listen]

  • Katharine Hepburn in 1938: Introduced by Hughes’ close confidant, Cary Grant, Hepburn and Hughes became a celebrity couple in the modern mold: mutually attracted in part based on the fame of the other, they were hounded by paparazzi, their rumored impending nuptials dissected by outsiders until the relationship itself frittered away. By 1938, Hepburn’s “woman wearing the pants” image had transitioned from merely controversial to cripplingly unfashionable, and when she was named in the infamous "box office poison" ad of May 1938, her career sunk as low as it would go. [Listen]

  • Jane Russell: Our long-running series on the women in the life of the infamous aviator/filmmaker continues with a look at Hughes’ professional and personal relationship with Jane Russell, which began in 1940 when Hughes randomly pulled a photograph of the 19 year-old out of a pile, and lasted for most of her film career. [Listen]

  • Gene Tierney: On-screen, gorgeous brunette actress Gene Tierney helped to invent the femme fatale in movies like Laura and Leave Her to Heaven, and off-screen, she had serious romances with four of the great playboys of the 20th century: John F. Kennedy, Howard Hughes, Prince Aly Khan and costume/fashion designer Oleg Cassini. So how did she end up, at age 38, standing on a ledge fourteen floors above 57th Street, wondering what her body would look like on the pavement if she were to jump? [Listen]

  • Rupert Hughes’s Women: Howard Hughes was not the first man in his family to find success in Hollywood, or to build a reputation built in part on multiple relationships with women. His uncle, Rupert Hughes, was a respected writer and director in the silent era, whose accomplishments included one of the first Hollywood meta-movies. He also married three times, while making frequent public statements, and films, critiquing marriage and divorce laws. One of his marriages ended in a sensational divorce trial; the other two Mrs. Hughes committed suicide. [Listen]

  • The bacchanal of 1920s Hollywood: Frederica Sagor would pen one of the frankest memoirs of 1920s Hollywood ever written, revealing the systematic sexual exploitation of women in the film industry by men like Marshall Neilan -- one of Howard Hughes’s early mentors. Frederica’s story also details how tough it was for a woman to hold on to power behind the scenes in the film industry as Hollywood evolved. [Listen]

  • Ann Dvorak: The child of a silent film actress, Dvorak was so determined to be a star that at first, she wouldn’t take no for an answer. Her big break came when she was cast in Howard Hughes’s production of Scarface. But Hughes would sell her contract to Warner Brothers, and when Ann later accused Hughes of having “sold [her] down the river,”  she would swiftly suffer the consequences of going up against Hughes in the press when his mastery over the medium of publicity was at its peak. [Listen]

  • Linda Darnell: A stunning brunette sex symbol married to cinematographer Pev Marley, Darnell thought her affair with Hughes would result in marriage to the aviator. But after Hughes’s near-fatal 1946 plane crash, Marley tried to make a deal to sell his wife to the tycoon--which was not what Darnell wanted. This was not the low point of a life that ended in incredible tragedy, amidst a career that, to this day, has not been given the acclaim it deserves. [Listen]

  • Yvonne DeCarlo: The future Lily Munster became a star when producer Walter Wanger cast her in Salome, Where She Danced (1945). A curvaceous brunette in her early 20s, De Carlo fit the mold of Howard Hughes’s mid-century girlfriends to a T. But that relationship would be brief, and De Carlo would go on to distinguish herself in movies, TV and as a star of the original production of Stephen Sondheim’s Follies. [Listen]

  • Gina Lollobrigida: This Italian pin-up, along with Sophia Loren and Brigitte Bardot, was emblematic of a brand of post-war European sexuality that America happily imported. But the Hollywood career of  “La Lollo” was delayed, thanks to Howard Hughes, whose obsession with Lollobrigida led him to keep her virtually imprisoned in a Los Angeles hotel, and sign her to a contract that made it essentially impossible for her to work for any other US producer. [Listen]