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rabbitcruiser · 11 months

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National Day of the Cowboy

Saddle up and get ready to ride into the sunset with the thrill and excitement of the Wild West! Cowboys are the ultimate symbol of grit, determination, and adventure.

Giddyup! Ride ‘em Cowboy!

Celebrate this symbol of the American West by learning about and appreciating the National Day of the Cowboy.

History of National Day of the Cowboy

Following the Civil War, many men moved west looking for ways to work and make a living. One of the attractions of the American frontier was the relative freedom, as well as the option to become cowboys who could access free range cattle.

The “Wild West”, beginning in the 1860s through the end of the 19th century, became a time of a bit of chaos on the frontier where gangs of criminals were easily bred. Infamous cowboys, like Billy the Kid, Jesse James, Butch Cassidy and John Wesley Hardin were outlaws who committed various robberies, cattle rustling and even murder.

First sponsored in the US Senate in 2005, National Day of the Cowboy was originally brought about by Wyoming’s US Senator at the time, Craig Thomas.

Former president Bush said this about the National Day of the Cowboy: “We celebrate the Cowboy as a symbol of the grand history of the American West. The Cowboy’s love of the land and love of the country are examples for all Americans.”

National Day of the Cowboy Timeline

1725

The term “cowboy” is first being used

Jonathan Swift uses the word in his famous book, Gulliver’s Travels, but it really just means a boy who tends cows.

Mid-1800s

The “Wild West” period begins

After the American Civil War, many men head to Texas where free-ranging cattle are available for any cowboy who wants to round them up – and the popularity of eating beef increases.

1875

“Billy the Kid” is first arrested

This infamous cowboy criminal is a gunfighter, murderer, fugitive, cattle rustler, and eventually dies at the young age of 21.

1930

John Wayne first appears in film

The Big Trail is the first movie that actor “Duke” Morrison makes in what will be a series of more than 75 films over his lifetime.

1960

Dallas Cowboys are founded

In the early days of the National Football League (NFL), the Dallas Cowboys franchise was established and went on to become an extremely popular team.

How to Celebrate National Day of the Cowboy

Celebrating National Day of the Cowboy can be loads of fun in a variety of ways! Try out some of these delightful ideas to enjoy the day:

Dress Like a Cowboy

This can be a way to connect with your inner cowboy by wearing some special gear to work, to school or just while running daily errands. Try out some basic blue jeans, some clever cowboy boots, a leather vest and a western shirt (complete with shell snaps!).

Perhaps try a bolo tie or a handkerchief tied around the neck. And, of course, it would be appropriate to top it all off with an enormous cowboy hat. The bigger, the better!

Listen to a Cowboy Song Playlist

Because they typically hail from the southwest, cowboys may have a particular style of music they enjoy. National Day of the Cowboy would be a perfect time to create a list of songs that give a nod to the tunes of these unique characters:

Mommas, Don’t Let Your Babies Grow Up to Be Cowboysby Waylon Jennings and Willie Nelson (1978). This one was originally recorded by Ed Bruce in 1976, but this more popular version was recorded two years later.

Cowboy Take Me Away by The Chicks–formerly Dixie Chicks (1999). A play on the phrase “Calgon Take Me Away”, from the famous slogan from bath product commercials, this song reached #1 on the US Billboard Hot Country Singles and Tracks chart in February 2000.

Cowboy Cassanova by Carrie Underwood (2009). Released on Underwood’s third studio album, Play On, the single was certified 2x Platinum.

The Cowboy in Me by Tim McGraw (2001). Written by Jeffrey Steele, Al Anderson and Craig Wiseman, this song made it to #1 on the Billboard Hot Country Singles and Tracks chart that year.

Visit a Rodeo

A great time for enjoying all things related to National Day of the Cowboy, visiting the rodeo can be an amazing experience! Regular events include activities such as steer wrestling, bull riding, calf roping, steer roping, bareback horse, barrel racing and saddle bronc riding. Of course, don’t forget the scorecard for keeping score.

Don’t forget to wear the above-mentioned cowboy gear when headed to the rodeo. Those who are lucky might get to see a rodeo clown. Perhaps even try riding the mechanical bull!

Follow Some Sage Cowboy Advice

Cowboys from the Wild West have lived a great deal of life and have tons of experience! With all of that experience comes a great deal of wisdom and they have often been known to share their advice with others in clever phrases, like “Don’t squat with your spurs on”, or “Never corner something meaner than you”.

Enjoy a few of these phrases and consider sharing them with friends, family and coworkers in honor of National Day of the Cowboy. Some of them might even be fun to have printed on a t-shirt to wear on the day:

“Don’t go in if you don’t know the way out.”

“If you get thrown from a horse, you have to get up and get back on, unless you landed on a cactus; then you have to roll around and scream in pain.”

“Some cowboys have too much tumbleweed in their blood to settle down.”

“If you’re ridin’ ahead of the herd, take a look back every now and then to make sure it’s still there with ya.”

Watch Some Cowboy Movies

One of the great film settings of all time, the Wild West is the perfect place for cowboy movies to be made! This day offers a great time to enjoy a collection of classic Western movies in honor of National Day of the Cowboy! Try out one (or all!) of these:

True Grit (1969). One of John Wayne’s most famous movies, this film features a US Marshal and Texas Ranger who chases down a murderer in dangerous territory. It was remade in 2010, starring Jeff Bridges, Matt Damon, Hailee Steinfeld and Josh Brolin.

Rango (2011). Fun for adults and family members alike, this computer animated Western comedy film stars Johnny Depp who voices a chameleon character who accidentally gets stranded in the desert.

The Lone Ranger (1956). This classic cowboy film was based on the American television series of the same name that was from 1949-1957, starring Clayton Moore and Jay Silverheels.

No Country for Old Men (2007). Tommy Lee Jones, Javier Bardem, Josh Brolin and Woody Harrelson are the all-star cast in this modern Western crime thriller movie created by the Coen brothers. Based on the 2005 novel of the same name by Cormac McCarthy, this film won a huge array of film awards.

Are cowboys real?

