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JFK's secret love life revealed: The tale of Joan Lundberg, who was 'impregnated' by former US president

JFK's secret love life revealed: The tale of Joan Lundberg, who was 'impregnated' by former US president

First Post2 days ago

A new biography has claimed that former US President John Fitzgerald Kennedy had an affair with a flight attendant while he was married to Jackie. He met Joan Lundberg, who was working for Frontier Airlines and as a cocktail waitress, in August 1956 in California. They soon started an affair, and JFK got her pregnant, just months before Jackie gave birth to his daughter read more
US President John F Kennedy's personal life has come into the limelight. Photo by John F Kennedy Library Foundation / AFP
An upcoming book has made sensational claims about former United States President John Fitzgerald Kennedy (JFK). The new biography, JFK: Public, Private, Secret by J Randy Taraborrelli, has claimed that the Democrat leader got a young flight attendant pregnant while he was married to Jacqueline Kennedy, better known as Jackie.
The stunning claim has brought the personal life of the 35th president of the US to the spotlight. According to the book, Jackie knew about her husband's affair but did not know about his lover's pregnancy.
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Let's take a closer look.
JFK sparks affair with flight attendant
John Kennedy met Joan Lundberg, a young flight attendant, in August 1956 in California. She was working for Frontier Airlines and as a cocktail waitress, according to the biography by Taraborrelli.
JFK, a 39-year-old senator from Massachusetts , asked Joan at a dive bar what she was going to play on the jukebox, according to an excerpt from the book, shared with People magazine.
''What are you gonna play?' he asked her. 'I was thinking Elvis Presley, but what would you like to hear?' she asked. He said he wanted to hear something 'so I can concentrate on you.''
When JFK asked Joan, a 23-year-old single mother of two, where she was living, the woman replied, 'trailer court close by'.
''What the hell's a trailer court?' he asked. She laughed and answered, 'You don't want to know.''
Days after meeting Joan, JFK discovered that his wife, Jackie, had given birth to their stillborn daughter, Arabella.
JFK was back in Los Angeles (LA) in early September and invited Joan to a dinner party at his sister's home. Around midnight, he took the flight attendant to a motor court where they checked in as 'Mr and Mrs Robert Thompson.'
''The sex that night was 'wild,' claimed Joan. The next morning over breakfast, he unburdened himself. His fears, his insecurities. It was as if she was so removed from his circle, he could share anything,'' People cited the excerpt as saying.
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JFK described his relationship with Jackie as 'an arranged marriage', saying it was 'fine. Not great, but okay.'
Former United States President John F Kennedy and first lady Jackie Kennedy watch the first of the 1962 America's Cup races aboard the USS Joseph P Kennedy Jr, off Newport, Rhode Island, in this handout image taken on September 15, 1962. File Photo/Reuters/John F Kennedy Presidential Library
As per the biography, Jackie questioned JFK about 'Trailer Park Joan' when he returned to her in Newport, where she was recuperating at Hammersmith Farm.
JFK continued his affair with Joan even after his wife found out. He used to fly her to meet him and covered her expenses. By 1957, JFK was being considered a presidential candidate.
Taraborrelli's book also carries excerpts from Joan's unpublished memoir, which her family shared with him.
''She told me, 'I never worry about trouble when I'm with Jack because I pass for his sister, Pat, all the time,' ' Joan's sister, Linda Lydon, said. Joan later recalled that she and Jack got along well, 'aside from normal lovers' tiffs between two high-spirited people.' They often discussed his political career, with him starting off sentences with, 'When I'm president . . .''
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JFK gets Joan Lundberg pregnant
Two years after they first met, Joan called JFK to tell him about her pregnancy. The news came just months after the birth of Kennedys' daughter, Caroline.
'Joan would recall that her news about the baby was 'like a knife to Jack's heart.' While it was a shock, Joan wrote that they shouldn't have been so surprised: 'I didn't like wearing a diaphragm, and Jack wouldn't wear a rubber,'' she wrote.
'Jack couldn't help but wonder if Joan had purposely planned the pregnancy given that she'd seen his devotion to Jackie after Caroline's birth. He also wondered if he was really the father, and Joan assured him he was. When he asked her how she felt about the pregnancy, she said she loved the two children she was raising on her own and knew she'd also love any child she and Jack brought into the world. He didn't know how to respond,' the excerpt stated.
Later, during a phone call, JFK told Joan he would mail her $400, telling her, 'you'll know what to do' — an apparent reference to an abortion.
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''Being a politician is who I am,' he told her. 'Politics is all I know. If you take that away . . .' His voice trailed off. Before she could respond, he disconnected the line,'' as per the excerpt from JFK: Public, Private, Secret.
When she got the envelope a week later, it reportedly contained no money. The biography mentioned this made JFK 'positively unhinged'.
'Joan later wrote: 'My God! You had never heard anybody use expletives so much in the whole history of Washington.' Jack was very clear; he didn't want Joan to have the baby. He wired more money that same day, and she took care of things a day after that. She was angry and disappointed, but also realistic.'
'When Jack called Joan to check on her, she told him, 'I'm going to need to put some distance between us.' He understood. 'I owe you so much,' he told her. 'One thing I want to say to you, Kennedy,' she told him. 'You love Caroline, and I know that, but I'm somebody's daughter, too. Remember that the next time you treat a woman the way you've treated me.''
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As per the book, Jackie never came to know about Joan's abortion.
Taraborrelli told People that Joan was 'a big revelation' to him, saying she acted as the former US president's 'therapist in many ways.'
With inputs from agencies

