March 21 - 27, 2022 Vol. 30 No. 12
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Arts & (Home) Entertainment
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SportsWise
More and more events are happening in Chicago, and we want you to know about the best of the best!
The SportsWise team discusses da Bulls.
Cover Story: Zoë Kravitz As catwoman
The new Matt Reeves-directed film, "The Batman," is set to characterize another iteration of the feared Dark Knight. But other well known characters have been brought back in new forms. Playful and powerful, both heroine and villain, Zoë Kravitz gets comfy with her inner freak and goes a round of cat and mouse with Batman as Selina Kyle, aka Catwoman.
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From the Streets
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The Playground
Pan Am flight attendants made women's history in a glamourous job during an era when few women traveled alone. However, two former attendants say that flying troops to and from the Vietnam War was one of the most moving – and formative – experiences of their lives.
ON THE COVER: Zoë Kravitz as Catwoman in "The Batman." THIS PAGE: Robert Pattinson and Zoë Kravitz attend a photocall in Paris to promote "The Batman." Both images courtesy of Warner Bros. Pictures. © 2021 Warner Bros. Entertainment Inc. All Rights Reserved.
Dave Hamilton, Creative Director/Publisher
dhamilton@streetwise.org
StreetWiseChicago @StreetWise_CHI
Suzanne Hanney, Editor-In-Chief
suzannestreetwise@yahoo.com
Amanda Jones, Director of programs
ajones@streetwise.org
Julie Youngquist, Executive director
jyoungquist@streetwise.org
Ph: 773-334-6600 Office: 2009 S. State St., Chicago, IL, 60616
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ARTS & ENTERTAINMENT RECOMMENDATIONS Compiled by Cora Saddler
The Time is Now!
What’s Next: The Future of Downtown Don’t know what’s next for the future of Chicago’s downtown city center? Addressing the concerns and effects of the pandemic, the Chicago Architecture Center is hosting a virtual event dedicated to opening conversations surrounding Chicago’s central business district. Before the 2020 lockdown, Chicago had been the fastest-growing downtown center by population. Join program moderator Greg Hinz (reporter at Crain’s Chicago Business) and presenters Ryan Mullenix (partner at NBBJ Architects), Mary W. Rowe (President and CEO of Canadian Urban Institute), and William Murray (Co-founder of Murray Twohig) as they explore ways to stimulate the storefront economy and after-work entertainment culture as well as how design can be used to reinvigorate and reimagine the use of buildings to meet post-pandemic needs. Event takes place at noon March 24. Tickets are $20 for the general public and $12 for Chicago Architecture Center members. For more information, visit architecture.org.
Food Festival!
Savor Lincoln Park Hungry for some of Chicago’s best eats and views? Savor Lincoln Park features delicious samples and sips from Lincoln Park’s favorite restaurants and bars set against the breathtaking backdrop of Chicago’s iconic city skyline. Guests will enjoy a unique silent auction package featuring gift cards from Chicago’s best destinations, stores, and attractions. Participating restaurants include Casati’s Modern Italian, Chez Moi, Dom’s Kitchen and Market, Evette’s, Tandoor Char House, the Lakefront Restaurant and more as well as participating drink partners like Eris Brewery & Cider House, Maplewood Brewery, Revolution Brewing, Vin Chicago and White Claw. The festival is presented by the Lincoln Park Chamber of Commerce at the Theater on the Lake, 2401 N. Lake Shore Drive, from 6-9 p.m. on March 22. Cost is $40 and includes samples, drinks, and a complimentary beer.
Find Your Way!
ENTERTAINMENT
Newberry Library: Crossing Exhibition Venture into the four historic cross-country routes across the United States during the opening of new exhibition “Crossings: Mapping American Journeys.” The exhibition will recreate the many travelers' experiences along the northern and southern border of the US, across the continent’s interior and up and down the Mississippi River. “Crossing” reveals the centuries of movement— from the days of Lewis and Clark to the modern American road trip—and how the same path led to different meanings: whether discovery to the European explorer, freedom to the enslaved, or loss and removal to the Indigenous. Come see how people and places connect across time through maps, guidebooks, travelogues and postcards at the Newberry Library, 60 W. Walton St. The gallery is open Tuesday-Saturday from 10-4 p.m. through June 25. Free. More information at newberry.org.