Yes. Although they are less common than they may have been several decades ago, the American cowboy continues in places like Colorado, Texas, Montana, and even Connecticut.

How did cowboys dress?

Cowboys are known for their pointy leather cowboy boots, vests with pockets and very large cowboy hats.

What are cowboy hats made of?

Cowboy hats are typically made of either felt or straw. Less commonly, they can be made of leather.

Do cowboys ride cows?

No! Cowboys ride horses, of course. They are called cowboys because they take care of and drive cattle herds.

How do cowboys talk?

Depending on where they are from, cowboys may have unique phrases like “Howdy Partner”, “Giddyup”, “City Slicker”, and “Head ‘em up and move ‘em out”.

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qu-film-history-to-1968 · 6 months

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Similarities and Differences in Primary and Titicut Follies

By: Julia Kusmenko

Among all genres of film, documentaries are unique in their ability to bring certain realities to life and inform the audience. From watching the 1967 film called Titicut Follies and the 1960 film Primary, these documentaries are comparable for various reasons.

For one, both films lack any interviews—an element that is typical of modern-day documentaries. In addition, both films show a candid depiction of the topics they portray. For instance, Robert Drew’s film Primary gives an inside look into the campaigns of both John F. Kennedy and Hubert Humphrey as they unfolded in the 1960 Wisconsin primary election. With this, Frederick Wiseman’s film Titicut Follies is a raw look at the poor treatment of inmates at a psychiatric hospital in 1967. Another comparison between the films is that they both show an up-close look of two environments, the politician’s inner circle and a mental hospital, that is otherwise kept hidden. To illustrate this idea, it is said by Drew Associates that “revealing the personalities and politics of the campaign trail as they had never been seen before, ‘Primary’ offers a compelling glimpse into the early career of one of the world’s most captivating leaders.” In other words, Primary and Titicut Follies allow the public into a world they usually do not get to see.

One difference between these films is that Primary uses minimal narration to explain the events of the election in chronological order, while Titicut Follies lacks narration entirely. Additionally, Primary is told through a more positive, uplifting lens while Titicut Follies does not spare the audience from seeing disturbing and upsetting imagery pertaining to the inmates.

Titicut Follies reflects a faith in social institutions since it demonstrates how psychiatric hospitals are inhumane in their practices. As a result, the audience receives negative messages towards such mental illness institutions. For example, in the image of a man named Jim curled against a wall, the audience sees a man being bullied by hospital staff who ask him to answer a question over and over and over again. Moreover, a quote said by an inmate named Vladimir who complains about his treatment is as follows: “This place is disturbing me, it’s harming me. I’m losing weight. Everything that’s happening to me is bad. And all I get, all I get, is why don’t you wait, why don’t you take medication? Medication is disagreeable to me” (Keith and Wiseman 43). Other instances of poor treatment include force feeding of a man who refused to eat, the enforcement that inmates be nude almost always, and the barren cells that inmates are put in as living quarters. That being said, Titicut Follies avoids a lack of faith through its compelling storytelling and the raw emotion it conveys through intimate shots of the inmates and hospital staff which make the audience sympathize with their situation.

In contrast, Primary strengthens the audience’s faith in the electoral system since it shows the entire process in a positive light, from Hubert Humphrey vowing for the rights of small-town farmers and John F. Kennedy having personable conversations with young kids. As said by Jeffrey Geiger in the book American Documentary Film, “In Primary we see the stellar JFK addressing an adoring crowd, watched over by a fastidious, somewhat shy Jackie, while Hubert Humphrey is serenaded by a band of children playing ‘Davy Crocket’ on accordions, then tucks into a humble dinner of ‘ham, mashed potatoes, and string beans’” (Geiger 169). In this way, Primary avoids a lack of faith since it shows the politicians serving the people when speaking to crowds and as humble when conversing with their staff behind the scenes.

Overall, while both documentaries cover disparate topics, they are able to shed light on significant institutions within the United States.

Image from Titicut Follies:

Works Cited

Geiger, Jeffrey. “‘Uncontrolled’ Situations: Direct Cinema.” American Documentary Film: Projecting the Nation, Edinburgh University Press, 2011, pp. 154–85. JSTOR, http://www.jstor.org/stable/10.3366/j.ctt1r28f9.12. Accessed 28 Nov. 2023.

Grant, Barry Keith, and Frederick Wiseman. “Titicut Follies (1967).” Five Films by Frederick Wiseman: Titicut Follies, High School, Welfare, High School II, Public Housing, 1st ed., University of California Press, 2006, pp. 15–50. JSTOR, http://www.jstor.org/stable/10.1525/j.ctt1pnqhc.7. Accessed 28 Nov. 2023.

“Primary.” Drew Associates, https://drewassociates.com/films/primary/. Accessed 27 Nov. 2023.

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newmusicradionetwork · 1 year

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Indie Country Music Up & Comer Seth Alexander Set To Release “Till Your Boots Are Dirty”