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Empowerment to exploitation, the many lives of Umrao Jan Ada
Empowerment to exploitation, the many lives of Umrao Jan Ada

Hindustan Times

timean hour ago

  • Hindustan Times

Empowerment to exploitation, the many lives of Umrao Jan Ada

The world first met Umrao Jan (spelt Jaan sometimes) Ada eavesdropping on an intimate gathering of poets. Enraptured by a particularly well-crafted couplet, she praises it and reveals herself to the group. Instantly, they invite her to join them, which she gracefully does. Umrao Jan, though not the first strongly etched female character in the late 19th century — Urdu literature at the time was influenced by reformist zeal that made a case for women to come out of the purdah and receive an education — was certainly unlike any other tawaif (courtesan) that the reader would have come across. The eponymously titled novel that came out in 1899, a little more than four decades into colonial rule under the British crown, told the story of an older, reflective, erudite and accomplished woman. Some believe it to be the first modern Indian novel. The author, Mirza Mohammed Hadi 'Ruswa' introduced her as the novel's second first-person narrator, and muted his voice when Umrao spoke. Indian filmmaker Muzaffar Ali (L) and actor Rekha pose for photographs as they attend the special screening and theatrical re-release of their iconic Indian film 'Umrao Jaan' in Mumbai on June 26, 2025. (AFP) On June 26, 2025, a plush theatre in Bandra Kurla Complex fell silent as Umrao spoke, this time, from a big screen. In a glittering event that saw the who's who of the Hindi film industry attend, Muzaffar Ali's 1981 film, Umrao Jaan, was re-released in 4k, restored from a release print, by the National Film Development Corporation-National Film Archive of India (NFDC-NFAI). To celebrate its return to the big screen, actor Rekha, who played Umrao in the film, singer Asha Bhonsle, who lent her voice to Umrao's ghazals, and the director spoke about the character and the film, as the audience comprising the likes of producers Anandji Virji Shah (one half of the duo Kalyanji Anandji), SK Jain, Ketan Mehta, actors Hema Malini, Raj Babbar, Aamir Khan, Tabu, and the younger crop including Aalia Bhatt, and Jhanvi Kapoor, listened in rapt attention. Rekha recited a few stanzas from the film's ever popular ghazals, and Bhonsle sang snatches of a song. The 90-year-old singer said, 'When Ali sahib approached me to sing for this film, I read the script and became Umrao Jan.' Unlike other famous courtesans of Hindi cinema and literature — in movies such as Pakeezah and Mughal-e-Azam — Umrao's story has been revisited time and again over the last 125 years, her iconic status reinforced with each re-telling. And there have been many, albeit with different aims: in SM Yusuf's 1958 film, Mehendi, Umrao marries her lover, Nawab Sultan, and gains respectability; a 1972 film made by Pakistani director Hasan Tariq, on the other hand, kills Umrao off; in 2006, J.P Dutta cast Aishwarya Rai Bachchan as Umrao, cast out by lover, family and friends. There have also been theatrical productions and a television series. In 2004, the Centre Pompidou in Paris held an exhibition on Bollywood, and selected Ali's film to be part of it. The 1981 film also travelled to international film festivals in Berlin, Moscow, Venice and Locarno. Ruswa's novel, written in Urdu, quickly became one of the most popular and multiple editions flooded the market. In it, Umrao talks about the mundane — buying bangles; losing her virginity much to the chagrin of her brothel madame — as well as the traumatic: she is kidnapped and sold to a brothel as a child; displaced by colonial vendetta following the 1857 uprising against the English East India company. We encounter themes of ageing, love, oblivion, and death throughout the novel. We also experience her joy and pleasure. Umrao recites couplets and banters with Ruswa and the other poets who bow before her superior craft. The form of the novel certainly helped cement her stature. Its arrival in the subcontinent signalled a modernity that would go on to transform literature in colonial India — the pithy, sometimes serialised, social commentary that aimed to reflect the world of the reader back to him had found great popularity in England and the West in the 19th century. For Ruswa to pick this form to narrate the quotidian story of a courtesan was nothing short of remarkable. To further allegorise Umrao's losses as representative of the colonial stamping out of a cultural ecosystem of the court, where literature, arts, music, dance, and poetry thrived under royal patronage, was revolutionary. The English swiftly crushed the 1857 uprising, but the Empire's reprisals were brutal and long-lasting for the tawaif. As scholar Veena Talwar Oldenburg writes, these women 'were in the highest