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Preserving Chicago History!
Reopening of Historic G.A.R. Rooms at the Chicago Cultural Center The Chicago Cultural Center’s Grand Army of the Republic (G.A.R.) Memorial Hall and rotunda – complete with a 40-footdiameter, 62,000-piece art glass dome -- have been restored, thanks to a $15 million grant, in time for the 125th anniversary of the building at 78 E. Washington St. A March 26 and 27 celebration there will feature 11 a.m. talks both days by Chicago Cultural Historian Emeritus Tim Samuelson about the rooms originally dedicated to Union veterans of the Civil War; there will also be tours and a 2 p.m. Saturday panel on “What Sacrifice & Freedom Mean Today” with professors Christopher Reed and Eileen McMahon, artist Leah Gipson, and Chicago Sun-Times columnist Laura Washington. The building’s upgraded electrical, lighting and Wifi will offer added capacity for performances and exhibitions essential to Chicago's tourism economy, city officials said. .
Don't Cry For Me, Argentina!
'Doña Perón' Dance over to the Auditorium Theatre, 50 E. Ida B. Wells Drive, for the Ballet Hispánico’s performance of “Doña Perón: The Rise and Fall of a Diva.” Staged by the Manhattan company, committed to exploring the Latino experience through movement and dance for over 50 years, "Doña Perón" tells the story of Eva Perón, former First Lady of Argentina and wife of President Juan Domingo Perón. It will follow her experience as an activist and advocate for Argentina’s women and working class in contrast to her self-indulgent, opulent lifestyle. This new full-length work is by Annabelle Lopez Ochoa and led by Artistic Director and CEO Eduardo Vilaro. Performances will be 7:30 p.m. March 26 and 3 p.m. March 27. Tickets are $37+ at auditoriumtheatre.org.
Chicago Premiere!
Fanfare Chicago Experience the majestic sounds of the Chicago Philharmonic as they present the lively American premiere of “Fanfare Chicago,” featuring three-time Grammy and Pulitzer Prize winning composer Jennifer Higdon and her “Mandolin Concerto” performed by international classical music star Avi Avital (pictured), the first mandolin soloist to be nominated for a classical Grammy. Two additional world premieres of “Polo Romanesco” by Composer in Residence Reinaldo Moya and “Chicago Fanfare” by 2020 Fanfare Competition Winner Nicholas Hubbell will be performed that night, along with Ottorino Respighi’s “Gli uccelli” and “Trittico botticelliano.” Join the Harris Theater, 205 E. Randolph St., 3 p.m. March 27, for this red carpet experience, plus the showcase of a surprise Italian masterpiece by concert sponsor Continental AutoSports Ferrari just outside the venue. Tickets are $25-$75 and can be purchased at chicagophilharmonic.org.
It's All Greek to Me!
Greek Independence Day Virtual Celebration If it’s all Greek to you, consider hopping over to Greektown Chicago for a celebration of Greek Independence Day. Greektown is a dining, nightlife and cultural district located on the Near West Side of Chicago and offers an authentic sampling of Greek heritage, restaurants, cafes, shops, the National Hellenic Museum and festivals. On March 25, the virtual celebration showcases last year’s special 200th anniversary of Greek Independence Day with stories from Greek Americans all across Chicago. The program will also feature a special recording of Greek singer Glykeria’s (pictured) “Let it be ‘21," and photos of past Greek Independence Day celebrations and parades from the last 126 years. The event will be streamed for free on Greektown Facebook at 7 p.m. For more information and other related events, see greektownchicago.org.
Amen!
Jackie Taylor’s 'It’s Just Like Coming to Church' Black Ensemble Theater’s Founder and CEO Jackie Taylor begins her 2022 season with the world premiere of “It’s Just Like Coming to Church (Welcome to The Church of You).” Directed by Jackie and starring Dawn Bless (Preacher) and Vincent Jordan (Deacon Jones), the joyous and uplifting story emphasizes the power of forgiveness, self-love, faith and healing in the face of trials and tribulations and features a variety of musical genres that embrace the sounds of the Harlem Renaissance: gospel, spiritual, jazz, and blues. The show runs 90 minutes without intermission at the Black Ensemble Theater Cultural Center, 4450 N. Clark St., through April 24. Performances are 7 p.m. Fridays, 3 and 7 p.m. Saturdays and 3 p.m. Sundays. Tickets are $5055. More information at blackensembletheater.org.