Nashville-based singer-songwriter and indie country recording artist Seth Alexander (Platform EightyNine Music) announced the scheduled release of his newest single “Till Your Boots Are Dirty.”* Penned by Nashville songwriters Danny Wells, Billy Croft and Richard Donahue, and co-produced by Donahue/Next Level Entertainment (Nashville, TN), the track will be available via all digital retail outlets and streaming platforms Friday, March 17, 2023. (Presale/pre-save event begins March 3, 2023; digital services provided by Ed Gertler/Digital Streaming Services.) Signature guitar licks keep steady time with hard-hitting percussion to drive home matter-of-fact lyrics that reinforce a storyline staking claim to a prideful rural recognition earned. The mid-tempo leads toward a dancefloor favorite. “I come from a small farm town in Idaho; when I initially heard the demo, it just hit home for me,” said New Plymouth, Idaho native, Seth Alexander. “Working a farm or a ranch is not a trend; you have to live the lifestyle to really understand it. Wearing dirty boots comes with the territory, and that dirt carries a lot of prideful weight.” YOU AIN’T COUNTRY TIL YOU HELP YOUR NEIGHBOR LEND A HAND DO A FAVOR TAKE UP THE SLACK GIVE SOMETHING BACK YOU AIN’T COUNTRY TIL YOUR FOUR-WHEEL PLOW BEHIND THE TRACTOR BREAKS SOME GROUND AND STIRS UP SOME DUST YEAH THAT’S A MUST YOU AIN’T COUNTRY TIL YOU STUCK YOUR TRUCK, KNEE-DEEP OUT IN THE MUD WAY BACK IN THE STICKS THAT’S HOW IT IS LATE TO BED AND BACK UP EARLY YOU AIN’T COUNTRY NO TIL YOUR BOOTS ARE DIRTY The corresponding “Till Your Boots Are Dirty” lyric video will be available March 23, 2023. Track Info Artist: Seth Alexander Song Title: “Till Your Boots Are Dirty” Label: Platform EightyNine Music Written by: Danny Wells/Billy Croft/Richard Donahue Produced by: Richard Donahue Distribution by: Ed Gertler/Digital Retail Streaming Services Release Date: March 17, 2023 Presale/Pre-Save Event: March 3, 2023 Run Time: 3:09 ABOUT The Oregon-born dream seeker moved to Music City in 2018. Within 12 months of Seth Alexander’s arrival, his day job landed him a chance to meet with one of Nashville’s respected producers, Richard Donahue. Donahue, who was a former band member of The Accents (signed to RCA Records for 12 years), transitioned to artist development and production. The two quickly developed camaraderie. The working relationship brought Seth into the studio where he recorded alongside the likes of Kerry Marx (Musical Director for the Grand Ole Opry), Catherine Marx and Tommy Harden (Reba’s keyboard player and drummer) and Tony King (harmony vocalist for Brooks and Dunn). Seth’s musical tastes were influenced early on by the tunes that sang from the car stereo of his granddad’s old red Datsun (Haggard, Jones, Keith Whitley, George Strait and Garth), and “cousin Bobby” who played at fairs and festivals, and carried Seth in tow. Seth learned to play guitar as a six-year-old on an instrument that his granddad bought for him at a garage sale. Honing his song craft, Seth took cues from Bobby and two of his favorite songwriters, Craig Wiseman and Jeffrey Steele. An active member of the Music City community, Seth maintains a steady writing appointment schedule with some of Nashville’s finest; he’s performed at notable venues including The Local, Live Oak and Commodore Grille. He released two original tunes in 2022 (“Millionaire” and “Neon Bar”); the corresponding “Millionaire” music video debuted on The Country Network. Read the full article

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bojopexono · 2 years

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Okeson tmj book pdf

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80smovies · 3 years

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#Overboard #Garry Marshall #Goldie Hawn #Kurt Russell #Jared Rushton #Jeffrey Wiseman #Brian Price #Jamie Wild #Leslie Dixon #80s

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90smovies · 5 years

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Home Alone

#Chris Columbus #John Hughes #Jeffrey Wiseman #Mitch Murphy #Kristin Minter #Devin Ratray #Buzz McCallister #Kevin McCallister #Macaulay Culkin #Home Alone #Home Alone 1990

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dweemeister · 6 years

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Overboard (1987)

Amnesia and romance are old companions in narrative art. Garry Marshall’s Overboard is one entry in that long-standing relationship beset with clichés and predictability. Overboard, too, dabbles in those same clichés and is also a bit predictable. Nothing about this film is surprising. But what elevates Overboard above many of its 1980s romantic comedy peers is the natural charm of its central performances and its delightful jokes. The film stars Goldie Hawn and Kurt Russell in the real-life couple’s third and most recent film together – after Swing Shift (1984) and The One and Only, Genuine, Original Family Band (1968; Hawn has a cameo) – and, by some distance, their best work together. The screenplay by Leslie Dixon recalls the great screwball romantic comedies of the 1930s and ‘40s (I’m not a fan of humor that combines cruelty and raunchiness, so this approach appealed to me) updated somewhat for the ‘80s. It all combines to comic, even heartwarming, results.

The heiress Joanna Stayton (Hawn) is the arrogant, haughty spouse of Grant Stayton III (Edward Herrmann). While their yacht is docked off Elk Cove, Oregon, handyman Dean Proffitt (Russell) is hired to remodel her closet. Joanna, giving no directions to Dean before he took the job, is furious when he uses oak instead of cedar. The two spout their frustration at each other, ending with her tossing him off the departing yacht without compensating him. Later that night, Joanna falls overboard, is fished out of the water by a garbage ship, and awakens in the hospital with amnesia. Dean, hearing about the news, has revenge on his mind, and seeks to have Joanna work around his house and for his four disorderly sons (Brian Price, Jared Rushton, Jamie Wild, and Jeffrey Wiseman) by posing as her husband of thirteen years. Joanna Stayton becomes Annie Proffitt. But vengeance turns into love, and Overboard handles this as compassionately and as respectfully any film that would attempt such a conceit can.

Overboard’s characters also includes Joanna’s mother, Edith (Katherine Helmond); the yacht butler Andrew (Roddy McDowall); and Dean’s best friend Billy (Michael G. Hagerty). Garry Marshall’s favorite character actor, Héctor Elizondo (who appeared in all of Marshall’s directorial works), has an important cameo as the garbage scow skipper.

Going into Overboard, the opening twenty minutes or so are like something from a Preston Sturges or Billy Wilder screwball comedy. The lifestyle porn might not be as flashy as one might expect from a gazillionaire family (if Overboard had the budget of a James Bond movie, Garry Marshall should have poured half that budget into decking out the yacht with ridiculous technology and 1980s gold-plated Trumpian/Gordon Gekko opulence), but the very fact that there is a yacht, several waitstaff, and a snooty couple always calls for a gate-crashing character. Enter Dean – so repulsive, so horribly dirty to Joanna – as the Sturges-esque everyman given a backwoods twist. As the foil, Dean schemes to exploit Joanna’s amnesia and to humiliate her – as someone who despises unnecessary nastiness in comedies, my internal klaxons were sounding – which may prove to be overwhelming for those who often feel for a character’s secondhand embarrassment Overboard dangles perilously over the chasm of Stockholm Syndrome, only to be saved by what Joanna brings to the narrative (I imagine some readers will disagree with me here, and that is fine).

