#daughters of Eve is such a 1970s novel
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I’m so tired of being gaslit by these half-assed updated Lois Duncan novels. All I want to know is whether the pretty popular girl with the creep-ass boyfriend in Daughters of Eve is named Fawn or Fern. Because I know it’s not Madison!!!
#like it’s so stupid#daughters of Eve is such a 1970s novel#no amount of Madisons can make it seem not-dated#and ignoring that instead of leaning into the historical nature just makes it seem dated by accident#don’t get me started on the polio backstory in ransom
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Holidays 1.5
Holidays
American Divorce Day
Apple Howling Day
Carnival begins (Old Bohemia)
Carnaval Blancos Negros, Day 2: The Day of the Blacks (Colombia)
Dia de la Toma (Spain)
Eve of Wonder
Fair Deal Day
Fathers' Day (Оци; Serbia)
501st Legion Day (UK)
Flint Day (French Republic)
FM Radio Day
George Washington Carver Day
Get on the Computer Day
International Declutter Day
International Ice and Snow Sculpture Festival (Harbin, China)
Joma Shinji (Kamakura, Japan)
Kappa Alpha Psi Day
Little Cold begins (Chinese Farmer’s Calendar)
Monopoly Game Day
Mr. Ed Day
National Bird Day
National Day of Dialogue
National Don’t Talk Day
National Ellen Day
National Screenwriters Day
National Second-Hand Wardrobe Day
Nellie Ross Day (Wyoming)
Night of the Magic Camel (Southern Syria)
Red Hackle Anniversary Day of the Black Watch
Review Your Wrestling Holds Day
Right of Self Determination Day (Pakistan)
Take Our Daughters and Sons to Work Day (Brisbane, Melbourne, Sydney; Australia)
Tucindan (Serbia, Montenegro)
Turn Up the Heat Day
Food & Drink Celebrations
Can Opener Day
Granny Smith Day
National Keto Day
National Whipped Cream Day
Sausage Day (UK)
Strawberry Day (Ichigo No Hi; Japan)
Take the Cake Day
Whipped Cream Day
1st Friday in January
Gals Night Out [1st Friday]
Thermopolis Day (Wyoming) [1st Friday]
Independence & Related Days
Ajdinland (Declared; 2022) [unrecognized]
Monarchy of Craztonia (Declared; 2022) [unrecognized]
Pitchfork Union (Declared; 2016) [unrecognized]
Seirlandia (Declared; 2019) [unrecognized]
Feast Days
Avian Day (Pagan)
Befana (Ancient Roman Goddess)
Burning of the Evergreen (Pagan)
Charles of Mount Argus (Christian)
The Eve of Epiphany (Christian; Transition Between Christmas & Carnival Season)
Feast of Poseidon (Ancient Greece)
Festival of Kore (Greek Goddess of Good Fortune & Zeal)
Festival of Lares Compitales (Ancient Rome)
Festival of Pyrotechnics
Gerlac of Valkenberg (Christian; Saint)
Hayao Miyazaki (Jayism)
Hoots the Owl (Muppetism)
International Sarcasm Day (Pastafarian)
John Neumann (Catholic Church)
Ludwig II Day (Church of the SubGenius; Saint)
Lycurgus (Positivist; Saint)
Mungday (aka Hung Mung’s Day; Discordian)
Nicolas de Staël (Artology)
Noche De Reyes (Three Wise Men; Mexico)
Nones of January (Ancient Rome)
Old Christmas Eve
Simeon Stylites (Latin Church)
Telesphorus, Pope (Christian; Saint)
Trettondagsafton (Epiphany Eve; Sweden)
Tucindan (Old Serbian Pagan Folk Festival)
Twelfth Day of Christmas
Twelfth Night
Twelve Holy Days #11 (Aquarius, the lower limbs; Esoteric Christianity)
Twelvetide, Day #12 (a.k.a. the Twelve Days of Christmas or Christmastide) [until 1.5]
Ullr Festival (Norse)
Umberto Eco (Jayism)
Verbal Abuse Day (Pastafarian)
The Voyage of Hathor to See Her Seven Sisters (Ancient Egypt)
Yves Tanguy (Artology)
Lucky & Unlucky Days
Butsumetsu (仏滅 Japan) [Unlucky all day.]
Lucky Day (Philippines) [4 of 71]
Perilous Day (13th Century England) [4 of 32]
Prime Number Day: 5 [3 of 72]
Very Unlucky Day (Grafton’s Manual of 1565) [4 of 60]
Premieres
All My Children (TV Soap Opera; 1970)
Any Rags? (Betty Boop Cartoon; 1932)
Armed Forces, by Elvis Costello (Album; 1979)
Buddy the Gob (WB LT Cartoon; 1934)
Cavalcade (Film; 1933)
Chica Chica Boom Chic, by Carmen Miranda (Song; 1941)
Come Dance with Me!, by Frank Sinatra (Album; 1959)
The Dark Eidolon and Other Fantasies, by Clark Ashton Smith (Short Stories; 1935)
Desire, by Bob Dylan (Album; 1976)
Dog, Cat and Canary (Color Rhapsody Cartoon; 1945)
The Dud Avocado, by Elaine Dundy (Novel; 1958)
Giasone, by Francesco Cavalli (Opera; 1649)
Greetings From Asbury Park, by Bruce Springsteen (Album; 1973)
Happily N’Ever After (Animated Film; 2007)
The Hitchhiker’s Guide to the Galaxy (UK TV Series; 1981)
In the American Grain, by William Carlos Williams (History Book; 1925)
Lion Down (Disney Cartoon; 1951)
Lyrical Ballads, by William Wordsworth and Samuel Taylor Coleridge (Book of Poetry; 1798)
Maze Craze (Atari 2600 Video Game; 1980)
Mary Hartman, Mary Hartman (TV Series; 1976)
Nixon (Film; 1996)
The Shannara Chronicles (TV Series; 2016)
Stop! In The Name Of Love, recorded by The Supremes (Song; 1965)
The Strange Case of Dr. Jekyll and Mr. Hyde (Novel; 1886)
The Swiss Summer, by Stella Gibbons (Novel; 1951)
Three Little Bops (WB LT Cartoon; 1957)
Tiger Trouble (Disney Cartoon; 1945)
The Tortoise and the Hare (Disney SS Cartoon; 1935)
Waiting for Godot, by Samuel Beckett (Play; 1953)
What’s Sweepin’ (Woody Woodpecker Cartoon; 1953)
Who’s Kitten Who? (WB LT Cartoon; 1952)
The Wiz (Broadway Musical; 1975)
Today’s Name Days
Emilia, Johann (Austria)
Emilijana, Gaudencije, Miljenko, Radoslavl (Croatia)
Dalimil (Czech Republic)
Simeon (Denmark)
Lea, Leana, Liia (Estonia)
Lea, Leea (Finland)
Édouard (France)
Emilia, Johann (Germany)
Syglitiki, Theoni, Theopemptos (Greece)
Simon (Hungary)
Amelia (Italy)
Sīmanis, Zintis (Latvia)
Gaudentas, Telesforas, Vytautas, Vytautė (Lithuania)
Hanna, Hanne (Norway)
Edward, Emilian, Emiliusz, Hanna, Symeon, Szymon, Telesfor, Włościbor (Poland)
Sinclitichia, Teona, Teotempt (Romania)
Andrea (Slovakia)
Amelia, Emiliana, Juan, Simeón, Telesforo (Spain)
Hanna, Hannele (Sweden)
Apollinaria, Teon (Ukraine)
Ladarius, Ladd, Laird, Lamont, Lane, Tania, Tanya, Tatiana, Tatyana, Tawni, Tawnya, Tia, Tiana, Tianna, Tonya (USA)
Today is Also…
Day of Year: Day 5 of 2024; 361 days remaining in the year
ISO: Day 5 of week 1 of 2024
Celtic Tree Calendar: Beth (Birch) [Day 11 of 28]
Chinese: Month 12 (Jia-Zi), Day 24 (Wu-Chen)
Chinese Year of the: Rabbit 4721 (until February 10, 2024)
Hebrew: 24 Teveth 5784
Islamic: 23 Jumada II 1445
J Cal: 5 White; Fryday [5 of 30]
Julian: 23 December 2023
Moon: 35%: Waning Crescent
Positivist: 5 Moses (1st Month) [Lycurgus]
Runic Half Month: Eihwaz or Eoh (Yew Tree) [Day 11 of 15]
Season: Winter (Day 16 of 89)
Zodiac: Capricorn (Day 15 of 31)
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Holidays 1.5
Holidays
American Divorce Day
Apple Howling Day
Carnival begins (Old Bohemia)
Carnaval Blancos Negros, Day 2: The Day of the Blacks (Colombia)
Dia de la Toma (Spain)
Eve of Wonder
Fair Deal Day
Fathers' Day (Оци; Serbia)
501st Legion Day (UK)
Flint Day (French Republic)
FM Radio Day
George Washington Carver Day
Get on the Computer Day
International Declutter Day
International Ice and Snow Sculpture Festival (Harbin, China)
Joma Shinji (Kamakura, Japan)
Kappa Alpha Psi Day
Little Cold begins (Chinese Farmer’s Calendar)
Monopoly Game Day
Mr. Ed Day
National Bird Day
National Day of Dialogue
National Don’t Talk Day
National Ellen Day
National Screenwriters Day
National Second-Hand Wardrobe Day
Nellie Ross Day (Wyoming)
Night of the Magic Camel (Southern Syria)
Red Hackle Anniversary Day of the Black Watch
Review Your Wrestling Holds Day
Right of Self Determination Day (Pakistan)
Take Our Daughters and Sons to Work Day (Brisbane, Melbourne, Sydney; Australia)
Tucindan (Serbia, Montenegro)
Turn Up the Heat Day
Food & Drink Celebrations
Can Opener Day
Granny Smith Day
National Keto Day
National Whipped Cream Day
Sausage Day (UK)
Strawberry Day (Ichigo No Hi; Japan)
Take the Cake Day
Whipped Cream Day
1st Friday in January
Gals Night Out [1st Friday]
Thermopolis Day (Wyoming) [1st Friday]
Independence & Related Days
Ajdinland (Declared; 2022) [unrecognized]
Monarchy of Craztonia (Declared; 2022) [unrecognized]
Pitchfork Union (Declared; 2016) [unrecognized]
Seirlandia (Declared; 2019) [unrecognized]
Feast Days
Avian Day (Pagan)
Befana (Ancient Roman Goddess)
Burning of the Evergreen (Pagan)
Charles of Mount Argus (Christian)
The Eve of Epiphany (Christian; Transition Between Christmas & Carnival Season)
Feast of Poseidon (Ancient Greece)
Festival of Kore (Greek Goddess of Good Fortune & Zeal)
Festival of Lares Compitales (Ancient Rome)
Festival of Pyrotechnics
Gerlac of Valkenberg (Christian; Saint)
Hayao Miyazaki (Jayism)
Hoots the Owl (Muppetism)
International Sarcasm Day (Pastafarian)
John Neumann (Catholic Church)
Ludwig II Day (Church of the SubGenius; Saint)
Lycurgus (Positivist; Saint)
Mungday (aka Hung Mung’s Day; Discordian)
Nicolas de Staël (Artology)
Noche De Reyes (Three Wise Men; Mexico)
Nones of January (Ancient Rome)
Old Christmas Eve
Simeon Stylites (Latin Church)
Telesphorus, Pope (Christian; Saint)
Trettondagsafton (Epiphany Eve; Sweden)
Tucindan (Old Serbian Pagan Folk Festival)
Twelfth Day of Christmas
Twelfth Night
Twelve Holy Days #11 (Aquarius, the lower limbs; Esoteric Christianity)
Twelvetide, Day #12 (a.k.a. the Twelve Days of Christmas or Christmastide) [until 1.5]
Ullr Festival (Norse)
Umberto Eco (Jayism)
Verbal Abuse Day (Pastafarian)
The Voyage of Hathor to See Her Seven Sisters (Ancient Egypt)
Yves Tanguy (Artology)
Lucky & Unlucky Days
Butsumetsu (仏滅 Japan) [Unlucky all day.]
