At the peak of her powers — back in the mid-’70s, when she was essentially practicing therapy on stars while millions watched — Rona Barrett drove around Hollywood in a Rolls-Royce with a license plate that read MS RONA, the nickname she’d picked up when she first started delivering Hollywood tidbits at the end of the ABC evening news. She wore miniature heels for her size 5 feet and massive minks on her 5-foot frame, crowned with a layered bob (“like an artichoke”) dyed platinum silver.
Her 1974 memoir, Miss Rona, had sold over half a million copies, in part due to its irresistible lede: “Just an inch, Miss Rona, just let me put it in an inch!” Barrett attributed the come-on to a “major masculine Hollywood star,” and rumors swirled as to his identity. It couldn’t be Frank Sinatra, who'd taken to calling Barrett horrible names at every concert — or Love Story star Ryan O’Neal, who’d sent Barrett a live tarantula. Some guessed it was her neighbor, Kirk Douglas, whose Hollywood estate backed up onto hers. But Barrett would never confirm. Sparking that sort of speculation was what Barrett did best: Every broadcast was an invitation to join her in the campiest, dirtiest game in town.
Over the course of her 40 years in the gossip industry, Barrett became known as a ball-buster, an indefatigable reporter, and a legitimate pioneer. Her name has faded from national consciousness, yet her innovations remain: She was Barbara Walters and Nikki Finke and TMZ all rolled into one, and she did it first. Reporting industry information — power shake-ups at the studios and box office figures — for a national audience? That was Miss Rona. Hosting hourlong interviews with Hollywood stars? Rona. Getting those stars to talk frankly about sex on national television? All Rona.
Columnist Rona Barrett poses for a portrait in 1980.
Harry Langdon / Getty Images
Barrett had three magazines emblazoned with her name. She was on Good Morning America every morning. Her voice could be heard on syndicated gossip segments on radio stations across the country. She had three books, a staff of dozens, 11 phones in her house, and a web of informants that spread down Sunset Boulevard and into Europe. “Of the thousands who had covered Hollywood over the decades,” industry observer David McClintick wrote, “none had garnered the fame that had come to Rona Barrett by the late ’70s.”
Not the old biddy gossip columnists like Hedda Hopper and Louella Parsons who moralized over classic Hollywood, not the sharp-tongued Walter Winchell. Barrett wasn’t just a gossip. She was, as one columnist put it, “the Czarina of Hollywood.” But unlike Hopper, Parsons, and Winchell, all of whom have been memorialized in extensive biographies and onscreen, Barrett has faded from popular memory. “I know the name,” Elaine Lui, who’s established a mini gossip empire of her own, told me. “And what she did with TV gossip. But that’s about it — that she was my trailblazer.”
These days, Barrett doesn’t talk about celebrities unless you get her talking about the past, where they pop up in the most unexpected places: young Warren Beatty, in the middle of the night, at the tiny New York apartment Barrett shared with four girls; Elizabeth Taylor, at the vanity in the ladies' room of a Hollywood nightclub, bemoaning the size of her breasts, the width of her shoulders. Get her going, and Barrett will offer quick takes on every celebrity from her heyday. Trump: “He didn’t know how to smile, and kept Ivana in the doorway.” Cosby: “We all knew; he was always on the make.” Travolta: “That one’s an odd duck.” Natalie Wood: “I think everyone instinctively feels that something more happened than her just slipping off the deck of the boat and drowning. It's hard for me to say the story that I was told [about her death] — by someone who was around every single day during that time. But I believe that person knows what happened.”
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Who was your favorite interview, who was the most handsome, who was gay — Barrett gets those sorts of questions all the time, but they bore her, or at least betray the thoughts of someone who hasn’t really thought about Hollywood. What interests Barrett — what gets her pounding the table — is what a self-described “crippled, plain, fat kid” had to go through to legitimize herself and the subjects she covered. Today, that struggle feels especially poignant, in part because Barrett’s significant contributions, like her name, have been almost entirely elided, but also because female journalists still fight to be taken seriously, or treated with the same esteem — and pay — as their male counterparts.
But it was Barrett who took herself out of the game. Liz Smith is still writing gossip at 93, and Barbara Walters only recently retired from The View. Barrett — who doesn’t believe in aging, just “phasing” — essentially disappeared. She moved to the Santa Ynez Valley, 30 minutes outside of Santa Barbara, and phased forward: running a lavender farm, building a retirement home for low-income seniors, and looking, at age 79, fucking fabulous.
Barrett’s memory is precise; her corrections to the historical gossip record, including her own achievements and innovations, are exacting. But she has neither a score to settle nor an ax to grind: She agreed to talk only because she knew it would publicize her quest to provide housing for low-income seniors. She’s deeply amused at the idea of people under 40 knowing her name. She told me, without hesitation, "This is the best phase I’ve ever been in.”