Leslie Dixon’s (1993′s Mrs. Doubtfire, 2003′s Freaky Friday) screenplay assures that Joanna finds her own goodness by the force of her own nature. Dean hurls personal and physical insults towards “Annie” in the early days they are together, so she is finding very little solace there. The chores are backbreaking at the Proffitt household, with clothes, toys, and appliances strewn across the ground and on the furniture. She receives little to no help there but will become better at these chores she has never had to complete herself. The film’s harshest critics claiming that Dixon’s screenplay is undermining a strong female protagonist by having her endure all this abuse and discover herself through housework are missing the point – Joanna was never a strong character to begin with and housework is not what makes her transform into the woman she does become. Invoking one’s wealth to denigrate others – no matter how wittily, no matter how implicitly – is insecurity epitomized.

Where Joanna begins to find her own sense of belonging and inner strength is when she hears how the four Proffitt boys are being mistreated and talked about by their teacher. The sons have not been very hospitable to their “mother”, either, so one could say that Joanna – amnesia aside – has no obligation to help them. But she finds the courage and the words to stand up for the four boys in a way that their father never has, calling the teacher an, “anal, compulsive Hun”. She continues:

And my children may be rotten, but they’re mine. And I think that they’re bright and sensitive, so I have no doubts whatsoever about their intelligence.

This is where Overboard turns from its revenge plot and never looks back. She has forgiven her sons (no quotation marks needed there) for their countless flaws. As the film can find the inner beauty in Joanna, so too can Joanna see it in the four rambunctious children she is taking care of. This care, thankfully, is not a one-way street, as the children and even Dean realize that she is setting an example for them to follow, that there will be expectations even in forgiveness and an act of defense. After this point, the charms of Hawn’s and Russell’s chemistry finally pay off and pickier viewers can feel a bit more comfortable at laughing at the slob humor of the film’s opening half. They transform along with their characters as they learn when to give and when to take. The changes come gradually – there is never any instant awakening from Joanna; Dean has zero idea how to be a father to his sons and not just a friend. Where they may have been on different terms and opposing wavelengths before, they now commit to struggle together. When one notices those changes, the film’s sweetness is infectious.

As with any romantic comedy, good times will last (eventually), but there will always be a final interruption before the protagonists can resume with the happiness they have built. Overboard’s iteration of this is unsurprising (as are the entire film’s structure and plot developments), but comes with some concise, considered words from Roddy MacDowall’s character of Andrew (of course these lines were delivered by an outstanding character actor with a lengthy career mostly behind him). Together, director Garry Marshall and screenwriter Leslie Dixon may not have created the funniest – which I have not commented on much here because spoilers in movie reviews set unrealistic expectations on comedies especially – or even the most well-meaning romantic comedy. Do not think too much about John A. Alonzo’s mediocre camerawork and Alan Silvestri’s distractingly dated, banjo-and-electronics blended score and Overboard will be a pure delight.

An inconsistent decade of moviemaking disappointments and successes followed for Goldie Hawn as she became less comfortable with the changing winds in executive Hollywood and would begin to increasingly dedicate herself to her eponymous non-profit foundation. For Kurt Russell, a decade of masculine consistency with films like Backdraft (1991) and Tombstone (1993) helped shape the public persona he retains today. The late Garry Marshall continued to direct and produce comedic films until the end of his career. For Marshall, he considered Overboard one of the funniest films he ever directed. I am not one to disagree as the screwball familiarity of Overboard’s formula is helped by the earnestness of its performances and strength of its (eventual) messages.

My rating: 7.5/10

^ Based on my personal imdb rating. Half-points are always rounded down. My interpretation of that ratings system can be found here.

#Overboard #Garry Marshall #Goldie Hawn #Kurt Russell #Edward Herrmann #Katherine Helmond #Roddy McDowall #Brian Price #Jared Rushton #Jamie Wild #Jeffrey Wiseman #Leslie Dixon #My Movie Odyssey

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jewishbookworld · 3 years

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Agnon's Tales of the Land of Israel; Edited by Jeffrey Saks, Shalom Carmy

Agnon’s Tales of the Land of Israel; Edited by Jeffrey Saks, Shalom Carmy

Foreword: Steven Fine “As a result of the historic catastrophe in which Titus of Rome destroyed Jerusalem and Israel was exiled from its land, I was born in one of the cities of the Exile,” S. Y. Agnon declared at the 1966 Nobel Prize ceremony. “But always I regarded myself as one who was born in Jerusalem.” Agnon’s act of literary imagination fueled his creative endeavor and is explored in…

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#Alan Mintz #Avraham Holtz #hillel halkin #Jeffrey Sak #Laura Wiseman #Moshe Simkovich #Pickwick Publications #Shalom Carmy #Shulamith Z. Berger #Steven Fine #Steven Gine #Wendy Zierler #Zafrira Cohen Lidovsky

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tcm · 3 years

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The Golden Boy, John Garfield By Susan King

Stanley Kowalski in Tennessee Williams’ A Streetcar Named Desire was Marlon Brando’s signature role. It made the then 23-year-old Brando an overnight Broadway sensation in 1947, and he electrified movie audiences and earned his first Oscar nomination for the classic 1951 film version. But he wasn’t the first choice to play Blanche’s earthy brother-in-law. Producer Irene Selznick had her eyes on Hollywood star John Garfield, who frequently took time out from movies to return to the Great White Way for limited runs.

In fact, writer John Lahr reported in 2014 that on July 19, 1947, Selznick drew up a contract for the 34-year-old actor, “one of the few sexy Hollywood stars with a proletarian pedigree. The Selznick office leaked the big news to the press. The contract was never signed. On August 18 the deal with Garfield collapsed.”

One of the reasons bandied about was that Garfield turned down the role because the contract would have kept him away from Hollywood for too long. Though Brando is considered the performer who ushered in the more naturalistic style of acting (known as “the Method”) both on stage and in film, truth be told it was Garfield who was the catalyst for Brando, as well as Montgomery Clift, Paul Newman, James Dean and Steve McQueen.

