Arts and Ideas; Josephine Baker: Jai Deux Amours, Part 2

You Good evening and welcome to Arts and Ideas. I'm Margo Stage. Tonight our celebration of African American Arts and Letters continues with part two of J. Doza Moore. This radio drama on the life and loves of singer Josephine Baker was written

and produced by Perry Carter and just won a prestigious Ohio State Award for performing arts and humanities. J. Doza Moore was made possible in part with grants provided by the Massachusetts Cultural Council. We're waiting to take your call. Volunteers are standing by but we need to hear from a few more of you. I know there are some three loaders out there and we'd like to hear you call right now. This is very, very important here in public radio. If you'd time me look around at radio stations, Baker. Hey, get on with the program, man. Take it easy, think of it. Look at yourself all round up and look at the heathens in this box. Don't they realize that they've been listening to one of the greets on that radio? Look at it. Just look at it. Where's the program? Can't deal with this, Baker. And if you can't call collect, just send us a check. I'll be giving you that address in just a moment and we need to hear the phones ringing. We're getting ready to go back now to our show. But before we do, I want to hear from five more followers. Let's have those tell us.

Okay, everybody hold it down in here. Josephine Baker is coming back on. Have a little respect for a lot of lady. You hear me? Hold it down. Are you crazy? Hey, everybody. I don't pay bingo now, man. He's just been a little tensed at night. Just keep on doing what you're doing. Let me tell you something, my man. Nobody misses what my customers but me. You understand? Yeah, yeah, yeah. But the lady. But nothing. Three more out of you and I'll send you off. And I'm throwing you out. You understand? You don't understand. I knew. There's never been a woman like her. She has that. She doesn't say, Quas. She really is like a thousand. Spare me the BS. Okay, bingo? Just listen to the damn radio and leave my customers alone. Let me turn this thing up so you don't get yourself in trouble. Let me tell you about some of the things that you can get for your generous donation. For a $250 pledge, we have this beautiful, genuine invitation with Grant. Oh, that's good right there. It'll run out the heritage and frequent this establishment bingo.

A thousand apologies plus one in keeper. I will hereafter I'll see to your governance. Yeah, right. Thank you. This is Eric Jackson. Welcome back to our program, Eric, and the evening. Tonight, we've been talking to a very special lady, the lovely and talented Josephine Baker. Well, thank you, Sherry. You're very kind. Josephine, we've covered a lot of territory tonight. Indeed we have. You married at a fairly young age. That's right. My first marriage was at age 13. And my second marriage at 16 to one Willie Baker, a poem imported. Have you two talked at all since your break up? I mean, considering you still carry the man's name? Yeah, he wrote me a letter in Perry telling me he had read a few articles about me and how he wanted to see me again. And he was willing to take me back.

Really? And you said what? What monkey don't stop no show honey. I think I can live without you. I was one of the highest paid performers in Europe. And this turkey was telling me that he'd take me back. So then when you left Willie Baker, you went on to get a job with noble sissel and you'd be Blake and shuffle along. The first black musical on Broadway, I started with the road company. Are you too young for Broadway? Something like that. But I made the main cast eventually, so it was a good stepping stone. And it prepared me in all ways for the nightclub scene in New York. Oh, how so? I shopped into my performing skills and I also learned how to deal with the crap black racism, wild against black, and even light skinned blacks against darker blacks. It was a mess, but it toughened me up. One of the clubs that you played in I think was the plantation club. I think with Ethel Waters. Don't mention that woman's name to me.

Okay. So from there you went to Paris? Right. What was the name of that first show again? Love of your neighbor. It was a little taste of Harlem in Paris. The show eventually left Paris and went on a tour of Europe. I left the tour in Germany to come back to Paris for a review called The Follet Beijing. The Follet was a pretty slick show and it made me a star. This show put me over the top. Everyone in Paris knew my face. Josephine, you know one thing I'm curious about. What was your personal life like? I mean, did you have any friends? Yeah, I had one pretty good friend. Who? Richter. I'm Travicki. Aren't you the Frenchie? Got to speak that lingo, you know. Seems to me, you better learn to speak American first.