tax bracket, with the largest individual incomes of any in the city. The courtesans' names were also on lists of property: (houses, orchards, manufacturing and retail establishments for food and luxury items) confiscated by British officials for their proven involvement in the siege of Lucknow and the rebellion against British rule in 1857.' After independence, princely states were stripped of their power and asked to join our newly-formed republic. A decade before Muzaffar Ali made Umrao Jaan, India banned the princes' privy purses that were granted to them in return for their accession to India. Though Ruswa's novel is a chronicle of a death foretold, in the book, Umrao Jan survives. The way of her world remains in the memories of Awadhi and Lucknowi residents, in their styles of speaking and maintaining relationships, and love for exchanging couplets. Ali, whose ancestors were also members of Awadhi royalty, wrote about his impetus to depict the famous courtesan in the newly released photo book, 'Muzaffar Ali's Umrao Jaan' edited by Sathya Saran and Meera Ali, and published by Mapin which accompanied the re-release of his film. 'There are people beyond the screen who moulded my thoughts even before I made them. The rational, historical, humanistic outlook of my father, Raja Syed Sajid Husain of Kotwara, and the compassionate, culturally-oriented life of my mother, Rani Kaniz Hyder— both are mirrors to the timeless types that existed in Awadh. Through them, these types found their way to the outer world and to the inner world of the sensitive, feminine feudal culture of Umrao Jaan,' Ali writes. 'I was actually dealing with a certain kind of delicacy, of place, manners, customs, culture and it is very difficult to recreate it unless you have lived with it,' Ali said. He recalled recording the novel in the voice of Salma Siddiqui, a member of the Progressive Writers' Movement and an Urdu novelist, and hearing it repeatedly while driving down to work, for days on end. At the time, Ali was an employee of Air India and lived in what was then Bombay. '[Umrao] was in my head all the time. Along with the rain, the sea, the storm, the sunset, and everything else Bombay,' he said. Umrao's stature as icon grew exponentially following the film, not least because of the star power of Rekha, who to this date, is associated with the character. 'The myth of Rekha goes into the reading of who they've portrayed on screen. On social media and through memes that pop up making random connections, Rekha is never not in conversation. The noise around her — as the recluse, the woman who never married anyone else because her lover is married — gets pulled into the cultural discourse around Umrao too. Umrao is an icon because Rekha is an icon,' said Prathyush Parasuraman, author of On Beauty: The Cinema of Sanjay Leela Bhansali. Umrao also became a significant icon for members of the Lesbian, Gay, Bisexual, Transgender and Queer community (LGBTQ+), who saw her as not just as a symbol of an empowered sexuality that operated outside the boundaries of respectability, but also as a victim of the social opprobrium they could identify with. The film's songs and Rekha's performance, in particular, were hugely popular in underground gay parties and in the mujras that they would dress up for and perform in privacy of their living rooms. Rainbow Literature Festival director Sharif Rangnekar, who grew up in the 1990s-early 2000s in New Delhi, said, 'Two tracks from the film quietly entered the gay party scene. The whole idea of 'In aankhon ki masti mein' was the gaydar and eye contact that was all that many of us could fall back on to identify other gay men. 'Dil cheez hain aap meri jaan li jiye' conveyed the desperation for love, the idea of sacrifice to give up anything for real love, which felt real for us. So those two songs and the life of Umrao Jaan became ours!' 'I was a young gay boy with no vocabulary for myself… The world around me had no space for someone like me. But Umrao Jaan opened a portal. In Rekha's eyes, I saw dance in grace. In the character of Umrao, I saw a woman broken by fate and stitched back together by art, beauty, poetry and dignity. And, in her, I found the first version of myself that felt whole,' New York-based chef Suvir Saran, who grew up in New Delhi, writes in the book, 'Muzaffar Ali's Umrao Jaan'. Icons survive if they have an afterlife. Umrao Jan's story invokes a nostalgia for a pre-colonial past where arts and music were part of the social fabric, and sex work, while still prevalent within an exploitative context, also managed to accord the woman wealth and stature. It remains relevant in a post-colonial world where women's work, equal pay, and respectability continue to dog the cultural discourse on gender. 'Every now needs a then,' said Ali, when asked if Umrao will continue to remain an icon. 'Yes, without a doubt, she will.'