When I first meet her on a foggy spring morning, she’s in a two-piece getup that looks like a cross between silk Chinese pajamas and a pantsuit. A heaped coil of a ring sits on her right hand; a massive opal on the left. She’s wearing reading glasses — bright pink frames, huge in the manner of the 1970s and the Olsen twins in the 2000s — to look at the computer, affixed with a Post-it with her Skype name and password. Her jet-black eyeliner is perfect; her hair — thick, white, still lustrous — is set in an immaculate chin-length bob.
Barrett’s handshake feels like a welcome and a warning, which must have been what it was like to be around her at the height of her powers: Part of you wanted to tell her everything; the other part knew better. “So,” she said, staring me in the eye. “Let’s begin.”
Rona Barrett at her home in Solvang, California, on May 3, 2016.
Emily Berl for BuzzFeed News
“The main thing in my life is that I was born with a disability,” Barrett said in the metered, deliberate voice of someone who’s conceived of her life in memoir form. That disability, an undetermined form of muscular atrophy, put her in and out of hospitals for the bulk of her childhood as Rona Burstein, the oldest daughter of middle-class Jewish parents in Queens.
“That made me feel different,” she said. “And therefore, my curiosity factor was always up: 'Why did you say that?' I’d say. 'What did you mean by that?' And by high school, everyone came to me. They’d say things like, ‘Oh, I love this girl so much, Rona, she let me feel her titties!’ Then another guy would come by and say something similar. And afterwards, I realized: I never want my name to be in any man’s mouth like that.”
Barrett decided, then, to keep herself apart: “I became the confessor,” she explained. “I was the priest.” She was also fiercely ambitious. At 13, Barrett took the train to Manhattan and simply showed up in the office of the record company that represented Eddie Fisher — then just a young, handsome singer who Barrett had seen perform up in the Catskills — and offered to start a fan club.
At that time, fan clubs were loose, unorganized associations. Barrett wanted to turn them into something more like political organizations, with the attendant might, and lobbying potential, to actually get a singer’s records played. She saw, in a way not even Fisher’s managers could, the cultural and financial power of her generation — and how to wield it.
"I became the confessor — I was the priest."
Barrett also understood the power of a name. When she introduced herself at the agency, she switched her birth surname to the less Jewish-sounding Barrett. Any notion of fan worship was also quickly disabused: Even as Fisher’s stardom expanded, in many ways thanks to Barrett’s work with the fan club, he hated Jewish girls. “Jewish girls are nudges,” Barrett overheard him say. “I wouldn’t date a Jewish broad if my life depended on it.”
Through the years, Fisher’s internalized anti-Semitism stayed with her. She was reminded of it every time someone told her how “smart” she was to have changed her name, and in the overarching unease when she started pitching the television networks. “I couldn’t put my finger on it until one day, a second-in-command took me aside," she recalled. "‘You’ll never see yourself on national TV as long as there’s a single trace of Brooklyn in your voice.’ A trace of Jew, he meant.”
Barrett graduated from high school early and enrolled at NYU, but dropped out just a few credits shy of a degree. She was a fixture at Downey’s, a Midtown restaurant where all the up-and-coming talent hung out: Paul Newman, Sidney Poitier, Tennessee Williams, Joanne Woodward, Elia Kazan. She found work as a “girl Friday” at the largest pulp publishing houses, named for their cheaply produced magazines and genre novels. At the time, the majority of fan magazines were stuck in the past — classic Hollywood was dying; the types of stars, and mores that accompanied them, were slowly going out of fashion. Only the middle-aged ladies wanted to know what was going on with Clark Gable and Joan Crawford: The new audience wanted Dean and Brando and Natalie Wood and Elvis.
That was a swath of stardom Barrett, who’d positioned herself in the thick of the community, knew she could own. “You could see that there was going to be a sea change, and I wanted to be part of it,” Barrett told me. In late 1958, Evelyn Payne, the new, hip editor of Photoplay, bought Barrett’s idea for a column on “Young Hollywood” and sent her to Los Angeles, where she moved in with a then-unknown Michael Landon and his wife. New York friends introduced her to L.A. friends; press agent friends started spreading the rumor that she was the heir to Winchell and Parsons. The more people said it, the truer it became.
Barrett had her nose “fixed” without compunction, but still felt she needed to slim down to fit in with all the Mia Farrow types waifing around Hollywood. So she made an appointment with a woman named Louise Lang. “She’d modeled Marlene Dietrich’s face from round to gaunt,” Barrett wrote in 1974. “She’d made Kim Novak from a Polish cow into an American princess.” And she did it, supposedly, through deep tissue massage — and the help of one of those old, vibrating bands of fabric you can still find in the corners of YMCAs.