Girl, open the windows in here. All these damn animals running around? It smells like something died in here. Oh, Ricky, come on. Come on, nothing. It's right in here, girl. I don't see how you can take it. It's not a problem. I just open the windows. You know you need your butt whipped girl. You're the most famous woman in Paris and your apartment looks and smells like a farm. I'll leave my animals alone. They're my company. Well, to each his own. Child, what you doing with that lemon? I'm putting it on my skin. What it looked like I'm doing. I know what you're doing. The question is why? To lighten up my skin. That's a new one on me and you're still in the answer to the question. What? Why? Ricky, hard as it is for colored folks and you're going to ask me why? What's the human condition of colored folks got to do with that piece of lemon? I'm bleaching my skin. What the hell you think you're going to do? Lemon yourself white?

Ricky, you know what I mean. No, I'm afraid I don't. This is not America. You're successful here because you're colored. That's why my club is so successful. The rich, idle white folk can come up to the more modern and feel like they're in Harlem. I just want some respect, that's all. You can have your respect and you don't have to change to get it. Just be yourself. I don't know a lot of things though. Learn as you go. In the meantime, there's still ain't nothing like a good pork chop sandwich. Okay. Wait a minute, what are you doing tonight? I think I'll go over to Le Jacques et, then maybe Maxine's, then over to your place. I don't see how you do that crap every night, but to eat your zone. The guy I'm going out with is paying me 10,000 francs to be in his company. Well, I guess PT Burnham was right. Just be careful you're here. Thanks.

But he's rich and harmless. I'm running late. Let me put my coat on so I can get out of here. Coat? You don't have no clothes on, girl. Don't you love it? My, my, my. Here's our cab. After you, Maxine. Thank you. Roof on 10. Where's that? My hotel, of course. That wasn't in the deal. I ain't going to no hotel with nobody tonight. I've spent 10,000 francs tonight. That's not my problem, honey. You said you wanted to go out, not in. And as far as I know, we out. Don't you try to make a fool of me. Hey, you're getting nasty. I'm getting out of the cab. You're not getting anywhere. Get your hands off me. Are you crazy, man? Thank.

Thank you. And don't you ever put your hands on me again. Open the damn door. You driver. Roof on 10 for the Monsieur. You bye. Fool. Taxi. Taxi. Take me to Zealous Place. Hi, Richard. This is a friend of mine. His name is Pepito. Pepito. How are you doing, Pepito? Please order my gear. I will return shortly. Okay. So whose this guy he was tonight? He's Zedos Cousin.

He's a count. He's a what now? A count. Where did you meet him? At Zealous. He had a joint name. Nothing but a hang-off or whores and jiggles. Who lay for dumb Americans. Everybody knows that. What's a damn count doing hanging out of them there? How do I know, Gricky? I didn't ask him to show me no paper. I think the man is trying to shuffle you. Count my ass. He's full of it. Oh, don't start on me again, okay? You like downing everything I do. Nobody's trying to down you, girl. I'm trying to keep you from getting bothered up. I know how to take these ding dong. Daddy's too, you know? Why don't you give me some credit sometimes? You treat me like I'm stupid or something. I'm not saying you're stupid. I just think. Taxi, here he comes. Yes, so can't, Pepito. Tell me a little bit about yourself there. Gricky. I'm feeling a little tension. Is there a problem? No problem here. Count, no problem. I've seen more tension in the world. I just wanted to know a little bit more about you.

And that's all. Well, if at the end of the issue, now it does, believe me. Very well. At the beginning of my career, I was an expert horseman in one of Italy's cracker regiments. But I shouldn't be bored. I'm very imaginative. That's why I left aroma to come to Paris. I needed a challenge. You know, I think that you're so full of... Shut up, Ricky. I think that's enough. I think you need to wise up. But it's your life. I have no more to say. Besides, I have customers to entertain. Nice meeting you, Count. It hasn't been a pleasure meeting you, too, Madame Brickdumpe. Oh, don't get up. I want to remember the two of you just as you are. You make such a... couple, Ricky. I'll talk to you later. Have you known Madame Brickdumpe long? Ever since I came to Paris, why?

I consider myself a good judge of human character. And she seems to spell a trouble. Sometimes I wanders myself. Well, you needn't worry. I'm going to rid you of all of these negative influences. But, Peter, we've just met. We met the first time I set eyes on you on the stage. I had never seen anything like you before, or since. I said to myself that one day I would have you. And one day I will. It is a destiny. I don't know, but Peter. Let's just take it as it comes. That's okay for me right now, that gives me hope. Something to live for. Can we leave this place? I guess so. I ain't really made my rounds. But I am a little tired. I hope not too tired. Let's go. My dearest de Josephine. These last few weeks have been the happiest of my life.