‘Connecting with myself': How Sanjay Divecha worked up the courage to make a solo guitar album
‘Connecting with myself': How Sanjay Divecha worked up the courage to make a solo guitar album

Scroll.in

time4 hours ago

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‘Connecting with myself': How Sanjay Divecha worked up the courage to make a solo guitar album

I've always believed in the oneness of all things in this universe. Going through life's bylanes and observing how events unfold and teach you the lessons to be learned, this belief has only strengthened with time. My work as an artist has primarily been to connect with my inner self , and express myself with honesty. Being able to share this work with others is a blessing that I am truly grateful for. The yearning to learn something new in my art and refine my skill set has been my constant companion. I started my musical journey in Mumbai, where I was born, studying the sitar for five years. But as I listened to blues, jazz, and rock, I chose the guitar as my primary instrument. I moved to Los Angeles in 1987 and soon began to study at Musician's Institute there a couple of years later. I lived in Los Angeles for 15 years, recording and touring with artists who performed a variety of genres: the Beninese-French singer-songwriter Angelique Kidjo, Latin-rock pioneer Carlos Santana and jazz-fusion maestro Dave Weckl among them. Since I returned to India in 2003, I've been participating in a range of projects. I've been a member of the group Crosscurrents, which was led by the tabla superstar Zakir Hussain. The personnel were legends too: bassist Dave Holland, saxophonist Chris Potter, vocalist Shankar Mahadevan, keyboardist Louiz Banks and drummer Gino Banks. I lead three ensembles, each of which ploughs a distinct groove. Sanjay Divecha & Secret was formed as a result of my effort to absorb folk music from across the country, both north and south. With Merkaba, we play urban contemporary music that aims to foster healing both of the self and the community. I also perform in a jazz trio that play both originals and standards. And now also performing solo guitar concerts. Amidst all of this, I'd been intimidated by the thought of recording an album primarily of solo guitar tunes – it seemed too demanding. All my previous recorded works have been with ensembles, with a variety of instruments. With Leela, I've finally mustered up the courage to record a collection of music that was mainly written for solo guitar, also mainly recorded on acoustic guitar. View this post on Instagram A post shared by Sanjay Divecha (@sanjaydivechamusic) In Sanskrit. 'Leela' means 'divine play'. This album was a joyous yet profound act of creation. The songs are reflections of some of my journeys and inspirations, interpreted in a spontaneous and instinctive manner. It started with me performing a few solo guitar concerts. I've always had this repertoire. The experience was so thrilling, I decided to capture that so I could share it with others. Although all the songs have a form , the manner in which they were interpreted was in the moment and there was always room for improvising . As I started the recording process I started to add a few layers to enhance the music – acoustic steel string guitar, acoustic nylon, acoustic baritone and some electric guitar. On some tracks, I invited guests I have long admired to join me. There's Ananya Sharma on vocals and hand claps, Apoorv Petkar on vocals, harmonium and hand claps, Anand Bhagat on percussion, Vasundhara Vee on vocals and Harmeet Mansetta on string orchestration. The album opener, When the Mountains Meet the Sky is inspired by my trips to the northern states of India and the mighty Himalayas . Decades after I first heard the guitar legend John McLaughlin live, his music has continued to have an impact on me. Song for John Ji is dedicated to him and his spirit. View this post on Instagram A post shared by Nusrat Apoorv (@nusrat_apoorv) One of the cool things that can be done on the guitar is alternate tunings. I've used quite a few in this collection. These tunings open up the instrument and give it new possibilities and dimensions. Every once in a while a melody comes along with a special quality that resonates with all. Afrika is a song I learned from Andre Manga, multi instrumentalist from Cameroon. I finally recorded this song after many requests from audiences asking where they could hear a recorded version of it. Music from Brazil has been a huge part of my musical journey. For Tom is a tribute to Antonio Carlos Jobim (who was fondly known as Tom) . The organic nature of Leela takes me back to my formative years as a guitar player. I'm grateful for it to take its own journey.