The Holocaust Remembered
An Opera in Two Acts: Two Remain “Two Remains” follows the dual journals of Holocaust survivors Krystyna Zywulska and Gad Beck and their memories of Auschwitz. Act I follows Krystyna—a political prisoner with a hidden Jewish identity—as she finds and shares her past many years after the war. She is possessed by memories of her job in the Effektenkammer, cataloging the personal effects of thousands of women and children before they were sent to the gas chambers next door. Act II follows Gad, an old man haunted by his past lover Manfred Lewin, a poet who was murdered in Auschwitz at 19, who implores him to remember and celebrate their love during a time when more than 100,000 men and women were imprisoned for homosexuality. “Two Remain” will be performed on at 7:30 p.m. March 26, 5 p.m. March 27, 7:30 p.m. April 2 and 5 p.m. April 3 at the Edge Theater, 5451 N. Broadway. Tickets are $25-40. For more details, see chicagofringeopera.com.
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Vendors Russell Adams, John Hagan and Donald Morris chat about the world of sports with Executive Assistant Patrick Edwards.
Patrick: Our Chicago Bulls are looking pretty good at the moment in regard to standings. We’ve definitely had some ups…and, certainly, some downs. So, what do you guys think about the season so far, and what’re we thinking about for the playoffs? John: Listen, the Bulls have come a long way since hiring Billy Donovan as their head coach, which puts the Jim Boylen disgrace in the rearview mirror. Coach Donovan brings instant credibility to the team. Shoot, just look at the signings of DeMar DeRozan and Lonzo Ball. Patrick: Even newly-arrived Tristan Thompson. John: Yes, the once-boyfriend of Khloe Kardashian. So, he definitely has star power, plus he won a championship with LeBron in 2016 with the Cleveland Cavaliers and, even, played with the Lakers, so not afraid of the lights.
SPORTSWISE
Russ: He’ll also help with the rebounding. A big body. Something we need. Donald: True. But I must say, fellas, it’s not looking too good. They’re never healthy at the same time, whether through injuries or COVIDrelated absences. So, the key is going to be getting everyone together out there on the floor and becoming comfortable with one another. Russ: All right, so I’m a die-
hard fan, right? But, even with that, I know this Bulls team won’t win it all this year. Unfortunately, they’re unable to beat the top teams in the East, e.g., Miami Heat, Milwaukee Bucks, Philadelphia 76ers. Our Bulls are good, but the issue could be matchups. If the playoffs began today, the Bulls would play the Boston Celtics, who are now, simply, awesome. Even if we beat them, we’d still be faced with playing top-seeded Miami or, even, the defending champs, Milwaukee Bucks. Patrick: Or, in a weird twist, the Brooklyn Nets. John: If Brooklyn remains at the back of the pack, in the final 8th spot, they could beat Miami in a helluva first round matchup and, then, we’d play the Nets, who’d have on the floor Kevin Durant and Kyrie Irving and, possibly, newlyacquired but now-injured Ben Simmons.
Russ: It’s not an easy path no matter how you shake it.
agency market and gels into a championship team.
Donald: Agreed.
John: There’re just too many high-powered teams in the Bulls’ way for them to get through them all.