I don't know how I existed all of these years without you. You are without the doubt the most precious woman in all of existence. My eyes hunger for your magnificent perform. I pray that you will let me continue to be a part of your existence. I hope you enjoy these flowers. Until we meet. Love for Peter. There she is. Madden was there. Back hair. Hello, Ricky. Where's your little pimp? You've got a lot of nerve talking, you know? Well, you won't be so quick to condemn me once I tell you what I found out.

What is it? That bum you've been with is an unemployed plasterer. He couldn't afford a glass of beer. He's a count all right. I know a count count. Don't you have enough of your own problems without trying to run my life? Mind your business. Instead of you chopping off my finger, you should be looking at what I'm pointing at. Well, I'm pointing at you, honey. And I'm saying go to hell, Ricky. Go to hell. Oh, hi. Hello, Josephine. Aren't you going to invite me in? Who is that? It's just a friend, Papito. A friend? Who? Who are you here to see? I'm here to see Josephine. We have an appointment. I doubt that, sir. We're conducting very important business here. And we cannot be disturbed. You'll have to come back at another time. Martha, I came over. Another time. Thank you.

I just want to remind you that you ain't got no ball and chain on me. I'm just trying to protect you from that slime. I consider it to my duty to caution you about some of the company that you have been keeping. And besides, we're going to have to get them all serious. The follies are starting to slip. And so are you. We're going to go on a tour. On the road again. I don't know. Everything will be first a class. And you'll get the kind of experience and exposure that you need. I could die of exposure. Are you with me on this? Yes, Pepito. We're going to be gone a long time. Do you think Perry is going to forget me? Perry will never forget the back air. I will never let them forget. Overall, you'd say it was a good tour.

Very much so. I came back a new person. Really? How's that? Well, my singing voice improved dramatically. For the first time in my career, singing became a part of my act. And I just got better at everything I did. I think it had a lot to do with touching so many different cultures. Everywhere I went, I tried to take a little of that country with me. This was basically a European tour? No, we went to South America as well. And you were gone for how long? Around two years. You think Paris was ready for you when you got back? Not a lukewarm reception. Everyone was sort of curious because they had heard about so many things that had happened on the tour. I didn't let on, but I was pretty scared that Paris would turn its back on me. Because my popularity had slipped just before I left. So what did you do? Well, Pepito got me a job at the classiest dance hall in all of Perry.

The casino de Paris. So then your new image was starting to pay off for you already? Yes, this place was run by a master's showman named Henri Reyna, who was known for putting on brilliant spectacular shows. Josephine, it seems like so many people and things were pulling against you. Were you happy at all? Yeah, well, most of the time, especially when I was on the stage. I was at this point in my career at my peak. Well, what about money? Darling, I was believed to be the richest black woman in the world. And thanks to Pepito, I had my hands into every aspect of performing. What do you mean by that? Well, of course, I was the headliner at the casino de Paris. I made several recordings. J'ai des amours, sold over 300,000 copies a long. You know, we have a copy of that recording.

Oh, my goodness. Yeah, I think my engineer, Jane Pippic, is queuing it up now. Is it ready yet, Jane? Oh, OK, here it is. Oh, I was so happy. Oh, it brings back such memories. Oh, yeah. Oh, yeah. Oh, yeah. Oh, yeah. What does J'ai des amours mean?

I have two loves, my country, and Paris. You love the America? Oh, absolutely. Well, what else were you working on? I sang the lead in an often-buck operetta called Lera Creole. This was pretty amazing considering the fact that not that long before this point, most thought my voice was pretty weak. I was also featured in several movies. Where did you find the time to learn how to act? I couldn't act worth a damn. Are you kidding? French movies were pretty amateurish at that time. So I was popular, of course. The themes for all of the films were pretty much the same. A little native girl, me, comes to civilization, Paris, and tries to deal with that civilized world on her own terms. Be yes, but people bought into it. Those films were very popular.

Can you remember the names of any of those films? Oh, gosh. Yes. Let's see. My first and perhaps worst. Was last 7-day tropique. And my last and perhaps best was called Zuzu. So tell me, where do you go when you're on top of the world? Well, Pepito and I both felt that in order for us to say that we had really made it, we had to get a foothold in America. So, Pepito was the architect and of most of these successes? Absolutely. He was a very cunning, resourceful, and sometimes ruthless businessman. That little Cecilia knew how to make a buck and seized any opportunity for publicity. So then tell me, what was your plan? Well, eventually, we wanted to take on Hollywood, which was a hell of a mountain to climb, because the only roles blacks could get were maids, butlers, and shufflers. We wanted to first make my name more popular in the States.