'Eat the rich': Mass protests in Venice overshadow Bezos wedding amid tourism woes
'Eat the rich': Mass protests in Venice overshadow Bezos wedding amid tourism woes

First Post

time9 hours ago

  • First Post

'Eat the rich': Mass protests in Venice overshadow Bezos wedding amid tourism woes

Mass protests in Venice have overshadowed the lavish wedding of Jeff Bezos and Lauren Sanchez amid anger over mass tourism, rising living costs, and inequality, turning the event into a symbol of wider global frustrations. read more People take part in a protest 'No Space for Bezos' a day after the wedding ceremony of Jeff Bezos and Lauren Sanchez in Venice, on June 28, 2025. (Photo by ANDREA PATTARO / AFP) Mass tourism, soaring rents, worker exploitation, inequality, and elitism — protests in Venice in recent days against Jeff Bezos and Lauren Sanchez's high-profile wedding have shone a spotlight on global frustrations. Local politicians dismissed the protesters as a small fringe group. Yet, Bezos's celebrity status and Venice's iconic scenery gave activists a global stage they used to amplify their message. Banners reading 'No Space for Bezos' hung from the famous Rialto Bridge, and a giant canvas laid out in St Mark's Square urged the tech billionaire to pay more taxes — images that quickly spread worldwide. STORY CONTINUES BELOW THIS AD 'Bezos, out of the lagoon', the demonstrators chanted as they wound through the city centre, some brandishing signs that read: 'Eat the rich', 'Rejected', and accusations that Venice's mayor is 'corrupt'. Concerns about further disruptions forced Bezos and his bride to shift their final and biggest celebrity party from the city centre to a more secluded spot in the eastern part of Venice's lagoon. 'The idea that the city should be seen as a film set, a stage, or an amusement park has never been clearer than with Bezos's wedding,' said Tommaso Cacciari, a leader of the No Space for Bezos movement, speaking to Reuters. At the final protest on Saturday, around 1,000 residents and activists gathered outside Venice's train station under the blazing sun, then marched about 1.5 kilometres to the Rialto Bridge. They carried banners with slogans like 'Kisses yes, Bezos no,' a nod to Venice's romantic image, and 'No Space for Bezos,' featuring a rocket in reference to his Blue Origin space company. Meanwhile, many Venetian businesses and politicians welcomed the wedding, praising the significant boost it brought to the local economy. Luca Zaia, the regional governor of Veneto, said the city should be proud to have hosted the event. STORY CONTINUES BELOW THIS AD

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