Lucky Day (Philippines) [4 of 71]
Perilous Day (13th Century England) [4 of 32]
Prime Number Day: 5 [3 of 72]
Very Unlucky Day (Grafton’s Manual of 1565) [4 of 60]
Premieres
All My Children (TV Soap Opera; 1970)
Any Rags? (Betty Boop Cartoon; 1932)
Armed Forces, by Elvis Costello (Album; 1979)
Buddy the Gob (WB LT Cartoon; 1934)
Cavalcade (Film; 1933)
Chica Chica Boom Chic, by Carmen Miranda (Song; 1941)
Come Dance with Me!, by Frank Sinatra (Album; 1959)
The Dark Eidolon and Other Fantasies, by Clark Ashton Smith (Short Stories; 1935)
Desire, by Bob Dylan (Album; 1976)
Dog, Cat and Canary (Color Rhapsody Cartoon; 1945)
The Dud Avocado, by Elaine Dundy (Novel; 1958)
Giasone, by Francesco Cavalli (Opera; 1649)
Greetings From Asbury Park, by Bruce Springsteen (Album; 1973)
Happily N’Ever After (Animated Film; 2007)
The Hitchhiker’s Guide to the Galaxy (UK TV Series; 1981)
In the American Grain, by William Carlos Williams (History Book; 1925)
Lion Down (Disney Cartoon; 1951)
Lyrical Ballads, by William Wordsworth and Samuel Taylor Coleridge (Book of Poetry; 1798)
Maze Craze (Atari 2600 Video Game; 1980)
Mary Hartman, Mary Hartman (TV Series; 1976)
Nixon (Film; 1996)
The Shannara Chronicles (TV Series; 2016)
Stop! In The Name Of Love, recorded by The Supremes (Song; 1965)
The Strange Case of Dr. Jekyll and Mr. Hyde (Novel; 1886)
The Swiss Summer, by Stella Gibbons (Novel; 1951)
Three Little Bops (WB LT Cartoon; 1957)
Tiger Trouble (Disney Cartoon; 1945)
The Tortoise and the Hare (Disney SS Cartoon; 1935)
Waiting for Godot, by Samuel Beckett (Play; 1953)
What’s Sweepin’ (Woody Woodpecker Cartoon; 1953)
Who’s Kitten Who? (WB LT Cartoon; 1952)
The Wiz (Broadway Musical; 1975)
Today’s Name Days
Emilia, Johann (Austria)
Emilijana, Gaudencije, Miljenko, Radoslavl (Croatia)
Dalimil (Czech Republic)
Simeon (Denmark)
Lea, Leana, Liia (Estonia)
Lea, Leea (Finland)
Édouard (France)
Emilia, Johann (Germany)
Syglitiki, Theoni, Theopemptos (Greece)
Simon (Hungary)
Amelia (Italy)
Sīmanis, Zintis (Latvia)
Gaudentas, Telesforas, Vytautas, Vytautė (Lithuania)
Hanna, Hanne (Norway)
Edward, Emilian, Emiliusz, Hanna, Symeon, Szymon, Telesfor, Włościbor (Poland)
Sinclitichia, Teona, Teotempt (Romania)
Andrea (Slovakia)
Amelia, Emiliana, Juan, Simeón, Telesforo (Spain)
Hanna, Hannele (Sweden)
Apollinaria, Teon (Ukraine)
Ladarius, Ladd, Laird, Lamont, Lane, Tania, Tanya, Tatiana, Tatyana, Tawni, Tawnya, Tia, Tiana, Tianna, Tonya (USA)
Today is Also…
Day of Year: Day 5 of 2024; 361 days remaining in the year
ISO: Day 5 of week 1 of 2024
Celtic Tree Calendar: Beth (Birch) [Day 11 of 28]
Chinese: Month 12 (Jia-Zi), Day 24 (Wu-Chen)
Chinese Year of the: Rabbit 4721 (until February 10, 2024)
Hebrew: 24 Teveth 5784
Islamic: 23 Jumada II 1445
J Cal: 5 White; Fryday [5 of 30]
Julian: 23 December 2023
Moon: 35%: Waning Crescent
Positivist: 5 Moses (1st Month) [Lycurgus]
Runic Half Month: Eihwaz or Eoh (Yew Tree) [Day 11 of 15]
Season: Winter (Day 16 of 89)
Zodiac: Capricorn (Day 15 of 31)
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Free US & UK Promo Codes Upon Request
HOW DID VISIONARY WOMEN SEE THE FUTURE?
Written between 1931 and 1979, these 13 stories show how different women have, in different eras, envisioned the future of their sex. Selecting its contents from lesser known writers, Future Eves presents Leslie F. Stone's novelette "The Conquest of Gola" (1931), an encounter with Earth males told from the point-of-view of an alien matriarch. So far ahead of its time, nothing like it would be attempted again in science-fiction until the work of Alice Sheldon (aka, James Tiptree, Jr.) in the 1970s.
Hazel Heald's novelette "The Man of Stone," is searingly feminist, all the more so since her heroine, like so many women of the time, takes her brutalized situation so much for granted.
In "Miss Millie's Rose" (1959), Joy Leache manages what so few male science-fiction writers of the era seemed able to do: portray a character whose psychology arises out of her future world and not our own.
Betsy Curtis' "The Goddess of Planet Delight" is a short novel in the classic mode that mixes a sociological puzzle with pointed satire, high-adventure, and romance.
Brace yourself for Djinn Faine's "Daughter of Eve", a story you will never forget, no matter how hard you try.
Plus stories by Florence Engel Randall, Evelyn Goldstein, Beth Elliot, Evelyn E. Smith, Marcia Kaimien, and others. Future Eves is fascinating to listen to, both as science-fiction and as an eye-opening view into futures past.
LISTEN TO A SAMPLE - https://www.audible.com/pd/Future-Eves-Audiobook/B07CRVZMDC
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New top story from Time: Pete Hamill, Legendary Street-Wise Columnist Who Chronicled His Love of New York, Dies at 85
(NEW YORK) — Pete Hamill, the self-taught, street-wise newspaper columnist whose love affair with New York inspired a colorful and uniquely influential journalistic career and produced several books of fiction and nonfiction, died Wednesday morning. He was 85.
Hamill died at a Brooklyn hospital from heart and kidney failure, his brother Denis confirmed in an email.
“Pete was truly one of the good guys,” Denis Hamill said.
Pete Hamill was one of the city’s last great crusading columnists and links to journalism’s days of chattering typewriters and smoked-filled banter, an Irish-American both tough and sentimental who related to the underdog and mingled with the elite. Well-read, well-rounded and very well connected, Hamill was at ease quoting poetry and Ernest Hemingway, dating Jacqueline Onassis or enjoying a drink and a cigarette at the old Lion’s Head tavern in Greenwich Village.