So, Pepito got me a part in the Ziegfield Follies. I didn't even know they let blacks in the Ziegfield Follies. I didn't need their honey, but there I was. The only thing I didn't like was that I had to resurrect my banana skirt routine. But I didn't care. I was going back home, back to America at last. May I help you, please? Yes, sir. I have a reservation for a larger suite and a regular size alone. The reservations are in what name, sir?

Baker. Oh, yes, here we are. Mr. Baker, looks like you're going to be here a while. Yes, we are. Oh, Pepito, isn't this hotel divine? It's so continental, so much like Paris. Is this your maid, sir? No, this is Mr. Baker. Your wife? Yes, and my wife. Is there some problem, Pepito? No, no problem. Well, they just might be. You see, we don't allow college to patronize this establishment. Mr. Baker is an internationally known star, sir. We've stated some of the finest hotels in the world and there's never been a problem. Is New York somehow different, sir? Well, I don't make the rules. The hotel doesn't allow college and there's nothing I can do about it. Do you know who I am? Quite frankly, no, I don't. You've insulted us, sir. I demand to see the manager at once. Look, I'm not trying to give you people a hard time here.

This is just a job to me. I know a lot of colored people. We get along just fine. I've nothing against you, but rules are rules. We demand satisfaction. Bellhop, could you come here, please? Look, I'm going to break the rules this one time because I don't want a scene here. Bellhop, could you bring these bags up to their room? No, Mr. Baker, you're going to have to promise me something. And what might that be? Well, we have a lot of guests to come here from the south and we can't afford to alienate them. I'm going to have to ask that you use the freight elevator and the rear entrance when you leave, I enter the building, and you're going to have to stay out of the lobby. What? Take it, I'll leave it. Josephine, I think we're going to have to compromise here. Yes, it's the American way. Do I have your word on this? Yes, you have our word. I'm not talking to you, sir. Just her. Josephine? Yes, dammit. You have my word.

Thank you. Have a nice stay. Welcome home, Josephine. And now, ladies and gentlemen, a 1936 Ziegfield Falling. Peace is my chance. It is where I'll show them who's boss. Featuring Judy Canova. Josephine Baker. Good night. The audience doesn't know me. They haven't heard about how I conquered the op. But they will. They will. Bob Ho. He's getting me the car shoulder. What does he think he is? If he doesn't want to talk to me, I don't want to talk to him. It doesn't matter to me.

And Vanny Bryce. Cute. But I have much more talent. And she's going to know that before this engagement is over. Stop it. Stop it. You actually like a child. I like it anyway that I damn well, please. They're going to make us pay for this stuff, you know? Don't worry about it. If you want to worry about it, go ahead. Worry for the both of us. You can't let over the people who are writing about you. Effect how you feel about yourself. Those newspapers are out to get me. I'm the only one that they attacked. She has a dwarf-like voice. She's a buck-tooth-colored girl who's figure singing and dancing might be topped anywhere outside of Paris. Why are they writing these things? I've been here since I've been here. You don't know. You're paid to know.

I changed my whole routine for these people. Which you told me to do. And now you sit here. And tell me you don't know. We had it to change the act. Americans are very unsophisticated when it comes to the matters of the body. No. You bungled the deal. And you've caused me a lot of embarrassment. How long I've waited for this opportunity. I did it the best I could. I'm sorry. Well, obviously that wasn't good enough. This would have never happened if I'd had taught billing in this show. They would have had to treat me like a star. But I couldn't get you taught billing. Bob Hope and Fanny, but I so big. And the American public barely knows you. You could have if you knew what the hell you were doing. I've had it with you. Look at Josephine, you understandably angry. I'm a little tired and I haven't been feeling well lately. Just suppose that we sleep on a disc. I'm sure things will look better in the morning. You know, you're right about something.

You are tired. You've been tired for some time now. I think the stakes done got too high for you. You can't cut it no more. How can you say these things? I love you. I dedicated my whole life to you. Well, I can't eat no love, honey. You got to go. What? You can't add things in this way. Look, I don't want to talk about this anymore. You get that sleep that you said that you needed. And when you wake up, you pack your little bags and you drift out of my life the same way you came in. Carpiche. Now, if you don't mind, could you remove yourself from my suite? I have a guest coming by. You know you can't get by without me. I'll have somebody to get my coffee and sandwiches tomorrow. I made you. I made you. That was the last time I saw Pepito Abatino. Where did he go?