After 10 appointments, Barrett says, her entire body was resculpted. She knew it was effective when, weeks later, a male star decided to casually take off his shorts during an interview — a come-on which Barrett gently rebuked, as she did with all advances from the stars. “Because they never got ‘into me,’” she explained, “I was able to get in them all the more.”
In this way, Barrett insinuated herself into the group of young, up-and-coming stars who were crossing over from movies to television to music and back again: Frankie Avalon, Nancy Sinatra, Fabian Forge, Tommy Sands, Jimmy Darren. Most of her information, Barrett recalled, came from things she overheard at parties. “I always weighed my words carefully,” she explained. “I never broke a confidence, never wrote to hurt anybody, believe it or not.”
Hollywood TV gossip reporter Rona Barrett,
right, attending a baby shower, 1969.
Charles Bonnay / Getty Images
But she had little tolerance for celebrity bullshit. At press junkets where every star was giving canned answers, Barrett says she’d walk up to people and say, “Do you make a hundred thousand dollars a year yet?” or “How good a fuck are you?” or “What did you really think of your half-assed co-star in your last picture?” The stars might not have answered those particular questions, but it veered them off the well-worn publicity track toward something like a real answer to the questions that followed.
In 1960, Photoplay rival Motion Picture offered Barrett more money for her column, but with one stipulation: that she “take out after someone” every month. After years of simpering, moralizing banality, the fan magazines were suffering a crisis of consciousness: In the mid-’50s, scandal magazines, Confidential foremost amongst them, had exploited the newfound freedom of the Hollywood stars who, released from the protection of their studio contracts, had no apparatus to protect them when they misbehaved. Once readers had tasted real dirt, the fan magazines were forced to pivot to meet their demands. Barrett didn’t want to dish scandal like Confidential — which, even today, Barrett describes as a “terrible magazine.” Instead, she would highlight some hypocrisy, some wrong.
And she knew exactly who her first target would be: Frankie Avalon. “There was something about Avalon I had always found disturbing,” Barrett later wrote of the teen idol, who was a sort of Zac Efron meets Justin Bieber for the late ’50s and ’60s. “I was never sure if he had a sincere bone in his body. He was like a prostitute at heart. His parents had grown up believing that Jews had purple horns.”
She’d walk up to people and say, “Do you make a hundred thousand dollars a year yet?” or, “How good a fuck are you?”
But Avalon had been part of the “group,” and the group helped each other out — which is what Barrett did when Avalon impregnated a groupie who’d camped outside of his house in her car. To protect Avalon, Barrett helped pay off the groupie and kept the rumors at bay, but when the groupie’s demands went public, Avalon turned his back on Barrett. When the time came, Barrett had no qualms about giving the dirt on Avalon — not in the pages of Motion Picture, nor in her own memoir.
That was the beginning of Barrett’s gradual distancing from her Hollywood friends. She still moved in the same circles and was invited to the same parties; stars still used her as their confessor. But the understanding that she could tell all hovered around every pseudo friendship. Especially when, in 1959, she traded her monthly magazine work for a daily newspaper column, soon available in 125 papers across the nation.
It was during this time that Barrett, who had never been a prude, found herself knocking up against the old-fashioned morals of the publishing industry. She wanted to write about the prevalence of marijuana at Hollywood parties, or the female stars who were telling her they were thinking of having babies out of wedlock, but her editors would always mark it out — “Really, Rona, is this necessary?”
So Barrett refined the high gossip art of encoding: who was gay, who was high, who was sleeping with whom. “You could write in a way that was clever and smart, and people knew what you were saying," she told me. "Especially the world of gay people, the LGBTs. I think they fell in love with me because I was so honest, in a way, about it, and not making fun of it, but being more like, ‘Come on, you guys, you’ve got to be kidding me.’”
Barrett was comfortable printing an innuendo about Cary Grant — that he was “really more of a mother than a father to his daughter Jennifer” — but drew the line at outing people. Like Rock Hudson. “I went to his house one night for a cocktail party. And he knew that I knew that he was gay,” Barrett told me. “But he was always so polite — that’s how they were brought up in the studio system: They had to go to etiquette school, and then the PR people made up all of that stuff,” she says, gesturing to an old fan magazine with Hudson and “ROCK, ARE YOU GOING TO MARRY DEBBIE?” on the cover. “But the point was, if he wanted to come out and say it, it was up to him to say.”
Tom Snyder and Rona Barrett during an interview on The Tomorrow Show.
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