Just look at Garfield’s first feature film, FOUR DAUGHTERS (’38). Directed by Michael Curtiz, the cast includes Lane sisters Lola, Rosemary and Priscilla, in addition to Gale Page as the four musically inclined daughters of a widower music professor (Claude Rains). Enter handsome boy-next-door Jeffrey Lynn as a budding composer named Felix who endears himself with all the daughters, especially peppy Ann (Priscilla Lane).

The household is put in an uproar with the arrival of Garfield’s Mickey Borden, the original rebel anti-hero. Unkempt, slovenly and possessing a massive chip on his shoulder, Mickey is an orchestrator who has arrived at the house to work with Felix. You can’t keep your eyes off him especially in this early monologue where he explains his anger to Ann:

“They’ve been at me now nearly a quarter of a century. No let-up. First, they said, ‘Let him do without parents. He’ll get along.’ Then they decided, ‘He doesn’t need education. That’s for sissies.’ Then right at the beginning, they tossed a coin, ‘Heads he’s poor, tail’s he’s rich.’ So, they tossed a coin…with two heads. Then for the finale, they got together on talent. ‘Sure, they said, let him have talent. Not enough to let him do anything on this own, anything good or great Just enough to let him help people. It’s all he deserves.’”

There was a sexuality and eroticism to Garfield’s performance that was 180 degrees different from Lynn’s durable and safe leading man. He was so natural; it was almost like someone found Garfield walking down the street in the Bronx and asked him to star in the movie. “He was the prototypical Depression rebellion youth,” actor Norman Lloyd told me about Garfield for the L.A. Times in 2003. They first met in 1937 and worked together on Garfield’s final film HE RAN ALL THE WAY (’51).

“He combined all of these elements of darkness and rebelliousness with the charm and the poignancy and he became the prototypical actor of that time. He never changed as a person. He remained just as a wonderful guy. He was a man of great charm, a good fellow, very likable.”

There was a lot of Mickey in Garfield, who was born Jacob Julius Garfinkle in 1913 on the Lower East Side of New York to poor Russian immigrants. Julie, as he was called, had a rough and tumble upbringing. His mother died when he was seven. “He hated his father,” his daughter Julie Garfield noted in 2003. “His father was awful to him. He was torn away from his brother.” In fact, Garfield once said that if he hadn’t become an actor, he would have been “Public Enemy No. 1.”

Unlike Mickey, the fates and destiny were looking after him. First, it was educator Angelo Patri, who became a surrogate dad to Julie at P.S. 45, a high school for troubled students. With Patri’s encouragement, he joined the debate team where he discovered he had a gift for acting. That was further nurtured when he received a scholarship to Maria Ouspenskaya’s acting school. He was all of 18 when he made his Broadway debut in 1932 in Lost Boy and became the youngest member of the progressive and influential Group Theatre, appearing in Clifford Odets’ early masterpieces Waiting for Lefty and Awake and Sing.

Odets wrote the play Golden Boy for Garfield in 1937, but director Harold Clurman decided to give the lead role of boxer Joe Bonaparte to Luther Adler and cast Garfield in a minor role. His unhappiness with Clurman’s decision pushed Garfield into signing a contract with Warner Bros. And FOUR DAUGHTERS made him an overnight sensation. He earned a Supporting Actor Oscar nomination, but lost to Walter Brennan who picked up his second Academy Award in that category for Kentucky (‘38).

The following year, Garfield, Rains, the Lane siblings, Page and Curtiz reunited for DAUGHTERS COURAGEOUS, in which the actors played different characters from the prior film. It was probably the best film Garfield made that year. But Warner Brothers put him in a lot of movies that were unworthy of his talent including BLACKWELL’S ISLAND (’39) where he was typecast as a gangster. He made some good movies in 1941, including THE SEA WOLF, which also starred Edward G. Robinson and Ida Lupino and reunited him with Curtiz, and also Anatole Litvak’s atmospheric noir OUT OF THE FOG also with Lupino.

Because he suffered heart damage from scarlet fever, Garfield couldn’t serve during World War II. But he entertained the troops on USO tours and opened the famous Hollywood Canteen with Bette Davis so the troops could be entertained and be served by some of Hollywood’s biggest stars. Both Davis and Garfield appeared as themselves in the hit 1944 film HOLLYWOOD CANTEEN. Garfield also fought the global conflict on screen, giving one of his strongest and grittiest performances in PRIDE OF THE MARINES (’45), a poignant drama based on the life Al Schmid who was blinded by a grenade during the Battle of Guadalcanal. He returns home to his wife (Eleanor Powell) a bitter, doubting man who has a difficult time trying to deal with his new life.

The year 1946 saw the release of two of Garfield’s most enjoyable films HUMORESQUE and THE POSTMAN ALWAYS RINGS TWICE. HUMORESQUE was his last film under his Warner Bros. contract. It’s a delicious melodramatic wallow with Garfield playing a poor New York kid who becomes a famous concert violinist. Joan Crawford, coming off her Oscar-winning triumph in Mildred Pierce (’45), plays a wealthy patroness who sets her sights on Garfield. Garfield went to MGM for POSTMAN, which was based on James M. Cain’s best-selling thriller. Garfield turns up the heat with Lana Turner as illicit lovers who brutally murder her husband only to turn on each other when they are caught.

The actor teamed up with Bob Roberts to form an independent production company, Enterprise Productions, and their first feature was the boxing classic BODY AND SOUL (’47), for which he earned his second Oscar nomination as Charley Davis, a boxer who loses his way when he gets involved with an unscrupulous promoter. Not only does he have a strong chemistry with leading lady Lilli Palmer, but also African American actor Canada Lee as Ben, a boxer with brain damage. And Garfield gets to utter one of his greatest lines in BODY AND SOUL: “What are you going to do? Kill me? Everybody dies.”

Though his next Enterprise production wasn’t a hit, FORCE OF EVIL (’48), co-written and directed by Abraham Polonsky, is a terrific film noir with a hard-hitting Garfield as a corrupt attorney trying to save his numbers-racket brother (Thomas Gomez) from his gangster boss. Garfield returned to Warner Bros. and Curtiz in 1950 for THE BREAKING POINT, which was based on Hemingway’s 1937 novel, To Have and Have Not. It’s an outstanding film noir with a superb performance from Garfield as well as from Black actor Juano Hernandez who plays his partner on the fishing boat.