He went back to Pami. People told me that he got a little place on the Champs Ilise. He had plenty of money. He had nothing to worry about. So then you never even tried to get back in touch with him? Well, actually, Pepito died a couple of months after he got back to Pami. He apparently had been sick for some time. Neither one of us knew it. He had cancer after kidneys. Well, what about you then? I stayed in New York. I even opened my own nightclub and had my own act. You know, I had no idea that you had your own club in New York. Oh, yes. It was pretty hot. Well, what about the Ziegfield Follies? Well, the Schubert's wanted me out and I wanted out. So we dissolved the contract. The Follé thing was a big mistake from the beginning. They were just not ready for a woman like me. I got an offer from Paul de Verre, my old boss at the Follé Berger to come back to Pari.

I jumped at it. On my return, I got a letter that Pepito had written me several months before. He had left me all the money that he had squared away. He simply wrote, take it. You're gonna need it. I threw myself into my work like never before. Besides working at the Follé Berger, I opened another nightclub and I called it Shé Josephine. I must have danced 18 hours a day. I had to prove something. I'm not quite sure to whom. Work was happy. Carefree. Everything else was dark and lonely. In the fall of 1939, the Allies declared war on Germany. The Germans were blitzing their way through Europe

and we knew that our time to deal with them was soon coming. And by 1940, they were in our backyard. There was mass hysteria with hoards of people trying to flee Carefree at the same time. It was like a caravan, an endless stream of bikes, cars, and people walking. Where was everybody going? It didn't matter as long as it was out of Paris. Out of five million Parisians, only 700,000 stayed. It's hard for me to describe how panic-stricken people were, and how disorganized and confused everything felt. Why did you leave? Frighten, like everybody else, especially being black. I just didn't know what they might do. Where were you, Henry? South of Paris. It was a beautiful place called Les Milan.

I brought along a couple of my animals and my maid, and we all loaded into my packet. Fortunately, I had been hoarding petrol for quite some time. I stored it in champagne bottles. Many people didn't plan for the evacuation and they paid dearly when their car ran out of gas and they had to leave it on the side of the road. There was just so much traffic, confusion, and people that it took forever to move just a few miles. On June 13th, the Nazis go stepped into Paris. Some people openly collaborated with them. But I would have rather died than knuckled under to those monsties. It was about that time I started to meet regularly with the French resistance at my château at Les Milan. It took me a while to convince them of my loyalty,

but I finally did. But Jacques Habite, a strong member of the resistance, was not convinced and didn't mind saying so. But I couldn't worry about him. I was too busy thinking about my first mission, which was in Portugal, a neutral country. I was to go there and find out all I could about the German troop movements and relay that information to London. I was surprised to learn that Jacques had been worried about me, about my safety. He admitted that he had been wrong to ever question my loyalty to France. After that, we became true comrades and very good friends. Our next orders were to travel to Marrakesh to meet the Pasha, a very powerful ally. Is it okay to talk?

I'm too loud. We don't want to disrespect the Pasha. This is some nice joy, Dad. But sitting on this floor is rough on my butt. Somebody better tell the boss to get some new furniture. Be careful. Why is everyone so scared of this Pasha? He'd assumed that your head office looked at you. He's not a man you want to cross. Nice dancing girls, huh? I'd like to work them into my hand. The Pasha appreciates women. He has over a hundred in his hand. I'll say one thing. The man has plenty of energy. What's the matter? What's happening? Apparently, the Pasha is coming. Hold my hand, Jacques. Good evening, Pasha. It is an honor and a pleasure to be a guest in the Palace of the Grand Seigneur. Who is this black woman? Is she your slave?

Slave. I ain't nobody slave. What did you say, woman? Josephine. I said I ain't nobody slave. So you are not. Please be seated. What are you called? I've been called a lot of things, Pasha. Some not so nice. My name is Josephine. Josephine. Your tongue is full of fire. I find that very refreshing. Well, thank you, Pasha. Captain Abdi, did you bring the gold? The gold is for coming, Pasha. Surely you know the strain we're under right now. I don't understand strain, Monsieur. I understand gold. Why, Pasha? You are men after my own heart, gold. Are you sure you're not from Harlem? I do not know of this Harlem.

But if they like gold there, yes, we are brittle. Pasha, you are great. I felt your mighty force as you entered the room. Surely you can continue to help us. We need you desperately to fight off the Bosch and we don't have a lot of riches right now. Without your help, we're going to get our butts whipped. Buts whipped? Yeah. Get your... Like this. Josephine. With your butt. I like that. How can I be of service to you? I need to know information about German and Vichy troop movements in the area. And we need you to make it difficult for the Nazis to move through your area. I am anxious to help you in every way. And you can count on my assistance.