John: We just don’t have enough depth to knock off the Philadelphia 76ers, the Bucks, or, especially, the Phoenix Suns, who are the favorites from the Western Conference. Patrick: So, basically, you all feel the Bulls have no chance at all to do anything significant in the upcoming playoffs? Donald: Yeah, there’s just no chance for them to go all the way. I can see them winning their first-round series, but that’s about it. Russ: Bulls fans, I’m sorry, but our Bulls are not ready to climb to the mountaintop. Perhaps next year, though, but only if management lands a big win or two in the free-
Patrick: You’re right. All matchups in the playoffs are doozies. Personally, I believe the Bulls can get on a streak and move down into that #3 or, even, the #2 spot; this would make the journey a bit more enjoyable and successful. All the playoff teams have a chance at the championship; with ideal matchups or a random injury to an important piece of a team, anyone can pull it. I’ll roll with the Bulls to, at least, get to the NBA Finals, but the journey has a pretty good chance of ending title-less for our Chicago Bulls. But it’s not impossible. Any comments or suggestions? Email pedwards@streetwise.org
Nina Escobedo: Bringing a passion for costumes to Chicago’s TV and Film industry By Matt Simonette Nina Escobedo credits her grandmother for sparking the childhood interests that ultimately led to her becoming a professional costumer working in Chicago. “My grandmother taught me to sew at the age of four,” recalled Escobedo. That early tutelage inspired a deep passion for wardrobe and costumes in Escobedo. After two years as wardrobe supervisor for Chicago’s Lookingglass Theatre Company, the COVID-19 pandemic necessitated that she pivot. So Escobedo, who lives on Chicago’s North Side, is now taking part in the City’s Chicago Made workforce development initiative linking residents with film and television productions shooting in the city. Escobedo received on-the-job training from Local 769 costumers Jennifer Jobst and Angela Verdino as they prepared for an upcoming Netflix feature film to be filmed at Cinespace Chicago Film Studios. “I’m kind of here to ‘shadow’ as they put the production together, and I can assist as long as I’m supervised,” explained Escobedo, adding that she also took Zoom classes for several days that explained the jargon and procedures used by a major production. A Minnesota native, Escobedo moved to Chicago in order to attend the Douglas J. Aveda Institute in Lincoln Park to study cosmetology and work in a salon. “I realized that wasn’t what I wanted to do,” she recalled, and ultimately heard about an opening for the wardrobe supervisor at Lookingglass, where she worked from 2018 to 2020. The
pandemic led to the demise of her job, and Escobedo found herself out of work for the first time. Her unemployment was short-lived. A former colleague informed her of an opening in the wardrobe department of the upcoming Apple TV+ thriller series Shining Girls, which debuts in April and stars Elisabeth Moss and Wagner Moura. “They said, ‘We need someone to start tomorrow, so can you go COVID-test right now?’ I had been sitting on the couch eating junk food, and ran out the door to get tested with my sweatpants on,” Escobedo said. As her work on Shining Girls was wrapping, she learned of the Chicago Made program. She was unsure of whether to apply at first, but she set her mind on landing the only wardrobe personnel spot: “The pandemic made me think, ‘I’m going to take advantage of every opportunity I can.’” Escobedo values Jobst and Verdino sharing their time and experience. Chicago Made has offered “the training that I wished I had going [into my previous television work],” she said. Escobedo loves learning the differences between the comparatively drawn-out pace of costuming for the theater and the rapid timing required to do so for television. At the core of both environments though is problem-solving, the aspect of her duties she appreciates the most. “I love this job because of the community,” she added. “I’ve never been in this job because of the money—it’s my passion. It’s the fire in my belly.” Launched in late 2021—with a second round of applications opening this summer—the Chicago Made workforce development program offers job training and placement to Chicago residents ages 24–50, primarily from underserved areas, to help meet the industry’s increasing demand for skilled workers. The program is an initiative by the Chicago Film Office at the Department of Cultural Affairs and Special Events (DCASE) and the XD-TECH consultancy. NBC Universal, Netflix, The Walt Disney Company and Warner Media provide on-set training for the program. A number of local firms and organizations, as well as unions IATSE Local 476 and Local 600, have provided support as well. A record 15 productions filmed in Chicago in summer 2021, bringing with them nearly $700 million in economic impact. The Chicago Made program links projects such as those with workers from across the city.
SPONSORED ADVERTISEMENT This series, from the Department of Cultural Affairs and Special Events (DCASE), asks Chicagoans in the film industry to share their experiences. Learn more at ChicagoMade.us and join the conversation on social media using #ChicagoMade.
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ZOE¨ KRAVITZ
On THE BATMAN 'We all love and identify with the villains just as much as we do the heroes in these stories' by Raelee Lancaster
“We all love and identify with the villains just as much as we do the heroes in these stories,” says Zoë Kravitz. From Bela Lugosi’s 1931 rendition of "Dracula" to the fantabulous emancipation of Harley Quinn in 2020’s "Birds of Prey," there’s no doubt that villains are a dynamic drawcard in mainstream cinema. The idea that every villain is the hero of their own story, and that every hero is inherently flawed, has become more prevalent in popular culture. "The Batman" is no exception.