His topics ranged from baseball, politics, murders, boxing and riots to wars in Vietnam, Nicaragua, Lebanon and Ireland. But he would always look back to the New York he grew up in, a pre-digital age best remembered through the dreamscape of black and white photography — a New York of egg creams and five-cent subway rides, stickball games and wide-brimmed hats, when the Dodgers were still in Brooklyn and there were more daily papers than you could count on one hand.
“I have the native son’s irrational love of the place,” Hamill wrote in his 2004 book, “Downtown: My Manhattan.” “New York is a city of daily irritations, occasional horrors, hourly tests of will and even courage, and huge dollops of pure beauty.”
A Brooklyn-born high school dropout, Hamill was a columnist for the New York Daily News, the New York Post, Newsday, the Village Voice, New York magazine and Esquire. He wrote screenplays, several novels and a bestselling memoir, “A Drinking Life.”
His 2003 novel, “Forever,” told the story of Cormac O’Connor, an Irish Jew who arrives in New York in 1740 and is granted eternal life as long as he stays on the island of Manhattan. His novels “Snow in August” and “The North River” also served up nostalgic and critically acclaimed tales of Old New York.
His memoir covers his childhood in Brooklyn to the night he gave up drinking at a New Year’s Eve party in 1972.
Hamill had a brief and disheartening turn editing the New York Post. When financier Steven Hoffenberg gained control of the tabloid in bankruptcy proceedings, he hired Hamill as editor in chief in 1993. Hamill quickly hired four Black reporters and promoted a number of women and minorities, recalled fellow columnist Jack Newfield in his memoir, “Somebody’s Gotta Tell It.”
But when Hoffenberg was unable to buy the paper, ownership fell to Abe Hirschfeld, who fired Hamill. The paper’s staff revolted, publishing a mutiny edition that kept Hamill’s name on the masthead as he supervised from a nearby diner. Hirschfeld rehired Hamill, giving him a kiss that the hardened newsman called “the single most ignominious moment of my life.”
Rupert Murdoch eventually purchased the paper, leading to Hamill’s dismissal. A few years later, Hamill spent a short stint as editor-in-chief of the Post’s archrival, the New York Daily News. He also worked for a few months in 1987 as editor of The Mexico City News.
Hamill worried that journalism had become too focused on celebrities, but he was well acquainted with some of the most famous people of his time. He met the Beatles before they played in the U.S., interviewed John Lennon when the ex-Beatle was living in Manhattan, hung out with Frank Sinatra and with the Rolling Stones, and won a Grammy for his liner notes to Bob Dylan’s “Blood On the Tracks.”
Hamill lived with Shirley MacLaine, dated Onassis and was linked to Linda Ronstadt, Susan Sontag and Barbra Streisand among others.
As a young man, Hamill was a passionate liberal. His open letter to Robert Kennedy helped persuade the senator to run for president, and Hamill was one of a handful of people who wrestled the gun away from Kennedy assassin Sirhan Sirhan in 1968 at the Ambassador Hotel in Los Angeles.
Hamill found his way onto President Richard Nixon’s “enemies list.” In a column, Hamill said the president shared the blame for the 1970 shootings at Kent State University by calling campus dissenters “bums.” Vice President Spiro Agnew called the column “irrational ravings,” and Hamill borrowed the phrase for the title of a 1971 collection of his columns.
In a 1969 column for New York magazine, “The Revolt of the White Lower Middle Class,” he seemed to anticipate the rise of Donald Trump as he warned of men “standing around saloons talking darkly about their grievances, and even more darkly about possible remedies. Their grievances are real and deep; their remedies could blow this city apart.”
In a 1991 Esquire column, he criticized Black people for blaming everything on whites. “You have retreated defensively into the clichés of glib racialism,” he wrote in “Letter to a Black Friend,” a column that ran in Esquire in 1991.
Hamill’s first marriage, to Ramona Negron, ended in divorce. He retained primary custody of his two daughters, Adrienne and Deirdre.
In 1986, Hamill married the Japanese journalist Fukiko Aoki, whom he met while touring Japan to promote his collection of short stories, “Tokyo Sketches.”
In 2019, Hamill and one of his greatest contemporaries, Jimmy Breslin, were featured in the HBO documentary “Deadline Artists.”
Born William Peter Hamill on June 24, 1935, he was the oldest of seven children of immigrants from Northern Ireland. His brother Denis Hamill is a novelist and columnist for the Daily News.
At 16, Pete Hamill became bored with high school, dropped out and went to work as a sheet metal worker in the Brooklyn Navy Yard, while honing his skills as a comic book artist on the side. At the yard, he developed dormant tuberculosis.
While in the Navy, Hamill finished high school and, afterward, attended Mexico City College in 1956.
Returning to New York, Hamill opened a graphic design store in Hell’s Kitchen. After reading a 1960 memoir by Post editor Jimmy Wechsler, the young Hamill wrote Wechsler, saying that newspapers had no room for people like himself — working class, no Ivy League degrees. The editor suggested a meeting.
“He took me into his inner office and I sat beside a desk littered with newspapers clippings, magazines, letters from readers, copies of his book,” Hamill later wrote. “While we talked, he smoked cigarettes and sipped coffee. Near the end of our chat, he leaned back in his chair and put his hands behind his head. ‘Have you ever thought about becoming a newspaperman?’”
via https://cutslicedanddiced.wordpress.com/2018/01/24/how-to-prevent-food-from-going-to-waste
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10 LGBTQ Performers in the 1970's
The Stonewall riots were a series of spontaneous, violent demonstrations by members of the gay (LGBT) community against a police raid that began in the early morning hours of June 28, 1969, at the Stonewall Inn in the Greenwich Village neighborhood of New York City. They are widely considered to constitute the most important event leading to the gay liberation movement and the modern fight for LGBT rights in the United States. Wikipedia
What followed in the 1970’s was a rising tide of LGBTQ performers that “came out” to express their unique take on music, theater and sexual (transgender) identity. Here are 10 of those performers and a brief look at what they contributed to the movement and to our culture. Click on the image to learn more about the performer.
JAYNE COUNTY
As rock’s first openly transgender singer, Jayne Rogers (born June 13, 1947), better known by her stage name Jayne County, is an American singer, songwriter, actress and record producer whose career spans five decades. While dressed in female attire from the beginning of her career, County transitioned to female in 1979, becoming Jayne (as the above poster illustrates).
She made her first performing appearances as Wayne County in Wayne County and The Electric Chairs. In 1969 she appeared in Jackie Curtis’ play Femme Fatale. County considered Curtis a major influence on her career and persona and County is widely considered an influence on David Bowie –– County’s Queenage Baby number was the prototype for Bowie’s Rebel Rebel. Even more notable was her play, World – Birth of A Nation, which was set in a hospital and dealt with male castration –– evoking both transgender surgery and her mixed feelings about men, both gay and straight.
After seeing the play, Andy Warhol cast her in his play Pork. She went on to appear in the film The Blank Generation (1976). Back and forth between New York and London, she settled in Atlanta Georgia. In 2018, County debuted a retrospective show of visual art in the New York City gallery, Participant, Inc.
County’s life and art is considered an inspirational influence on John Cameron Mitchell’s transgender rock musical Hedwig and the Angry Inch.
JACKIE CURTIS
“Jackie Curtis is not a drag queen. Jackie is an artist. A pioneer without a frontier,” so said Andy Warhol. Andy was right. Jackie Cutis (1947-1987) was a true original. Long before he became one of the Pop master’s superstars. Curtis distinguished himself by appearing (alternately) as a James Dean-like male and a Jean Harlow-like female in Off-off Broadway plays of his own devise in which he and his friends appeared:
Glamour, Glory And Gold, co-starred Candy Darling, and Robert DeNiroin his first New York stage appearance;
Vain Victory, also starred Darling with Warhol and Jack Smith star Mario Montez;
Amerika Cleopatra featured a thin barely-known Harvey Fierstein;
Femme Fatale, starred Patti Smith, Jayne County and Penny Arcade; and
Heaven Grand In Amber Orbit toplined Holly Woodlawn. These were all makeshift, wildly tossed together affairs having little to do with plot and character but tons to do with exhibitionistic self-expression.
Outside of such Warhol films as Flesh (1968) and Women in Revolt (1972), Jackie’s most notable screen appearance was in Yugoslavia agant-gardist Dusan Makvejev’s W.R.: Mysteries of the Organism – a film about sex researcher Willhelm Reich, creator of the so-called Orgone Box. Makvejev felt Jackie presence in the film added a lot to his view of Reich’s sexual theories.
DIVINE
Born Harris Glenn Milsted in 1945, this life-affirming, overweight transvestite was re-named Divine (after the hero/heroine of Jean Genet’s Our Lady of the Flowers ) by the writer-director John Waters, who discovered her right down the block from where he lived. Through his films Waters turned a lonely overweight kid from Baltimore into one of the biggest (in every sense of the word) of all underground movie stars.
In Waters’ comedies, Pink Flamingoes, Female Trouble, Polyester and Hairspray, Divine redefined what it means to be a movie star. Waters called him The Most Beautiful Woman in The World and if you’ve seen Divine on stage of screen you’ll know why; for like his idol, Elizabeth Taylor, Divine was overwhelmingly sui generis.
While beloved for his films, Divine was a prolific LGBTQ performer on stage and in nightclubs. This above poster memorializes one of them . In this particular show — Vice— Divine appeared with many of the members of the legendary San Francisco drag troupe, The Cockettes.