Now, about the gold. The gold is for coming, Pasha. Good. And if they don't make good, you can have some of my gold, Pasha. I want many things from a woman. Gold is not one of them. El Gawi is both energetic and wise. MacMood. We will feast now. Now, Captain, about that gold. Did I do good, John? Wonderful, my dear. You turn to tide. Dabasha, he's quite enamored of your charms. You are quite a woman, Josephine. In many ways, we are just alike. How so, Pasha?

We both want the finer things in life, and we know how to get them. Why do you think you are right? Once you stay with me for a while at the palace. Josephine, we need you to ferry information back to Spain and Portugal. Are you up to it? As I told you before, use me as you will. Be then careful. You know how I feel about you. Be careful, Sherry. Josephine, are you all right? It's all with the traveling, being too much of a strain on you. Josephine, I must take you to a clinic. You don't look well. I'm pregnant. Is it okay? It's okay, Josephine.

You're going to be all right? My stomach hurts so bad. You have a bad infection. Dr. Compton has given you some drugs to combat it. What about my baby? You are okay, Josephine, and that's what's important. What about my baby nurse? The baby was delivered still one several days ago. I'm sorry. Why? Why did this happen? It is God's will, Josephine. We are grateful that you are still with us. I guess it just wasn't meant to be this time. I'm getting older. I don't have a lot of chances left. Why do you look at me like that, nurse? Nothing. Nothing, my dear. Why don't you get yourself some rest? We'll talk later. What's wrong, nurse? I want to know. The doctor had to perform an emergency hysterectomy.

He had to save your life. Oh, God! Oh, no! There is a report out of Casablanca today that noted Prince Performer Josephine Baker has died of paraphernalitis and blood poisoning. Malamazelle Baker was 36. Morse Vigay, who visited the former star of the state, W.E.C.D.A. described her as a wasting away has been, who was dying alone and penniless. How did this story start? Well, the rumors were everywhere and a man from UPI printed the rumors as fat. Chivaliers' comments just added fuel to the fire. How long were you in the clinic? All in all, for about a year. I did leave for a while when I went to stay at the Pasha's palace in Marrakech. I was treated like a princess there, but I had to return to the clinic

because I had a relapse and had to have three more operations. I was at the clinic when my dream came true. What was that? Americans landed in Casablanca and Algiers. I can remember running out of my balcony so excited and proud that I thought I was going to bust. I told you, you don't know the forests of Americans. You don't know their will. Now that they're here, I know we're going to win this war. The fighting around Casablanca was fierce with the Vichy French turning their guns on the Americans, but the Vichy were no match. And after four days of fighting, the battle was over. The city was teaming with soldiers. I felt so good I decided to go out and just walk the streets. Look at them all. They all look so young, so happy yet so lonely.

They all have sort of a blank expression on their face. I wonder how many of them will die within the next month. It's like seeing the walking dead. Hey, Mama. Boy, does it feel good? How are you doing? Well, hi, you're safe. And where are you from, soldier? Newburn, North Carolina, ma'am. You're a long way from home. Yeah, where are you from? Harlem, by way of St. Louis. Come to Sarge. Well, he's going to come over here and stop something watch. Hey, you boys crazy. You know the rules about frightenizing with the locals? But, sir... These boys have been bartering you, ma'am. Bingo? Just... Just a few. It's me, bingo. But you're dead. What the hell is going on? They said you died. I may look half dead, sweetheart, but I assure you I'm all here.

Well, most of me anyway. I can't believe this. You boys can move on now. But, Sarge, I was just getting ready to get over. I said, move out, truth. Yes, Sergeant. Wow, wow, bingo. Have you got the bite now? Sometimes you've got to be tough. I just can't believe my eyes. My little Josephine. Alive, well. Almost well, bingo. I was really sick. For a while, I didn't think I was going to make it. Well, you've lost a little weight, but other than that, you're still looking good. You're lying food. But thanks. My ego needs a little massaging. What about you, bingo? How the hell are you? I'm caught up in this damn war like everybody else. I have to wonder, though. What the hell are we doing here? What do you mean? We can't let the Nazis win this war. Sometimes I wonder. We come halfway round the world to fight for freedom.