THE BREAKING POINT was Garfield’s penultimate film and was not a hit because The Blacklist was engulfing Hollywood and the actor, despite the fact he wasn’t a Communist. His film career was over in 1951 when he refused to cooperate with HUAC at his hearing. Before his death of a heart attack in 1952 at the age of 39, Garfield did appear in a short-lived Broadway revival of Golden Boy, which also starred Lee J. Cobb, a young Jack Klugman and Joseph Wiseman.

Though she was only 6 ½ when he died, Julie Garfield recalls seeing her father on stage in Golden Boy where he introduced her during the curtain call. “When he smiled at you it was like being in the sun,” she noted. “He was funny and sometimes he would like to dance and kick up his legs. I remember him adoring me. He used to take me to the merry-go-round a lot in New York. He was so strong, so handsome and he loved to kid me. He would give me this mischievous smile. I wish I remembered more about him…”

#John Garfield #Method Acting #Marlon Brando #Golden Boy #theatre acting #The Sea Wolf #Body and Soul #Four Daughters #Susan King #TCM #Turner Classic Movies #Huac #blacklist

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ellaenchanting · 4 years

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Resources List for “Hold Your Applause: Addressing the Feeling of Being a Fraud” presentation- Updated for 2023!

This resource list goes with my @beguiledcon 2023 imposter Syndrome Class (link to presentation notes upcoming). I’m happy to add new resources if you leave me a note in the comments. Articles will be in italics and books in bold. Feel free to repost/reblog!

IMPOSTER SYNDROME 101

Review of the current scientific literature regarding imposter syndrome

Self Test for Imposter Syndrome

Neil Gaiman on Imposter Syndrome (thanks @dommestic!)

Psychology Today’s Imposter Syndrome articles directory

Imposterism by @ultinath

Presence: Bringing Your Boldest Self to Your Biggest Challenges by Amy Cuddy

The Confidence Code: The Science and Art of Self-Assurance---What Women Should Know by Katty Kay and Claire Shipman

IMPOSTER SYNDROME AS A SOCIAL PHENOMENON

Stop Telling Women They Have imposter Syndrome

How Do I Overcome Imposter Syndrome? tiktok

(resources and inspiration for this section by the lovely Velvetine_Rabbit- thank you!)

SELF HELP FOR CONFIDENCE STRUGGLES

Cognitive Behavioral Therapy(CBT):

More information about cognitive distortions and strategies for questioning them

Feeling Good: The New Mood Therapy by David Burns

Acceptance and Commitment Therapy (ACT):

Information on using defusion strategies to address negative thinking

Mental Health “Monster” Illustrations

The Happiness Trap by Russ Harris

Dialectical Behavioral Therapy (DBT):

More information on opposite action

The Dialectical Behavior Therapy Skills Workbook: by Matthew McKay, Jeffrey C. Wood, Jeffrey Brantley

TIPS ON SHAME/SELF KINDNESS

Article on why self compassion is effective

Additional articles/exercises on self compassion by Dr Kristen Neff

Brene Brown video on shame/vulnerability

I Thought it Was Just Me by Brene Brown

TIPS FOR STARTING THERAPY

Kink Aware Professionals Therapist Directory

How I Found a Kink-Positive, Polyamory-Savvy Therapist by Kate Sloan

Fundamentals of Therapy #3: The First Session by Ryan Howes

RESOURCES FOR BEGINNING (AND IMPROVING!) HYPNOTISTS

@binaural-histolog‘s Tumblr especially From Newbie to Hypnotist

Learn Hypnokink website- by @h-sleepingirl and @gleefulabandon

Setting Your Subject Up For Success class notes from @sex-obsessed-lesbian

A Study in Kink blog

@notthesecretsubject‘s educational playlist (especially How YOU Can Become a Better Hypnotist, How to Do Erotic Hypnosis, An Introduction to Hypnotic Inductions)

Beginner’s Introduction to Erotic Hypnosis class by Mesmerotic UK

Hypnokink 101 with Hypnostory and panda ($ video but with lots of hours of content)

Two Hyp Chicks podcast (especially Where to Start?, Improving as Subjects and Hypnotists, and Utlization)

@h-sleepingirl‘s article archive

Trancing in the Sheets video series by Kaz Riley

James Tripp’s Hypnosis Without Trance videos

My Resisting the Top file (combo resistance play with toppy confidence file)

You Know More Than You Think file - by @tennfan2- For switches learning to lean into their top side

Video on working with people with ADHD from @sweettist

Zebu cards - Playing cards with Eriksonian hypnotic phrases- helpful for people learning to speak hypnotically (See also - Salad cards).

Mindplay by Mark Wiseman

RESOURCES FOR BEGINNING (AND IMPROVING!) SUBJECTS

On Becoming a Skilled Subject by @h-sleepingirl

Learn Hypnokink website- by @h-sleepingirl and @gleefulabandon

Beginner’s Introduction to Erotic Hypnosis class by Mesmerotic UK

@arihi‘s posts on improving as a subject here and here

A Message for Hypnokinky Submissives by @jukeboxemcsa

Some Thoughts on the Acting Dilemma

Hypnosis for People Who Want to Be Hypnotized bu @ultinath

Two Hyp Chicks podcast (especially What Does Trance feel like?, Where to Start?, Improving as Subjects and Hypnotists, and Subject Skills and NLP reframing)

@notthesecretsubject‘s educational playlist

Hypnokink 101 with Hypnostory and panda ($ video but with lots of hours of content)

@wellgnawed has some files focused on gradually improving hypnotic skills here

Test Hypnosis Game by @h-sleepingirl

Six Days Asleep by @h-sleepingirl (self hypnosis zine)

Train Your Hypnokink Subject Agency by Annalisedefere

Here and Now by @tennfan2 File to help build suggestibility as well as the ability to accept/reject suggestions

Mindplay by Mark Wiseman

KINK 101/CONFIDENCE FOR NEW TOPS/BOTTOMS

The New Topping Book and The New Bottoming Book by Dossie Easton and Janet Hardy

#resources list #class notes #hypnosis 101

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tabloidtoc · 5 years

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Hollywood Reporter, October 30

Cover: Fighting for the Future of Film

Page 2: Contents

Page 4: Contents

Page 11: The Report -- AT&T’s shadow war resets as activist investors claim wins

Page 12: Why Wall Street doesn’t mind cable’s “Dark” pay TV future

Page 14: When movies shift over to streaming: Bonuses just go out the window, When will Netflix finally end its content cash burn?