COVERSTORY
Set two years into Bruce Wayne’s tenure as Batman, the gritty crime noir story follows the double life of Gotham City’s vigilante detective and his alter ego as a reclusive billionaire. Played by Robert Pattinson and directed by Matt Reeves ("Cloverfield"), this fresh take on the Caped Crusader is not the familiar crime-fighting DC superhero of old – at least, not yet – described instead as the “embodiment of vengeance."
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While Batman is the film’s title figure, it is his rogues’ gallery that enraptured the cast and crew. “You have John Turturro as this very understated crime boss, Carmine Falcone, and [Paul] Dano as a very intelligent Riddler who’s insanely scary,” says producer Dylan Clark. “You have Selina Kyle, who’s vulnerable yet manipulative, tough. She’s a very contemporary character, but she also feels like she has these archetypal ‘noir-ist’ elements. You’re like, God, who is this woman? She’s amazing.” In "The Batman," Selina Kyle – otherwise known as Catwoman, and portrayed by Kravitz – is a mysterious and ferocious cat burglar who wears motorcycle leathers and is “more at home with the city’s strays than its citizens.” This
is on-brand for most depictions of Catwoman, who debuted in the spring 1940 issue of Batman #1, and has previously been portrayed on screen by Julie Newmar, Halle Berry and Anne Hathaway, among others. Where Pattinson has been, in his words, a “massive fan” of the Bat-verse since childhood, Kravitz is not a big consumer of superhero movies. “But I think there was something about this world that was just so twisted, and everyone was a freak,” she says. “Oftentimes in my life, I felt like a freak, so I was very attracted to these people.” One of the most intriguing aspects of Catwoman is her ability to exist in the liminal space between hero and villain. Canonically, Catwoman adds a grey area to Batman’s black-and-white worldview, allowing him to step out of the rigid boxes he’s placed himself in. What’s so refreshing is that she never struggles with this duality – an element that Kravitz relished. “You don’t know if she’s good or bad,” Kravitz agrees. “Like a cat, you can never read her. There’s a reason we all love this character so much, and it’s really because of her playfulness and her power and the fact that she is independent and a survivor. It would be such a waste to not approach this character from a deep and complex place,” she says. “It’s such a fun way to work on things: to find ways to express what she’s feeling in a subtle way.” This sense of internal conflict between good and bad is prevalent throughout "The Batman." “When you try and break down all the individual characteristics of Batman, it’s an incredibly complex character,” Pattinson explains.
Zoë Kravitz as Selina Kyle and Robert Pattinson as Batman in Warner Bros. Pictures’ action adventure “THE BATMAN,” a Warner Bros. Pictures release (photo by Jonathan Olley/™ & © DC Comics. © 2021 Warner w Bros. w Entertainment w . s t r eInc.e Allt Rights w i sReserved). e.org
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“[Bruce Wayne] has decided that the only way he can get past the demons of his past is to become this character [Batman], which he truly believes is separate from himself.” Clark agrees, calling Pattinson’s Batman “scary.” “He’s just coming into his own as the vigilante known as ‘The Batman,’ but he doesn’t quite yet know what that entity is and what it should represent in society, and he’s not quite sure what these demons inside of him represent. “Ultimately, Bruce is somebody who, because of his loss and because he’s not afraid to die, has never really allowed himself to love or be loved.” One person who Batman has allowed in, however, is Catwoman. Their game of cat-and-mouse is notorious and their tempestuous on/off love affair is one of the most intriguing aspects of the Batman universe. They both have rough exteriors and flaws that end in the two fighting or unravelling – sometimes simultaneously. “They draw so much strength from their own pain,” Pattinson says. “I mean, especially for Bruce, it makes him feel really vulnerable. Even though they’re very strong characters in lots of ways, they’re actually very, very difficult and fragile as well.” Whether or not the romantic relationship between Batman and Catwoman comes to fruition in this film, the flickers of vulnerability humanize these characters. “I think it’s about us feeling out what this is, you know?” says Kravitz. “Is this a partnership? Is this a friendship? Is it romantic? I really don’t think it’s clear. Just to have someone who we feel connected to enter our lives is a huge deal,” she explains. “Fate, whatever you want to call it, has brought us together. We need something from each other, and I think that those are some of the most interesting situations to watch.” For Pattinson, a lot of Batman’s identity was tied up in his costume. “As