And what have colored folks got at D? In fact, they only let us fight. They make us bus boys and cooks and all that kind of crap. I could have stayed home and did this. You sound very bitter, bingo. Damn right, I'm bitter. I'm a man. Tired of being toyed with. All of us are tired of it. That's why there's nothing but fight stuff since we've been here. Fight. Over what? Everything. Mostly just white folks and there's a period of attitude. You know, they even go around telling the women who hang out around the base that we got tails. She believed that. I'm sorry, bingo. What you gotta be sorry about is not your fault. I just wish there was something I could do. Well, listen. Maybe you can. Can you still sing, girl? Oh, baby. I don't know. I haven't performed in a while. Come on. Just off the old cobwebs. The boys need a morale booster. We got a mean band here.

We really swing. We'll bring down a joint. Who are you in the band? Is an orange? Orange. Damn bingo. Maybe it would be fun. Come on. They just opened a new club on the days. It's called the Liberty Club. You can kick it off. Okay. I'll do it. I need something like this. It'll be good for me. I'll do it. Good. Make some of the guys feel like men again, you know? Okay, yet, you know? I'll see you at the club. I love you. Thank you, everyone. Thank you, guys. I just have two things to say, and then I'm getting off the stage. First, I'd like to say to the commanding officers of this unit,

that the Negro soldiers in this unit deserve to be treated equally. The whites are on one side of the audience, and the Negroes are on the other. That's not right, and I hope that this changes in the future. After all, we're all here for the same reason, and that's to kick the hell out of the Nazis. And while we're on that stage, we've just got word that the American forces have just recaptured parry. We're on our way to Berlin. We're going home. Josephine, how much do you think the war changed you? A lot. My needs were different. I wanted their family, children, but I had to have a husband in order to turn those things into a reality, so I looked around until I found the man who fit the bill.

It almost sounds to me like you were shopping. You were like us. Well, who did you find then? His name was Joe Bullion, an orchestra leader. Did you love him, Josephine? Let's just say that he fit my needs at the time, but I wasn't totally selfish. It wasn't too way street. I fit his needs at the time also. What do you mean by that? Well, he had an orchestra which I needed if I wanted to get work, and he was a man which I needed if I was going to adopt children. And what did he get out of all of this? Besides me, he got a chance to clear his name because he had the stigma of the collaboration. The collaboration? I don't understand that. It was said that he collaborated with the Nazis during the war. Whether it was true or not, it was to his advantage to align himself with a war era, if he wanted to further his career.

And you, Josephine Baker, were a war hero? Oh, absolutely darling. Then how did this arrangement work out for you? Very well. We lived in my castle at Le Malin, which I turned into a farm. I worked for the Follée Bégère and occasionally toured with Joe's band. Bonsoir, Sherry. You smell wonderful tonight. I've got good news for you. You've been booked to play at Miami Beach. What more do I know? They don't let me gross in the audience, but we can certainly take this opportunity to let them know how we feel about that. And the pay is good. Over a thousand dollars a week. Oh, absolutely. In fact, you will be the first new group performer

to be a resident of the hotel. It won't be a problem. What do you mean? You're not going out on stage. I got a full house out there. You'll cost me a lot of money. Look, I think you should be reminded that you have a contract. I'll sue you. Kiss what? You got a lot of nerve talking to me like that. Look, are you going out there or what? No, I can't let Negroes in. They're not allowed. Look, I'll give you more money if that's what you want. Okay, okay. Whatever you say, I'll let them in. Just go out there. I can't believe that I'm doing this. Negroes in a Miami Beach hotel.

They're going to run me out of this town. Look at him. He's an absolutely little devil. It feels good to be a father. Arquillo. That's a good name. He's going to be a strong man someday. Of course, I'd love to adopt more children. Different races. Hmm. That's a novel idea. That's renewable, Josephine, an experimenting brotherhood. I think it's a good idea. Okay. I think we can handle four children. I know you're such a bright lad. Jerry.

Jerry so yellow. Luis, you run the family nicely. Tap me to your brothers. Jean Claude. All right. Did you more water in the soup, I guess? Marianne. Josephine, we have to talk. No way. Josephine, you are gone for six months and you're returned with another child. The situation is becoming unmanageable. Moise, brak him. Have you lost your mind, woman? I cannot hold out the credit as much longer and still you bring more children. Come back here, I'm talking to you. Coffee. I don't care if he is African. We can't afford another child. We went to close to a half million dollars last year.