Page 16: $0 is magic number for new streamers: It’s About Scale, Wanna Boost Box Office -- host a Q&A

Page 18: Box Office, Broadcast TV, Cable TV, Billboard Hot 100, Billboard 200

Page 20: Tribute to Robert Evans -- William Friedkin

Page 21: Rose McGowan, Joe Eszterhas, Phillip Noyce, Christine Peters

Page 22: Feinberg Forecast -- Nominations, Britannias and Oscar Prom in October -- Best Picture -- The Irishman, 1917, Actor -- Matt Damon, Actress -- Scarlett Johansson, Director -- Greta Gerwig, Original Screenplay -- Us

Page 24: 7 Days of Deals -- How Endemol turns Banijay into a truly global TV powerhouse, It’s a Bird It’s a Plane It’s a lot more spinoffs, Rights Available -- Thumbs by Sean Lewis, Tiny Imperfections by Alli Frank and Asha Youmans, Film -- Rachel Weisz, Bill Condon, Craig Mazin and Ted Elliot to develop a Pirates of the Caribbean reboot, Shia LaBeouf and Vanessa Kirby, Kelly Marie Tran

Page 25: Justin Bieber, Television -- Dwyane Wade, Amy Poehler, Johnny Galecki and Anthony Del Broccolo, Alia Shawkat and Jeff Bridges, Digital -- Jared Harris and Lee Pace to star in Apple+ space drama Foundation, Beau Willimon, Freddie Prinze Jr., Joseph Mawle will play the main villain on Amazon’s Lord of the Rings series, Rep Sheet -- Gwyneth Paltrow, Ozuna, Ross Mathews, Chris Diamantopoulos, Ayesha Curry, Next Big Thing -- Ana de la Reguera

Page 27: Why Hollywood still doesn’t have a consensus presidential candidate

Page 28: Long before #MeToo a showbiz secretary skewered Selznick

Page 29: The unconventional path of Prince’s memoir -- Esther Newberg, Ian Schrager returns to the Sunset Strip

Page 30: About Town -- Governors Awards -- Laura Dern and Isabella Rossellini and Kyle MacLachlan, Jennifer Lopez, Jon Hamm and Olivia Wilde, David Lynch, Tom Hanks, Leonardo DiCaprio and Quentin Tarantino, Lina Wertmuller, Charlize Theron and John Lithgow and Regina King and Damon Lindelof, Wes Studi and Christian Bale, Geena Davis and Jim Gianopulos, Mark Twain Prize -- Elaine and Dave Chappelle, Tiffany Haddish, Morgan Freeman and Chris Tucker, Nancy Pelosi, Common and daughter Omoye Assata Lynn

Page 31: Britannia Awards -- Donald Glover and Phoebe Waller-Bridge, Kerry Washington and Lupita Nyong’o, John C. Reilly, Taron Egerton and Dexter Fletcher, Norman Lear, Jordan Peele and wife Chelsea Peretti, Michael Howells and wife Courtney Howells and Matthew Wiseman and wife Lisa, Jackie Chan and Vin Diesel, Steve Coogan and Chantal Rickards and Hilary Roberts, Lorne Michaels, Bradley Cooper with daughter Lea De Seine Shayk Cooper, Michael Che and Colin Jost

Page 32: Yes I Did Say That! Rachel Maddow, Bob Iger, Ted Mundorff, Tyler Perry, Kelly Bachman, Martha Stewart on Felicity Huffman, Amanda Knox on Lady Gaga, Kurt Sutter, Flashback -- Arnold Schwarzenegger in 2015

Page 34: Rambling Reporter -- Josh Brolin avenges Santa Monica crime fighters, Strauss Zelnick goes topless in youth pill ad, how Koch went from Howard to Hawk, the day Taika Waititi made little Archie Yates cry

Page 35: Hitched, Hatched, Hired, Power Dining -- Lenny Kravitz, Haim Saban, Maria Shriver and son Patrick Schwarzenegger, Lindsey Vonn, Bob Simonds, Jake Gyllenhaal, Andrew Garfield, Jeffrey Katzenberg, Joel Silver, Gary Gilbert, Natalie Portman and Ellen Pompeo double date, Jason Momoa, Lea Michele, Harrison Ford

Page 36: The Business -- Mimi Leder

Page 38: Who broke NDAs for Bombshell

Page 42: Who Wants to Take on Fox News?

Page 44: My plea for a best blockbuster Oscar

Page 45: Behind the Screen -- The sound of a de-aged De Niro

Page 48: Style -- Ralph Lauren shares insights about his life and work on the eve of the HBO documentary Very Ralph

Page 50: The “Shape Shifter” costumes of Harriet

Page 52: Dan Aykroyd’s haunted hotspots

Page 54: Cover Story -- The Executive Roundtable

Page 62: Welcome to the Flim Flam Film Fest

Page 66: Awards Season -- 42 movies in on Oscar

Page 70: Making of Marriage Story

Page 74: Reviews -- The Morning Show

Page 75: Social Climbers -- Actors -- Zac Efron, Kristen Bell, Scripted TV -- Rick and Morty, TV Personalities -- Trevor Noah

Page 77: Backlot -- Rob Riggle’s plans to play nice as awards show host

Page 78: Dr. Mehmet Oz on his show’s health, past mistakes and his future

Page 80: 90 Years of THR -- In 1984 Terminator arrived and (kept coming back)

#tabloid #hollywood

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blognews · 2 years

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Przeraźliwe żniwo „wyszczepiania” sił zbrojnych US

27.01.2022r

Podczas niezwykle ważnej konferencji zorganizowanej 24 stycznia 2022 r. w Waszyngtonie przez senatora Rona Johnson, wypowiadali się liczni naukowcy i lekarze. Zaprezentowano dokumenty, które wypłynęły z wojskowej bazy danych, pokazujące dewastujące żniwa jakie zbierają tzw. „szczepionki” przeciwko COVID-19.