Sadly, Divine (now a gay, transgender icon) died in 1988 of respiratory problems, days after the opening of his greatest acting success, Hairspray. Those lucky enough to see his club appearances also recall Divine for numbers like this —
CASSELBERRY & DUPREE
Mixing Reggae, Country and Gospel, Casselberry and Dupree are a dynamic lesbian duo who have performed with Harry Belafonte and Whoppi Goldberg, They appeared in the Oscar-nominated Art Is and the Oscar-winning The Times of Harvey Milk. The early 70s was a great time for Sapphic folk music, featured as it was at such venues as Lilith Fair. Jaqué Dupree and J. Casselberry offer a stellar example of it in: CASSELBERRYY AND DUPREE “TWO OF US”
CHARLES PIERCE
Charles Piece 1926-1999 was what might be called a female impersonator (he called himself a Male Actress) who found favor with audiences both straight and gay with his knowing impressions of Bette Davis, Mae West, Tallulah Bankhead and Carol Channing, Such impersonations were quite traditional for a comic performer of this sort. But as can be seen and heard in this clip of his rendition of Katherine Hepburn, Pierce kept pace with the blossoming LGBTQ movement with many of his zingers evidencing a keen awareness of the difference the out and proud LGBTQ movement had made in a straight-dominated world.
Headlining a production of Applause was a real tour de force for Piece as this musical version of All About Eve gave him leave to do Bette Davis (star of the original film) and Lauren Bacall (star of the musical remake) at the same time.
JUDITH ANDERSON
Stage and screen star Judith Anderson (1897-1992.) best remembered by the general public for playing the sinister lesbian “Mrs. Danvers” in Hithcock’s Rebecca (1940) and “Ann Treadwell” the socialite who’s keeping Vincent Price’s “Shelby Carpenter” in Laura The latter was quite low-key in that the character was straight, whereas “Mrs. Danvers” was a full-force lesbian.
Despite the obvious she was married twice. Her first husband was an English professor, Benjamin Harrison Lehmann. They were married in 1937 and divorced in 1939. Then, in 1946, she married theatrical producer Luther Greene. They divorced in 1951. Of these marriages Anderson said. “Neither experience was a jolly holiday.”
While Sarah Bernhardt had famously performed Hamlet in the late 19th century, few actresses have ever tried it. Taking it on at an advanced age, as Anderson did, was quite novel. Doing it when she did, put Anderson in league with the avant-garde gender-benders of the early 70s like Jackie Curtis and Holly Woodlawn.
CRAIG RUSSELL
Craig Russell, born Russell Crag Easie in 1948 in Toronto Canada, this female impersonator carved out a considerable career for himself doing such stars as Bette Davis, Tallulah Bankhead and Mae West — having come to know the last-mentioned personally as he briefly worked as her secretary in Los Angeles. Many LGBTQ performers of this genre did impressions of these stars. But there was an edginess to Russell’s work clearly influenced by the rise of the gay rights movement.
He toured widely, appearing in Las Vegas, Hollywood, San Francisco, Berlin, London, Paris, Amsterdam, Hamburg and Sydney, to the delight of a variety of audiences. But he won a special place in the hearts of the gay ones, as shown in the 1977 comedy-drama Outrageous in which he plays a character largely based on himself.
Interestingly, Russell — who always identified himself as gay — was bisexual. He fathered a daughter, Susan Allison, in 1973, and in 1982 married his closest female friend Lori Jenkins. The marriage lasted right through to the end of Russell’s life in 1990 when he died from AIDS complications.
SYLVESTER
Sylvester James Jr. (1947-1988) was born in Los Angeles, but first came to public attention when he moved to San Francisco and joined the legendary gay hippie performance troupe The Cockettes. A genuinely original singing talent Sylvester showcased a high, shimmering falsetto and a variety of styles encompassing gospel, disco and cabaret. His look was utterly androgynous. While he sometimes appeared in “drag” he most often sported ensembles suitable to both genders.
Wildly popular in San Francisco he performed solo shows at the city’s opera house. When he died from AIDS complications the entire city mourned, along with everyone else who came to know the man and his music.
STEVEN GROSSMAN
Steve Grossman (1951-1991) a gay singer-songwriter of the early 1970s whose album Caravan Tonight (1974) is distinguished as being the first album dealing with openly gay subject matter released by a major record label, Mercury Records.
He died from AIDS leaving his Joni Mitchell-inflected songs, recorded much in the style of singer-songwriter Cat Stevens, opposed to the then-current glam Bowiesque fashion of openly gay artists. Among them, “Out” is a deeply moving coming-out song directed to his Father mother and brother.
OUR GUEST AUTHOR
DAVID EHRENSTEIN
Born in 1947, David Ehrenstein has been a film critic and political commentator since 1965, writing for such publications as Film Culture, Film Quarterly, Cahiers du Cinema, and the Los Angeles Times. His books include Open Secret: Gay Hollywood 1928-2000, The Scorsese Picture: The Art and Life of Martin Scorsese and Cahiers du Cinema — Masters of Cinema: Roman Polanski .
Blog is originally published at: https://www.walterfilm.com/10-lgbtq-performers-in-the-1970s/
It is republished with permission from the author.
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Frank Langella’s DRACULA Celebrates 39 Years of Darkness and Desire
John Badham’s Dracula (1979) is defintiely one of the most romanticized adaptations. The film’s taglines billed the vampire film as a love story, reminding us that “Throughout History One Name Has Inspired Both Horror and Desire”. Let’s just say this film is definitely heavier on the desire side. But while rewatching this classic for the hundredth time, I realized just how beautiful this film is. From a gorgeous color palette, to John Williams’ enchanting score, to the incredible casting choices, 1979’s Dracula definitely deserves more credit.
Plot & Recepetion
We all know the basic plot of Dracula by now. However, the film is actually based on the stage play rather than directly from Bram Stoker’s novel. As a result, the roles of Mina and Lucy are reversed from the original text. To summarize everything quickly: Count Dracula travels to England only to have his ship crash on the shore. The Count comes to meet Dr. Seward, his daughter Lucy, Mina Van Helsing, and her fiance Jonathan Harker. When Mina dies suddenly of a mysterious illness Dr. Seward calls for her father, Professor Van Helsing.
Naturally, the professor believes his daughter died after being attacked by a vampire. Meanwhile, Lucy becomes more infatuated with Count Dracula and the two consummate their love. Lucy is now under Dracula’s spell and infected by his blood. Prof. Van Helsing believes they can only save Lucy if they destroy Dracula. In the end Dracula is destroyed by the daylight and Lucy is free…We hope.
Upon release, Roger Ebert gave Badham’s film a whopping three and a half out of four stars. Ebert loved this film and even described it as “a triumph of performance, art direction and mood over materials”. Ebert pointed at Frank Langella’s performance as the title character and John Badham’s direction as the winning points of the film, “[restoring] the character to the purity of it’s first film appearance” That’s one bold statement. But after a couple decades on Hammer’s bloody, fanged Dracula with Christopher Lee, I can see how this would be a refreshing change. I love Hammer’s Dracula films, but 1979’s Dracula made for a nice change of pace.
Gothic Beauty In The 1970’s
Director John Badham wanted the film to be shot in black and white but Universal opted for a warmer look. Upon the 1991 release of the film on laserdisc, Badham had much of the colors saturated. This is the copy I grew up with. The saturation makes the entire mood of the film softer and more romantic. Some scenes have such vibrant colors and others seem as if all the color has been removed. It seems the right balance between the muted gothicism and the flashiness of the late 1970s.
One of the most beautifully gothic scenes is the dinner scene between Dracula and Lucy at Carfax Abbey. There are so many candles and cobwebs, It is beautiful! Conversely, we have the unusual love scene full of lasers. (Yeah, lasers). The scene is fueled by bright, modern colors but framed with classic horror swirling mist and, of course, John Williams’ score intensifies the scene’s traditional romantic quality. But as soon as Dracula bites Lucy we are invited to one hell of a light show. Ebert described it perfectly as “an erotic intensity without any sexual explicitness”.
Still a Horror Film
Generally the most terrifying moments in the film revolve around Mina. She is Dracula’s first victim and boy is it a rough ride for her. When Dracula comes to Mina’s room we seem him crawl down a wall and appear at her door. There are creepy scratching noises, and his intense stare as he removes a pane of glass from the door and lets himself in. I still get shudders thinking about it.
Then we have Mina’s reappearance as a terrifying creature of the night. The fear on her face feels real and is unnerving to watch. When we finally see her emerge as an undead being, with her black eyes, decaying skin and repeated calls for “Papa” are so creepy. It is these moments with Mina that we are reminded that Dracula is still a horror story, regardless of how romantic it may appear on the surface.
Incredible Cast
The heart of Dracula truly lies with the film’s incredible cast. Frank Langella is one of the most seductive Draculas of all time. He did portray the character on the broadway stage for a couple years before the film’s release, so I’m sure that helped him really settle into the role. Langella’s Dracula is one of the more unique interpretations in cinema, showcasing the monster as vulnerable, powerful, sad and seductive all at the same time.
Dr. Seward, Lucy’s father, is played by horror alum Donald Pleasance (Halloween, Fantastic Voyage). Joining him is veteran stage and screen actor, Laurence Olivier (Rebecca, Clash of The Titans) as Professor Van Helsing. Academy Award nominee Kate Nelligan (The Prince of Tides) portrays Lucy, with Jan Francis and Trevor Eve as Mina and Jonathan respectively.
An Interesting Ending
Each Dracula film always tries to do something a little different and the death of Frank Langella’s Dracula is one of the most memorable. In an effort to escape Harker and Van Helsing, our doomed lovers board a ship leaving England. They are of course discovered by their pursuers and Van Helsing is killed. Dracula is pulled from below decks via a rope, dragging him into the sunlight. With each turn we see his skin decay more and more until he is believed to be dead. Lucy is no longer a vampire and all seems well but we see Dracula’s cape fly off into the distance. Lucy stares add it, almost smiling, happy that her lover may have survived.