Your rainbow tribe idea is a good one but don't talk to me in that fashion. I am not one of the servants. Still enough. That's it. I'm leaving. You're crazy. I'm going with you. We're bankrupt. The mention is a for option to pay off our bad debts. I can't leave like this anymore. Goodbye and good luck. You're going to need it. Where are your children now? As I said earlier, we're living in Monaco. Princess Grace heard of my plight and graciously offered the use of one of her estates for myself and my children for as long as we need it. Do you feel any bitterness? Two or two. Well, I guess toward the system in general in France and in America. I take responsibility for everything that has happened in my life. France was very good to me. It owes me nothing.

As far as America is concerned, I plan to be a part of its conscience. That part which says you have to live up to the words in those papers which say all men and I'm going to add women are created equal. During the war, when I saw Afro-American soldiers being treated worse than the German prisoners, they were guarding. I said to myself, there is something very wrong here. This can't be allowed to exist. Racism must be eradicated or it will tear this country apart. And Josephine, do you have any regrets? Sure. The Bluefish Part Day I had for lunch. I guess everyone can think of something

they could have handled a little better. But we don't get another chance at them. So, Selabi, the Herbert, how they say now. Keep on pushing, baby. Oh, Josephine, it's been an honor. It's been a pleasure to see you talk with you. The pleasure was all mine, Eric. And the next time, just a few records are something. I'm getting too old to remember all this stuff. I don't know about that. Once again, our guest was the famous Josephine. Josephine Baker. Thank you again, Josephine. That was all right. It was a nice little program. She was it. She is a thing of beauty. A flower, a bear wish. Oh, give me a break. When we listened to the same program, she was nothing but a hog who got released. You shut your mouth.

You Rasputin. You didn't know her like I did. You didn't know how beautiful she could be. Oh, here we go again. You knew all the greats, right? They all made tracks to your doorstep, right? Hey, why don't you do this, old man? Why don't you just pick up the phone over there and call that phony woman at the radio station? Here. Here's the dime. Come on. Come on. Call her. Say, this is your old buddy Bingo. How have you been since the last time I saw you on the Riviera? There's the money. Call her, man. I don't see you moving, Bingo. I got my reasons. Neither one of us need to see each other right now. Don't push me. Yeah, right. She's down and you out. You, you, you. Why don't you lay off him, Jonesy? Can't you see he's taken this personally? Plus, you're getting the man riled up and I don't want no stuff here in my bar, man. I'd like to propose a toast. Oh, you mean you buyin' got a little boy?

That's right. I'd like to make a toast. To my brothers and sisters here in the spirit of brotherhood. My brother's in Detroit. Why don't you shut up? That's the best thing I've heard all day. Hey, what's everybody jumpin' on me for? The cause? You were a metal religion. With no black conscience. A bad idea whose time has passed. Oh. For the most of the more. For parameters of your mind cannot hold a conception. I'm tryin' to lay on your consciousness. You were so broke, you're my man, so limited. Just my passing torch would explode your little mind. Oh. You got him out. I'm an artist. I'm an artist. I perform all over the world with a great, cool treat. Even Josephine Baker. Oh, here we go again. Talk to him, Bingo. Talk to him. I remember it well. It was 1925 when this raggedy, starving girl came to my door. Well? Child of the time. Fictive of social conditions. Yes. The political, economic context would be in that particular area. Talk that talk.

Yeah. Gid is Amore was written by Perry Carter. And featured Linda Patton as Josephine Baker. The cast included Eric Jackson, Brother Blue, Bill Kavness, Barry Saviner, Gustav Johnson, Leonard Korman, Richard Nisley, Ellen Kushner, George Et Johnson, Victor Texera, and Robert Spruel. Music composition for the program was by Alice Abraham, with musicians Brian Bell, Laura Finkelstein, John Gerhardt, Michael Manning, and Russ McDonald. Special thanks to the new African company, the Leon Collins Dance Studios, Lexicon Corporation, and the Public Media Foundation. Gid is Amore was edited by Evelyn Moore, directed by James Spruel and Massamba. The production assistant was Michelle Sweet. This program was produced in the studios of WGBH Radio Boston

in association with Massamba Productions. The engineer was Jane Pippick, the associate producer, David LaValle. The producer, Perry Carter. This program is made possible in part, with grants provided by the Massachusetts Cultural Council. Gid is Amore, a radio drama, capturing the life and loves of singer Josephine Baker. Join us next week when Arts and Ideas continues its celebration of African American Arts and Letters, with the words of Black lesbian feminist poet, Audrey Lorde. Our engineer tonight was Jane Pippick. Elizabeth Sykorovsky is associate producer for Arts and Ideas, and I'm Margo Stage. Good night.