soon as you put the costume on, you suddenly feel that you need to have such a solid foundation of the character you’re playing. Otherwise, you feel like an idiot in the costume. You have to really, really believe it.” Public discourse around the batsuit – with its rippling abs and, historically, an obvious codpiece – is typically fuelled by ideas of strength, power and agency, as linked to masculinity. The same cannot be said for Catwoman, whose get-up is usually gauged for sex appeal. As one of this film’s few women, Kravitz has fielded questions about her potential catsuit, whether it’s difficult to slip on and off – questions loaded with the same sexist voyeurism that has plagued her character for more than 80 years. Though she appeared in Batman #1, “the Cat” wasn’t given the name “Catwoman” until Batman #62 (December 1950), 10 years after her debut. It took another 18 years for Eartha Kitt to become the first Black woman to portray Catwoman, featuring in the final season of Wil-
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This Page: Robert Pattinson as Batman and Zoë Kravitz as Selina Kyle in Warner Bros. Pictures’ action adventure “The Batman,” a Warner Bros. Pictures release (photo by Jonathan Olley/™ & © DC Comics. © 2021 Warner Bros. Entertainment Inc. All Rights Reserved). Opposite Page: Zoë Kravitz attends the New York premiere of "The Batman" on March 1 in a cat-inspired gown (Dave Allocca/Starpix).
liam Dozier’s campy "Batman" (1966-68) television series. At the time, this was seen as a controversial move, and Kitt’s Catwoman was the first not to be framed as Batman’s love interest, since interracial marriage was only legalized in all US states in 1967, and mixed-race relationships were still largely frowned upon in many parts of the country. Moreover, for perhaps the first time on screen, her storylines became more character-driven. And even though she had been a much-loved character for more than half a century, Catwoman didn’t get her own ongoing, standalone comic book series until 1993 – perhaps thanks, in part, to Michelle Pfeiffer’s cheesy, yet enchanting portrayal in "Batman Returns" (1992). For the most part, Catwoman as a sultry, unnamed cat burglar seems like bygone days. Still, tackling the live-action role requires a conscious balancing act between sexualized femme fatale, and feminist and cultural icon. “The idea of her being sexy, that’s a big part of Catwoman for a lot of people,” says Kravitz. “But what I find sexy is somebody comfortable in their own skin, somebody who knows who they are and isn’t afraid.” She adds, “I just wanted to make sure we didn’t fetishize her and create an idea or a victim.” One way that Kravitz held onto the character’s autonomy – while also making Selina Kyle her own – was to ground Catwoman’s more fantastical traits. “I really don’t know
how to work any other way,” she explains. “Because of the superhero nature, we see these characters from the outside in. Like, she’s sexy and she has a whip, but if that becomes the basis of who she is, it just doesn’t feel interesting. It doesn’t feel authentic.” "The Batman" seems to understand that it is standing on the shoulders of giants. While honoring past legacies, it also introduces new perspectives. “Even though it’s been interpreted a multitude of ways, it does feel different,” Pattinson says. “It’s a very different tone. It’s actually kind of jarring when you first start watching it, but I think it’s really interesting and I think people will enjoy it – especially longterm fans.” Kravitz seems similarly happy with the film that she and her fellow cast and crew have created. “The nerves don’t help, right? You have to just focus on what you’re trying to do. “I tried to forget about, you know, the fans and the idea and the pressure and just think about what story am I telling,” she says. “Now, doing press and having people see the film and all of that, it’s a little scary – and exciting.” Courtesy of The Big Issue Australia / International Network of Street Papers / www.INSP.ngo www.streetwise.org
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Pan Am flight attendants say Vietnam duty was their most formative by Stella Kapetan
Lynn Turner still remembers watching the soldiers, mostly teenagers, walk off the airplane in Vietnam to start their tour of duty in 1967. “My thoughts were always, ‘I hope you come home safely,’ knowing not all of them would,” Turner recently said from her Crystal Lake home. Turner, now 78, was a stewardess, as flight attendants were called in March 1964 when she was 21 and joined Pan American World Airways, the now-defunct carrier that flew exclusively international routes. “It was one way to see the world,” she said of the career she had dreamed of since she was 12 when she and her father, who worked for Pan Am, would watch planes take off and land at the airport near their home in Dutch Guiana, now called Suriname, in South America.