Today that ending would immediately be cause for a sequel but instead we are left with a huge “what if” moment that remains unanswered. For me, it is the perfect ending to a romantic tale of a love that defies death.
Will you be re-watching Dracula this weekend? Perhaps you’re watching Dracula for the first time? Let us know in the comments below, or on Twitter, Instagram, Reddit, and in the Horror Fiends of Nightmare on Film Street Facebook group!
The post Frank Langella’s DRACULA Celebrates 39 Years of Darkness and Desire appeared first on Nightmare on Film Street - Horror Movie Podcast, News and Reviews.
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Netflix’s Behind Her Eyes Cast: Where Have You Seen Tom Bateman and Eve Hewson Before?
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Netflix psychological thriller Behind Her Eyes, adapted from Sarah Pinborough’s hit novel of the same name, sets its cast an unenviably tough task (and not just because almost everyone’s having to do a regional accent). Through subtleties and shifts in their performances, Eve Hewson, Tom Bateman, Simona Brown and Robert Aramayo need to keep the audience invested while keeping us guessing. What is it we’re watching? Is this six-part series the tale of Adele and David’s brittle marriage and the secrets that bind them? Or the story of single-mother Louise (Simona Brown) getting in over her head with this glamorous new couple? Could it be something else entirely?
While you’re asking yourself those questions, you’ll likely be asking another: where have I seen that guy before? While we can’t help with the former and stay spoiler-free, we can answer that one…
Eve Hewson as Adele
Dublin-born actor Eve Hewson most recently played lead Anna Weatherall in BBC-Starz period fantasy The Luminaries, an adaptation of Eleanor Catton’s 2013 Booker Prize-winning novel set against the backdrop of the west coast New Zealand Gold Rush. Before that, her major TV role was opposite Clive Owen, playing Nurse Lucy Elkins in Steven Soderbergh’s Cinemax period drama The Knick set in an experimental hospital in 1900.
The 29-year-old has also appeared in several high-profile films, playing the Marian to Taron Egerton’s Robin in the 2018 Robin Hood. She’s starred alongside Ethan Hawke in Tesla, opposite Sean Penn in Paulo Sorrentino’s This Must Be The Place, and with Tom Hanks in Steven Spielberg’s Bridge of Spies. Born Memphis Eve Sunny Day Hewson, she’s the daughter of Irish activist Ali Hewson and musician Paul Hewson aka U2’s Bono.
Tom Bateman as David
English actor Tom Bateman’s biggest film role so far is as the roguish but charming Bouc in Kenneth Branagh’s 2017 Murder on the Orient Express, a part he has returned to for Branagh’s second Agatha Christie feature adaptation Death on the Nile, due for release later this year. Bouc is a fond old “ami” of detective Hercule Poirot who works as the on-board director for his wealthy uncle’s train company. He starred opposite Liam Neeson in 2019 action-thriller Cold Pursuit and alongside Goldie Hawn and Amy Schumer in 2017 comedy Snatched.
TV-wise, you may have seen him as the lead John Beecham in ITV romantic period drama Beecham House, or as Rawdon Crawley, the drinking and duelling husband of Becky Sharp in ITV’s period comedy adaptation Vanity Fair. Bateman also played sleazy tabloid journalist Danny Hillier in Sky Atlantic’s The Tunnel and Guiliano Medici opposite Tom Riley’s Leonardo in period fantasy Da Vinci’s Demons. For ITV, he played Robert Jekyll in short-lived family fantasy Jekyll & Hyde. Among several stage roles, he acted alongside David Tennant and Catherine Tate in a 2011 production of Much Ado About Nothing.
Simona Brown as Louise
Prior to Behind Her Eyes, 26-year-old English actor Simona Brown’s most prominent roles were as operative Rachel in 1970s-set BBC One spy thriller The Little Drummer Girl, alongside Florence Pugh, Michael Shannon and Alexander Skarsgard; and as the troubled Tess in Channel 4’s virtual-reality drama Kiss Me First. She also appeared in US 2016 psychological thriller series Guilt and opposite Fionn Whitehead in ITV paranormal thriller HIM. Brown had a role in the 2016 remake of acclaimed slave drama Roots, and played the Grace in hit UK thriller The Night Manager – another John Le Carré adaptation for BBC One.
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In 2015, Brown played schoolgirl Gaia in BBC One’s adaptation of JK Rowling’s The Casual Vacancy, and starred opposite Georgina Campbell in acclaimed BBC Three drama Murdered by my Boyfriend. Credited as Chontelle Brown, she also appeared in a two-part story on Russell T Davies’ CBBC sci-fi fantasy Wizards Vs Aliens.
Robert Aramayo as Rob
Yorkshire-born 28-year-old actor Robert Aramayo will be most recognisable to Game of Thrones fans as the young Ned Stark in the HBO show’s seasons six and seven flashbacks. He played the younger version of Sean Bean’s character in the Tower of Joy scenes that held the clue to the real identity of bastard Jon Snow. He memorably played serial killer Elmer Wayne Henley Jr in the second season of Netflix’s Mindhunter, and Texan character Turk in Rob Ford’s violent thriller feature film Nocturnal Animals.
Aramayo is also linked to another high-profile fantasy TV show, having been cast as the lead in Amazon’s pricy new The Lord of the Rings TV series, replacing Will Poulter who’d left the production due to scheduling conflicts. Another big role for Aramayo sees him co-starring with Ralph Fiennes, Stanley Tucci, Aaron Taylor-Johnson, Gemma Arterton and more in Matthew Vaughan’s 2021 feature prequel The King’s Man.
Tyler Howitt as Adam
You may recognise Louise’s seven-year-old son Adam, played by Tyler Howitt, from the first season of BBC-HBO fantasy His Dark Materials. Howitt played Billy Costa, a young Gyptian boy kidnapped by ‘The Gobblers’ and taken to a remote research facility in the far north, where he was cruelly experimented on.
Georgie Glen as Sue
Glen plays Sue, who works with Louise and David as a psychiatrist’s receptionist and secretary. With screen credits going back to the 1980s, the Scottish actor has had too many roles to list here. Most recently, you’ll have seen her as GP surgery receptionist Miss Higgins on BBC One’s Call The Midwife, and as Lady Fermoy in season four of The Crown. She’s also lately appeared in Hetty Feather, Damned, Sally4Ever and The Victim.
Eva Birthistle as Marianne
Though uncredited on IMDb at the time of writing, Irish actor Eva Birthistle plays Brighton café owner Marianne in Behind Her Eyes. She’s already had a long and varied career on screen, with stand-out roles as nun-turned-warrior-turned-Abbess Hild on Netflix’s action period adaptation The Last Kingdom, and even more recently as Vanessa on Netflix’s Fate: The Winx Saga young adult fantasy series.
Aston McAuley as Anthony
McAuley plays addict and psychiatric patient Anthony Hawkins in Behind Her Eyes, and has previously appeared in ITV crime drama Endeavour, 2019 Elton John biopic Rocketman, Armando Iannucci’s The Personal History of David Copperfield and BBC Three polyamory relationship drama Trigonometry.
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Behind Her Eyes is out on Netflix on Wednesday the 17th of February.
The post Netflix’s Behind Her Eyes Cast: Where Have You Seen Tom Bateman and Eve Hewson Before? appeared first on Den of Geek.