W pięciogodzinnym panelu dyskusyjnym zatytułowanym „Covid-19: Druga opinia”, wzięli udział m.in. dr Peter McCullough, dr Bret Weinstein, dr Jay Bhattacharya, dr Ryan Cole, dr Harvey Risch, dr George Fareed, dr Pierre Kory, dr Richard Urso, dr Paul Marik, dr Aaron Kheriaty, dr Robert Malone i dr David Wiseman.

Jako jeden z wielu zaproszonych, prawnik Thomas Renz przedstawił podczas dyskusji szczegóły dokumentów pochodzących z wojskowej bazy danych DMED (Defense Medical Epidemiology Database) potwierdzające to, co diagnozują wojskowi lekarze, a o czym jednak nikt w społeczeństwie – ani w armii – nie jest informowany. Wypowiedź prawnika Thomasa Renz

Dane DMED pokazują, że w wyniku (przymusowego) „szczepienia” wszystkich żołnierzy i pracowników cywilnych, wszystkich rodzajów sił zbrojnych Stanów Zjdnoczonych, zanotowano między innymi:

– problemy neurologiczne – wzrost o 1000% (z 82 tys. przypadków rocznie, do 863 tysięcy przypadków w ciągu zaledwie 11 miesięcy roku 2021);

– zatorowość płucną (Pulmonary embolisms) – wzrost o 471%;

– diagnozy chorób nowotworowych – wzrost o 300% (z 38 700 przypadków rocznie, liczonych jako średnia z ostatnich pięciu przedpandemicznych lat, do 114 645 w ciągu 11 miesięcy 2021 roku);

– zapalenie mięśnia sercowego (myocarditis) – wzrost o 296%;

– porażenie Bella – wzrost o 291%;

– niepłodność u kobiet – wzrost o 471%;

– defekty u dzieci urodzonych przez kobiety służące w siłach zbrojnych – wzrost o 156%;

– poronienia – wzrost o 300%.

Biorąc pod uwagę niemal półtoramilionowe siły zbrojne USA, skala problemów neurologicznych występujących u 62% żołnierzy i personelu, jako skutek zastosowania „bezpiecznego” preparatu, jest zatrważająca. Te tzw. „szczepionki” przeciwko COVID-19 są wyjątkowo niebezpieczne i są również wyjątkowo nieskuteczne, gdyż nie chronią dosłownie przed niczym, a wręcz przeciwnie, przyczyniają się do pomnażania chorób: każda osoba „zaszczepiona” jest bardziej narażona na wszelkie infekcje, w tym i te mające pochodzić od „koronawirusa” i rzekomych mutacji. Co zresztą świat obserwuje podczas „fali warianta Omikron”, gdy chorują i umierają głównie osoby „zaszczepione”.

Dane pokazują, że ich „skuteczność” polega jedynie na wzroście zachorowań na całą długą listę różnych chorób. Przypomnijmy, że „skuteczność” tych preparatów, kiedy reklamowano je jako „skuteczne przeciwko Covid-19 w 95%”, wynosiła nie 95% (zastosowano propagandowy wskaźnik RRR), lecz poniżej 1% (prawdziwy wskaźnik ARR). Później, gdy przyznano, że ich „skuteczność zmalała”, co doprowadziło do aplikowania drugiej i kolejnych dawek, ich skuteczność zmalała do ułamka procenta, by przejść do wyników ujemnych oznaczających zwiększoną podatność osób „zaszczepionych” na choroby.

Masowe „wyszczepianie” ludzkości jest największą zbrodnią przeprowadzoną pod pretekstem „ochrony i prewencji medycznej”, a wymuszanie i propagowanie obowiązkowego „szczepienia” sił zbrojnych zabójczym, eksperymentalnym, genetycznym, słabo zbadanym preparatem, w ten sposób niszczącym możliwości obrony kraju, może podlegać tylko jednemu możliwemu wyrokowi: karze śmierci.

Warto zaznaczyć, że senator Ron Johnson zaprosił do udziału w tej konferencji również następujące osoby, które ODMÓWIŁY udziału: dr n. med. Rochelle P. Walensky (dyrektor Ośrodków Kontroli i Prewencji Chorób; dr n. med. Janet Woodcock (p.o. komisarza amerykańskiej Agencji ds. Żywności i Leków), dr n. med. Anthony S. Fauci (dyrektor Narodowego Instytutu Alergologii i Chorób Zakaźnych oraz Główny Doradca Medyczny Prezydenta USA), dr Lawrence A. Tabak (diagnosta dysmorfologiczny, p.o. Dyrektora Narodowych Instytutów Zdrowia), Jeffrey D. Zients (koordynator ds. koronawirusa w Białym Domu), dr hab. weterynarii Albert Bourla (przewodniczący i dyrektor generalny firmy Pfizer), dr n. med. Uğur Şahin (Dyrektor Generalny firmy BioNTech), dyplomowany menadżer Stéphane Bancel (dyrektor generalny firmy Moderna Therapeutics), dr n. med. Ashish K. Jha (dziekan Brown University School of Public Health), dr n. med. John R. Raymond sr. (prezes i dyrektor generalny Medical College of Wisconsin), prof. n. med. Jonathan Reiner (dyrektor Laboratoriów Cewnikowania Serca), dr n. med. Scott Gottlieb (były komisarz amerykańskiej Agencji ds. Żywności i Leków), dr hab. n. med. Francis S. Collins (były dyrektor National Institutes of Health) i dr Rick Bright (były dyrektor Urzędu ds. Badań i Rozwoju Biomedycznego Postępu). Nie ma wątpliwości, że ŻADNA z tych osób nie zamierza dyskutować na temat bezpieczeństwa i skuteczności „szczepionek”.

Źródło: Bibula.com

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