INSIDE STREETWISE
She and the other attendants made it a point to make the soldiers feel comfortable. “We tried to talk to them as much as possible,” Turner said. “Going to Vietnam, some wanted to talk all the time, about where they were from, and [they] wanted to know where we were from. I would tell them where (Dutch Guiana) was, and they always wanted to know more about the country and how my family got there.” She never asked about their feelings about going to war, to keep their minds off what lie ahead. Instead, she asked if they had siblings and about other innocuous subjects. “They were grateful because they didn’t know what to expect.” She received no training on interacting with them and relied on instinct.
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Turner also served aboard R&R (rest and recreation) flights that flew soldiers to Hawaii, Australia, Japan and other countries for a few days away from the fighting. “They were so tired but relieved to get on an airplane and get out of Vietnam,” she said. “Many times, they came straight out of the jungle. Some were smiling and so happy to see us. They said thank you every time you handed them something. We were so happy to make them feel comfortable. All it took was a smile that changed the expression on their faces. We smiled a lot.” She said the return flights to Vietnam after R&R were difficult. The soldiers looked distressed and said they wished they were going home instead of back to the war. “There were no words to console them.” Turner said. “I remember saying ‘I understand.’ I remember one conversation telling one of the soldiers how difficult it must be, but that I was looking forward to the opportunity of seeing them again and that it would be on their flight going home.’” Serving on these flights was voluntary since they operated in a war zone, and crews faced real danger. Takeoffs and landings were vertical to avoid the Viet Cong, who were within shooting distance. Turner volunteered, since there was a shortage of stewardesses willing to fly to Vietnam. And she said the flights gave her a purpose and a chance to “experience another side of the glamour of flying.”
This page top: Ruth Lowenstein outside her Miami, Florida apartment. This Page Bottom: Ruth Lowenstein at Tan Son Nhut Air Base (now Tan Son Nhat International Airport) in Ho Chi Minh City (formerly Saigon). NOTE: The spelling was Nhut during the war, Nhat today. Opposite page top: US soldiers boarding DC-68 during the war (Pan Am Historical Foundation photo). Opposite page bottom (L-R): Lynn Turner as an attendant; Lynn today; Ruth Lowenstein as an attendant; Ruth today.
The danger didn’t deter Ruth Lowenstein, now 78, from volunteering. “I did not have a fear of going to Vietnam,” said the Gold Coast resident, who is a native of Terre Haute, Indiana. “I had an adventurous spirit.” Besides, Lowenstein had seen other R&R flights return safely, and pre-flight briefings assured crews that they would be protected. Her adventurous spirit was born when she was 8 and flew by herself to Utah to visit her grandparents. The kindness and attention from her own private attendant gave her a “wonderful feeling,” she said. “I decided if I did that, I’d have that feeling all my life.” L owe n s t e i n said some soldiers preferred to sleep, and others didn’t want to talk much. She would gauge whether they were looking to converse by reading their body language; if they came back to where the attendants were working and didn’t immediately return to their seat she would ask if they were alright. If they wanted to talk, she would ask if it was their first R&R and what they did. And about home and if they had a girlfriend. “They wanted to show you a picture,” she said. “They would say ‘I’ve got this girl. Let me show you this picture.’ I would say, 'You are a lucky guy.’” She said Pan Am instructed attendants on avoiding upsetting the soldiers. “If you asked someone if they wanted to eat, and they said no, just let them be,” Lowenstein said. “Don’t say ‘Why not?’ or ‘Our food is great.’” She said some soldiers might have been too fragile to handle the questions. “They might internalize
it and think there is something wrong with them because someone is questioning them. Pan Am wanted them to be comfortable and to know that they were looking out for them.” A career as a Pan Am stewardess was coveted by young women, who like Lowenstein, dreamt of a career seeing the world at a time when opportunities for women were limited. Pan Am exuded glamour and stewardesses were expected to do the same, according to You Magazine. Strict hiring requirements included ability to speak a foreign language, height between 5 foot 3 inches and 5 foot 9 inches tall, clear skin and a slim figure. Only 3% - 5% of applicants were hired. Their employment was terminated at age 35, if they gained too much weight, or married. The skills they learned in the six-week training course ranged from the proper way to carve a lamb, to effectively dealing with hijackers by becoming a “neutral friend” and persuading them to ask to land the plane.