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Holidays 1.5
Holidays
Apple Howling Day
Avian Day (Pagan)
Carnival begins (Old Bohemia)
Eve of Wonder
Fair Deal Day
FM Radio Day
George Washington Carver Day
Get on the Computer Day
International Ice and Snow Sculpture Festival (Harbin, China)
Joma Shinji (Kamakura, Japan)
Kappa Alpha Psi Day
Little Cold begins (Chinese Farmer’s Calendar)
Monopoly Game Day
Mr. Ed Day
National Bird Day
National Ellen Day
National Screenwriters Day
National Second-Hand Wardrobe Day
Night of the Magic Camel (Southern Syria)
Review Your Wrestling Holds Day
Take Our Daughters and Sons to Work Day (Brisbane, Melbourne, Sydney; Australia)
Tucindan (Serbia, Montenegro)
Turn Up the Heat Day
Food & Drink Celebrations
Can Opener Day
Granny Smith Day
National Keto Day
National Whipped Cream Day
Sausage Day (UK)
Strawberry Day (Ichigo No Hi; Japan)
Take the Cake Day
Independence Days
Monarchy of Craztonia (Declared; 2022) [unrecognized]
Feast Days
Avian Day (Pagan)
Befana (Ancient Roman Goddess)
Charles of Mount Argus (Christian)
Feast of Poseidon (Ancient Greece)
Festival of Kore (Greek Goddess of Good Fortune & Zeal)
Festival of Lares Compitales (Ancient Rome)
Festival of Pyrotechnics
Gerlac of Valkenberg (Christian; Saint)
Hayao Miyazaki (Jayism)
Hoots the Owl (Muppetism)
International Sarcasm Day (Pastafarian)
John Neumann (Catholic Church)
Ludwig II Day (Church of the SubGenius; Saint)
Lycurgus (Positivist; Saint)
Mungday (aka Hung Mung’s Day; Discordian)
Nones of January (Ancient Rome)
Old Christmas Eve
Pope Telesphorus (Christian; Saint)
Simeon Stylites (Latin Church)
Trettondagsafton (Epiphany Eve; Sweden)
Twelfth Day of Christmas
Twelfth Night
Twelve Holy Days #11 (Aquarius, the lower limbs; Esoteric Christianity)
Twelvetide, Day #12 (a.k.a. the Twelve Days of Christmas or Christmastide) [until 1.5]
Ullr Festival (Norse)
Umberto Eco (Jayism)
Verbal Abuse Day (Pastafarian)
The Voyage of Hathor to See Her Seven Sisters (Ancient Egypt)
Lucky & Unlucky Days
Lucky Day (Philippines) [4 of 71]
Perilous Day (13th Century England) [4 of 32]
Prime Number Day: 5 [3 of 72]
Very Unlucky Day (Grafton’s Manual of 1565) [4 of 60]
Premieres
All My Children (TV Soap Opera; 1970)
Armed Forces, by Elvis Costello (Album; 1979)
Cavalcade (Film; 1933)
Chica Chica Boom Chic, by Carmen Miranda (Song; 1941)
Come Dance with Me!, by Frank Sinatra (Album; 1959)
Giasone, by Francesco Cavalli (Opera; 1649)
Greetings From Asbury Park, by Bruce Springsteen (Album; 1973)
Lion Down (Disney Cartoon; 1951)
Lyrical Ballads, by William Wordsworth and Samuel Taylor Coleridge (Book of Poetry; 1798)
Mary Hartman, Mary Hartman (TV Series; 1976)
Nixon (Film; 1996)
The Shannara Chronicles (TV Series; 2016)
Stop! In The Name Of Love, recorded by The Supremes (Song; 1965)
The Strange Case of Dr. Jekyll and Mr. Hyde (Novel; 1886)
Tiger Trouble (Disney Cartoon; 1945)
The Tortoise and the Hare (Disney Cartoon; 1935)
Waiting for Godot, by Samuel Beckett (Play; 1953)
The Wiz (Broadway Musical; 1975)
Today’s Name Days
Emilia, Johann (Austria)
Emilijana, Gaudencije, Miljenko, Radoslavl (Croatia)
Dalimil (Czech Republic)
Simeon (Denmark)
Lea, Leana, Liia (Estonia)
Lea, Leea (Finland)
Édouard (France)
Emilia, Johann (Germany)
Syglitiki, Theoni, Theopemptos (Greece)
Simon (Hungary)
Amelia (Italy)
Sīmanis, Zintis (Latvia)
Gaudentas, Telesforas, Vytautas, Vytautė (Lithuania)
Hanna, Hanne (Norway)
Edward, Emilian, Emiliusz, Hanna, Symeon, Szymon, Telesfor, Włościbor (Poland)
Sinclitichia, Teona, Teotempt (Romania)
Andrea (Slovakia)
Amelia, Emiliana, Juan, Simeón, Telesforo (Spain)
Hanna, Hannele (Sweden)
Apollinaria, Teon (Ukraine)
Ladarius, Ladd, Laird, Lamont, Lane, Tania, Tanya, Tatiana, Tatyana, Tawni, Tawnya, Tia, Tiana, Tianna, Tonya (USA)
Today is Also…
Day of Year: Day 5 of 2023; 360 days remaining in the year
ISO: Day 4 of week 52 of 2023
Celtic Tree Calendar: Beth (Birch) [Day 12 of 28]
Chinese: Month 12 (Dōngyuè), Day 14 (Gui-Hai)
Chinese Year of the: Tiger (until January 22, 2023)
Hebrew: 12 Teveth 5783
Islamic: 12 Jumada II 1444
J Cal: 5 Aer; Fiveday [5 of 30]
Julian: 23 December 2022
Moon: 98%: Waxing Gibbous
Positivist: 5 Moses (1st Month) [Lycurgus]
Runic Half Month: Eihwaz (Yew) [Day 12 of 15]
Season: Winter (Day 16 of 90)
Zodiac: Capricorn (Day 15 of 30)
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Text
Holidays 1.5
Holidays
Apple Howling Day
Avian Day (Pagan)
Carnival begins (Old Bohemia)
Eve of Wonder
Fair Deal Day
FM Radio Day
George Washington Carver Day
Get on the Computer Day
International Ice and Snow Sculpture Festival (Harbin, China)
Joma Shinji (Kamakura, Japan)
Kappa Alpha Psi Day
Little Cold begins (Chinese Farmer’s Calendar)
Monopoly Game Day
Mr. Ed Day
National Bird Day
National Ellen Day
National Screenwriters Day
National Second-Hand Wardrobe Day
Night of the Magic Camel (Southern Syria)
Review Your Wrestling Holds Day
Take Our Daughters and Sons to Work Day (Brisbane, Melbourne, Sydney; Australia)
Tucindan (Serbia, Montenegro)
Turn Up the Heat Day
Food & Drink Celebrations
Can Opener Day
Granny Smith Day
National Keto Day
National Whipped Cream Day
Sausage Day (UK)
Strawberry Day (Ichigo No Hi; Japan)
Take the Cake Day
Independence Days
Monarchy of Craztonia (Declared; 2022) [unrecognized]
Feast Days
Avian Day (Pagan)
Befana (Ancient Roman Goddess)
Charles of Mount Argus (Christian)
Feast of Poseidon (Ancient Greece)
Festival of Kore (Greek Goddess of Good Fortune & Zeal)
Festival of Lares Compitales (Ancient Rome)
Festival of Pyrotechnics
Gerlac of Valkenberg (Christian; Saint)
Hayao Miyazaki (Jayism)
Hoots the Owl (Muppetism)
International Sarcasm Day (Pastafarian)
John Neumann (Catholic Church)
Ludwig II Day (Church of the SubGenius; Saint)
Lycurgus (Positivist; Saint)
Mungday (aka Hung Mung’s Day; Discordian)
Nones of January (Ancient Rome)
Old Christmas Eve
Pope Telesphorus (Christian; Saint)
Simeon Stylites (Latin Church)
Trettondagsafton (Epiphany Eve; Sweden)
Twelfth Day of Christmas
Twelfth Night
Twelve Holy Days #11 (Aquarius, the lower limbs; Esoteric Christianity)
Twelvetide, Day #12 (a.k.a. the Twelve Days of Christmas or Christmastide) [until 1.5]
Ullr Festival (Norse)
Umberto Eco (Jayism)
Verbal Abuse Day (Pastafarian)
The Voyage of Hathor to See Her Seven Sisters (Ancient Egypt)
Lucky & Unlucky Days
Lucky Day (Philippines) [4 of 71]
Perilous Day (13th Century England) [4 of 32]
Prime Number Day: 5 [3 of 72]
Very Unlucky Day (Grafton’s Manual of 1565) [4 of 60]
Premieres
All My Children (TV Soap Opera; 1970)
Armed Forces, by Elvis Costello (Album; 1979)
Cavalcade (Film; 1933)
Chica Chica Boom Chic, by Carmen Miranda (Song; 1941)
Come Dance with Me!, by Frank Sinatra (Album; 1959)
Giasone, by Francesco Cavalli (Opera; 1649)
Greetings From Asbury Park, by Bruce Springsteen (Album; 1973)
Lion Down (Disney Cartoon; 1951)
Lyrical Ballads, by William Wordsworth and Samuel Taylor Coleridge (Book of Poetry; 1798)
Mary Hartman, Mary Hartman (TV Series; 1976)
Nixon (Film; 1996)
The Shannara Chronicles (TV Series; 2016)
Stop! In The Name Of Love, recorded by The Supremes (Song; 1965)
The Strange Case of Dr. Jekyll and Mr. Hyde (Novel; 1886)
Tiger Trouble (Disney Cartoon; 1945)
The Tortoise and the Hare (Disney Cartoon; 1935)
Waiting for Godot, by Samuel Beckett (Play; 1953)
The Wiz (Broadway Musical; 1975)
Today’s Name Days
Emilia, Johann (Austria)
Emilijana, Gaudencije, Miljenko, Radoslavl (Croatia)
Dalimil (Czech Republic)
Simeon (Denmark)
Lea, Leana, Liia (Estonia)
Lea, Leea (Finland)
Édouard (France)
Emilia, Johann (Germany)
Syglitiki, Theoni, Theopemptos (Greece)
Simon (Hungary)
Amelia (Italy)
Sīmanis, Zintis (Latvia)
Gaudentas, Telesforas, Vytautas, Vytautė (Lithuania)
Hanna, Hanne (Norway)
Edward, Emilian, Emiliusz, Hanna, Symeon, Szymon, Telesfor, Włościbor (Poland)
Sinclitichia, Teona, Teotempt (Romania)
Andrea (Slovakia)
Amelia, Emiliana, Juan, Simeón, Telesforo (Spain)
Hanna, Hannele (Sweden)
Apollinaria, Teon (Ukraine)
Ladarius, Ladd, Laird, Lamont, Lane, Tania, Tanya, Tatiana, Tatyana, Tawni, Tawnya, Tia, Tiana, Tianna, Tonya (USA)
Today is Also…
Day of Year: Day 5 of 2023; 360 days remaining in the year
ISO: Day 4 of week 52 of 2023
Celtic Tree Calendar: Beth (Birch) [Day 12 of 28]
Chinese: Month 12 (Dōngyuè), Day 14 (Gui-Hai)
Chinese Year of the: Tiger (until January 22, 2023)
Hebrew: 12 Teveth 5783
Islamic: 12 Jumada II 1444
J Cal: 5 Aer; Fiveday [5 of 30]
Julian: 23 December 2022
Moon: 98%: Waxing Gibbous
Positivist: 5 Moses (1st Month) [Lycurgus]
Runic Half Month: Eihwaz (Yew) [Day 12 of 15]
Season: Winter (Day 16 of 90)
Zodiac: Capricorn (Day 15 of 30)
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Photo
The New York Times
The Queen of Change
With “The Artist’s Way,” Julia Cameron invented the way people renovate the creative soul.