Lowenstein said she "grew up" after she started working for Pan Am. “I became more worldly, more street smart, more sophisticated. I learned resourcefulness, how to make things happen with what's available. I learned a lot about the Vietnam War I wouldn't have without having worked the R&R charters. I appreciated the men who had to fight there. I became a better listener. I became good at hiding my emotions. I became good at staying calm under pressure.” Turner left the airlines after she married Bill, a Navy navigator and flight engineer she met on a layover in Guam. They raised two daughters: Karen, a veterinarian; and Michelle, a pilot for American Airlines. She said she still sometimes thinks about the soldiers she met 55 years ago: “We were such a small part of their lives. We never saw them again. The little bit of contact they had with us meant a lot to them at that time. We were all there trying to treat them as human beings and have them be comfortable. We knew what was happening, and we wanted them to be comfortable before going into the unknown. It is a part of my life that I will always treasure and remember.”
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1 to 9.
Streetwise 3/14/22 Crossword
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To solve the Sudoku puzzle, each row, column and box must contain the numbers 1 to 9.
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63 Choir member 64 On an earlier episode 66 Order to a broker 67 Organic compound 68 Commuter line 69 Like fine wine 70 Coquette 71 “What ___ can I say?”
7 8 9 10 11 12 13 18 24
Irish offshoot 41 Amorphous World record? mass Endocrine gland 44 Name of many Expunction Austrian rulers Open to ideas 46 Shrug or V sign, Kind of pool e.g. Horace volume 48 Woman’s fur Demeanor shoulder cape Vegetarian 50 Mediocre staple 52 Whammy 26 Like a busybody 54 Rope fiber 28 ___ slaw 55 ___ Island 29 Bisect National 31 Carbon own Monument 1 Kind of duty compound 56 Fashion 32 Job for a body 2 Sports facility 57 Hombre’s home 3 Swimming shop 58 Couturier holes 33 Soft drink Cassini 34 Extended 4 Explore 60 Prefix with underwater periods physical 5 Wee hour 35 Pupil of Plato 61 Ancient 37 ©2010 AnimalPuzzleJunction.com shelter 6 Defeat Copyright greetings decisively 40 Wildcat 65 Hot temper
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last week's Solution Puzzle Answers
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1 Play group 5 Stocking stuffers 9 ___ canto (singing style) 12 Lab gel 13 Asian sea name 14 Dairy aisle buy 16 Function 17 Prune 18 Dolphins’ home 20 Lady’s escort 22 Life’s partner 24 Holiday mo. 25 Mediator’s skill 28 India’s smallest state 29 Compass dir. 30 Ultimate 62 Audition degree 64 Chatter 33 Buyer 67 Sufficient 36 Arles assent 69 Small fry 37 Mimic 72 Eye part 38 Small sample 74 Smile widely 41 Rules, briefly 75 Brainstorm 43 Reservations 76 Workshop 46 Red-bearded gripper god 77 Map abbrs. 47 Hibachi 78 Like a yenta residue 79 Bridge 49 Disney, for one position 51 Vacation spot 52 Reckless Down pedestrian 55 Latin foot 1 “Wheels” 56 Winter woe 2 Popeyed 58 Old French 3 Store sign coin 4 1545 council 59 Genesis garden site 61 Zodiac animal 5 Spigot
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6 Mouths, in zoology 7 Nobleman 8 Pung 9 Grandiosity 10 Yale student 11 General’s forte 15 Augury 19 Hotel freebie 21 Spanish appetizer 23 Extinct flightless bird 26 Golf targets 27 Orchard unit 30 “A Doll’s House” wife 31 Calendar abbr. 32 Olympic athlete 34 Swimming stroke
35 39 40 42 44 45 48 50 53 54 56 57 60 63 65 66 68 70 71 73
Consume Muscle quality Coastal raptors Mermaid’s home Profits See 8 Down Kind of analysis Deuce topper Misfortune Texas capital Monk’s title Souvlaki meat Innocent Uproar Young alpaca Smooch Shaver Your (Fr.) Utter Harden
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