By Penelope Green
Feb. 2, 2019
SANTA FE, N.M. — On any given day, someone somewhere is likely leading an Artist’s Way group, gamely knocking back the exercises of “The Artist’s Way” book, the quasi-spiritual manual for “creative recovery,” as its author Julia Cameron puts it, that has been a lodestar to blocked writers and other artistic hopefuls for more than a quarter of a century. There have been Artist’s Way clusters in the Australian outback and the Panamanian jungle; in Brazil, Russia, the United Kingdom and Japan; and also, as a cursory scan of Artist’s Way Meetups reveals, in Des Moines and Toronto. It has been taught in prisons and sober communities, at spiritual retreats and New Age centers, from Esalen to Sedona, from the Omega Institute to the Open Center, where Ms. Cameron will appear in late March, as she does most years. Adherents of “The Artist’s Way” include the authors Patricia Cornwell and Sarah Ban Breathnach. Pete Townshend, Alicia Keys and Helmut Newton have all noted its influence on their work.
So has Tim Ferriss, the hyperactive productivity guru behind “The Four Hour Workweek,” though to save time he didn’t actually read the book, “which was recommended to me by many megaselling authors,” he writes. He just did the “Morning Pages,” one of the book’s central exercises. It requires you write three pages, by hand, first thing in the morning, about whatever comes to mind. (Fortunes would seem to have been made on the journals printed to support this effort.) The book’s other main dictum is the “Artist’s Date” — two hours of alone time each week to be spent at a gallery, say, or any place where a new experience might be possible.
Elizabeth Gilbert, who has “done” the book three times, said there would be no “Eat, Pray, Love,” without “The Artist’s Way.” Without it, there might be no adult coloring books, no journaling fever. “Creativity” would not have its own publishing niche or have become a ubiquitous buzzword — the “fat-free” of the self-help world — and business pundits would not deploy it as a specious organizing principle.
The book’s enduring success — over 4 million copies have been sold since its publication in 1992 — have made its author, a shy Midwesterner who had a bit of early fame in the 1970s for practicing lively New Journalism at the Washington Post and Rolling Stone, among other publications, and for being married, briefly, to Martin Scorsese, with whom she has a daughter, Domenica — an unlikely celebrity. With its gentle affirmations, inspirational quotes, fill-in-the-blank lists and tasks — write yourself a thank-you letter, describe yourself at 80, for example — “The Artist’s Way” proposes an egalitarian view of creativity: Everyone’s got it.
The book promises to free up that inner artist in 12 weeks. It’s a template that would seem to reflect the practices of 12-step programs, particularly its invocations to a higher power. But according to Ms. Cameron, who has been sober since she was 29, “12 weeks is how long it takes for people to cook.”
Now 70, she lives in a spare adobe house in Santa Fe, overlooking an acre of scrub and the Sangre de Cristo mountain range. She moved a few years ago from Manhattan, following an exercise from her book to list 25 things you love. As she recalled, “I wrote juniper, sage brush, chili, mountains and sky and I said, ‘This is not the Chrysler Building.’” On a recent snowy afternoon, Ms. Cameron, who has enormous blue eyes and a nimbus of blonde hair, admitted to the jitters before this interview. “I asked three friends to pray for me,” she said. “I also wrote a note to myself to be funny.”
In the early 1970s, Ms. Cameron, who is the second oldest of seven children and grew up just north of Chicago, was making $67 a week working in the mail room of the Washington Post. At the same time, she was writing deft lifestyle pieces for the paper — like an East Coast Eve Babitz. “With a byline, no one knows you’re just a gofer,” she said.
In her reporting, Ms. Cameron observed an epidemic of green nail polish and other “Cabaret”-inspired behaviors in Beltway bars, and slyly reviewed a new party drug, methaqualone. She was also, by her own admission, a blackout drunk. “I thought drinking was something you did and your friends told you about it later,” she said. “In retrospect, in cozy retrospect, I was in trouble from my first drink.”
She met Mr. Scorsese on assignment for Oui magazine and fell hard for him. She did a bit of script-doctoring on “Taxi Driver,” and followed the director to Los Angeles. “I got pregnant on our wedding night,” she said. “Like a good Catholic girl.” When Mr. Scorsese took up with Liza Minnelli while all three were working on “New York, New York,” the marriage was done. (She recently made a painting depicting herself as a white horse and Mr. Scorsese as a lily. “I wanted to make a picture about me and Marty,” she said. “He was magical-seeming to me and when I look at it I think, ‘Oh, she’s fascinated, but she doesn’t understand.’”)
In her memoir, “Floor Sample,” published in 2006, Ms. Cameron recounts the brutality of Hollywood, of her life there as a screenwriter and a drunk. Pauline Kael, she writes, described her as a “pornographic Victorian valentine, like a young Angela Lansbury.” Don’t marry her for tax reasons, Ms. Kael warns Mr. Scorsese. Andy Warhol, who escorts her to the premiere of “New York, New York,” inscribes her into his diary as a “lush.” A cocaine dealer soothes her — “You have a tiny little wife’s habit” — and a doctor shoos her away from his hospital when she asks for help, telling her she’s no alcoholic, just a “sensitive young woman.” She goes into labor in full makeup and a Chinese dressing gown, vowing to be “no trouble.”
“I think it’s fair to say that drinking and drugs stopped looking like a path to success,” she said. “So I luckily stopped. I had a couple of sober friends and they said, ‘Try and let the higher power write through you.’ And I said, What if he doesn’t want to?’ They said, ‘Just try it.’”
So she did. She wrote novels and screenplays. She wrote poems and musicals. She wasn’t always well-reviewed, but she took the knocks with typical grit, and she schooled others to do so as well. “I have unblocked poets, lawyers and painters,” she said. She taught her tools in living rooms and classrooms — “if someone was dumb enough to lend us one,” she said — and back in New York, at the Feminist Art Institute. Over the years, she refined her tools, typed them up, and sold Xeroxed copies in local bookstores for $20. It was her second husband, Mark Bryan, a writer, who needled her into making the pages into a proper book.
The first printing was about 9,000 copies, said Joel Fotinos, formerly the publisher at Tarcher/Penguin, which published the book in 1992. There was concern that it wouldn’t sell. “Part of the reason,” Mr. Fotinos said, “was that this was a book that wasn’t like anything else. We didn’t know where to put it on the shelves — did it go in religion or self-help? Eventually there was a category called ‘creativity,’ and ‘The Artist’s Way’ launched it.” Now an editorial director at St. Martin’s Press, Mr. Fotinos said he is deluged with pitches from authors claiming they’ve written “the new Artist’s Way.”
“But for Julia, creativity was a tool for survival,” he said. “It was literally her medicine and that’s why the book is so authentic, and resonates with so many people.”
“I am my tool kits,” Ms. Cameron said.
And, indeed, “The Artist’s Way” is stuffed with tools: worksheets to be filled with thoughts about money, childhood games, old hurts; wish lists and exercises, many of which seem exhaustive and exhausting — “Write down any resistance, angers and fears,” e.g. — and others that are more practical: “Take a 20 minutes walk,” “Mend any mending” and “repot any pinched and languishing plants.” It anticipates the work of the indefatigable Gretchen Rubin, the happiness maven, if Ms. Rubin were a bit kinder but less Type-A.
“When I teach, it’s like watching the lights come on,” said Ms. Cameron. “My students don’t get lectured to. I think they feel safe. Rather than try and fix themselves, they learn to accept themselves. I think my work makes people autonomous. I feel like people fall in love with themselves.”
Anne Lamott, the inspirational writer and novelist, said that when she was teaching writing full-time, her own students swore by “The Artist’s Way.” “That exercise — three pages of automatic writing — was a sacrament for people,” Ms. Lamott wrote in a recent email. “They could plug into something bigger than the rat exercise wheel of self-loathing and grandiosity that every writer experiences: ‘This could very easily end up being an Oprah Book,’ or ‘Who do I think I’m fooling? I’m a subhuman blowhard.’”
“She’s given you an assignment that is doable, and I think it’s kind of a cognitive centering device. Like scribbly meditation,” Ms. Lamott wrote. “It’s sort of like how manicurists put smooth pebbles in the warm soaking water, so your fingers have something to do, and you don’t climb the walls.”
In the wild.CreditRamsay de Give for The New York Times
Ms. Cameron continues to write her Morning Pages every day, even though she continues, as she said, to be grouchy upon awakening. She eats oatmeal at a local cafe and walks Lily, an eager white Westie. She reads no newspapers, or social media (perhaps the most grueling tenet of “The Artist’s Way” is a week of “reading deprivation”), though an assistant runs a Twitter and Instagram account on her behalf. She writes for hours, mostly musicals, collaborating with her daughter, a film director, and others.
Ms. Cameron may be a veteran of the modern self-care movement but her life has not been all moonbeams and rainbows, and it shows. She was candid in conversation, if not quite at ease. “So I haven’t proven myself to be hilarious,” she said with a flash of dry humor, adding that even after so many years, she still gets stage-fright before beginning a workshop.
She has written about her own internal critic, imagining a gay British interior designer she calls Nigel. “And nothing is ever good enough for Nigel,” she said. But she soldiers on.
She will tell you that she has good boundaries. But like many successful women, she brushes off her achievements, attributing her unlooked-for wins to luck.
“If you have to learn how to do a movie, you might learn from Martin Scorsese. If you have to learn about entrepreneurship, you might learn from Mark” — her second husband. “So I’m very lucky,” she said. “If I have a hard time blowing my own horn, I’ve been attracted to people who blew it for me.”
https://www.nytimes.com/2019/02/02/style/julia-cameron-the-artists-way.html
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Special guest post by Jeff Lundenberger @jlundenberger
My Feud with Feud
When the ads for Feud: Bette and Joan began to appear I considered watching it, thinking it was a made for TV movie — this despite the fact that the image of Jessica Lange and Susan Sarandon posed as Joan Crawford and Bette Davis in a promotional photo for Whatever Happened to Baby Jane?, made me think of two children playing dress up. When I discovered it was a series I decided that I definitely would not tune in. I’m a commitment-phobe when it comes to television series. I try to limit my TV viewing time and the thought of having to set aside one hour each week for the length of a series season makes me terribly anxious. It’s much more comforting for me to turn on TCM. Ninety-nine per cent of the time it will be something I’ll watch. And if it’s not, I have a DVR crowded with TCM movies going back several years. (As for my difficulty making a selection from that group, well, that’s another story.)
I was also put off by the fact that the series was created by Ryan Murphy, of American Horror Story fame, a show that I didn’t find appealing. I tried a few episodes of the first season at the urging of my sister but the violence, something my younger self would have relished, had me averting my eyes and squirming in my seat. I turned on an episode from a different season a few years later to see if anything, including my taste, had changed. The subject was a freak show and I couldn’t even watch the entire hour. The production seemed oddly lackluster, the story pretentious.
My husband started watching Feud from the beginning and he loved it. I read an intriguing interview with Lange in which she talked about the attempt by those concerned with the production to humanize the characters, placing their struggles firmly in the male-dominant, ageist Hollywood of the time. Finally, I received a text from a Joan and Bette-loving friend asking me if I was watching what he described as a weekly Christmas gift. All resistance crushed, I watched episodes 1, 2 and 3 in one sitting.
I’ve been a fan of Jessica Lange and Susan Sarandon since they first appeared on the scene in the 1970s but, lets face it, Joan Crawford and Bette Davis have some pretty big shoes to fill, especially if the viewer was, like myself, a fan of those two actors well before the arrival of King Kong and The Rocky Horror Picture Show. When we met, my first long-term boyfriend told me that I reminded him of Hank Fonda. Hank Fonda, Bill Holden, he threw the names of stars around as if they had been high school classmates. Ridiculous as it seems, we feel like we know them all intimately. How many times have I watched Mildred Pierce and All About Eve, The Women and Now, Voyager? Mildred and Margo and Crystal and Charlotte are only characters in movies, but my familiarity with them and my knowledge of their creators — from books, magazines, talk shows, and, yes, their films — grants me, in my mind, at least, some insight into the personal worlds of Crawford and Davis. Could Lange and Sarandon possibly live up to my perceptions and expectations?
The show’s 8 episodes have finished and I’m still on the fence. I thought the last episode the best and I’ll go into that more, but as for the show in general: Lange and Sarandon are fine as Joan and Bette. Lange’s voice is a bit soft for my idea of Joan but she never wavers from that peculiar, precise diction of Crawford’s, while Sarandon captures Davis’ clipped delivery and abrupt mannerisms. But I also have, to a lesser extent, a viewer’s intimacy with both Lange and Sarandon and I watch and listen carefully — where do those two end, Joan and Bette begin? Do these interpretations at all match up with the interpretations I have in my head? Lange or Sarandon utter a line and I immediately run it through my filter: does this sound like my Bette or Joan?
One scene with Davis and ex-husband Gary Merrill (Mark Valley) struck me as feeling painfully realistic. Merrill angers Davis and they begin braying at each other when, suddenly, both burst out laughing at the battle that has obviously been a constant in their lives together, perhaps the basis of their relationship. Crawford’s dressing room attempt to convince Anne Bancroft (Serinda Swan) to allow Crawford to accept Bancroft’s Oscars were she to win — flattering, cajoling, insinuating — seemed utterly realistic. But there were also moments that left me cold. Nothing specific, just a vague mistrust, as if the creators were more interested in effect than intent.
The performances of Alfred Molina as Robert Aldrich, Stanley Tucci as Jack Warner and Dominic Burgess as Victor Buono are convincing but, of course, I’m not nearly as familiar with those men. I sense a bit of Joan Blondell in the performance of Kathy Bates, but Olivia de Havilland is nowhere to be found under the blonde wig of Catherine Zeta-Jones. Jackie Hoffman’s Mamacita and Judy Davis’ Hedda Hopper are more caricature than character. Grim and stoic, Mamacita has no subtlety. She might have been an escapee from Ilsa, She Wolf of the SS. And while I’m an admirer of Judy Davis, she doesn’t seem to be able to pull a person out of the sartorial flamboyance that defines the gossip columnist. Then again, if Hopper’s actions in the series are at all to be believed, perhaps she wasn’t human at all.
Other “real” characters pass in and out of the story – Gregory Peck, Geraldine Page, Rip Torn, Patty Duke, George Cukor, to name but a few — some more effective than others. John Waters appears as producer/director William Castle, turning that scene into utter camp while humiliating poor Joan in the process. Crawford’s twin daughters show up several times, as the teenage version of the murdered sisters of the Overlook Hotel.
But does it all work? Perhaps it’s my unfamiliarity with modern TV series but I find an hour each week to be too long. Dense with self-conscious detail, I’m worn out by the end of each episode, wanting to know what will happen next while at the same time relieved that I no longer have to notice that it is Aqua Net hairspray and Dickinson’s witch hazel being used by the stars. It’s Joan and Bette, the graphic novel, elaborate and over-blown, the costumes too costume-y, the sets too perfect, the attitude too proud of its own cleverness. But it is also fun. Sarandon as Davis performing a silly Whatever Happened to Baby Jane? song on the Mike Douglas show seemed just too good to be true — until the original video was trending on social media the following day.
And then came that final episode, which came closest to finding a kernel of authenticity and some kind of longed-for, idealized truth. We saw Joan at home, alone, cooking, drinking, cancelling a lunch date because she is unable to zip up her dress. Bette at home with Victor Buono, who questions the reasoning behind her continued attempts at landing a television series. Joan with her dentist who recommends a denture that she refuses. Bette’s doctor urges her to give up smoking, with the same result. Joan endures humiliation after humiliation while shooting her final film, Trog. Bette maintains a game face during the Dean Martin Roast. The subject of Christina’s book comes up in a conversation with Joan and her other daughter, Cathy, who tenderly comforts her. Bette spends time with her brain-damaged daughter Margot after being berated and dismissed by her other daughter B.D. The two have much in common at this stage in their lives, both touched by longing, sadness and the realities of old age.
But there’s more to it than that. In a Lynchian dream sequence Joan wakes up in the middle of the night and hears voices coming from her living room, where she finds Hedda Hopper and Jack Warner drinking, laughing and playing cards. She takes a place at the table with them, now in full makeup and dress. With biting humor they recall the past, struggle, triumph and pain. Bette arrives and takes her place at the table opposite Joan who is, at first, insulted by Bette’s presence. But it is Bette who asks Hopper and Warner to apologize to Joan for the miseries they have caused her. They consent but both, finally, are incapable of saying “I’m sorry.”
Hopper and Warner depart while Bette talks Joan into playing a game of Wishes and Regrets, “The only game I know” says Davis. Joan pulls a pip card and says, with sincerity, “I’m sorry I wasn’t more generous with you.” Bette pulls a face card and responds “I wish I’d been a friend to you.” Mamacita wakes Joan from her trance and returns her to bed. Touching and wistful, Joan’s dream, but could that have been her real attitude towards Bette after all the hostility they had shown one another?
Bette’s real response certainly might have been different. Later in the episode she answers a telephone call and is informed of Crawford’s death. Asked for a comment she replies “My mother always said don’t say anything bad about the dead. Joan Crawford is dead. Good.” But there is ambiguity in her face. Is she saying this because she feels it, or is she saying it because that is what she thinks she would be expected to say? The series ends at the beginning, the two stars in their studio chairs at the start of production of Baby Jane, hoping to become friends. Wishful thinking? Who knows.
Faye Dunaway is mentioned ironically in the final episode, and it’s all but impossible to talk about Joan Crawford, post-Mommie Dearest, without bringing up Dunaway’s portrayal of her. Has there ever been another movie with a more determined and driven star surrounded by such mediocrity? Dunaway’s Crawford is riveting but the other actors are unable to rise above the dull cinematography, the bad editing or the banal script. I watched the film recently and was struck by the overblown grandeur of the performance, but also its touches of subtlety and, dare I say, reality? This is, after all, not the Crawford of Feud but the Crawford of Christina, an angry, troubled, driven women seen through the eyes of her child. For better or worse, Dunaway’s performance, crafted from a rib tugged from Crawford’s own work in Johnny Guitar, defined the woman in a way that has stuck since the film’s release in 1981. It will be interesting to see if Lange’s Crawford, or Sarandon’s Davis for that matter, has the power to maintain such longevity.
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About the author: Jeff Lundenberger is an avid classic film fan, was a TCMFF Social Producer and is active across social media sharing his love of movies. You can follow Jeff on Twitter and Instagram @jlundenberger. I was thrilled when he agreed to share his thoughts on Feud on this blog and cannot wait to share my own thoughts in the comments below. I hope you’ll do the same.
My Feud with FEUD Special guest post by Jeff Lundenberger @jlundenberger My Feud with Feud When the ads for Feud: Bette and Joan…
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